Dramatic monologues are similar to soliloquies in plays. An astute reader might point out that his existence, as it is expressed in the poem, is not much different, but for one thing: So how should I presume?
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.
Shall I part my hair behind? Shall I part my hair behind? Roger Mitchell wrote, on this poem: Alfred Prufrock is a respectable character but has seen the seedier side of life.
I am not Prince Hamlet, nor was meant to be; Am an attendant lord, one that will do To swell a progress, start a scene or two, Advise the prince; no doubt, an easy tool, Deferential, glad to be of use, Politic, cautious, and meticulous; Full of high sentence, but a bit obtuse; At times, indeed, almost ridiculous— Almost, at times, the Fool.
The second defining characteristic of this poem is its use of fragmentation and juxtaposition. Arms that lie along a table, or wrap about a shawl. He is the Representative Man of early Modernism.
The metaphor has in a sense been hollowed out to be replaced by a series of metonyms, and thus it stands as a rhetorical introduction to what follows. So how should I presume?
Prufrock — the women talking of Michelangelo. But Prufrock, the tentative male, envisages being ridiculed for having a bald patch. The yellow fog that rubs its back upon the window-panes, The yellow smoke that rubs its muzzle on the window-panes, Licked its tongue into the corners of the evening, Lingered upon the pools that stand in drains, Let fall upon its back the soot that falls from chimneys, Slipped by the terrace, made a sudden leap, And seeing that it was a soft October night, Curled once about the house, and fell asleep.
Again, Prufrock is no prophet burning with faith and duty but an object of scorn and derision whose flicker of accomplishment will be snickered at by Death, the eternal Footman. Our final image of this archetype of anti-heroism is of Prufrock walking along the seashore, trousers rolled to prevent their being splashed.
He imagines the women exchanging comments not on his heroic virility and assertiveness but on his thinning hair, the absence of masculinity betrayed by "how his arms and legs are thin!
I shall wear white flannel trousers, and walk upon the beach. One of the most prominent formal characteristics of this work is the use of refrains. Here, Prufrock fantasises that he has had a change of heart, and gone to speak to the woman at the centre of the poem, picturing himself as Lazarus thus showing both academic and biblical learning come back from the dead, i.
Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question From the Symbolists, Eliot takes his sensuous language and eye for unnerving or anti-aesthetic detail that nevertheless contributes to the overall beauty of the poem the yellow smoke and the hair-covered arms of the women are two good examples of this.
This is why the poem is so significantly argued over: I should have been a pair of ragged claws Scuttling across the floors of silent seas.
The Symbolists, too, privileged the same kind of individual Eliot creates with Prufrock: He reviews his life prior to the crucial meeting, a life that can be epitomized by "a hundred indecisions. I have seen them riding seaward on the waves Combing the white hair of the waves blown back When the wind blows the water white and black.
And how should I begin? World War 1 was on the horizon and the struggles for power were beginning to alter the way people lived and thought and loved. And indeed there will be time For the yellow smoke that slides along the street, Rubbing its back upon the window-panes; 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; Time for you and time for me, And time yet for a hundred indecisions, And for a hundred visions and revisions, Before the taking of a toast and tea.
Scholars, however, have been undecided on the true nature of what the first line means.
Alfred Prufrock Analysis 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: We can see that he knows very well how to speak — in his own mind.
He differs from Prufrock only by retaining a bit of hubris, which shows through from time to time. I do not think that they will sing to me.
Will he venture out to find the love of his life? Three things characterize the dramatic monologue, according to M.
Prufrock is external to the conversation, external to the world, and the conversation therefore is reduced to nothing more than a word. Here, we are also shown what Prufrock is doing:The Love Song of J. Alfred Prufrock by T.S. Eliot Prev Article Next Article 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.
Meet Prufrock. (Hi, Prufrock!). 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.
This video introduces T.S. Eliot's poem, 'The Love Song of J. Alfred Prufrock.' It outlines the general setup of the poem, its enigmatic lead character and its stylistic characteristics. Complete summary of T. S. Eliot's The Love Song of J. Alfred Prufrock. eNotes plot summaries cover all the significant action of The Love Song of J.
Alfred Prufrock. This poetry analysis by Kerry Michael Wood is a close examination of T. S. Eliot’s interior monologue 'The Love Song of J. Alfred Prufrock' and a study of the numerous allusions to Dante, Shakespeare, Andrew Marvell, Hesiod, biblical personages and the metaphsical conceits as they apply to the world of early modernism.
After a notoriously unhappy first marriage, Eliot separated from his first wife inand remarried Valerie Fletcher in T. S.
Eliot received the Nobel Prize for Literature in He died in London on January 4,Download