What Is the Intersection of Two Sets

When dealing with set theory, there are a number of operations to make new sets out of old ones. One of the most common set operations is called the intersection. Simply stated, the intersection of two sets A and B is the set of all elements that both A and B have in common. We will look at details concerning the intersection in set theory.   As we will see, the key word here is the word and. An Example For an example of how the intersection of two sets forms a new set, let’s consider the sets A {1, 2, 3, 4, 5} and B {3, 4, 5, 6, 7, 8}. To find the intersection of these two sets, we need to find out what elements they have in common. The numbers 3, 4, 5 are elements of both sets, therefore the intersections of A and B is {3. 4. 5]. Notation for Intersection In addition to understanding the concepts concerning set theory operations, it is important to be able to read symbols used to denote these operations. The symbol for intersection is sometimes replaced by the word â€Å"and† between two sets. This word suggests the more compact notation for an intersection that is typically used. The symbol used for the intersection of the two sets A and B is given by A ∠© B. One way to remember that this symbol ∠© refers to intersection is to notice its resemblance to a capital A, which is short for the word and. To see this notation in action, refer back the above example. Here we had the sets A {1, 2, 3, 4, 5} and B {3, 4, 5, 6, 7, 8}. So we would write the set equation A ∠© B {3, 4, 5}. Intersection With the Empty Set One basic identity that involves the intersection shows us what happens when we take the intersection of any set with the empty set, denoted by #8709. The empty set is the set with no elements. If there are no elements in at least one of the sets we are trying to find the intersection of, then the two sets have no elements in common. In other words, the intersection of any set with the empty set will give us the empty set. This identity becomes even more compact with the use of our notation. We have the identity: A ∠© ∅ ∅. Intersection With the Universal Set For the other extreme, what happens when we examine the intersection of a set with the universal set? Similar to how the word universe is used in astronomy to mean everything, the universal set contains every element. It follows that every element of our set is also an element of the universal set. Thus the intersection of any set with the universal set is the set that we started with. Again our notation comes to the rescue to express this identity more succinctly. For any set A and the universal set U, A ∠© U A. Other Identities Involving the Intersection There are many more set equations that involve the use of the intersection operation. Of course, its always good to practice using the language of set theory. For all sets A, and B and D we have: Reflexive Property: A ∠© A ACommutative Property: A ∠© B B ∠© AAssociative Property: (A ∠© B) ∠© D A ∠© (B ∠© D)Distributive Property: (A ∠ª B) ∠© D (A ∠© D)∠ª (B ∠© D)DeMorgan’s Law I: (A ∠© B)C AC ∠ª BCDeMorgan’s Law II: (A ∠ª B)C AC ∠© BC

Exploring the Mexican Independence from Spain Essay

Introduction To what extent was Mexico’s independence from Spain a â€Å"full-scale assault on dependency†? This essay will investigate how the Mexican independence from Spain was only slightly a â€Å"full-scale assault on dependency†, due to several political and social conflicts. Firstly, Mexico remained a monarchy (but not under the control of Spain) after the insurgency. Secondly, there was still an official state religion in Mexico. Another reason is because social conflicts reduced the desire for independence .On the other hand, it assaulted dependency because there were some changes within the social hierarchy, and because Mexico was free from Spain. Narrative Before the Mexican insurgency, a mass famine struck the Bajio, or lowland†¦show more content†¦For example, some of his reforms were the following: 1. That America is free and independent of all nations; 8. The salaries of the representatives will be enough for sustenance; 13. That the general laws apply to everyone, without excepting priviledged bodies, along with other radical reforms (Morelos). Unfortunately, none of them were actually implemented, as Morelos’ guerilla warfare tactic, resulting in many defeats. Finally, his movement ended as he was executed in 1815 by the Spanish Inquisition (Father Hidalgo Proclaims Grito de Dolores†). Towards the year 1820, desire for independence within Mexico decreased, as there was an inner conflict between the peninsulares, creoles, and the lower classes, as the aspirations of the lower castes would reduce the political and economic power of those classes (Keen 