BethanyGrace A., Laura A., David C., Theo H., Katherine K., Catharina P., StefanieLynn P. , Carl-Johan S. , Dontae T.
Please follow the letter-writing process described above in the first comment under Guide for Cross-Cultural Collaboration-Spring 2006: “The Love Song of J. Alfred Prufrock.” When you are ready to submit your letters, click on the comments link below. A new window will open. Read comments already published, and add yours.
30 comments:
Dear Group,
My name is Brie Galloway and I am currently enrolled in Engl. 214: American Literature at Clemson University. I am a second semester sophomore who just transferred to Clemson from a USC branch in Bluffton, SC. My major is Biological Science which will hopefully adequately prepare me for graduate school at the Southern College of Optometry in Memphis, Tennessee.
I found the poem “The Love Song of J. Alfred Prufrock” by T.S. Eliot to have feelings of somberness and anxiety. The narrator throughout the poem seems to fear something or someone. Women, the narrator can’t trust himself around the opposite sex nor does he know how to act around them. Repeatedly throughout the poem as the evening drags on late into the night, he asks himself “So how should I presume?” showing his apprehension towards the girl he is with. The narrator is unsure about his actions and can’t figure out how to understand her and treat her probably. I think this feeling of distress towards the opposite sex is something that any individual can go through when special feelings for someone suddenly develop.
The last stanza of the poem “Till human voices wake us, and we drown” raises the conclusion that the narrator was living a dream, a dream in which he could control and eventually live happily in with his love. He feared leaving her, his love, even though he seemed to display cowardice during the duration they were together, in his dream. I think he feels comfort just by being in her presence and is trying to take the next step but doesn’t now how. There is the possibility that the woman in the poem is not a real being and only a figment in his dreams that he hates leaving; he is mesmerized by her and every time he wakes it is like facing death.
Sincerely,
Brie Galloway
Hi everyone,
My name is Katie Keith (although it is listed as Katherine), and I am currently taking Art Young’s Victorian poetry seminar at Clemson University. I am a second-semester graduate student in the English department. I attended Clemson as an undergraduate, as well, and received my B.A. in English.
It is ironic that T.S. Eliot chose to designate this poem as a “love song,” as there is little in “The Love Song of J. Alfred Prufrock” that signifies love. On the contrary, this poem embodies the Modernist attitude of discontent. The city in which the narrator, Prufrock, aimlessly wanders is like a nightmare, with “one-night cheap hotels/And sawdust restaurants,” yellow fog wrapping itself around buildings like a cat, and “smoke that rises from the pipes.” The city is much like Dante’s inferno, hellish and never-ending.
Also, unlike a love song, there is no object of Prufrock’s attention. Women are treated only as flighty creatures and sexual objects throughout the poem, their arms “braceleted and white and bare…downed with light brown hair.” This is erotic and sensual, and certainly not the type of love that we would expect in a sonnet or love song. In fact, it is only the mermaids which hold Prufrock’s fascination, but even they will not sing to him.
Just as the streets are compared to a “tedious argument,” nothing is ever resolved within the poem. This is exemplified in the evening compared to an etherized patient “upon a table.” It is Prufrock’s inability to move or to act (like the etherized patient) that drives the poem. He speaks of growing old, and does not measure his life by any great accomplishments or loves, but by “coffee spoons,” something small and insignificant. The poem ends with Prufrock being jerked back into reality by the sound of human voices, never having found love or peace, and because of this, “we drown.” This is interesting when juxtaposed with Prufrock’s wish to be a “pair of ragged claws/scuttling across the floors of silent seas,” expressing his inability and lack of desire to survive in this empty reality.
Until next time, take care!
Katie
Dear all,
My name is Theo, I take the Fiction for Engineers course at Chalmers University of Technology. I'm in the last year of my studies, after four years of software engineering and interaction design.
The main theme I find in "The Love Song of J. Alfred Prufrock" is that ubiquitous trait; insecurity. Pufrock (if Eliot actually means that the narrator is Pufrock, and the title is not just a comment), does not dare to impose himself on the world, and especially not women. He has no high regards for himself, and doesn't know how to go about love.
He loathes the moment where a decision has to be made, "Should I, after tea and cakes and ices / Have the strength to force the moment to its crisis?" (ln 80-81). He does not dare to take it further, since the answer can be "no". I interpret the two stanzas between lines 87 and 110, as Pufrock feeling he has much to give, but dare not offer it for fear of being turned down. However, he hasn't given up hope, "In a minute there is time" (ln 47) to say it, but he doesn't, not this time, maybe next.
Perhaps the poem is actually a love song? The title seems ironic (and probably is, to some extent). It's a lament, but also a way to explain to the women he has been in love with why he hasn't dared to pursue that love, in a way expressing his love to them.
