Love Song of J. Alfred Prufrock - Inability to Love
T. S. Eliot's "The Love Song of J. Alfred Prufrock" is not a poem about love, at least in any traditional sense. Rather It is a collection of the fragmented thoughts of a man without self-esteem. Far from being about love, it is about one man's inability to love (himself or the world around him.) It is the cynical statement of a man who does not believe good things will ever happen to him, or that the world has anything to offer him. The title is bitterly ironic; Prufrock does not love any body, least of all himself, (no matter how much he might aspire to the ideal of romance and passion), nor does he believe that any one could ever love him. His own life is devoid of love, so in his bitterness he brands his work a "love song".
Although the poem addresses the reader directly, saying, "Let us go then, you and I,"1 Prufrock is really just talking to himself. His is a tale of shame and insecurity that he would never dare share with another human being. The epigraph graphically illustrates this; being a passage from Dante's "Inferno"....
"If I thought my reply would be to someone who would ever return to earth, this flame would remain without further movement; but as no one has ever returned from this gulf, if what I hear is true, I can answer you with no fear of infamy."2
When one considers the poem in the light of this prologue, one must see that Prufrock is basically telling the tale of his isolation and living hell, but without shame because he believes his words will never be heard. He speaks to himself, and poses questions to himself as many do when they are grappling internally with issues and problems of their own.
I wish to discuss two main thread...
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...nse it is indeed a song about love, but it is not a "love song" in the traditional sense. "The Lovesong of J. Alfred Prufrock" is not radio friendly mainstream love.
Bibliography
Eliot, T. S., "The Love Song of J. Alfred Prufrock", in Leonard, John, Ed., Seven Centuries of Poetry in English, Third Ed., Melbourne: Oxford, 1994, pp.128-31.
End Notes
1 Eliot, T. S., "The Love Song of J. Alfred Prufrock", in Leonard, John, Ed., Seven Centuries of Poetry in English, Third Ed., Melbourne: Oxford, 1994, pp.128-31, l. 1. All subsequent line numbers refer to this text.
2 Leonard, p. 128.
3 ll. 13-14, 35-36.
4 ll. 32-33.
5 ll. 38, 45, 122.
6 ll. 45-46.
7 l. 122.
8 ll. 97, 110.
9 l. 55.
10 ll. 73-74.
11 l. 34.
12 l. 51.
13 l. 60.
14 l. 81.
15 l. 85.
16 l. 84.
17 ll. 87, 99.
18 ll. 129-131.
"The Love Song of J. Alfred Prufrock" is about a timid and downcast man in search of meaning, of love, and in search of something to break from the dullness and superficiality which he feels his life to be. Eliot lets us into Prufrock's world for an evening, and traces his progression of emotion from timidity, and, ultimately, to despair of life. He searches for meaning and acceptance by the love of a woman, but falls miserably because of his lack of self-assurance. Prufrock is a man for whom, it seems, everything goes wrong, and for whom there are no happy allowances. The emptiness and shallowness of Prufrock's "universe" and of Prufrock himself are evident from the very beginning of the poem. He cannot find it in himself to tell the woman what he really feels, and when he tries to tell her, it comes out in a mess. At the end of the poem, he realizes that he has no big role in life.
The Love song of J. Alfred Prufrock is a poem that was written by T. S Eliot. The poem introduces the character, Prufrock, as a man who is very pessimistic about everything and is incapable of change. Prufrock sees the society he lives in as a place that is full of people who think alike, and he thinks he is different from them. Though Prufrock, realizes that the society he is associated with needs a change and have more people who think differently, but the fact that he is very concerned about what people would think of him if he tries to speak up to make a change or that he would be ignored or be misunderstood for whatever he says hindered him from expressing himself the way he would like to. Prufrock then decides not to express himself in order to avoid any type of rejection. In the poem, Prufrock made use of several imagery and metaphor to illustrate how he feels about himself and the society he is involved in. Prufrock use of imageries and
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Prufrocks next thoughts tell of his old age and his lack of will to say what is on his mind. He mentions his bald spot in his hair and his thin arms and legs. This suggests that he knows he is growing old, and therefore contradicts what he had mentioned earlier in the poem about having plenty of time. Throughout the poem he is indecisive and somewhat aloof from the self-involved group of women. One part of him would like to startle them out of their frustratingly polite conversations and express his love for her, but to accomplish this he would have to risk disturbing their ?universe? and being rejected. He also mentions ?sprawling on a pin?, as though he pictures himself being pinned in place and viciously analyzed like that of an insect being literally pinned in place. The latter part of the poem captures his sense of overwhelming lack of willpower for failing to act daringly, not only at that tea party, but throughout his life.