169; Huck 51). But then there was a new leader of the ind ependence movement: Agustin de Iturbide. Instead of continuing the legacies of Morelos and Hidalgo, he changed sides, fighting only for the independence of Spain (Huck 53-54) His conservative plan, the Plan of Iguala, consisted of creating a constitutional monarchy, establishing Roman Catholicism as the official religion of Mexico, and giving equality to only peninsulares and creoles (Kirkwood). Despite establishing independence, the Plan of Iguala created a long line of dictators, only to makeShow MoreRelatedReginald Lewis II EVALUATION OF SOURCES: Gonzales, Michael J.. The Mexican Revolution, 1910-1940.1600 Words   |  7 PagesEVALUATION OF SOURCES: Gonzales, Michael J.. The Mexican Revolution, 1910-1940. Albuquerque: University of New Mexico Press, 2002. Michael J. Gonzales, noted Peruvianist and author of two articles on copper mining in northern Mexico, in this latest book describes the revolution and provides extensive coverage (nearly one-third of the text) of the Porfiriato. Lucid, engaging, and containing interesting anecdotes, this political survey of the Mexican Revolution makes liberal use of relevant photographsRead MoreManifest Destiny Essay1346 Words   |  6 PagesFrom the time European colonists and settlers first set foot on this continent, they brought with them the beliefs, the ideas, that would evolve into the American ideology known today as Manifest Destiny. Still, it was not until 1834 that the newspaper editor, John L. OSullivan, is believed to have first coined the phrase â€Å"Manifest Destiny† when he said in his article Annexation, ...our manifest destiny to overspread the continent allotted by Providence for the free development of our yearlyRead MoreIndependence Movement of Brazil and Mexico.1943 W ords   |  8 Pagesorganizational structures by an independence movement, and if most is defined as greatest, successful as a desired outcome and original rationale and/or purpose is defined as an fundamental intentional reason, then between the countries of Brazil and Mexico, Brazil had the most successful revolutionary movement in terms of its original rationale and/or purpose because Brazil, unlike the Mexican independence movement, had a greater universal agreement about independence between every social classRead MoreThe United States Of America1490 Words   |  6 Pagesstill speaks Spanish, and the environmental pressures that affect peoples choices in when they use Spanish. a) How did the community come to be where it is today? The Spanish language first arrived at the U.S. in 1513, by Ponce de Leon. He was exploring the Florida peninsula. In 1565, Pedro Menendez de Aviles established the first Spanish speaking settlement in San Agustin Florida. Throughout 1520 to 1570 the Spanish continued to explore sand produce flourishing colonies along the Atlantic coastRead MoreEssay on Africans in Colonial Mexico5451 Words   |  22 Pagesof bozales, criollos, mulattoes, and zambos is far-reaching. The colonial period provides an excellent starting place for an examination of the significance of these groups not only because the institution of African slavery was introduced to New Spain at that time, but also because the regular influx of native Africans combined with the close attention paid to color-based castas in official records allows historians to trace the influence of African culture more readily during that period. TheRead MoreMexican Culture : Mexican American Culture1857 Words   |  8 Pages Mexican-American Culture Many immigrants come to the United States from all over the world. Some bring their families, some their prized possessions, others come with nothing but determination and the goal of a better life. One thing that every immigrant brings with them is their culture. One of the most dominant minority cultures in the United States is the Mexican culture. The US shares a border with Mexico making it easier for immigrants to stay in contact with their families in their homeRead MoreImportance Of Geography On The History1848 Words   |  8 Pagesland was given to them by their God and no one is the rightful owner of any land in America. The native tribes would move from place one to another and other tribes would come and take live in that land. But when Europeans came to The new world they would ask natives to give them the little land that they can use and slowly they started tricking or forcibly taking the land away from the natives. The natives were simple minded people who were aston ished by the new things like weapons, cloths, alcoholRead MoreInfluence of Immigration on the American Culture and Language14362 Words   |  58 PagesSources †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Appendix †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. INTRODUCTION The United States is a society of immigrants. Ever since its formation in 1776, and even before that, the United States has attracted immigrants from around the world. Since its early days, the country has admitted more than 50 million newcomers, a larger number of immigrants than any country in history. For over two centuries, people have flocked under this nations protective wings as opportunistsRead MoreBohlander/Snell-Managing Hr24425 Words   |  98 Pagessize you are, you’re suddenly competing against companies you’ve never heard of all around the world that make a very similar widget or provide a very similar service,† as one global manager put it. In fact, nearly threequarters of HR professionals from companies large and small in a wide range of industries and countries say they expect their company’s international business to grow in the coming years.1 Some of these companies are handling the challenge well. 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“Story of an Hour” by Kate Chopin †Character Free Essays

A dynamic character is a major character in a work of fiction that encounters conflict and is changed by it. In â€Å"The Story of an Hour† by Kate Chopin, the emotional pattern and thought process of Louise Mallard after she is informed of her husband’s death are explored. Over the course of the hour in which the story takes place Louise has a realization about the constraints she feels in her life and in her marriage. We will write a custom essay sample on â€Å"Story of an Hour† by Kate Chopin – Character or any similar topic only for you Order Now By delineating Louise as a flat and dynamic character, Chopin is able to convey her theme that real freedom is found in death. Over the course of the story, all the characters are left as fairly flat and undeveloped. Louise is simply described as a young woman with â€Å"a fair, clam face whose lines bespoke repression and even a certain strength† (paragraph 8) and that was suffering from a heart condition. When the death of her husband, Brently, is revealed her immediate reaction was that of despair. After weeping suddenly with â€Å"wild abandonment,† Louise retreated to her room in order to collapse in solitude (paragraph 3 and 4). The tragic realization and emotional exhaustion eventually leads Louise to a realization of freedom. By whispering â€Å"free, free, free! † (paragraph 11) under her breath and not over thinking the feeling she had, Louise was able to embrace the joy with open arms she discovered in her newfound freedom. Although she knew that she would be torn apart at the sight of â€Å"the face that had never looked save with love upon her† (paragraph 12) as a corpse, Louise welcomed the oncoming years spent in devotion to her own desires. This shift in position on death motivates Louise to realize that Brently’s death should not be dwelled on with sorrow. Motivation is a sufficient reason for a character to act the way they do. Louise’s motivation for living a liberated life comes through the open window. Through nature, Chopin provides Louise with purpose. For example, while being described, the upstairs room is left with the simplistic depiction that it has only a single roomy armchair. When her husband is no longer there to restrict her potential, the house, which was once her cage, finally opens up to the outside world. With the â€Å"breath of rain in the air† and the tree tops bursting with life (paragraph four), Louise begins her journey to her conclusion. Even though the visualization of nature, Louise is competent enough to grasp that her love for Brently could not compare to the â€Å"possession of self-assertion which she suddenly recognized as the strongest impulse of her being† (paragraph fifteen). Soon enough she had nearly forgotten her departed lover and was â€Å"drinking in an elixir of life through that open window† (paragraph eighteen). After the inhalation of submission, Louise â€Å"carried herself unwittingly like a goddess of Victory† (paragraph twenty) down the stairs. In doing so, the once emotionally unstable and physically ailed woman with â€Å"white slender hands† (paragraph ten) was able to prepare for a life without discretion or restrictions. The development of Louise only seized due to her preexisting medical condition claiming her life. However this motivation is what caused Louise to act in the ways she did and refined the theme. The development of character in â€Å"The Story of an Hour† is left stagnant. Having a flat main character allows the reader to identify with the story on a level of understanding separate from that of any round character. Although the reader is inserted into Louise’s mind, an entirely understood background for her