A summary of the poem the love song of j alfred prufrock by s eliot
This is a key part of modernist poetry and, indeed, the modernist fiction of figures such as Virginia Woolf and James Joyceand is an attempt by modernist writers to encourage us to confront the realities of the modern world.
The love song of j. alfred prufrock theme
He seemed to represent thwarted desires and modern disillusionment. However, whereas the Symbolists would have been more likely to make their speaker himself a poet or artist, Eliot chooses to make Prufrock an unacknowledged poet, a sort of artist for the common man. The second defining characteristic of this poem is its use of fragmentation and juxtaposition. He is the Representative Man of early Modernism. Alfred Prufrock. The dramatic monologue fell out of fashion in 20th-century Modernism after its 19th-century Victorian invention. He makes us think that he has sacrificed much to get to this point in his life. This is why the poem is so significantly argued over: the very fragmentation that Eliot wrote for it is the wealth of a seemingly inexhaustible source of reasonings. And then he loses the urge, once more, reduces himself again to the part of the fool, shrinking himself down from the heroic stature that he has built up in the previous two stanzas — that of Lazarus, and Prince Hamlet, romantic and wordy and good at speaking his mind — to a fraction of his former self. In the end he succumbs to harsh reality whilst fantasising about the mermaids who sing to each other but who will never sing to him. Prufrock reduces himself to an animal, lived-in and alone, sheltered at the bottom of the dark ocean. It has since been immortalized in popular culture in everything from books to Simpsons episodes. The epigraph is a quotation from Dante's Inferno Many believe that the poem is a criticism of Edwardian society and Prufrock's dilemma represents the inability to live a meaningful existence in the modern world. The poem is typically not of the 20th century but, of all ages.
Strong repeated rhyme and assonance further enrich the experience in lines Eliot also used French poet Jules LaForgue as inspiration for his repeated women who come and go talking of Michelangelo. Pleeeen-ty of time for Prufrock to do all that really important stuff.
Thus, Prufrock alone seems to have feelings, thoughts; Michelangelo, here, is used as a placeholder for meaningless things.
The questions continue as the narrative progresses, an echo of the scene from Dante - will Prufrock have the courage to act, will he have the strength to force the moment to its crisis?
Is it perfume from a dress That makes me so digress? 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 love song of j. alfred prufrock meaning
But since, up from these depths, no one has yet returned alive, if what I hear is true, I answer without fear of being shamed. The initial reception to The Love Song of J. The point of calling this poem a Love Song lies in the irony that it will never be sung; that Prufrock will never dare to voice what he feels". Alfred Prufrock Eliot uses the energies of the cat to help the reader focus in on the smoke and fog of the cityscape. And I have known the arms already, known them all— Arms that are braceleted and white and bare But in the lamplight, downed with light brown hair! Sink your teeth into a juicy peach. Not only is he afraid to confront the woman talking of Michelangelo whose most famous sculpture, David, is the epitome of masculine beauty, a daunting prospect for the flaccid Prufrock , he seems intimidated by the social posturing he must engage in: There will be time, there will be time To prepare a face to meet the faces that you meet; There will be time to murder and create, And time for all the works and days of hands That lift and drop a question on your plate; The "works and days of hands" is a reference to 8th-century B. Stearns Eliot. He wants you to come take a walk with him through the winding, dirty streets of a big, foggy city that looks a lot like London. Should I, after tea and cakes and ices, Have the strength to force the moment to its crisis? Finally, he brings us back into the conversation. Just as we can make sense of the seemingly chaotic combination of a 14th-century Dante allusion and a 20th-century dramatic monologue, we can draw meaning from the rapid-fire metropolitan montage Prufrock paints. Three things characterize the dramatic monologue, according to M.
Perrine writes "The 'you and I' of the first line are divided parts of Prufrock's own nature",  while Mutlu Konuk Blasing suggests that the "you and I" refers to the relationship between the dilemmas of the character and the author.
And should I then presume? Forster, each of whom would help to champion Eliot as the most exciting new voice in English verse. The Italian original can be translated as follows: If I but thought that my response were made to one perhaps returning to the world, this tongue of flame would cease to flicker.
These rhymes certainly give the sense of song and bring a lyrical feel to the poem. At the end of the poem, this oceanic imagery returns, with Prufrock hearing the song of the mermaids but thinking that they would not sing to him, only to each other.
Stearns Eliot was using J.
based on 55 review