This also reminds me of the introductory quote from Inferno: "but since none has ever returned alive from this depth, if what I hear is true, I answer you without fear of infamy". It's only in knowing that we cannot tell his story that he dares confide in us. Pufrock would not confide in anyone, he is too insecure.
until next time,
yours,
Theo
Dear Group 1,
I am Catharina Octavia Parlim, a student of the International Master Programme in Management of Production, Chalmers University of Technology, Gothenburg, Sweden. I am a Chinese with Indonesian citizenship who has been studying in Sweden for the past 2,5 years. I am now taking some courses in new subject of logistics. I have so many interests, among others, poetry since I consider myself as a romantic person. Though, I have no previous experience with poets before. The only poetic phrase I know is ‘to be or not to be’ which I happen to foind of very much. (I do not know if we allow to talk a little personal like this in our letters so if it is not allowed, please tell me later)
I consider ‘The Love Song of J. Alfred Prufrock’ by T.S. Eliot as an expression of sorrow. I feel that Prufrock is not satisfied with his life. He is an old man with a lot of experiences but it seems that time just goes by without him having any fun of it.
He repeated this sentence twice, ‘In the room the women come and go Talking of Michelangelo.’ that in my opinion it is important although I am not sure what he intends to say.
Further on, he also mentions this sentence several times, ‘how should I presume?’. For me, he seems to be lost and does not know what his aim in life. He knows a lot, he sees a lot but he does not know how he should interpret and make use of those knowledge that he gets.
While this sentence, ‘That is not what I meant at all. That is not it, at all.’ I can not think what it implies although it is definitely stress something of his feeling.
But at the end, I feel that he realizes that he has his own little world. In my opinion, he has not much seen many people at his old age. And when he comes out of his ‘hiding place’, people will talk about him, whispering, etc. which makes him uncomfortable and wants to drown.
Las but not least, forgive my English if it is not perfect, considering that we have American students whose native language is American-English.
Yours sincerely,
Catharina Parlim
Hello everyone,
Essentially, I did not enjoy the poem "The love song of J. Alfred Prufrock". It feels like it does not actually manage to get anywhere, to contribute with anything beautiful... or perhaps this is even exactly why I do not enjoy the poem, because it so accurately touches and describe my own frustrations and worries, painting a rather dull and sad picture rather than aiming for the grande and beautiful.
T.S. Eliot supposedly was twenty-three years old when writing this poem, and I read a lot of anxiety commonly associated with that age into the poem. The narrator is pondering his own (and everyone else's) mortality, the impact of his decisions, where to go, what to do with the feelings he think might be love. As a love song, it's terrible. Perhaps this is intentional (supposedly the name "Prufrock" is chosen slightly sarcasticly), but the narrator seems so weary and under the impression that he possess a view elevated above all others (which he must communicate to all, especially his love), so much older at mind than he should be... it all turning into more of a belly-landing than anything else.
To give you a bit of background on myself, I am just about to finish my Computer Technology MSc, I took the course "Fiction for engineers" last year and am now back again to make up for my procrastination then. In two days I will be 25 years old and besides being a serious nerd I also privately enjoy music, poetry and art, especially stuff from the middle of the previous century and onward. This letter was written with a 22 Pistepirkko live concert as background music.
I apologize if my swedish ways and wild interpretations are too much for anyone of you, but still encourage you to come with insightful and daring feedback in the discussions to follow!
Carl-Johan Sveningsson, Chalmers, Fiction
Hey everyone,
My name is David Cunningham and I am a sophomore Community and Economic Development major at Clemson University. I don't think I do too well with poems and the like so bare with me.
The first thing that jumps out is the repetition of the lines
"In the room the women come and go,
Talking of Michelangelo."
I did a little research and found that Michelangelo, who painted the ceiling of the Sistine Chapel, was regarded as the greatest living artist in the world at age 37. I think this is significant because Prufrock is obviously self depricating and can't give himself credit for anything because of his flaws. Maybe he regards Michelangelo as being flawless and wishes women would talk about him like that.
The second part I want to talk about are lines 125-130 where he talks about mermaids. In the footnotes it says mermaids are a sign of something not wholly evil, but very far from entirely good. I think by mermaids he means all women and he sees them as somewhat of a threat. Maybe he doesn't have much experience with them and by just being around them he is taken out of his comfort zone.
Those are a couple of observations I made.
Sincerely,
David
Dear Group,
My name is Laura Lee Andrews and I am taking English 214, American Literature at Clemson University. I am a second semester freshman. My major is secondary education history meaning I’ll be a high school level history teacher.