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T.S. Eliot, The Love Song of J. Alfred Prufrock. The Norton Anthology of English Literature. 6th ed. Vol. 2. ed. M. H. Abrams New York, London: Norton, 1993.
The first stanza introduces Prufrock’s isolation, as epitomized metaphorically by “half-deserted streets” (4): while empty streets imply solitude, Eliot’s diction emphasize Prufrock having been abandoned by the other “half” needed for a relationship or an “argument” (8). Hoping for a companion, Prufrock speaks to the reader when saying, “Let us go then, you and I” (1), as he needs to address his lament to an audience; conscious of the reader’s curiosity regarding the “overwhelming question,” (10) Prufrock answers, “Oh, do not ask, ‘What is it?’” (11). (The likely explanation for Eliot’s inconsistent use of you in this stanza is Prufrock probably meaning you as “To lead one,” as he refers to himself and not the reader in line 10.) Eliot continues the metaphor of Prufrock’s lonesomeness by anthropomorphizing the “yellow fog” and “smoke” (15, 16) to signify Prufrock, who interacts not with people, but only the environment in the third, fourth, and fifth stanzas. Clearly it is Prufrock who “rubs [his] muzzle on the window-panes” (15, 16), passively lets “fall upon [his] back the soot that falls from chimneys” (19), “slides along the street” (24), and performs the actions also described; also, the opacity of “fog” and “smoke” symbolizes the difficulty with which readers perceive Prufrock’s true character, further separating ...
“The Love Song of J. Alfred Prufrock” is hardly a love song at all. That irony is clear in that the narrator’s voice is anxious, self-conscious, and depressed. It seems he has wasted his life or that life was wasted on him, and he regrets not being born as a creature that lives on the bottom of the sea. The very last lines of the poem,
In conclusion, after exploring the theme of this poem and reading it for myself, Eliot has created this persona, in industrialised England or somewhere else. A man of low self-esteem, you embark his journey as he struggles with a rational fear of being rejected by a woman. Which gives the reader sympathy to Prufrock, as he lives within his own personal
Eliot, T. S. "The Love Song of J. Alfred Prufrock." Prufrock, and Other Observations. New York: Alfred A. Knopf, 1920. N. pag. Bartleby.com. Aug. 2011. Web. 11 Mar. 2014.
Classical conditioning is something that happens on a daily basis, it is a part of life. It can occur anywhere. Classical conditioning is a form of learning that occurs when two stimuli are presented, and then become associated with one another. In classical conditioning, two stimuli are linked in order to achieve a new behavior or response. There are three phases in the conditioning process; first, before starting the conditioning, there is an unconditioned stimulus (UCS) that initiates an unconditioned response (UCR). This stimulus creates a response that happens naturally. The second phase during the conditioning process, is that an additional stimulus is presented, this is known as the conditioned stimulus (CS).
Congratulations! You have the amazing honor of creating a new life! A sweet, innocent little life that will one day go through so many stages. From your wee one's first diaper and smile, you will want to capture images in your mind and in your camera as they learn to crawl, walk, run and grow. But, those memories and images do not start at birth. It is important to start during pregnancy with the growth of your baby bump so you can look back and rejoice in those enjoyable moments of the new life you have created.
T.S. Eliot has been one of the most daring innovators of twentieth-century poetry. His poem“The Love Song of J. Alfred Prufrock”, is different and unusual. He rejects the logic connection, thus, his poems lack logic interpretation. He himself justifies himself by saying: he wrote it to want it to be difficult. The dissociation of sensibility, on the contrary, arouses the emotion of readers immediately. This poem contains Prufrock’ s love affairs. But it is more than that. It is actually only the narration of Prufrock, a middle-aged man, and a romantic aesthete , who is bored with his meaningless life and driven to despair because he wished but
The title T. S. Eliot chose for his poem "The Love Song of J. Alfred Prufrock" is ironic. Mr. Prufrock does not love anyone, nor does he believe he is loved. He has disdain for the society of which he wishes he were a part, and he believes society views him no differently. The imagery of Mr. Prufrock's thoughts provide the audience a more detailed insight into his character than had Mr. Eliot simply listed Mr. Prufrock's virtues and flaws. Mr. Prufrock is seen as an exaggeration or extreme for the sake of literary commentary, but the world has many Prufrocks in many differing degrees, and T. S. Eliot has made them a little easier to understand.