|
|
|
LET us go then,
you and I,
|
|
|
When the evening is spread out against the sky
|
|
|
Like a patient etherised 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 …
|
|
|
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,
|
|
|
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;
|
|
|
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—
|
|
|
[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,
|
|
|
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?
|
|
|
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!]
|
|
|
It is 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
|
|
|
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?
|
|
|
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,
|
|
|
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,
|
|
|
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.”
. . . . .
|
|
|
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 …
|
|
|
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 that 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
|
|
|
Till human voices wake us, and we drown.
|
|
|
|
|
I have selected the following lines as the most significant of the poem:
ReplyDeleteWe have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.
It is obvious that the speaker in this monologue has severe internal conflicts. The speaker (J. Alfred Prufrock, perhaps?) consistently alludes to the unnamed things which he dare not “presume” to realize. To be brief, before I focus on these few lines, I’d like to note that the speaker suffers from an inability to act and realize desires both within the poem-reader reality and in the reality contained within the poem itself. That is, he does not orate his desired material to the reader or to the characters, such as the women, within the poem. He tells us, the readers, that he has the desire to “presume,” or act, but never actually acts by telling us what he wants to do. Therefore, this insecurity and fear runs on both the levels of the isolated text and that between the reader and the text.
The speaker’s motives for his insecurity, doubt, and fear are summarized by these last three lines. The “chambers of the sea” can be compared to fantasy or the entirely isolated, internal, and individual mental world. This is where the speaker likes to reside; he can be entirely honest and objective in this reality. And yet society limits, or in his case prevents, any realization of this nonphysical world: “Human voices wake us and we drown.” With the rest of the poem in mind, I can see this is the opposite of the mental world; it’s physical reality (to many, just “reality,” which the speaker probably would lament), mundane, and quite humane. It is a reality in which the speaker must “prepare a face to meet the faces that you meet,” or change himself for interpersonal, rather than intrapersonal, interactions. The speaker’s distress over disclosure of his mental world, meaning his fear of acting, is caused by humans and their inherent subjective judgement. After all, what if someone hears something that “is not what I meant, at all?”
--Seth--
I like your connection to the realization of the "poem-reader reality" by Elliot. Like we saw in Hamlet, he is able to give a subtle nod to the fourth wall which is able to put the very idea of the art on display.
DeleteThis is a really fascinating perspective that I would never have thought of. I had to read this two or three times to fully grasp your point, but I think it's interesting that you see the speaker's internal world as his version of a more worthwhile reality. My initial interpretation of the poem is similar to what some others posted on here already. I saw the poem as the speaker's regret towards his struggles with the physical world, stemming from a lack of self-confidence, and a fear of the unknown. However, I think your perspective about society forcing this world upon him, despite his preference for his own mental world, is unique. I like how the poem's interpretation can vary so much among people, and contain a different meaning. Whereas I saw the "drowning" at the end as his inability to cope with reality, you saw it as society drowning out his preferred reality. From this point of view, the poem can be read in an entirely different light. Thanks for bringing up this perspective that I wouldn't have noticed otherwise.
DeleteThe lines I felt were most important are as follows:
ReplyDeleteDo I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.
The poem deals extensively with existential ideas. This portion particularly deals with the idea of existential anguish. He realizes that his choices will impact the universe. But he also, as Seth mentioned, suffers from an anti-existentialist fault: not acting. He puts off the inevitable action which will change the world, possibly, as he seems to think, for the worse (notice he uses the word disturb).
But in the same lines he also nods to his insignificance. He realizes that choices he makes effect all of humanity, but also realizes how fragile the world is, and that his decisions will soon become meaningless in the mass of other decisions made everyday. This lack of decision speaks to deeper internal struggles.
I definitely see how these lines are so significant. I hadn't explicitly connected my interpretation of the poem to existential ideas before, but now that I have read what you have written, the speaker's existential struggle seems entirely clear. His anguish is overwhelming--he can't even tell us (the readers) what he thinks. This, I think, makes Prufrock and the poem itself existential failures, but the "failure" of the poem is clearly intentional. It's a great paradox: the poem fails utterly but also succeeds magnificently in its failure...