The first thing that stands out to me about T.S. Eliot’s “The Love Song of J. Alfred Prufrock” is that it does not appear to be a normal love song. In the beginning of the poem, an image of gloom emerges with the description of “half-deserted streets,” “cheap hotels,” and “sawdust restaurants with oyster-shells.” From what I can tell, Prufrock, the speaker, wants to talk to a woman, but he is too scared. Prufrock has little self confidence and does not see himself as important. The repeated stanza, “In the room the women come and go Talking of Michelangelo,” shows how if Prufrock did decide to approach the woman he is trying to show affection for, she would be interested in someone well known like Michelangelo, not a person of lower status like himself.
Prufrock is hesitant in trying to approach the woman of his affection. He thinks about it, but is scared to be rejected. The repeated phrase, “there will be time” is used to represent Prufrock’s hesitancy; he keeps delaying his meeting with her. Prufrock is scared of the reaction he will receive from not only from this one woman, but also from the rest of his social acquaintances. Prufrock makes it clear when he says, “For I have known them all already, known them all,” that he knows all of them and how they would react to him trying to confess his love for one of them. Prufrock contemplates the ideas for a beginning of a confession, but does not continue through with it. Prufrock questions how he should react to his feelings. Prufrock feels as if he did the right thing by not saying anything, because he feels he would not have gained anything from it anyway.
Sincerely,
Laura Lee Andrews
Hello everyone!
My name is Stefanie Peters. I am a second semester MA in Literature student at Clemson University and I am currently taking Victorian Poetry. I previously went to Western Carolina University and received a BA in English Literature in May 2001. This is not the first time I have studied “The Love Song of Alfred J. Prufrock,” although it will be the first time since starting graduate school.
I adore this poem—it is so ironically amusing and well-written. Eliot creates a perfect image of Prufrock, assuming he is the persona. He is an elderly man and is struggling with his age and meaning in life. The women, who only comment on Michelangelo, pay him no attention. He is balding, contemplates wearing rolled-up pants, indecisive, boring, and realizes all these things. The prime of his life has completely passed. He reflects, and comments that he should have been a crab (l. 73-74). Perhaps his utter apathetic nature toward life is most apparent in the stanza beginning: “No! I am not Prince Hamlet…” (111). Prufrock doesn’t even think he can compare to Prince Hamlet, who overanalyzes everything and also contemplates the point of life. Instead, he describes himself as “an attendant lord, one that will do / To swell a progress, start a scene or two” (111-112). He is reduced to intentionally causing problems to receive any attention from anyone. The end of the stanza describes his feeling of worthlessness: “At time, indeed, almost ridiculous— / Almost, at times, the Fool” (118-119).
Another thing that I hope to comment on later is the use of food in the poem. I think it’s great the way Prufrock uses it to describe his life and how Eliot uses it to further characterize Prufrock. But I’ll save that for another day!
Good bye for now!
Stefanie
Dontae said....
Hello group,
I am Dontae Thornton and I am taking American Literature at Clemson University. I am currently a junior majoring in civil engineering.
T.S. Eliot’s poem “The Love Song of J. Alfred Prufrock” was not the typically love story type of poem. The first thing that stood out to me in this poem was how he would talk about the woman in the dream but in real life was entirely too afraid to approach here. Also the way he was always worried about what other thought of his flaws or imperfections. The thing I found most significant is how the poem is how he expresses the city-like landscape with lines like “When the evening is spread out against the sky, Like a patient etherised upon a table” to a cycle of unclear ocean images, expressing Prufock’s emotional distance from the world. The theme of this poem is that Prufock is stuck in between two worlds: one that’s apparent and planned, the other one of things he dreams of. To reveal the imagery of the world that apparent and planned he uses the phrase “I have measured out my life with coffee spoons”.
Overall I found this poem to be very different and extraordinary; these two qualities also make this a great poem.
Sincerely Dontae
My name is Beth (listed as Bethany) and I am taking Victorian Poetry at Clemson University.
Prufrock’s insecurity is apparent throughout the poem, specifically in the lines regarding time and indecision. His insecurity is apparent in his inability to make a decision as a result of his past experiences and criticisms. He mentions people’s comments about his bald spot and his skinny arms and legs as one reason for not making a decision. Prufrock constantly tells himself that there will be time and more time to make up his mind, though he never actually says what decision he needs more time for. He hints that the decision may have something to do with a woman. In the poem he describes the light on the woman’s arms and her shawl. He also hints that the decision may have something to do with life or death. Towards the end of the poem, he speaks of drowning after hearing the mermaids’ singing and human voices.
In Greek mythology sirens are a female sea-creature sometimes portrayed as mermaids. Prufrock’s mermaids and sea-girls and their singing allude to the type of destruction that the sirens were known for causing. In mythology, sirens’ hypnotic singing led sailors to their death among the rocks. In Prufrock’s case, his siren is his insecurity and fear of inadequacy. If he listens to the sirens, or his longing to make the decision, he fears it would lead him to death and he would “drown.”
