T.S. Eliot's "Preludes", what is the vision of the modern world as you find it based on scenes and dialogue in these poems?could also include the...

Eliot's Preludes is in the nature of
an impressionist observation of a metropolitan journey. A series of four observational
sequences, the poem  makes us see the monotony, disgust, squalor and disillusion of
modern world as the narrating persona leads us on from image to image, from one scene to
another, with the emphases on dirt and filth, aridity and decadence, subjugation and
tyranny.

The first three sections move from evening to
morning, the fourth returns to the evening hours with a cynical mockery of the earth's
repetitive circumambulation.The point of view of an impersonal, objective description of
a city street on a “gusty” winter evening in section shifts to a more subjective
first-person response in the middle of section IV. The second person addressee “you” in
preludes I and IV  is presumably a reference to the reader or to anyone who has walked
the city streets. The scene moves from the dirty streets to dingy rooms at the end of
II. A woman in such a room is addressed as “you” in section III, which describes her
actions and thoughts as she wakes up in the morning after a vision of her own self.
Prelude IV contains three separate parts, beginning with a third-person description of a
man’s soul in relation to the street scene, followed by a more lyrical, subjective, and
illusory glimpse of hope and salvation expressed in the first person. The closing lines
again cancels out the glimpse as the poem ends with a cynical laughter, and a typially
Eliotesque sardonic image of “ancient women”  moving round and round in  “vacant lots”,
reinforcing the image of the same vacancy in section
I.

Eliot's vision in these vignettes majestically suggests
the hopeless monotony, the decadence, the fragmentation, the dirt and filth, and the
denial of salvation in the modern metropolitan life. References to claustrophobic urban
existence, routine city life, the street-walker in her dingy room, the futility of the
old women's fuel-gathering rotation etc constitute an urban landscape of of alienation
and disillusion and emptiness.