is missing. In doing so a void is made in which the reader can implant themselves into the character’s shoes to further comprehend the exact emotions of Louise during the hour. This further expands the understanding of theme because as Louise remains in front of the window with her arms spread welcoming the years to come, since she is left lacking in detail, the reader can jump into her place; they can shed tears with her or drink the elixir of life with her. The theme that death is the ultimate release from constraint is understood in the story due to Chopin’s development of Louise as a flat and dynamic character. While companionship and love are significantly important aspects of life, Chopin was able to demonstrate that Louise was ecstatic only when she realized the new way she could live her life. After all, the Greek historian Thucydides once said, â€Å"the secret of happiness is freedom. † Works Cited: Kennedy, XJ and Dana Gioia. Literature, An Introduction to Fiction, Poetry, Drama and Writing. Seventh edition. Boston: Pearson, 2010. Print. How to cite â€Å"Story of an Hour† by Kate Chopin – Character, Papers

Love Song Of Prufrock Essay Example For Students

Love Song Of Prufrock Essay In his poem The Love Song of J. Alfred Prufrock, Eliot explores thetimeless issues of love and self-awareness popular themes in literature. However, through his use of Prufrocks profound self-consciousness he skews thereaders expectations of a Love Song and takes a serious perspectiveon the subject of love, which many authors do, but few can create characters asdeep and multi-layered as Prufrock; probably the reason that this poem stillremains, arguably, Eliots most famous. The beginning of the poem is pre-emptedby an excerpt from Dantes Inferno which Eliot uses to create the poems serioustone, but also to begin his exploration of Prufrocks self-consciousness. Byinserting this quote, a parallel is created between Prufrock and the speaker,Guido da Montefeltro, who is very aware of his position in hell andhis personal situation concerning the fate of his life. Prufrock feels much thesame way, but his hell and the fate of his life are more in his own mind andhave less to do with the people around him. The issue of his fate leads Prufrockto an overwhelming question(10) which is never identified, asked,or answered in the poem . This question is associated somehow to hispsyche, but both its ambiguity to the reader and Prufrocks denial to even askWhat is it?(11) gives some insight into his state of internalturmoil and inability to reason. Prufrocks dissatisfaction in his personalappearance is one, but not the most important of his idiosyncrasies. Not only ishe unhappy with the nature of his appearance, having To Prepare a face tomeet the faces that you meet; but he is fearful of what others will haveto say about him: (They will say: How his hair is growingthin!)(41) and ( But how his arms and legs arethin!)(44). Prufrock is insecure and frightened of peoples reactions tohis balding head and slim, aging body. Unfortunately, his lack of confidenceisnt limited to his looks. Prufrock has difficulty communicating with people not surprising considering his extreme lack of confidence in his appearance. Hes indecisive and unsuccessful in his attempts to communicate with otherpeople, repeating visions and revisions(33) and decisions andrevisions(48). Eliot uses repetition here to emphasize the concept ofPrufrocks alterations in behavior whether he does change his behavior or notis another issue most likely he doesnt because he also repeats the questionDo I dare? and, Do I dare?'(38). Possibly, hes asking if heshould dare and drop a question on your plate;(30) meaning one ofhis dares could be something that hed like to ask a woman butcant; he also asks Do I dare/ Disturb the universe?(45-46). In thiscase Eliot uses hyperbole to give the reader the impression of the seriousnessof Prufrocks insecurities they are his whole universe. However,this is only one explanation where there are a number of possibilities. Onceagain, Eliot uses the device of ambiguity to reflect the internal struggle inPrufrock and lead the reader to ask themselves again What is theoverwhelming question that Prufr ock is asking? Unfortunately evenPrufrock himself doesnt have the answer even recognizing the issue itself isbeyond the simplicity of his mind, which he confesses by saying I am noprophet- and heres no great matter;(84). By downplaying the importance ofthe issue, Prufrock echoes his lack of self-worth. In fact, to Prufrock, theissue is extremely important the fate of his life depends on it. Hisdeclaration that he isnt a prophet indicates Prufrocks view on his position insociety, which he is as confused about as everything else. To interject a littlehistory: Eliot wrote this poem during a time in which social customs, especiallyin Europe, were still a very important issue. There were basically two classes rich and poor, neither of which Prufrock really fits into. Eliot creates theidea of Prufrock being caught between the two classes in the very beginning ofthe poem, (if not by J. Alfred Prufrocks unusual pompous/working class soundingname) when he juxtaposes the images of restless n ights in one-night cheaphotels/ And sawdust restaurants with oyster-shells(4-5) and the women whocome and go Talking of Michelangelo.