/* The Fragmented Prufrock An Analysis of “The Love Song of J ..., Lecture notes of Poetry

Download /* The Fragmented Prufrock An Analysis of “The Love Song of J ... and more Lecture notes Poetry in PDF only on Docsity! /* The Fragmented Prufrock An Analysis of “The Love Song of J. Alfred Prufrock” Caitlin Yaun Honors Project Spring 2015 Yaun 1 On a first reading of T.S. Eliot's "The Love Song of J. Alfred Prufrock," the repetitive fragmentation may be confusing. The poem appears to be a series of unrelated subjects that are haphazardly sewn together into disorganized stanzas. The settings shift constantly, sometimes within a stanza or sentence, making the poem a challenge to comprehend. Even Eliot concurs, because Eliot himself once said, “Only genuine poetry can communicate before it is understood.” Although the shifting settings and subjects may be difficult to decipher, we can appreciate the speaker’s confusion and despair even on a first reading. However, in order to fully experience the poem, we must first understand Eliot's fragmentation in regard to organization and theme. The fragmented structure of “Prufrock” originates within the apparent disconnect between the various settings of the poem. “Prufrock” begins with an ambiguous description of a dilapidated city. The speaker, J. Alfred Prufrock himself, invites “us” to accompany him “through certain half-deserted streets” (line 5). Here, the city seems to be a ghost town of sorts. He calls this area of the city “muttering retreats” (6), suggesting groups of criminals may come to this section of the city to engage in illegal activities. This section of the city houses “one night cheap hotels” (7) and “sawdust restaurants with oyster shells,” (8) depicting the city as a poor and run-down location with limited economic resources. Nobody stays longer than a night in these hotels because the hotels are in poor condition and the characters staying at the hotels may be drifters that are up to no good. This image immediately gives the poem a gloomy and somber tone that resonates throughout the entire work. Yaun 4 one’s hair is growing thin, the necktie is “rich” yet modest, and yet still people will say that one’s arms and legs are thin” (21). Here, Seyppel states that criticism of one’s appearance is inevitable, and Prufrock’s self-consciousness is somewhat justified. Prufrock’s overwhelming embarrassment regarding his outward appearance reflects his cowardice with approaching and seducing women because he frequently mentions his lack of a romantic relationship. Throughout this stanza, Prufrock also attributes his humdrum existence to his passivity, and the redundancy of his life to multiple missed opportunities. Prufrock “measures out [his] life in coffee spoons” (50) because he is too cowardly to make a positive advancement for himself, and inevitably fears the change that he wholeheartedly desires. Thus, Prufrock existence remains routinely stagnant and he inevitably wastes his life trying to hide from the world. Seyppel agrees, stating “Boredom remains, old and well-known things remain, and disappointment remains” (21). While a majority of the poem seems to take place in Prufrock’s “real” world of aristocratic women in personal mansions, the poem oddly closes with a seascape image regarding the mysticism of daydreams and a fantasy including mermaids. Within his fanaticism of a hallucination, Prufrock says he hears “mermaids singing, each to each” but he doesn’t think that they will sing to him. This segment of the poem alludes to folklore sirens singing beautifully upon the rocky terrain of the ocean. A comparison can also be made to Homer’s The Odyssey in which the main characters encounter seductive sea sirens as well. These sirens are so irresistible to sailors that they crash their ships on the rocks of the ocean and die. When Prufrock abruptly re-emerges from his seascape daydream, he inevitably drowns due to the Yaun 5 heavy burden of an unfilled life weighing down upon his heart. A casual reader of this poem might wonder why Eliot deliberately used three apparently disjointed settings to create this poem, however, a careful reading of the poem will reveal the interconnectedness of the settings. As disjointed as the poem’s structure is, a close reading reveals that the fragmentation of the poem itself parallels the fragmentation of J. Alfred’s psyche. To begin with, Prufrock’s distorted sense of self contributes to his fragmented character because of his general inability to make important life choices. In lines 32-33 of the poem, Prufrock exploits the idea that there is plenty of time left ahead of him to make decisions, so he chooses to procrastinate and make decisions later rather than now. He states “There is time yet for a hundred indecisions” (37) and “a time for a hundred visions and revisions” (38) suggesting that Prufrock isn’t willing to make lifestyle changes, even if they are positive, because he lacks the discipline to assert himself and take charge of his impending fate. This point imposes a juxtaposition between Prufrock’s anxiety over aging and his thoughts regarding his time which both exemplify the fragmentation of his psyche. On one hand, Prufrock is worried that his time on Earth is fleeing due to his rapid aging, yet on the other hand he feels that he has plenty of time left to make and reverse decisions. This stark contrast between clashing thoughts suggests that J. Alfred’s fragmentation is so profound that he almost has a split personality. Within his essay of “Prufrock” titled T.S. Eliot: Between Two Worlds, David Ward suggests that Prufrock has a “double soul” because Prufrock “sings of unattainable desire, and of fear at what will result when desire should be