One phrase in the poem that I didn’t understand was, “In the room the women come and go// Talking of Michelangelo.” Can anyone shed some light on this for me?
Thanks!
I have been told by some teachers that the room in which the women come and go stands to serve as Prufrock's destination, although he never arrives. The women at this party are high-society, and talk of art (Michelangelo) because it is fashionable to do so, not because they truly care, so there is nothing of true substance to be found at this destination. Not sure if this is right, though... just something that I vaguely remember from years ago.
I can offer two possible interpretations of "the women come and go / talking about michelangelo", one of them is mentioned above: Pufrock is not the great man he would like to be, the women will never talk about him, they are not taking notice of him now, and his achievements will not be remembered.
Another interpretation is that time flies, but nothing changes. This was my first interpretation, as I find this theme in other parts of the poem too, for example around line 25: "there will be time, there will be time / ... / there will be time to murder and create / ... / and time yet for a hundred indecisions". It's the air of the poem, there is time to do what Pufrock wants to do, but he doesn't do it, because he does not dare.
yours
Theo, Chalmers, Fiction
Dear all,
It’s been interesting to read other views of the poem. There are some points that I agree from others’ particularly of Brie’s and Theo’s. I think it’s true, at least in my opinion, that Prufrock is afraid of something or someone. Both Brie and Theo have suggested it from what they said that ‘The narrator throughout the poem seems to fear something or someone.’ (Brie) and ‘Pufrock would not confide in anyone, he is too insecure.’ (Theo). And also that Prufrock is afraid of women, from what Theo mentioned, …does not dare to impose himself on the world, and especially not women. Or at least, Prufrock doesn’t know how to act around women, just as Brie brought up.
And I like how you two emphasized the feeling of fear of Prufrock from the quotes “Should I, after tea and cakes and ices / Have the strength to force the moment to its crisis?” (ln 80-81) and “So how should I presume?” which is mentioned repeatedly in the poem. It makes me realize what this might refer to. And I am totally agree that this is probably the correct interpretation.
And at the end of the poem, although can be seen as slightly different, I think my opinion that Prufrock lives in his own little world can be interpreted also as a world of fear and uncertainty as Brie and Theo implied.
Until next time!
/Catharina
Hello again-
After reading Catharina’s response and looking again at Theo and Brie’s responses as well, I slightly agree, but slightly disagree as well. While Prufrock, assuming he is the narrator, clearly feels apprehension towards speaking with the women in the poem, I don’t agree that it is because, as Brie writes, “the narrator can’t trust himself around the opposite sex nor does he know how to act around them.” Theo also writes that the poem is “a lament, but also a way to explain to the women he has been in love with why he hasn’t dared to pursue that love.” I don’t think that it is that Prufrock can’t trust himself or doesn’t have the courage to speak to the women. I would say that instead Prufrock has become completely aware that his life is pointless. Theo quotes line 47, “In a minute there is time” and while it’s true that this seems hopeful, the line is enjambed and should really be read as, “In a minute there is tome . For decisions and revisions which a minute will reverse.” Sure, Prufrock thinks about actually making a decision about something, but he knows that it is pointless. Any decision he makes, basically about anything, will eventually be reversed.
Later on, Prufrock tells us, “I am no prophet—and here’s no great matter; / I have seen the moment of my greatness flicker” (84-85). Although he is a little afraid of dying, he realizes that his life isn’t worth living. His “moment” is gone and all he can do is eat, drink tea and coffee, and sit back and watch “the women . . . talking of Michelangelo” (35-36).
Well, gotta get back to reading some other stuff!
Stefanie
Hello to all,
It is nice to hear so many different voices and opinions about Eliot’s poem!
I agree with Laura Lee about the oddity of Eliot giving this poem the title of a love song, yet I do not agree that the poem is only about Prufrock’s hesitancy to talk to the women, as Laura Lee writes, “He thinks about it, but is scared to be rejected…he knows all of them and how they would react to him...” Prufrock does not literally know all of the women, but he knows enough of life – its redundancy and mediocrity – to decline the invitation to the party. However, I do think that Laura Lee is right when stating that Prufrock “questions how he should react to his feelings.” In the Modernist movement, there is an obsession with “getting it right.” Picasso’s paintings express much of Prufrock’s frustration. The physical text which is produced comes out fragmented and unrealistic, as it is impossible to paint, write, or say exactly what the artist thinks. This can be seen clearly when Prufrock states in frustration, “It is impossible to say just what I mean!” (line 104).