(13-14). These two imagesrepresent two completely different ways of life. The first image is of a dingylifestyle living among the half-deserted streets(4) while thesecond is the lifestyle that Prufrock longs to be associated with much likethe image of Michelangelos painting on the ceiling of the Sistine chapel whereGod and Adams hands are nearly touching, but not quite. While Prufrock doesntbelong to either of these two classes completely, he does have characteristicsof both. He claims to be Full of high sentence; but a bit obtusewhile At times, indeed, almost ridiculous-(117-118). Being theoutsider that he is, Prufrock will not be accepted by either class; even thoughhe can clearly make the distinction between the two and recognize their members:I know the voices dying with a dying fall/ Beneath the music from afarther room.(52-53). This Shakespeare an allusion (Twelfth Night (1.1.4) If music be the food of love, play on That strain again! It had a dyingfall.) suggests that Prufrock is just out of reach of the group of peoplethat he wishes to be associated with in life and love, but most likely hisfeelings of insignificance prevent him from associating with anyone at all. Hesees himself as a unique specimen of nature, in a class all byhimself And when I am formulated, sprawling on a pin/ When I am pinnedand wriggling on the wall,(57-58). This image suggests that not only is hean object for speculation, but he is trapped in that role; a situation which heis obviously unhappy with but has no idea how to change; he asks himself,Then how should I begin(59). At this point in the poem, Prufrock isbeginning to feel especially detached from society and burdened by his awarenessof it. He thinks I should have been a pair of ragged claws/ Scuttlingacross the floors of silent seas. Eliot not only uses imagery here tocreate a picture of a headless crab scuttling around at the bottom of the ocean,but he uses the form of the poem itself to help emphasize his point here. Thehead is detached from the crab, and the lines are detached from the poem intheir own stanza, much like Prufrock wishes his self-consciousness would justdetach itself. This concept is echoed in the very next stanza whenhe says, Though I have seen my head (grown slightly bald) brought in/ upona platter,(83), an allusion to the beheading of John the Baptist byPrincess Salome. These two headless images represent Prufrocks desire to be ridof his self-consciousness (obviously in his head) and possibly some suicidaltendencies which can be tied into just about all of the ambiguous questionsPrufrock asks of himself throughout the poem. Prufrocks series of questions canalso be tied into his unsuccessful attempts at relationships with women. Hisinsecurities keep him from doing the things he wants to do; he feels inadequateand unable to express his true feelings to women, Should I, after tea andcakes and ices,/ Have the strength to force the moment to itscrisis?(79-80). He knows what he wants to say, but doesnt have theconfidence or mental capacity to put his feelings into words. He compareshimself to Hamlet, No! I am not Prince Hamlet, nor was meant tobe;(111), who, in contrast, was able to express his feelings verysuccessfully to his lover an ability which Prufrock is envious of,characterized by his emphatic No! He is also second-guessing himselfconstantly throughout the poem: Do I dare?(38), So how shouldI presume?(54) and Then how should I begin(59) are allquestions Prufrock repeats to himself during his monologue. His feelings ofinadequacy toward women are not only related to his appearance and lack ofmental strength, but to the passage of time and its effect on him. Throughoutthe poem, Prufrock struggles with the concept of time. He tries to keepreassuring himself that indeed there will be time(23), an allusionto a love story (Andre w Marvell To His Coy Mistress Had we but worldenough and time.) which suggests that Prufrock fears that he will in factnot have time for love before the prime of his life is over. His obsession withthe passage of time is characterized by its repetition throughout the poem,especially the beginning of the poem. Eliot uses time as a tool to