poem summay the love song, Summaries of Poetry

Download poem summay the love song and more Summaries Poetry in PDF only on Docsity! Poetry- Seventh lecture Fourth year (senior students) By: Assistant lecturer- Hayder Gebreen The Love Song of J. Alfred Prufrock. T.S. 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It was published in the 1915 issue of ‘Poetry: A Magazine of Verse’, one of the leading monthly poetry journals in the English-speaking world, which was founded in 1912 by Harriet Monroe, and remains in circulation today. Summary: It isn’t easy to decide what Prufrock is about; the fragmented poetic landscape of T.S. Eliot’s writing make it difficult to pin down one exact feeling within The Love Song of J. Alfred Prufrock. However, at its most simplistic, ‘Prufrock’ is the inner monologue of a city gentleman who is stricken by feelings of isolation and inadequacy, and an incapability of taking decisive action. It is considered one of the most visceral, emotional poems, and remains relevant today, particularly with millennials who are more than a little bit used to these feelings. It is a variation on the dramatic monologue, a type of writing which was very popular from around 1757 to 1922. Examples of dramatic monologue include Marcel Proust (In Search of Lost Time), Henry James (Portrait of a Lady), Robert Browning (Soliloquy of the Spanish Cloister), and the most infamous of all, James Joyce (Ulysses), for which the term “stream of consciousness’ writing was invented. ‘Prufrock’ is an early prototype of the ‘stream of consciousness’ writing, although it leans far more towards Browning than Joyce. 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: Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question ... 5 Poetry- Seventh lecture Fourth year (senior students) By: Assistant lecturer- Hayder Gebreen Oh, do not ask, “What is it?” Let us go and make our visit. Although it might seem ludicrous to apply the label to a 140-line poem, Eliot’s careful word-usage and his economization of language means that every flicker of symbolism is important. The opening line “Let us go then, you and I’ provides the reader with a hint that the poem needs to be read as an internalized monologue — it gives us the idea that the narrator is speaking to another person, and thus what is being said is a reflection of his own personality. In this case, the personality of Alfred J. Prufrock is one that’s pedantic, slightly miserable (‘like a patient etherized upon a table’), and focused mainly on the negatives (‘restless nights in one-night cheap hotels’). Note the emptiness of the world: ‘oyster-shells’, ‘sawdust restaurants’; everything is impermanent, everything is about to dissolve into nothing. The world is transitory, half-broken, unpopulated, and about to collapse. The setting that Eliot paints, in his economic language, gives us a half- second glance at a world that seems largely unpopulated. Note that he does not mention anyone else in the poem, lending it an air of post- apocalyptic silence, though it is left ambiguous whether it is the world that is actually this way, or Prufrock’s miserable nature that is painting it in such a manner. To that point, please note the use of the name ‘Prufrock’ — the very name implies a pedantic character. Scholars, however, have been undecided on the true nature of what the first line means. Perrine believes that ‘you and I’ shows the division between Prufrock’s own nature; Mutlu Konuk Blasing suggests that it is the relationship between Prufrock and Eliot that is represented in the poem. Similarly, the name of ‘Prufrock’ has been taken to symbolize both everything — Prufrock as an intelligent, farcical character, emasculated by the literary world and its bluestockings — and nothing at all — Prufrock as part of Prufrock-Litton, a furniture store in Missouri, where T.S. Eliot grew up. In the room the women come and go Talking of Michelangelo. Finally there is a presence in the poem besides the voice of J. Prufrock — the women talking of Michelangelo. Though they are a living presence, the focus on ‘Michelangelo’ actually serves to deaden them; they exist in Poetry- Seventh lecture Fourth year (senior students) By: Assistant lecturer- Hayder Gebreen the poem as a series of conversations, which Prufrock lumps into one category by calling them ‘the women’. It sets the scene at a party, and simultaneously sets Prufrock on his own: an island in the sea of academia, floating along on light sophistication and empty conversations. Prufrock is removed from the world of people, seeming almost a spirit, so acute is his distance from the rest of society. 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. Critics are divided as to the symbolism of the yellow smog. Michael North wrote, “The yellow fog that rubs its back upon the window-panes” appears clearly to every reader as a cat, but the cat itself is absent, represented explicitly only in parts — back, muzzle, tongue — and by its actions — licking, slipping, leaping, curling. 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.” Metonym, according to Terry Eagleton, is the sum of parts — in this poem, the ‘cat’ that is made by the yellow fog is fragmented and ghostly. It is never explicitly stated to be a cat, but hinted at. The fragmentation of the cat could also symbolize the fragmentation of Prufrock’s psyche, the very schism that is leading him to have this conversation, his hope of risking, and his terror of risking, his interest in women, and his terror of them. Much like the cat, Prufrock is on the outside looking in at a world that has not been prepared for him. This fragmentation can also be applied to the earlier reference to ‘the women’, which are not really described in any way, but are instead considered by the sum of their parts in conversation — they only exist because they are ‘talking of Michelangelo’. Furthermore, fragmentation is a Modernist technique, which had not since been seen before in literature, and was probably not very well received by the high circle of literary elite. Modernist poets and writers believed that their artistry should mirror the chaotic world that they lived Poetry- Seventh lecture Fourth year (senior students) By: Assistant lecturer- Hayder Gebreen decide whether or not to enter this party where other people are concerned with conversations that do not apply to him (‘in the room the women come and go / talking of Michelangelo’). This is the crux of Prufrock’s emotions: emasculation, terror of the unknown, and an indecisiveness to whether or not he should dare. ‘Do I dare / Disturb the universe?’ asks Prufrock, and then reassures himself again that ‘in a minute, there is time’, once more giving his decision a sense of heightened anxiety. It is interesting to know that Prufrock himself is fragmented: we do not have a complete image of him, but a half-image of his morning coat, and the collar buttoned to his chin, a modest necktie, and thin arms and legs. The bald patch implies that he’s middle aged, but it is more given as a symbolic measure of his embarrassment and nerves than it is as a physical descriptor. J. 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. He wrote: “In another sense Prufrock would be unable to go anywhere, however hard he tried. 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. There is no way to distinguish between actual movement and imaginary movement.” We can see his point in this poem: there is no indication that Prufrock ever leaves whatever view he has of the party. He could be anywhere, we are not told where he is. We are told only that there is ‘time’. 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. So how should I presume? Once more, evidence of the passing of time gives us the idea that Prufrock is one of those men who drinks about sixteen coffees a day. ‘I have measured out my life with coffee spoons’, implies a solitary, workaholic existence, implies that there is no other marker in his life with which to measure, that he is routine and fastidious and not prone to making decisions outside of his comfort zone. 10 Poetry- Seventh lecture Fourth year (senior students) By: Assistant lecturer- Hayder Gebreen Also, the line ‘for I have known them all already, known them all’ helps us again to understand the Prufrock is perhaps the most insecure man to ever walk the planet. 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. 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? And how should I presume? Mutlu Konuk Blasing wrote: “Prufrock does not know how to presume to begin to speak, both because he knows “all already”—this is the burden of his lament—and because he is already known, formulated.” The phrase ‘sprawling on a pin / when I am pinned and wriggling on the wall,’ shows the inactivity that currently thwarts Prufrock, shows the way he is suspended in animation, and in time. Once more, there is the fragmentation of people, the idea that everyone but Prufrock is a ghostly reimagining, the only thing that he allows himself to think of, the only important thing to Prufrock. 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!) Is it perfume from a dress That makes me so digress? Arms that lie along a table, or wrap about a shawl. And should I then presume? And how should I begin? Prufrock’s agony over addressing the woman at the centre of the poem is evident here: he knows that she exists, he knows who she is, he thinks of her in terms of arms and eyes and bracelets, but he cannot approach her. “Is it perfume from a dress / That makes me so digress?’ Prufrock is self- aware enough to know that his attempt of keeping back will not make him happy, but he has no idea where to begin articulating what he means to the woman at the centre of his thoughts. 11 Poetry- Seventh lecture Fourth year (senior students) By: Assistant lecturer- Hayder Gebreen He is terrified to speak to the women he sees because he feels he will not be able to articulate his feelings well enough, he does not think that they will be interested in him, and his crippling shyness and insecurity therefore keeps him back. Shall I say, I have gone at dusk through narrow streets And watched the smoke that rises from the pipes Of lonely men in shirt-sleeves, leaning out of windows? ... ‘Lonely men’ could very well symbolize, in a very overt way, Prufrock’s own situation. Also, the description provided of the world is characteristically bleak, existing only in dusk and smoke. I should have been a pair of ragged claws Scuttling across the floors of silent seas. Prufrock reduces himself to an animal, lived-in and alone, sheltered at the bottom of the dark ocean. An astute reader might point out that his existence, as it is expressed in the poem, is not much different, but for one thing: Prufrock’s awareness of his own loneliness is what is causing him torment. An animal at the bottom of the ocean — an inanimate object like a ‘pair of ragged claws’ would not be aware, and therefore would not be insecure, and would not be shy. And the afternoon, the evening, sleeps so peacefully! Smoothed by long fingers, Asleep ... tired ... or it malingers, Stretched on the floor, here beside you and me. Should I, after tea and cakes and ices, Have the strength to force the moment to its crisis? But though I have wept and fasted, wept and prayed, Though I have seen my head (grown slightly bald) brought in upon a platter, Iam no prophet — and here’s no great matter; I have seen the moment of my greatness flicker, And I have seen the eternal Footman hold my coat, and snicker, And in short, I was afraid. Prufrock’s skill with language is perhaps brought best to the forefront here. We can see that he knows very well how to speak — in his own mind. It is just the trauma of voicing aloud these thoughts that is stopping him. 12