Stefanie makes a really nice point when addressing Eliot’s use of food, as she writes, “it’s great the way Prufrock uses it [food] to describe his life and how Eliot uses it to further characterize Prufrock.” I had mentioned Prufrock’s overtly erotic and sensual references to the women throughout his poem in my earlier blog, and Eliot uses a peach to solidify this idea. A peach can be seen as a sexual reference, with its fuzzy exterior (I won’t go into further detail, for everyone’s sake). With his question, “Do I dare to eat a peach,” (line122) Prufrock wonders of his ability to act upon a sexual desire.
Hope this note finds everyone well,
Katie
Laura and Brie have mentioned the gloomy air of the poem, especially the beginning. I agree completely. The first stanza sets the mood of the poem, without it I might have read it completely different, perhaps with a ligher feeling. As it stands I read the rest with the gloom on my mind.
However, it's also refreshing to see that Dontae has a completely different interpretation of this stanza, that it's about being stuck between the demanding real world and dreams and expectations.
Another theme which I find interesting is what Katie said about the women and Michelangelo: the women talk about art, but only because it's fashionable to do so. There is another line in the poem that also talks of this: "To prepare a face to meet the faces that you meet" (ln 27). To prepare a face must mean to intentionally cover who you really are, and instead acting as others expect you to act, and at the same time be aware of the others doing the same thing. For example, talking about art, because it's fashionable. Perhaps this is a third interpretation, next to the two I presented above.
yours,
Theo#
Hello fellow poetry analyzers!
Indeed, so good to see so many opinions, much more stimulating than last year.
The first thing I would like to comment on is that we still seem unsure about whether Prufrock is actually reflecting Eliot himself, or is he purely a sarcastic character? Stefanie described him as "an elderly man... struggling with his age..." while he to me materialized (or still quite plausibly could at least) as the (virgin) 23-year-old, suffering from the oh so common "hand stapled to forehead"-syndrome. He is failing to connect to anyone because of his, quite ironically, supposedly elevated position where he is of course all alone and from where he can view the entire world/city in it's full misery.
I really liked the way Dontae brought up that "most significant in the poem is how he expresses the city-like landscape". Always being fond of dramatic, imaginative cityscapes (Gotham City, Sin City, Metropolis, Terry Gilliam's Brazil!), that part did resonate in me. Though, as usual when interpreting weird literature, I can't help seeing drug-related iconography even in this poem. Already in the fourth verse does he mention the etherized patient (quite a depressing drug for the desperate) to which I remotely connect the yellow fog. Had this been a Burroughs poem, the "coffee spoons" would obviously be the tool of the opiate abuser and on the whole, the poem painting the imagery of a junk-sick person does seem a consistent interpretation. Of course, I have no clue to whether this fit into the history of Eliot or other modernists though.
Finally, Beth, the mermaids did lend themself to a fitting interpretation, but I would be curious about how widespread the "freudian" icon of the mermaid is, representing the, let's say, from childhood slightly dented sexuality, and whether that interpretation would also fit.
Until next time!
Carl-Johan Sveningsson, Chalmers, Fiction
Hey everyone,
I like the interpretation that Katie gives for the Michelangelo lines and how they talk about art only because it's fashionable to do so. Also Theo brought up the line "to prepare a face to meet the faces that you meet." These two things make me think that Prufrock is depressed because of the state of society around him. Eveyone acting so fake has worn him down. Another thing Katie said was, " In the Modernist movement, there is an obsession with “getting it right.”" All these things might also go along with C-J's topic of whether Prufrock is an extension of Eliot. If Prufrock is an extension, this could be Eliot describing his frustration with the way society around him is so caught up with trying to be perfect.
I also liked C-J's interpretation of the poem as the lamenting of a junkie who can't bring himself to quit. The more I read the poem the more of this kind of imagery I can see in it. However, I haven't been able to find any evidence that Eliot was a known drug user though I guess the poem could be based on someone else.
Sincerely,
David C.
Hello All!
Great comments everyone! So fun to read....
One thing, CJ, I really disagree that Prufrock is 23. He is balding and his limbs are rapidly deteriorating. Also, he repeats "I grow old," which is in present tense, so he must already be pretty old. If he was saying "I grow older," I would agree with you. But it doesn't ;-)
Katie and I are not so sure that Prufrock is a drug addict. They used ether during this time period as an anesthetic for medical procedures. While I do not doubt that some people abused it, it was used often correctly. Opium was also prescribed to treat medical conditions during this time. Basically, just because ether is mentioned doesn't mean he was abusing it. Ether would put a person to sleep and they would also be unable to move--much like Prufrock's life. He has no desire or ability to act on anything--his life is boring and pointless.
Hope that I'm not being too antagonistic--I love a good debate!
