The Fog On Prufrocks Love Song English Literature Essay Free Essay
Thesis: T.S Elliot subtly unveils the mournful province of self-pity, self-degradation and submissive surrender on which Prufrock has lost himself, as a effect of his inability to move and do determinations, limited as he has ever been by all kind of personal insecurities which are experienced by most people, at some point in their lives ; Eliot besides makes usage of Prufrock to do rough critics to the stiff scheme of outlooks, lead oning ethical behaviours, and smothering humdrum imposed by modern society ‘s life style.
Opening paragraph: Prufrocks experiential quandary.
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Introduction to chief thoughts discussed in the paper.
Body of paper:
Brief analysis on the possible rubric intension.
Brief analysis of the epigraph and its significance.
Analysis of the first and 2nd stanzas.
Analysis of the 3rd stanza.
Summary of the analysis of stanzas 4 – 7
Analysis of the eight stanza.
Drumhead analysis of the staying stanzas
June 12, 2012
A Hundred Visions and Revisions:
The Fog on Prufrock ‘s Love Song
The Love Song of J. Alfred Prufrock is possibly the most challenging, ambitious and good known verse forms written by T.S Elliot, which has captivated readers of all decennaries since its publication in 1915. The verse form revolves around the experiential struggle of a in-between age, in-between category adult male who gently extends an invitation to attach to him in a visit to the metropolis that serves as a testimony for his life. But this is non the ordinary circuit through a foreign metropolis with dozenss of unknown topographic points of involvement awaiting to be admired, on the contrary despite being our first clip walking its streets, the descriptions given by our non so enthusiastic host makes it look like a wear out, lugubrious, uninteresting topographic point and as we get deeper and deeper into the complex web of graphic imagination, colloquialisms and witty rimes characteristic of the modernist poesy motion, small by small, T.S Elliot subtly unveils the mournful province of self-pity, self-degradation and submissive surrender on which Prufrock has lost himself, as a effect of his inability to move and do determinations, limited as he has ever been by all kind of personal insecurities which are experienced by most people, at some point in their lives ; Eliot besides makes usage of Prufrock to do rough critics to the stiff scheme of outlooks, lead oning ethical behaviours, and smothering humdrum imposed by modern society ‘s life style.
The first thing that gives us a intimation of the melancholy nature nowadays in the verse form is possibly the rubric itself: “ The Love Song of J. Alfred Prufrock ” that suggests a sad, regretful and
frustrated intension hidden within ; if we think about it the huge bulk of love vocals encompass or go around around this emotions, they are like some kind of romantic plaint anthem for what could hold been, hence it is someway letting us know in progress, the possible discontent the supporter may hold in such an of import facet of its life.
Then we come across the epigraph, which is written in old Italian and is a fragment extracted from from Dante Alighieri ‘s “ Divine Comedy ” , first canticle “ Inferno ” ; it quotes the words of Guido district attorney Montefeltro, a anguished psyche confined to the 8th circle of Hell, whose penalty was to be everlastingly engulf in fires. In kernel Montefeltro tells Dante that the lone ground for him to talk about his life is that he was certain that Dante was non traveling to go forth snake pit, because no 1 had done it before. Guido was ashame of himself and of what he was approximately to state, for he did n’t desire anyone to cognize his narrative. Since Dante ‘s fragment of Inferno serves as a preamble for the verse form we can safely presume that merely as Guido, Prufrock is embarrassed of what he is about to state.
‘Let us travel so, you and I, ‘ ( line 1 ) , the verse form begins with Prufrock ‘s bow mentioned invitation to the metropolis he inhabits, which he elucidate as a topographic point with a purdah, unfertile, unsympathetic, humdrum atmosphere, ‘Let us travel, though certain half-deserted streets, ‘ ( line 4 ) , proposing that all these drab descriptions prompt to inquire him an overpowering inquiry to which he denies an reply for he is convinced that by the terminal of the visit the reply will uncover all by itself. Then Prufrock seems to acquire wholly inmerse in his ain ideas, while he observes what seems to be a societal assemblage that was taking topographic point in a room of a random house ‘In the room the adult females come and travel, Talking of Michelangelo. ‘ ( lines 13, 14 ) , he focuses on the adult females, what they were making and talking approximately, like experiencing the impulse of nearing them, talk them, but at the same clip experiencing deprived from any bravery to make it, as they were speaking about Michelangelo, the Renaissance creative person who sculpted the celebrated David considered a symbolic representation of the male anatomy flawlessness, this topic and the inability of Prufrock to socialise with the femmes can be interpreted as a contemplation of the great
insecurity Prufrock has with himself, particularly with his physical visual aspect. We are now able to see in farther item the penetrations of Prufrock ‘s character, and the purposes of the writer of utilizing him as a catalyzer to stand for the characteristic insecurities of the paranoiac, stray modern adult male.
