The structure of Preludes is governed by the notion of time and is experienced through the observation of the conscious but actionless individual. This ever advancing element of time suggests a journey of sorts, perhaps of spirituality or spiritual degradation.Similar to The Love Song of J. Alfred Prufrock, Preludes is a conscious journey through a world of torturous repetition, though unconcerned with topics of Michelangelo. This contrast of high and low ranking society between the two works suggests a common ground of spiritual decay, regardless of the classes. The societies are made up of drastically different classes but result in similar conclusions; the notion of burnt-out days and ways, signifying the destruction of societys spirit and morality.Throughout Preludes, the structural element of time is portrayed through images and sensations associated with daily actions. Points in time are made obvious through meaningless tasks; early mornings are defined by the raising of dingy shades and evenings by the "smells of steaks in passageways," (T.S.Eliot: The Complete Poems and Plays [CPP], 12) and the lighting of the lamps. As the initial stanza begins, we are aware that evening is upon us. The notion of scheduled action is made through the reference of, "Six oclock," (CPP, 12). Images of poverty and lower class filth set the scene and allude to "the burnt-out ends of smoky days," (CPP, 12) painting a disgusting picture of societys surroundings. Deepening the feeling of emptiness, there stands a "lonely cab-horse," (CPP, 12) the first notion of actual emotion on a street of meaningless leaves and newspaper.In the second stanza time becomes evident with the specific sensations of the morning hours; stale beer and coffee stands. Further suggestion of mindless scheduled repetition is illustrated as the street becomes alive... "With all its muddy feet that press / To early coffee-stands," (CPP, 12). The narrator refers to the notion of t...