Talk to you soon,
Stefanie
Dear Group,
I’ve enjoyed reading everyone’s responses. It was really interesting to see different interpretations, it made me view the poem in different ways that I hadn’t before.
I agree with Beth’s response about Prufrock’s insecurity being apparent throughout the poem and how it is shown through his trouble making decisions and regarding time. He refers to all of his imperfections. Examples of his insecurity about his appearance are portrayed in lines 40-41, “With a bald spot in the middle of my hair- (They will say: ‘How his hair is growing thin!’)” and in lines 44-45, “My necktie rich and modest, but asserted by a simple pin- (They will say: ‘But how his arms and legs are thin!’).”
I also found Beth’s comments about the Greek mythology very interesting, because I had not thought about the mermaids that he mentioned in that way. She commented that in Greek mythology, often sirens are female sea-creatures sometimes portrayed as mermaids. Prufrock’s mermaids and sea-girls allude to they type of destruction that sirens are known for causing.
I disagree with C-J about not finding the poem enjoyable. I found the poem a little challenging, probably due to my lack of experience with poetry, but I also found it interesting. C-J also states that the poem doesn’t get anywhere. I can see that in a way, but to me although no immediate progress is being made, Prufrock is talking about his life and frustrations and trying to make sense of it all in my opinion. I also don’t think that Prufrock is really pondering mortality. As a love song, I don’t think it is terrible, I think it is just a little ironic and unexpected because it is not typical. I think the poem approaches the subject of love in a different aspect. I agree with C-J that the poem creates a sad and dull picture, but in my opinion only to portray that not everyone has perfect life and often ordinary people like Prufrock suffer from inner turmoil.
Sincerely,
Laura Lee Andrews
Hello All,
I think I'm always the last one to respond! I initially agreed with C-J, in that I did not like the poem when I first read it. But after reading it a few more times, it started growing on me. I like Laura's comment about Prufrock as an "ordinary" person with all his insecurities and "inner turmoil." I made my fiance read the poem (poor guy) and asked him what he thought about it. He liked it immediately and said he could identify with Prufrock and his fear of women, of decisions, or just fear in general. Right in line with Laura's ordinary people comment.
I'm not sure if someone else already commented on this, but in the third stanza Eliot focuses on the fog and the windowpanes. Yellow of course is a color for cowards, which also fits in with the aspect of fear that Prufrock is dealing with. The windowpanes remind me of the idea of Prufrock watching life (other men's lives maybe) through a window . . . a spectator but never a participant. Just like the fog and the smoke that rub on the windowpane but never get through, Prufrock never joins in the action like his peers.
Thank you for giving me interpretations for the Michelangelo line. Sorry, Steph, I missed what you had said earlier about that line. I like the idea that Prufrock wishes the women would talk of him like they talk of Michelangelo. That seems the most plausible since Michelangelo is world reknown for his art. But Katie and Theo's interps give me more food for thought.
Good point about the mermaids, C-J. Yes, I would agree with your idea about the 'freudian' use of the mermaid. I think that also fits, since Prufrock is so insecure with people and women.
Beth
Hi everyone,
Two interpretations of “The Love Song of J. Alfred Prufrock” that I am having a lot of difficulty with are those of Prufrock’s fear, as well as reading his character as any ordinary man. I cannot agree with Beth or Laura, believing that Prufrock is just an ordinary man who fears speaking to ladies and feels ordinary anxieties. This poem is hardly ordinary, so it is hard for me to agree that the themes are only of commonplace concern.
I really liked Theo’s idea that “To prepare a face must mean to intentionally cover who you really are…” A particular painting that keeps coming to mind while reading this poem, especially in reference to Theo’s comment, is Pablo Picasso’s “Portrait of Gertrude Stein.” This portrait can be seen at http://en.wikipedia.org/wiki/Image:Stein_by_picasso.jpg. I cannot remember the exact number of times which Picasso repainted the face, but he could never get it just as he wanted. Stein’s face, then, becomes mask-like. The skin is too smooth, the eyes dark, and there are no shadows – it is not a “realistic representation” of a human face. Stein writes in her “What Are Master-Pieces and Why Are There So Few of Them?” that “The painter…cannot look at the world any more, it has been photographed too much” (compare to Prufrock’s proclamation “For I have known the all already…”). The narrator’s reaction to society is not fear, or anxiety. Prufrock, like Picasso, cannot create a truthful, realistic representation of his desires and imagination, and it is only in a dream-like state or, perhaps, in death, that Prufrock may be “painted” truthfully.
I have really enjoyed discussing this poem with you all. To those who do not like poetry, I hope that this sparked a little interest, and that you will continue to read more Modernist works. I think they are fascinating, and, as you can see, they are open to millions of interpretations!