consummated” (16). Ward agrees Yaun 6 that Prufrock’s fragmented psyche is the result of an overwhelming fear of change that coincides with a strong desire for a fulfilling existence. The ‘double soul’ aspect of the analysis is related to Prufrock’s fragmented personality. Within the literary criticism T.S. Eliot: Poems in the Making, Gertrude Patterson agrees that Prufrock does in fact have a fragmented personality, suggesting that “Prufrock’s fears are heightened by a double mood” (52). Thus, Prufrock is inevitably stuck within the revolving door of indecision, causing his life to be forever stagnant and unfavorable. In addition, Prufrock’s self-consciousness about his aging appearance to the point of paralysis, contributes to his fragmented psyche. David Ward suggests that Prufrock sees himself turning back and descending the stairs at the elegant party because the guests are commenting on Prufrock’s receding hairline and thinning extremities (11). He is so insecure with his appearance that he would rather run away and hide from the criticism than have fun at the party and socialize. This constant fear of rejection prohibits Prufrock from living a happy existence, for he would rather hide from the world than be seen and judged. Next, Prufrock’s fragmented identity can be attributed to his lack of self- confidence. Prufrock’s inability to make decisions is due to cowardice, as Prufrock himself is highly insecure. Within stanza 13, Prufrock demonstrates his inability to communicate effectively with women, suggesting that he feels lonely and unfilled in terms of love as well. For example, the line “Is it perfume from a dress that makes me so digress?” (65) shows the speaker's inability to effectively communicate with women. Gertrude Patterson explains that Prufrock’s insecurities show “the complex ironical attitude of Prufrock towards women” (53). Patterson adds, “Prufrock is afraid Yaun 9 essentially a social commentary illustrated by Eliot which describes, what he feels, is society’s “dissociation of sensibility.” Eliot’s “dissociation of sensibility” refers to the essay that Eliot penned a few years after “Prufrock,” titled “The Metaphysical Poets.” The focus of “The Metaphysical Poets” was the separation of thought and feeling within poetry written after the 17th century. The metaphysical poets of the 17th century revealed in their poetry a “unified sensibility”- that is, the interconnectedness of intellect and sensation. Eliot says that these poets did not, like average modern 20th century people, compartmentalize different aspects of themselves into separate beings such as the body and soul, thoughts and feelings, or intellect and emotion (Dissociation 1). We modern humans compartmentalize ourselves and as a result, become essentially “fragmented.” This fragmentation makes us become paralyzed like Prufrock when he describes himself as a being “like a patient etherized upon a table.” We are so out of touch with our emotions and sense of self that we essentially live our lives in a constant state of sedation. David Ward states that Prufrock is perpetually in a “state of being that is passive and mimics death” (Ward 15). Here, Ward agrees that Prufrock’s fragmentation leaves him an inferior daze that prohibits him from achieving his peak potential. Eliot also voices his dissatisfaction with post 17th century poetry by saying that the language is far too refined and that the emotions expressed within the poetry are far too crude. To try to repair this emotional disconnect from each other and from the brilliant minds of the past, Eliot frequently uses allusions within “Prufrock” in order to remind his readers of their connections to the past regarding history and literature. Yaun 10 For example, one prominent allusion that Eliot incorporates into “Prufrock” is the reference to seventeenth-century metaphysical poet Andrew Marvell who wrote the famous poem “To His Coy Mistress.”The speaker of Marvell's poem, suggests that he and his lover should “roll all our strength and all our sweetness up into one ball” in order to savor their love for eternity. Within “Prufrock,” Prufrock says he desires “to have squeezed the universe into a ball” and “to roll it towards some overwhelming question.”Clearly, Eliot is alluding to Marvell’s poem not only to convey Prufrock’s desire for romance but also to reignite the public’s passion for metaphysical poetry. David Ward suggests that Eliot alludes to “To His Coy Mistress” in order to “mimic Marvell’s lover in his erotic determination to cheat time for the sake of love” (17). Not only does Eliot want to emphasize the importance of seventeenth-century poetry, but he also is using it better convey Prufrock’s insecurities with approaching women Prufrock wishes to cheat time for the sake of love, but he ultimately hypocritically procrastinates in order to avoid finding love and experiencing rejection. The opposing thoughts regarding love within Marvell’s characters and Eliot’s characters ultimately reveal the contrast of ideas between metaphysical poets and modern day poets. These ideological difference signifies a shift in society’s beliefs that has taken place throughout the time periods as well. Not only does Eliot use “To His Coy Mistress” as a literary allusion within “Prufrock,” but he also references Shakespeare's Hamlet as well. Since Shakespeare was a sixteenth-century playwright and metaphysical poet, it is no wonder that Eliot includes Hamlet as an allusion. Prufrock says, “No! I am not prince Hamlet, nor was I meant to be.” The allusion to Hamlet represents the indecisiveness of both Prufrock Yaun 11 and Hamlet. Both characters are unsure of their desires for a romantic relationship as well as their equal indecision