DeleteSeth
I agree that Prufrock feels insignificant and I like that you connected that to the fact that his decisions will have an impact on all of humanity. I think one reason he feels insignificant is because he is afraid to answer the "overwhelming question", possibly because he does not know the answer--or even know the question. Furthermore, if he feels that he is unable to answer this question, he will fail to be something (similar to what Seth said).
DeleteI really like the way you analyzed these lines. I was actually about to choose this same passage for my post, but I'm glad I didn't because I like your interpretation better. The way you discuss Prufrock's feelings of insignificance relates in many ways to how people often view themselves in society. They fear taking action, and then justify their inaction by their own insignificance.
DeleteLike you, Seth, and Bianca already stated, the anti-existentialist theme is prevalent throughout the poem. In existentialism, one only has control over their own actions while the rest of the universe is out of their control. However, in Prufrock's situation (and Hamlet's), he has given up control of his actions to society. When societal constructs are allowed to take over one's thoughts and actions, a true existential crisis arises, as also portrayed in Hamlet's "To be, or not to be" soliloquy.
Looking at the poem through an existentialist perspective certainly yields interesting interpretations, as you have brought to light. The existential aguish that you describe and Seth pointed out is clearly evident, the idea being that at once, the narrator understands that he is not only choosing for himself if he takes action, but he is also choosing for all of mankind, because other people have no control over his actions. Another existential aspect, which I think is even more prevalent in the poem, is the idea of existential despair where a person only has control over his or her actions and not those of others. The narrator feels trapped by the fact that he will one day die, the perpetual cycle of passing time, and the habitual standards of the modern era. He has no control over these factors, and thus, he struggles to cope with them throughout the poem.
DeleteI really like this analysis of the poem. I agree that Prufrock shows a lack of decision and this really does bring out his inner struggle, which is seen throughout the poem. I think this also could compare with Hamlet's "To be or not to be," soliloquy, where he can not decide to take action on his father's death or not. The ambiguity of Hamlet seems very similar to that of Prufrock in this poem. He definitely shows that he feels insignificant, while at the same time, he thinks he can have a strong impact on the world.
DeleteThis seems to really be a question of significance in action. Prufrock seems to think that anything he does will neither help nor hinder anything, that it will be erased almost immediately from existence. The lines dwell on the idea of pointlessness of effort when the results hold no weight in the real world.
DeleteI find it interesting how Prufrock presents these existential and anti-existential ideas of taking and not taking action respectively, as you described it in your analysis of course. I also find it interesting that this same idea is scattered throughout Eliot’s poem in various stanzas. The excerpt that I chose dealt with a similar idea, regarding Prufrock contemplating taking action. However my excerpt is located several lines after your excerpt. And there are several before, after, and in between ours’ that present this similar idea. Prufrock seems to present this idea at a certain part of the poem, and then digresses, and then presents it again, and so on so forth. I imagine that this exhibition of the existential idea mentioned above adds to the description of Prufrock’s character as insignificant and in self-doubt.
DeleteAnd indeed there will be time
ReplyDeleteTo wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
J. Alfred Prufrock is a troubled man. He has trouble grasping the world around him, but his bigger problem lies within himself. In the previous stanza, he points out how there is more than enough time in the world. However, in the few lines at issue here, he appears to contradict himself.
Prufrock lacks confidence throughout this monologue. I think the real problem is that Prufrock doesn’t know who he is: he lacks an existential essence. It appears that this monologue is a way for him to find himself. Prufrock is quite similar to Hamlet. The main similarity is that Prufrock is an extremist. The monologue begins on a walk and yet, somehow, we end up dead, in an ocean (a little extreme). Also, Prufrock spends a good portion of his monologue talking about how much time he has to do all sorts of things and then, suddenly, in line 120 he states that “I grow old … I grow old….” I think that, like all humans, Prufrock fears dying because he is afraid that he might not have done enough while on Earth to have an essence and, thus, have a positive afterlife. After all, he never answers the “overwhelming question.”
