The Love-Song of J. Alfred Prufrock
By T.S. Eliot
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. . . 10
Oh, do not ask, "What is it?"
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo.
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, 20
And seeing that it was a soft October night
Curled once about the house, and fell asleep.
And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate; 30
Time for you and time for me,
And time yet for a hundred indecisions
And for a hundred visions and revisions
Before the taking of a toast and tea.
In the room the women come and go
Talking of Michelangelo.
And indeed there will be time
To wonder, "Do I dare?" and, "Do I dare?"
Time to turn back and descend the stair,
With a bald spot in the middle of my hair— 40
[They will say: "How his hair is growing thin!"]
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin—
[They will say: "But how his arms and legs are thin!"]
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.
For I have known them all already, known them all;
Have known the evenings, mornings, afternoons, 50
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?
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? 60
And how should I presume?
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?
. . . . .
Shall I say, I have gone at dusk through narrow streets 70
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows? . . .
I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
. . . . .
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? 80
But though I have wept and fasted, wept and prayed,
Though I have seen my head (grown slightly bald) brought in upon a platter,
I am 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.
And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while, 90
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it toward some overwhelming question,
To say: "I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all"
If one, settling a pillow by her head,
Should say, "That is not what I meant at all.
That is not it, at all."
And would it have been worth it, after all,
Would it have been worth while, 100
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the floor—
And this, and so much more?—
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
"That is not it at all,
That is not what I meant, at all." 110
. . . . .
No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous—
Almost, at times, the Fool.
I grow old . . . I grow old . . . 120
I shall wear the bottoms of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.
I do not think they will sing to me.
I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.
We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown 130
Till human voices wake us, and we drown.
[1915]
The Love Song of J. Alfred Prufrock, commonly known as
Prufrock, is a poem by
T. S. Eliot, begun in February 1910 and published in Chicago in June 1915. Described as a "drama of literary anguish," it presents a
stream of consciousness in the form of a
dramatic monologue, and marked the beginning of Eliot's career as an influential poet. With its weariness, regret, embarrassment, longing, emasculation, sexual frustration, sense of decay, and awareness of mortality,
Prufrock has become one of the most recognized voices in 20th-century literature,
[1] and is the quintessential urban zeitgeist of the 20th century.
Interpretation
Because the poem is concerned primarily with the irregular musings of the narrator, it can be difficult to interpret.
Laurence Perrine wrote, "[the poem] presents the apparently random thoughts going through a person's head within a certain time interval, in which the transitional links are psychological rather than logical".
[16] This stylistic choice makes it difficult to determine exactly what is literal and what is symbolic. On the surface, "The Love Song of J. Alfred Prufrock" relays the thoughts of a sexually frustrated middle-aged man who wants to say something but is afraid to do so, and ultimately does not.
[16][17] The dispute, however, lies in to whom Prufrock is speaking, whether he is actually
going anywhere, what he wants to say, and to what the various images refer.
The intended audience is not evident. Some believe that Prufrock is talking to another person
[18] or directly to the reader,
[19] while others believe Prufrock's monologue is internal. Perrine writes "The 'you and I' of the first line are divided parts of Prufrock's own nature",
[16] while Mutlu Konuk Blasing suggests that the "you and I" refers to the relationship between the dilemmas of the character and the author.
[20] Similarly, critics dispute whether Prufrock is going somewhere during the course of the poem. In the first half of the poem, Prufrock uses various outdoor images (the sky, streets, cheap restaurants and hotels, fog), and talks about how there will be time for various things before "the taking of toast and tea", and "time to turn back and descend the stair." This has led many to believe that Prufrock is on his way to an afternoon tea, in which he is preparing to ask this "overwhelming question".
[16] Others, however, believe that Prufrock is not physically going anywhere, but rather, is playing through it in his mind.
[19][20]
Perhaps the most significant dispute lies over the "overwhelming question" that Prufrock is trying to ask. Many believe that Prufrock is trying to tell a woman of his romantic interest in her,
[16] pointing to the various images of women's arms and clothing and the final few lines in which Prufrock laments that the mermaids will not sing to him. Others, however, believe that Prufrock is trying to express some deeper philosophical insight or disillusionment with society, but fears rejection, pointing to statements that express a disillusionment with society such as "I have measured out my life with coffee spoons" (line 51). Many believe that the poem is a criticism of
Edwardian society and Prufrock's dilemma represents the inability to live a meaningful existence in the modern world.
[21] McCoy and Harlan wrote "For many readers in the 1920s, Prufrock seemed to epitomize the frustration and impotence of the modern individual. He seemed to represent thwarted desires and modern disillusionment."
[19]
As the poem uses the
stream of consciousness technique, it is often difficult to determine what is meant to be interpreted literally or symbolically. In general, Eliot uses imagery which is indicative of Prufrock's character,
[16] representing aging and decay. For example, "When the evening is spread out against the sky / Like a patient etherized upon a table" (lines 2-3), the "sawdust restaurants" and "cheap hotels," the yellow fog, and the afternoon "Asleep...tired... or it malingers" (line 77), are reminiscent of languor and decay, while Prufrock's various concerns about his hair and teeth, as well as the mermaids "Combing the white hair of the waves blown back / When the wind blows the water white and black," show his concern over aging.
Epigraph
In context, the
epigraph refers to a meeting between
Dante and
Guido da Montefeltro, who was condemned to the
eighth circle of Hell for providing counsel to
Pope Boniface VIII, who wished to use Guido's advice for a nefarious undertaking. This encounter follows Dante's meeting with
Ulysses, who himself is also condemned to the circle of the Fraudulent. According to Ron Banerjee, the epigraph serves to cast ironic light on Prufrock's intent. Like Guido, Prufrock had intended his story never be told, and so by quoting Guido, Eliot reveals his view of Prufrock's love song.
[12]
Frederick Locke contends that Prufrock himself is suffering from multiple personalities of sorts, and that he embodies both Guido and Dante in the
Inferno analogy. One is the storyteller; the other the listener who later reveals the story to the world. He posits, alternatively, that the role of Guido in the analogy is indeed filled by Prufrock, but that the role of Dante is filled by
you, the reader, as in "Let us go then, you and I," (1). In that, the reader is granted the power to do as he pleases with Prufrock's love song.
[13]
Although he finally chose not to use it, the draft version of the epigraph for the poem came from Dante's
Purgatorio (XXVI, 147-148):
[14]
- 'sovegna vos a temps de ma dolor'.
- Poi s'ascose nel foco che gli affina.
Eliot provided this translation in his essay "Dante" (1929):
- 'be mindful in due time of my pain'.
- Then dived he back into that fire which refines them.
He would eventually use the quotation in the closing lines of his 1925 poem
The Waste Land. The quotation that Eliot did choose comes from Dante also.
Inferno (XXVII, 61-66) reads:
- S`io credesse che mia risposta fosse
- A persona che mai tornasse al mondo,
- Questa fiamma staria senza piu scosse.
- Ma perciocchè giammai di questo fondo
- Non tornò vivo alcun, s'i'odo il vero,
- Senza tema d'infamia ti rispondo.
One translation, from the
Princeton Dante Project, is:
- "If I thought my answer were given
- to anyone who would ever return to the world,
- this flame would stand still without moving any further.
- But since never from this abyss
- has anyone ever returned alive, if what I hear is true,
- without fear of infamy I answer you."[15]