shapePrufrocks complicated, disturbed psyche into the form of a mid-life crisis. .u20dea49c636b78725537c09aeae59eb6 , .u20dea49c636b78725537c09aeae59eb6 .postImageUrl , .u20dea49c636b78725537c09aeae59eb6 .centered-text-area { min-height: 80px; position: relative; } .u20dea49c636b78725537c09aeae59eb6 , .u20dea49c636b78725537c09aeae59eb6:hover , .u20dea49c636b78725537c09aeae59eb6:visited , .u20dea49c636b78725537c09aeae59eb6:active { border:0!important; } .u20dea49c636b78725537c09aeae59eb6 .clearfix:after { content: ""; display: table; clear: both; } .u20dea49c636b78725537c09aeae59eb6 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u20dea49c636b78725537c09aeae59eb6:active , .u20dea49c636b78725537c09aeae59eb6:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u20dea49c636b78725537c09aeae59eb6 .centered-text-area { width: 100%; position: relative ; } .u20dea49c636b78725537c09aeae59eb6 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u20dea49c636b78725537c09aeae59eb6 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u20dea49c636b78725537c09aeae59eb6 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u20dea49c636b78725537c09aeae59eb6:hover .ctaButton { background-color: #34495E!important; } .u20dea49c636b78725537c09aeae59eb6 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u20dea49c636b78725537c09aeae59eb6 .u20dea49c636b78725537c09aeae59eb6-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u20dea49c636b78725537c09aeae59eb6:after { content: ""; display: block; clear: both; } READ: The way the viewer experiences art EssayPrufrock keeps assuring himself that, indeed, there will be time todo all of the things he wants to do in his life, but first he must come to termswith his insecurities. However, his insecurities are related to his aging andthe passage of time, so he is truly a tragic, doomed character. This is not tosay, however, that Prufrock is unaware of the connection between time, hisaging, and his unsuccessful attempt at a social life on the contrary, heclaims that hes measured out his life with coffee spoons,(51) atrue testament to the self-proclaimed insignificance of his life. Prufrockclaims that I have known them all already, known them al l-(49)referring to the evenings, mornings, and afternoons(50) of his lifewhich he has seen pass by, insignificantly. He also says And I have knownthe eyes already, known them all-(55) and I have known the armsalready, known them all-(61) which illustrate both his failure with andfear of women. Ironically, Prufrock dreams of saying: I am Lazarus, comefrom the dead,/ Come back to tell you all, I shall tell you all(94-95), abiblical allusion to Lazarus, an elderly man brought back to life by Jesus unfortunately for Prufrock, even if his dream came true, he still wouldnt knowwhat to tell them all, or how. Prufrock echoes the old cliche Ah to beyoung again; and know then what I know now. Unfortunately for Prufrock, itwill take a miracle to make him either younger or give him the knowledge heseeks. Eliot doesnt give any sense of hope for him in the poem he remains adoomed character until the very end. Prufrock even admits that he has seenthe moment of my greatness flicker,(84) a victim of time and naturalselection. Prufrocks connection to nature and the cycle of life is also animportant factor in understanding his state of mind. In the third stanza, Eliotcreates an image of yellow fog, connecting Prufrocks consciousness and emotionsto nature in a lazy, animal-like way. This connection echoes not only theinsignificance of Prufrocks emotional state in a natural worldcontext, but the futility of Prufrocks efforts should he try to contend withMother Nature and change his behavior relating to Prufrocks feeling ofentrapment and inability to change his situation. He wishes to himself, instead,that he could be a mindless crab, scurrying around the bottom of the ocean;another example of Prufrocks impression of his position in the natural world rarely comparing himself to real people. In fact, in his dream sequence at theend when he imagines how his life might end up, he envisions himself as an oceancreature, surrounded by mermaids Till human voices wake us, and wedrown. O nce again, Eliot disconnects Prufrock from the real world. Eventhough Prufrocks fantasies to be a crab, swim with the mermaids, be young againlike Lazarus, talk to women about Michelangelo with the poise and eloquence ofHamlet, slink around the city like a lazy yellow fog, and have his head choppedoff like John the Baptist give him a detachment from his day-to-day worriesabout love and aging, he will never stop torturing himself trying to figure outthat overwhelming question. The only hope that Eliot gives thereader out of this poem is the hope that we dont end up like Prufrock. Poetry