I agree with what you said, especially the existential notion; however, I also think that his indecisiveness is derived from the idea of self-consciousness and perception. Like in Hamlet, the speakers are commonly influenced by the question of "Who's there." I believe that Prufrock contradicts himself throughout the poem because he is afraid that he will be judged by those around him.
DeleteI agree with the fact that he lacks confidence. It seems as though he didn't really put himself out there as much as he wish he could. I think the point you made to starting out on a walk and ending with dying in an ocean, although may be extreme, shows his life and presence as being silent, hidden and almost depressed. He talks about not doing things because of the criticism he might get from other people and I think he regrets that for the most part.
DeleteI also agree with the contradiction because he does mention, how he has all this time to do things and he talks about things he has thought about doing but all that time was "eaten-up," because he was too focused on not being criticized. And then at the end he finds himself, having not done any of the things.
I agree with you, Bianca. This poem clearly has many existentialist influences, and these lines especially highlight that. Prufrock is unable to define a sense of self, and because of this, is an existential failure. I believe that the extreme change you mentioned, from taking a walk, to dead in an ocean, describes how overwhelming the realization that you are an existential failure can be.
DeleteI completely agree with your interpretation of this passage. It definitely shows the similarities between Hamlet and Prufrock in that they both lack confidence and question their existential being. Prufrock and Hamlet both used literature to find themselves- Prufrock uses this monologue, and Hamlet uses the play. I think that Prufrock also knows that taking risks are important because if you don't, you'll always be wondering how things could have been, and that is what scares him.
Delete"Like a patient etherised upon a table;
ReplyDeleteLet 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."
Immediately, Elliot barrages us with immages evoking loneliness and depression. Phrases like, 'patient etherized', 'half deserted', 'restless', 'cheap', 'tedious', and 'insideous' are all jammed into lines 3-9. I feet that this is the most vital passage because it frames Prufrock's state of mind. He is scared, depressed, shy, and feels trapped in that situation. a passage evoking the hopelessness he feels for the city might also reveal something about Prufrock. He may think he is trapped in the same fate. "A body etherised upon a table," might be a direct refence to death or dying. This could show that he feels the situation is equatable to death. Either way he seems very troubled. The visual faults he finds with the city may be representing his own internal faults or feelings.
My guess is that Elliot was middle aged when he wrote this. If he is projecting through Prufrock, the story has an air of mid life crisis loneliness to it.
I definitely agree with this analysis of the lines and their depiction of Prufrock living in a hopeless and depressing state of mind. I disagree with you, however, on the age of Elliot. In many of the lines he refers to the many experiences he's had and people he's seen. To me, it seemed like the crisis he is going through is more related to the end of his life than the middle.
DeleteAlso, I think that this poem can be connected to "No Exit" because of the notion of Hell. By Eliot's description of Prufrock's surroundings (the one you chose above), I saw a similar parallel to the setting of "No Exit" and the idea that Prufrock was trapped. Furthermore, I believe that part of Prufrock's 'depression' is caused by his existential identity conflict.
DeleteI agree that Eliot was middle-aged when he wrote this because he is somewhat nostalgic in the way that he describes life around him. Also, he seems to have a lot of experiences to write about so he definitely was not young when he wrote this. The last reason is that he seems to fear what is ahead. I think Eliot uses Prufrock as an "alias" to channel his feelings about life and what will come next.
DeleteI like how you analyzed the lines in the passage that you selected and then connected it back to the first line of the chosen passage because I think it supported your claim even more. I agree with you that Eliot was middle aged when this was written because halfway through the poem, a shift in his feeling of identity and sense of self seems to change.
DeleteI also agree that what he visualizes in the city represents his own feelings. For example, using the yellow fog to represent or symbolize internal conflict as in a mid life crisis.
I agree that Prufrock's state of mind is negative in this passage. All of the lines in this passage seem to depict a depressing emotion. I also think having this passage in the beginning of the poem is significant, as it gives a good introduction to Prufrock and his point of view on life, overall.
DeleteI agree with Connor and what he said about the tone of the passage and Prufrock's state of mind. I noticed a relationship between this passage and Hamlets 'To be or not to be' soliloquy. Just like Hamlet, Prufrock seems to be depressed about many things and his point of view about life is very dark. Did anyone else make this connection?
