The Love Song of J. Alfred Prufrock by T. Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized upon a table; Let us go, through certain half-deserted streets, The muttering retreats Of restless nights in one-night cheap hotels And sawdust restaurants with oyster-shells: In the room, the women come and go Talking of Michelangelo.
Buy Study Guide Lines Summary: Alfred Prufrock, a presumably middle-aged, intellectual, indecisive man, invites the reader along with him through the modern city. He describes the street scene and notes a social gathering of women discussing Renaissance artist Michelangelo.
He describes yellow smoke and fog outside the house of the gathering, and keeps insisting that there will be time to do many things in the social world.
The title of the poem is Eliot's first hint that this is not a traditional love poem at all. Alfred Prufrock" is a farcical name, and Eliot wanted the subliminal connotation of a "prude" in a "frock.
He wrote the poem in while a graduate student at Harvard though he revised it over the next few years, eventually publishing it in and in book form inand at the time he signed his name as "T.
Stearns Eliot. Stearns Eliot was using J. Alfred Prufrock as an alter ego to explore his own emotions, this is not the case.
Superficial differences aside - Eliot was a young man inwhile Prufrock is balding and probably middle-aged - Eliot disdained poetry that focused on the poet himself. He wrote in his essay "Tradition and the Individual Talent" that the "progress of an artist is a continual self-sacrifice, a continual extinction of personality.
The examples and ramifications of the objective correlative in "Prufrock" will be discussed later. Eliot first achieves the extinction of his personality by setting "Prufrock" in the poetic form of a dramatic monologue.
In this form, the speaker addresses another person and the reader plays the part of the silent listener; often the dramatic monologue is freighted with irony, as the speaker is partially unaware of what he reveals. Robert Browning, the undisputed master of the dramatic monologue, exploited this possibility in his most famous dramatic monologue, "My Last Duchess"; the reader learns much about the Duke that he has not intended to expose.
The dramatic monologue fell out of fashion in 20th-century Modernism after its 19th-century Victorian invention. Eliot was a great believer in the historical value of art; in "Tradition and the Individual Talent," he argued that "the poet must develop or procure the consciousness of the past," especially the literary past.
The epigraph is a quotation from Dante's Inferno Before we analyze the Dante quote, it is important to note that Eliot's brand of Modernist poetry sought to revive the literary past, as he argued for in "Tradition and the Individual Talent.
Eliot does not neglect the modern, however; it is often front and center, usually with unfavorable comparisons to the past. The unpleasant modern world is where "Prufrock" begins. Prufrock, much like da Montefeltro in The Inferno, is confined to Hell; Prufrock's, however, is on earth, in a lonely, alienating city.
The use of enjambment, the running over of lines, further conveys the labyrinthine spatiality of the city. Although Eliot does not explore the sterility of the modern world as deeply here as he does in "The Wasteland"the images are undeniably bleak and empty.
Often overlooked in the opening salvo is that Prufrock's imagery progresses from the general to the specific and, tellingly, from the elevated to the low.
We go from a general look at the skyline to the streets to a hotel room to sawdust-covered floors in restaurants. This debasement continues throughout the poem, both literally in the verticality of the images and figuratively in their emotional associations for Prufrock.
Indeed, emotional associations are key, since Eliot deploys the objective correlative technique throughout the poem rather than dwell abstractly on Prufrock's feelings.
The above images all speak to some part of Prufrock's personality. The etherized patient, for instance, reflects his paralysis his inability to act while the images of the city depict a certain lost loneliness. The objective correlative switches to the "yellow fog that rubs its back upon the windowpanes" 14 in the second stanza.
Although Eliot said the fog was suggestive of the factory smoke from his hometown St. Louis, the associations with a cat are obvious.The Love Song of J. Alfred Prufrock. T.S. Eliot.
Prufrock and Other Observations T.S. Eliot (–). Prufrock and Other Observations. 1.
The Love Song of J. Alfred Prufrock: S’io credesse che mia risposta fosse: A persona che mai tornasse al . Line Prufrock gets decapitated! The poem just turned into a Quentin Tarantino movie. Actually, we’re not sure what he means here, except that he is making a metaphorical allusion to John the Baptist from the Bible, whose decapitation is regarded as an example of Christian sacrifice.
Prufrock is comparing his own sacrifice to John’s. The initial reception to The Love Song of J. Alfred Prufrock, by T.S. Eliot, can be summed up in a contemporary review published in The Times Literary Supplement, on the 21st of June The anonymous reviewer wrote: “The fact that these things occurred to the mind of Mr.
Eliot is surely of the very smallest importance to anyone, even to himself. The Love Song of J. Alfred Prufrock: S’io credesse che mia risposta fosse: A persona che mai tornasse al mondo, Questa fiamma staria senza piu scosse. Ma perciocche giammai di questo fondo: Non torno vivo alcun, s’i’odo il vero, Senza tema d’infamia ti .
"Prufrock" offers a parody of this easy-going tradition, as Prufrock thin Body Parts Prufrock is very concerned about his reputation, and he doesn’t want to stick out in a crowd.
The Love Song of J. Alfred Prufrock by T.S.
Eliot. Home / Poetry / The Love Song of J. Alfred Prufrock / Literary Devices / Symbols, Imagery, Wordplay ; The poem begins with Prufrock inviting us to take a walk with him, but we soon learn that this isn’t some romantic tree-line avenue by the river.
Quite the opposite, it seems to be the.