regarding the quintessential purpose of their lives. Although Hamlet and Prufrock have striking similarities, Prufrock feels that it is incorrect to compare himself to Hamlet. Eliot writes that Prufrock wasn’t meant to be Hamlet because he is far too insecure to compare himself to a lead character in such a famous work. Even though Prufrock is as indecisive as Hamlet, he still cannot picture himself taking initiative and being a leader. In A Student’s Guide to T.S. Eliot, author Naomi Pasachoff suggests that Prufrock “sees himself at best as a minor figure, one whom even the servant’s mock” (49). She adds that Prufrock is “terrified of embarrassing himself by making a social blunder” (49). Hamlet was the sole driving force in his quest for vengeance after his father’s heinous murder. Since Prufrock is insecure to the point of paralysis and struggles with making a simple decision like whether or not to eat a peach, Prufrock clearly couldn’t handle such a stressful task as Hamlet does. Prufrock would feel far too anxious, and for that reason, he can’t compare himself realistically to Hamlet. Eliot later goes on to write that Prufrock is an “attendant lord,” which could indicate that Prufrock sees himself as more as Polonius, the father of Hamlet’s love interest, Ophelia. Polonius is frequently referred to as an “old fool” throughout the play, which is suits Prufrock due to his aging appearance and his foolishness regarding his low self-esteem. . Another of Eliot’s allusions in “Prufrock” is of Lazarus from the Bible. Prufrock says, “I am Lazarus, come back from the dead, come back to tell you all, I shall tell you all.” The story of Lazarus is a triumphant tale that tells of the miracles performed by Jesus and the possibility of a second chance at life. The story of Lazarus Yaun 14 21st century explosion of digital communication technology, most people are left feeling isolated and reclusive just as Prufrock did in 1915. Although social media was originally designed to connect us to a broader range of people, most find that cyberspace actually creates more social isolation than previously intended. Many users of these technological devices don’t feel a connection with others while staring at a screen, therefore interpersonal communication is necessary for the human race to prosper. The zombie-like trance that technology leaves us in can be compared to Prufrock’s sedated patient upon a table. Digital communication hinders the sincerity of conversations and makes humans feel unfulfilled, depressed, and isolated. Even before the existence of social media, Prufrock still felt unfulfilled and lonely within social contexts. The relatable aspect of isolation within the poem makes it applicable and engaging within modern times. Not only is J. Alfred Prufrock fragmented within his social life, but he is also fragmented within his personal life as well. Throughout the poem, Prufrock struggles to navigate through life knowing that he missed opportunities to better himself and do great things. People who frequently use technology may have similar regrets because they are too attached to their devices to experience the world and thus miss out on great opportunities. There is a great disconnect between Prufrock’s sense of self, which can be equally identified within modern day humans who live their lives through technology and self-identify with their devices. If Eliot were alive today, he would most likely use his literary talents to create a piece of social commentary regarding the inappropriate use of modern day technology and the further fragmentation it inadvertently causes. Yaun 15 In conclusion, within the poem “The Love Song of J. Alfred Prufrock” fragmentation is utilized in regards to both organization and theme. The random assortment of stanzas reveals the fragmentation within J. Alfred’s psyche. Prufrock’s actions reveal that he is fragmented after long suffering with low self-esteem and feelings of worthlessness. This apparent disconnect ultimately leaves Prufrock in an indecisive state, prohibiting him from finding love and living life to the fullest. To many first time readers, “The Love Song of J. Alfred Prufrock” appears to be a nonsensical poem that has no significant meaning. However, careful analysis extinguishes these thoughts as extensive research and deciphering of figurative language reveals that the poem has a life beyond its initial meaning and a deeper understanding of the world that previously thought at face value. A clearer meaning and in-depth understanding of Eliot’s poem can be extracted after reading this essay due to the deep literary analysis. Inevitably, through the 20th century and the 21st century, the common thread the bines the social classes with the fringes of society is undoubtedly, fragmentation. Yaun 16 Works Cited Bloom, Harold. "Momentous Change Examining "Prufrock"" T.S. Eliot. Broomall, PA: Chelsea House, 1999. Print. "Essays in Criticism." T. S. Eliot's Dissociation of Sensibility and the Critics of Metaphysical Poetry. Oxford University Press, n.d. Web. 09 June 2015. Eliot, T.S. “The Love Song of J. Alfred Prufrock”. The Poetry Foundation. Poetry Foundation. n.d. Web. 13 May 2015 Eliot, T.S. “The Love Song of J. Alfred Prufrock” 1915. An Introduction to Poetry. Ed. X.J. Kennedy and Dana Giola. New York. Longman Publishing. 2009. Print. Pasachoff, Naomi E. A Student's Guide to T.S. Eliot. Berkeley Heights, NJ: Enslow, 2009. Print. Patterson, Gertrude. T.S. Eliot: Poems in the Making. New York: Barnes & Noble, 1971. Print. Seyppel, Joachim. T.S. Eliot. New York: Frederick Ungar, 1972. Print. Ward, David. T.S. Eliot between Two Worlds: A Reading of T.S. Eliot's Poetry and Plays. London: Routledge & Kegan Paul, 1973. Print.