Wishing you all the best,
Katie
I'm pleased that Katie found my thoughts on the "To prepare a face to meet the faces that we meet" verse inspiring, and I actually tried to find a short story I once read to post here, as a reflection on the poem. It's about a terminally ill man thinking about his many faces. It's starts with "I can never decide which face to put on", and goes on to describe the many faces he has worn during his life. Unfortunately I can't seem to find it, neither on the internet nor in among my things.
Instead, I'm reminded by the paintings of the Norweigan artist Edvard Munch (http://images.google.com/images?q=edvard+munch), primarily known for "The Scream". I would, however, not say that I associate that particular painting with Pufrock, it's more the air of Munch's works, his style, his choice of colours. There is a certain gloom, and sadness to his paintings, which is also reflected in the Eliot poem.
I'll finish my last letter by joining Katie and Stefanie in saying that it's unlikely that there are any drug references in the poem. I believe that CJ is grasping at straws, connecting the etherised patient with yellow fog. The poem may appear weird to you, but that does not need to imply that there are drugs involved. However, a junkie coming down from a fix is not a bad description of the mood in the middle of the first stanza, but it's those four lines only. The muttering retreats, the restless nights in cheap hotels.
yours,
Theo
Hey everyone,
The representation I found for this poem is Radiohead’s Creep. I dont know how to put the song on blackboard for you but the lyrics for it are here (http://www.lyricsfreak.com/r/radiohead/113302.html). The song and poem are very similar in that the author feels like he’s not good enough for whoever it is that has gotten his attention.
The theme of being insecure around women remains throughout the entire poem. It even seems in the middle of the poem (lines 75-111) that he has managed to go out on a date with a girl, but can’t muster up the courage to “seal the deal” so to speak. “Should I, after tea and cakes and ices, Have the strength to force the moment to its crisis?” This sounds like a date to me and he’s asking himself if he should push for something more, maybe a kiss? “And would it have been worth it, after all.” This sounds like a post-date denial of what happened. He must have wussed out and is now trying to rationalize it in his mind even though he knows he messed up. “At times, indeed, almost ridiculous— Almost, at times, the Fool.”
Sincerely,
David
Hello everyone,
This time I would like to concentrate on finding what reason Prufrock has to be saying what he is. Is he old or not? I'm not sure it really matters whether this is founded in actually being past his best before date, or worrying that he is getting there (men do loose their hair as early as in the twenties at times). Is he feeling inadequate or as Stefanie said "Prufrock has become completely aware that his life is pointless". Personally, I still have the impression that he is feeling special being stuck in that depressive state, and is driven by the urge to enlighten others on the topic of everything's futility.
Katie further elaborated on Prufrock's frustration, and when actually taking the time to read your comment relating Prufrock to Picasso, I found it very enlightening and beautiful. I was impressed.
As I said before, Theo, I don't mind you guys biting back at my probably ridiculous shooting from the hip, perhaps it wasn't all that enlightening this time, but hopefully it might have been at least a bit amusing.
Finally, I would like to add as my contribution to interpreting the poem, Pink Floyd's song "Empty Spaces" (pardon the german, but screenshots from the movie are good, and the lyrics are there in english):
http://www.bruder-franziskus.de/pinkfloyd/wall11.htm
Regrettably, the main and most powerful second part of this song is only available in the movie. While the slightly positive and "forgiving" tone I see in the poem is not present in the song, certainly is the sexual frustration (which is distinctively maternal with Pink in the movie), sadness and indecisiveness of the future. The powerful and very emotional animations in this movie are the best illustrations I can find for Eliot's poem.
Carl-Johan Sveningsson, Chalmers, Fiction
Hello again!
So many different interpretations and responses! I have really enjoyed reading all of them.
I agree with Catharina, Brie, and Theo that Prufrock is afraid of something or someone, but I also think he is afraid of himself. I think he is afraid of being who he really is and not being accepted. I disagree with Stefanie because I don’t think Prufrock can trust himself around the opposite sex. As I stated before I don’t think he knows how to act around them, mainly because he is so insecure. Although, I do agree with Stefanie in the sense that Prufrock views his life as pointless. I found Katie’s input about the modernist movement really interesting. She commented that there was “an obsession with ‘getting it right.’” After reading her comments about that, I think she is absolutely right. In response to C-J, I thought his drug related interpretation was far fetched, but at the same time, surprisingly convincing. Although I truly don’t believe that Eliot meant for the poem to have an underlying connection to drugs, instead I think it is only coincidental.
