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The Love Song of J. Alfred Prufrock
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Asked by on 12/9/2012 4:13 AM
Last updated by jill d #170087 on 3/11/2015 3:57 PMAnswered by jill d #170087 on 3/11/2015 3:57 PM
Prufrock thinks he is not a Prince Hamlet figure, but a secondary character in life.
Prufrock shows a wise self-regard when he admits he is
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;
[111-116]
Hamlet, Shakespeare's famous tragic hero from the play of the same name, is literature's other great indecisive man. Hamlet waffles between wanting to kill his stepfather and holding off for a variety of reasons. The allusion, then, is somewhat ironic, since Prufrock is not even as decisive as Hamlet is. Instead, he is more like the doddering Polonius of Hamlet [the "for you yourself, sir" quote from Hamlet 2.2.205-206, if the "ragged claws" [73] line alludes to it, is spoken by Hamlet to Polonius], or the conventional Shakespearean "Fool" [119].
//www.gradesaver.com/the-love-song-of-j-alfred-prufrock/study-guide/summary-lines-87-131
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Stanza XV
Lines 111-119
No! 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.
- Aside from Dante, the poet whom Eliot loved most was Shakespeare. So here’s a Shakespeare reference.
- In Hamlet, the title character is an indecisive chap, much like Prufrock has been for most of the poem. Hamlet can’t decide whether or not to kill his uncle, even though his uncle has committed some really awful crimes. Like Prufrock, Hamlet can seem like a coward who talks too much. But now Prufrock says he’s not like Hamlet, after all.
- And if you like puns, the end of line 111 has a good one. In the play, Hamlet begins his most famous speech: "To be or not to be, that is the question." You might even say it’s an "overwhelming question." But Prufrock has already made a decision on that question: he was not "meant to be."
- Prufrock compares himself to a minor character in the play, one of the "attendants" who serve the king. We think he’s talking about Polonius.
- In Hamlet, Polonius is the father of Ophelia, the heroine, and everyone respects him because he always takes the cautious route and acts like "an easy tool." Even Shakespeare uses him to "start a scene or two" in the play, then kills him off around the midway point.
- Polonius talks a good game – he uses fancy words ["high sentence"] and proverbs – but in the end, he’s kind of a dunce. As Prufrock so cautiously puts it, he’s "almost ridiculous" and almost like "the Fool."
- With this recognition, Prufrock has finally arrived at a pretty honest assessment of himself. It’s a bit late, however, to do anything about it. It’s never good to just say, "Yeah I’m a tool, but, oh, well."
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Table of Contents
By barraging readers with a seemingly disjointed collage of images, T.S. Eliot uses the distinctly modernist style of Imagism to construct his poem, “The Love Song of J. Alfred Prufrock.” Imagism, a literary movement closely linked to modernism, is based on the principles that poetry should be constructed of precise descriptions of concrete images. The language used by Imagists is clear and exact. They held that only
words that are absolutely necessary to
“The Love Song of J. Alfred Prufrock” – Full
Text
Listen to “The Love Song of J. Alfred Prufrock”
Thinning and Baldness
With a bald spot in the middle of my hair-
[They will say: “How his hair is growing thin!”]…
My necktie rich and modest, but asserted by a simple pin-
[They will say: “But how his arms and legs are thin!” [40-44]
The reoccurring image of baldness, and furthermore Prufrock’s obsessive anxiety about his own thinning hair, draws the reader’s attention to the theme of self-consciousness in this poem. As mentioned by critic Margaret Blum, Prufrock alludes to his own baldness or thinning hair on four different occasions during his dramatic monologue. Prufrock’s anxiety about his own baldness, and also about the feebleness of his body, can be related to his obsessive fear regarding aging and death. This theme is again echoed as Prufrock proclaims: “I have seen the Eternal footman hold my coat, and snicker, And in short I was afraid” [lines 85-86]. Here, Prufrock expresses the belief that death itself mocks him in his old age. Through this passage, Eliot again displays Prufrock’s self-consciousness and fear as he nears the end of his life. The protagonist’s constant introspection and anxiety about his own death develops the theme of the mortality and fragility of human life. Prufrock’s apparent concern with his image and the way in which he is perceived by the guests at the party also serves to highlight his difficulties and anxieties regarding human interaction- a theme that is echoed throughout the poem in various other images.