The 3rd stanza is one of the most complex and hard to construe along the full verse form, but it is besides possibly the most important piece in picturing Prufrocks troublesome personality, we can truly appreciate the play that unleashes within Prufrock every clip he faces his ain defeat out of his deficiency of assurance in societal state of affairss, when it is most likely that he confines himself to the corners of the room like a diffident kid. The writer plays with images and creates complex metaphors to exemplify this ‘The xanthous fog that rubs its dorsum upon the window-panes ‘ ( line 15 ) . Fog is non an uncommon conditions status, like mist is merely condensed H2O vapour, something otiose, aeriform, intangible, the xanthous colour is added by the public lighting system, so characteristic of a modern city, and the haze behave like a alone street cat, ‘The xanthous fume that rubs its muzzle on the window-panes, Slipped by the patio, made a sudden spring ‘ ( lines 16, 20 ) , which after non being able to acquire inside the house through the window, rubs itself against it over and over like fondling the semblance of acquiring inside for 2nd, ‘And seeing it was a soft October dark, Curled one time about the house, and fell asleep ‘ ( lines 21, 22 ) accepting its ain world of dejected aloneness it curled and fell asleep nearby.
‘There will be clip, there will be clip ‘ , ( line 23 ) repetitions Prufrock over and over saying that there is no demand for being in a haste, for there is plentifulness of clip to make all these things that recycle over and over in his boring good known mundane life modus operandi, ‘To fix a face to run into the faces that you meet ; And clip yet for a 100 indecisivenesss, And for a 100 visions and alterations, Before the pickings of a toast and tea. ‘ ( lines 27, 32, 33, 34 ) , he group them up like a remembrance of pointless activities and hopeless dreams that can be easy covered before the morning when the dark is gone and the rhythm starts once more with usual breakfast. Again the longing for what he misses the most, the assurance that would do the difference, that would give him the bravery of
nearing those adult females that do n’t discontinue to speak about the Godhead of the male anatomy epitome sculpture, the emasculation of Prufrocks incited by the frustrating minutes he has to populate seems like an mundane inevitable anguish. ‘And so there will be clip To inquire, “ Do I make bold? ” and, “ Do I make bold? ” ( lines 37, 38 ) The inquiry arises from the unconformity that Prufrock feels with his present world and the insecurity on himself particularly his physical visual aspect, ‘ ( They will state: “ How his hair is groing thin! ” ) ( Line 41 ) . He is afraid of what others are traveling to believe of him if he brakes the regulations, and efforts to make something non rather appropriate for his age, harmonizing to what his interior frights make him believe, or harmonizing to modern society ‘s guideline. It is clear how down and unsated this hapless adult male is, noting yet one time more, the colorless, boring world he is populating, where he has known everybody hence everybody has known him, where he has seen so many times the same topographic points, do the same things over and over, how can he so assume of non cognizing what the hereafter holds for him, by make bolding to woolgather a fluctuation on the immutableness of what his life has been.
In the eight stanza, T. S. Eliot critics the marionette like function that educated lip service demands within modern society by holding Prufrock depicting a scene of societal interaction, when he is approached by all these people he already knows, whose eyes tell what they want to hear, catching him up within a kink of lip service, that makes him experience truly uncomfortable, and so trapped in this web of fallacious visual aspects how can he talk his bosom, state what he genuinely thinks or feels?
Throughout the staying stanzas of the verse form, Prufrock reveals the true hurting that burns his being, the impossibleness to turn to a adult female, to take that hazard, because he demeaned himself to the lowest of degrees by believing how can he perchance pull any lady with subjects of conversation that are every bit feeble as he thinks his life is. He even wishes to be a alone and gawky crab in the underside of uninhabited seas, off of any sort of human contact. Obsess with the minute when he let travel the adult females he loved, he remounts to it inquiring for reasurance on what he should make, but shortly plenty begins to oppugn if all these problems are worthy of the attempt, and so on the concluding stanza that reads ‘We have lingered in the Chamberss of the sea, By sea-girls wreathed with seaweed
ruddy and brown, Till human voices wake us, and we drown ‘ ( lines 129, 130, 131 ) Prufrock accepts his inaptitude to cover with world, and buries himself into a universe of semblances and lost dreams where yearnings last everlastingly.
It is possible that we find ourselves experiencing a different sort of emotion, every clip we decide to attach to the chief character of “ The Love Song of J. Alfred Prufrock ” throughout its tormenting experiential dislocation. We can come and travel from one extreme to the other on the emotional spectrum, sometimes understanding Prufrock ‘s quandary and back uping him and others merely believing how hapless he can acquire to be. Maybe none of these emotions can be seen as right or incorrect, possibly the author ‘s purposes were merely to seek a reaction that could move as a wakeup call. It is someway obvious that one of the most profound concerns exposed by the writer, is the palsy phenomenon nowadays on Prufrock, who is cognizant of everything that makes him suffering and yet is non able to travel a finger towards altering its world. Eliot besides condemned the function that society plays in this kind of disfigurement of the human character by enforcing its ain fixated ways and stiff scheme. It is non excessively hazardous to confirm that we all have been and could be in Prufrock ‘s places in any given minute, insecurities and feelings of self-incapacity has ever been an intrinsic portion of our character, but to confront them and be witting of them is whole different narrative, Eliot offers us the opportunity of embarking to research the Prufrock in us.