Prufrock’s hesitancy to approach the woman of his affection and confess his love to her reminds me of a song by Hootie and the Blowfish, which seems completely random, but in my opinion it relates to the poem. Hootie and the Blowfish’s song “Only Lonely on the Inside” portrays the picture of a young man dreaming about a girl that he obviously wants to start a relationship with, but is too scared to. Prufrock’s insecurities and inner turmoil remind me of the song. In the song, the young man is hesitant and questioning of his relationship with the girl and what he wants their relationship to be, and the chorus is a reminder how he is alone and that his relationship with the girl is only part of his imagination. The website for the lyrics is http://www.lyricsfind.com/h/hootie---the-blowfish/musical-chairs/only-lonely.php.
This was my first experience in an activity like this one, so thanks for being such a good group and so easy to respond to!
Sincerely
Laura Lee Andrews
Hello Everyone!
It's great once again to read the responses. C-J, I am excited that you are a Pink Floyd fan! I didn't realize that Europeans like him ;-). Also, everyone else connections are great--the paintings, songs, short stories, etc. I find it really helps in certain situations to relate things to a different media, per se, as well.
On with the response...
Well, I have to begin by saying that I do disagree with David's interpretation on the subject of women. I am sure that there is a case in the poem to argue that Prufrock is concerned with women, I just really feel like its more of a ploy to distract the reader from the true meaning. Almost like Prufrock's everyday life is a distraction from the hopelessness/apathy/depression/or several other emotions which he feels.
I also like the idea that several people have commented on about the sense of striving toward perfection but realizing it is unattainable. I think that it is definitely relevant to the theme and tone of the poem and that it is useful in interpreting Prufrock as a character.
Basically, I stand by my previous posts--I really think that Prufrock is an older man disappointed with his life and apathetic toward any future endeavors, with just about anything or anyone. I do not think he has the capacity anymore to feel attraction and physical desire for a woman, which is part of the reason I think that I do not agree with that particular interpretation (although I am sure there is a argument for it!). Anyway, must get back to reading Joyce...
It's been great so far!
Stefanie
Hello All,
Katie, I really enjoyed your Picasso comment! To comment on David's insight into Prufrock's insecurity, I disagree that Prufrock is concerned with only a present situation and something as simple as a "kiss." While I think Prufrock is ordinary--in that he has fears and insecurity like all people--I do not think his problem is as ordinary or as simple as deciding whether he should go for a kiss on the first date. “Should I, after tea and cakes and ices, Have the strength to force the moment to its crisis?” Yes, Prufrock is definitely wondering if he should push for something more, but I read that line as for something more intimate? personal? deeper? Prufrock is so introspective and so insecure it's hard for me to imagine that he thinks only of the present, only of "tonight." He seems to be considering something more . . . maybe the long term consequences of his choice "tonight."
Good night to all,
Beth Amato
Hey Everyone again...
I just realized I talked about comparisons, but forgot to put my own!
I compare the overall sentiment of the poem to a song by Sigur Ros. In English it is called the "Nothing Song" and in the band's native Icelandic, I believe it is called "Njosnavelin." There are no actual lyrics, but you can find an interesting competition (interpreting the lyrics to the song) at http://www.sigur-ros.co.uk/interact/njosnavelin-interpretations.php. Some of them are amazing. In general I think the song represents the sense of hopelessness that I see very well.
Alright, sorry for the possible redundancy :)
Stefanie
Hi again all,
As before, reading others’ views made me realize some things that didn’t cross my mind before. For example, as C-J said, we seem not to have a conclusion of whether Prufrock is actually reflecting Eliot himself. But I can not say I’m agree with C-J’s interpretation on the age. Instead, I agree with Stefanie which pointed out that Prufrock repeats "I grow old," and not "I grow older,” that I think he is a, at least, middle-aged man.
At first I agree with C-J that mentioned even already in the fourth verse does Prufrock mentions the etherized patient which may lead to a drug addiction interpretation but by Stefanie’s explanation about ether, I also can not say that Prufrock is a drug addict. And I like how Stefanie interprets the use of ether in Prufrock’s life as being boring and pointless, no desire or ability to act on anything. Good point for a debate, Stefanie!
As I read the poem, all I can think of is this famous picture of Michaelangelo ‘Creation of Adam’. I especially want to point out the zoomed picture of the hands because I think that’s the one which touches me the most and have the connection to the poem. It looks like the hands representing fear of touching. Of facing something. The hands seem reluctant to go further. They just stay where they are, stuck like Prufrock’s life.
http://images.google.se/imgres?imgurl=http://www.artexpressed.com/images/OilMichael.jpg&imgrefurl=http://www.artexpressed.com/OilMichael.html&h=243&w=404&sz=22&tbnid=sArZrGv1Lh4vTM:&tbnh=72&tbnw=121&hl=sv&start=1&prev=/images%3Fq%3Dmichaelangelo%2Bpaintings%26svnum%3D10%26hl%3Dsv%26lr%3D
Cheers,
Catharina
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