Michelangelo
In the room the women come and go
Talking of Michelangelo [13-14]
This repeated mention of Michelangelo by the women in “The Love Song of J. Alfred Prufrock” serves as more than just a representation of the idle chatter of the attendees of the tea party. This allusion highlights the theme of sexual anxiety as suggested by Tepper in her
article “Nation and Eros.” Michelangelo, a world-renown painter, sculptor and poet, serves as a model of the quintessential “Renaissance man”, the male ideal for perfection. An image also associated with Michelangelo is his sculpture of David, considered to be the embodiment of male physical perfection. As discussed in terms of Prufrock’s fear of aging and death, he also faces severe sexual anxiety when faced with this idea of this paradigm for the perfect male and his own inadequacy. Unable to
compare with Michelangelo’s status as a Renaissance man or David’s standard of physical perfection, Prufrock turns self-conciously inward to obsess over his own “decisions and revisions” and the way in which he appears to members of the opposite sex. In many ways, as this allusion and Prufrock’s reaction demonstrate, this poem deals with the inherent inadequacy we experience and the anxiety we feel as human beings interacting with one another. Adding to the previously discussed themes of
mortality and fragility, the allusion to Michelangelo and Prufrock’s inability to compare with the male ideal display the self-consciousness that comes with human interaction.
Individual Female Body Parts
And I have known the eyes already, known them all-
The eyes that fix you in a formulated phrase…
And I have known the arms already, known them all-
Arms that
are braceleted and white and bare…
Arms lie along a table, or wrap around a shawl. [55 – 66]
Adding to the theme of sexual anxiety in this poem, literary critic Michelle Tepper also asserts that Prufrock’s self-conciousness and fear of human interaction, especially interaction with women, causes him to “reduce [female] bodies to arms and legs.” As the female attendees of the tea party are described in Prufrock’s monologue it is true that they are often severed into “arms that lie along a table” or “eyes that fix you in a formulated phrase.” In a Petrarchan sense, this division of female body parts creates a blazon – a literary device in which the poet praises individual parts of a woman’s body often with flowery, figurative language. Yet this device, while it seems to compliment the female object of the poem, is not entirely an innocent form of flattery. The division of the female body into mere pieces is a means of objectification and the denial of her existence as a whole human being. However, Prufrock’s division and objectification of female body parts does not seem intentional. Rather, due to his anxiety in his relations with others, Prufrock is subconsciously unable to recognize the females he interacts with as whole human beings and instead must view them as individual body parts. Furthermore, Prufrock’s anxiety leads to his own self-objectification, adding more complexity to the effects of his fear of human interaction as reflected in his self-image and the way in which he deals with others. The protagonist’s tendency to regard himself and others as fragmented, objectified beings expresses his sexual anxiety as well as the difficulties of human interaction. The ideas of a disconnect in human interaction and the failures of communication are prevalent among Modernist writers and poets. Eliot uses Prufrock’s dramatic monologue to highlight the characteristically Modernist theme of a rift in human interaction within this poem.
“Ragged Claws” and Allusions to Hamlet
I should have been a pair of ragged claws
Scuttling across the floors of silent seas [73-74]
This image of “ragged claws scuttling across the floors of silent seas” reiterates the previously discussed theme of aging and mortality and also can be read as an allusion to Shakespeare’s Hamlet, a play that is referenced several times in the poem. But before analyzing this line as an allusion in the context of Hamlet, many critics, like Robert Fleissner, argue that the image has an innate meaning that fits well with the ideas woven together in this poem. Fleissner views the use of this crustacean as a symbol of growing old and futile. The use of the crab, especially, conjures images of futility, of moving slowly and with great difficulty- images also associated with the process of aging and approaching death. In a colloquial sense, this image of the crab bring to mind the idea of “crabbiness” or ill-tempered petulance that is also often linked to growing old and senile. While one interpretation of this image is based on its context within the poem, other some believe that it takes on a more fully-developed meaning when read as an allusion to Hamlet. Many critics look to Polonius’s line to Hamlet, “if, like a crab, you could go backward” [2.2.205-206], to interpret Eliot’s mention of “ragged claws scuttling.” In this light, his alignment of Prufrock with the image of a crab ties back to the protagonist’s feelings of self-consciousness and regret and echoes his obsession with “decisions and revisions.” As Prufrock nears the end of his life and begin to grapple with his own mortality, he turns fretfully inward and wishes regretfully the be able to revise his own past. As seen though both interpretations of this image, it furthers Eliot’s theme of aging and death as well as the anxiety and self-consciousness that comes about in response to this process.
The Peach
Shall I part my hair from behind? Do I dare eat a peach? [122]
Listen to the poem:
prufrock.mp3
Works Cited
Blum, Margaret Morton. “The Fool in
‘The Love Song of J. Alfred Prufrock’.” Modern Language Notes, Vol. 72, No. 6 [Jun., 1957], pp. 424-426
Fleissner, Robert F. Ascending the Prufrockian Stair: Studies in Dissociated Sensibility. Peter Lang: New York, 1988.
Tepper, Michelle. “Nation and eros”. Gender, Desire and Sexuality in T.S. Eliot. Cambridge University Press: New York, 2004.
Photos:
Tea Party: Painting by Frank L. //www.forgottentreasurez.com/servlet/Detail?no=573
Peach: Texas A&M Depatment of Horticulture. //aggie-horticulture.tamu.edu/syllabi/319/1peach.html
David: Wikimedia Commons.
//sites.udel.edu/britlitwiki/files//2018/06/FileDavid_von_Michelangelo.jpg
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