It could have been replaced with a hundred other things, and the effect would have still been the same: Prufrock is external to the conversation, external to the world, and the conversation therefore is reduced to nothing more than a word. This is where the modern period is because this period it is about love and personal experiences. In the room the women come and go Talking of Michelangelo. I have heard the mermaids singing, each to each. 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.
Time This is one of the most important themes in the poem. While it also serves to remind the reader of the setting, this phrase stops the poem in mire. In the second verse of the poem, Eliot uses imagery to clearly explain lack of interest in what he sees in the world for anything better than his version of hell. Shall I part my hair behind? At the time of writing The Love Song of J Alfred Prufrock, the world was embroiled in a savage war. After a year in Paris, he returned to Harvard to pursue a doctorate in philosophy, but returned to Europe and settled in England in 1914. Elliot's poem does not provide any answers it is debateable whether this is the job of the artist what it does seem to say to us today is that we - humanity- have been here before.
Nature is only present when in the narrator's imagined sequences, which typically involve being rejected or lost. I have heard the mermaids singing, each to each. I should have been a pair of ragged claws Scuttling across the floors of silent seas. Hillis Miller had an interesting point to make about the temporality of Prufrock, and whether or not Prufrock actually manages to make himself go somewhere. 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. In the context of the poem, this allusion suggests that Prufrock either thinks or once thought of himself as a dead man, but that his love interest changes that.
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. If all space has been assimilated into his mind, then spatial movement would really be movement in the same place, like a man running in a dream. They generally are used to teach morals or lessons. The poem is written as a stream of consciousness. He convinces himself not to act on what he wants — which, presumably, is to go to the party — but to remain steadfast and distant, looking into a world that he is not part of. 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. For I have known them all already, known them all: Have known the evenings, mornings, afternoons, I have measured out my life with coffee spoons; I know the voices dying with a dying fall Beneath the music from a farther room.
Alfred Prufrock who believes he is filled with spiritual morbidity modernism. This fleeting life is what both Jay Gatsby of The Great Gatsby and Alfred J. Through use of symbols and metaphors, the speaker in The Love Song of J. And how should I presume? 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: Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question. The poem is packed with footnotes, allusions and quotations whereby Eliot acclaims the mythical tradition by stating that the finest writer is the one who pens with an intellect of steadiness. Elliot is in part a satire. There is no way to distinguish between actual movement and imaginary movement.
Eliot does not neglect the modern, however; it is often front and center, usually with unfavorable comparisons to the past. In that lies its greatness. As the image of the cat unable to penetrate the house suggests, Prufrock cannot make a decision and act on it. And I have known the eyes already, known them all-- The eyes that fix you in a formulated phrase, And when I am formulated, sprawling on a pin, When I am pinned and wriggling on the wall, Then how should I begin To spit out all the butt-ends of my days and ways? The speaker of this poem is a modern man who feels alone, isolated, and incapable of making decisive actions for himself. The Influence of Literary Antiquity This theme is ideally exercised in the poem since Eliot maintained high veneration for fairytale along with Western mythical norm.
From the poem, Eliot projected the current world as a wilderness in the sense that the land and its people had no ability to perceive. At the time, it was deemed an urban poem. The poem ideally reflects the feeling of emasculation practiced by several men during the World War I. 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. It has since been immortalized in popular culture in everything from books to Simpsons episodes. As the reader progresses into the poem, the mood soon fades and the reader starts to figure out that this evening is not what they pictured.
Such techniques enable responders to see Prufrock as a man who is shy, introverted and self-pitying but yearning for himself to change and for people to notice him. Should I, after tea and cakes and ices, Have the strength to force the moment to its crisis? The second defining characteristic of this poem is its use of fragmentation and juxtaposition. 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. Engaging in all art forms requires us to think for ourselves and not sucumb to the dictates of the artist. Eliot, in their respective poems, share a sense of alienation, not only from other people but from nature and God as well. . 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.