DeleteInterestingly enough Eliot was a very young man when he wrote the poem; he was in his early 20's.
DeleteThis comment has been removed by the author.
ReplyDeleteThere will be a time, there will be a time
ReplyDeleteTo prepare a face to meet the faces that you meet;
There will be a time to murder and create,
And time for all the works and days of hands
That life and drop a question on your plate
I chose these lines because I believe that they are very relatable. In these lines, Eliot explains that the main character is too worried about to socially interact with other people in fear of what they might think of him. He does not have the ability to ask questions that he wants and cannot muster up the courage to talk to the women who are looking at the painting. He is worried that about how others will judge and perceive him, similar to in Hamlet. Throughout both of these works, self-consciousness and perception are two prevalent notions; the speaker alters what they say depending on who is around. This idea can also be connected to life--many people will refrain from sharing their true thoughts/feelings because they are scared as to how others may view them. Furthermore, the main character continues to talk about this 'important' thing that he has to say (but always forgets), as well as making vital choices but is too indecisive, probably because he is worried about what others will think of him.
I agree with what you've said. Both Hamlet and the speaker of the poem express sentiments which are very easy to relate too. In both cases, the character's worry of societal interpretation is exaggerated to a level that isn't seen much in the 'real world.' Also, it seems the speaker has some issue with time, just like Shakespeare's timeline (or lack there of) in Hamlet. The idea that there will always be time allows the speaker to postpone whatever it is he wants to do, and simply avoid all action. This interpretation of time might be a result of the lack of courage that you talked about.
DeleteSeth
I also agree with your interpretation, and the relatability of the poem. I discussed some similar ideas in my post as well, but I think you do a more thorough analysis here of Prufrock's self-consciousness and how it relates to Hamlet's. Hamlet, like most people, simply alters his words or puts up a mask when speaking to different people. However, Prufrock seems to avoid even that, and chooses to try to protect himself by isolating himself from uncomfortable situations altogether. I also agree with what Seth said regarding Prufrock's perception of time, and that it is a result of his lack of confidence or courage.
DeleteI like your connection to Hamlet in the sense that Prufrock is concerned with how others view him. I couldn't help but notice that the notion of people altering what they say around certain people is portrayed in a book I read called The Circle, by Dave Eggers. In this novel, the characters were constantly being watched, and everything they said/did was recorded. This allowed everyone to be conscious of their actions, forcing them to only say or do things that would be accepted to the rest of the world to avoid being negatively judged.
DeleteBut as if a magic lantern threw the nerves in patterns on a screen:
ReplyDeleteWould 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.”
I thought that these lines were significant to the meaning of the poem because they highlight the confusion that Prufrock was feeling. It shows that he feels misunderstood and that nobody will get the real message that he is trying to convey to them. This also relates to how language and perception can change the meaning of everything. Based on what the receiver thinks Prufrock is trying to say, the message changes drastically and I think that Prufrock was struggling with that being that he had a certain message that he wanted to convey.
I think, like Sanjukta wrote, that he's struggling with conveying this message to himself in the past. He wishes he could go back and tell his younger self what he now knows he meant, but he knows he can't, and that's what he's struggling with. There's no possible solution to this problem, so he's just venting to himself about how he wishes he could've understood himself and the world so much better when he was younger to avoid the confusion and sadness he's experiencing while he's older.
DeleteThis poem deals with issues that I believe all of us have faced at some point in our lives. I personally connected with Prufrock's sentiments because I have definitely encountered situations where I want to do or say something, but have been held back by the fear of how others will react.
ReplyDeleteAs has been previously mentioned in other posts, this is an almost anti-existentialist idea in the poem, in that Prufrock doesn't even have total control of his own actions. The only obstacle holding him back is not the universe, but himself.
However, what makes Prufrock's perspective really unique is his gradual progression in point of view from a young adult to an old man. I found the following pair of passages interesting to juxtapose because they share a continued fear that has followed Prufrock throughout his life.
Passage 1: "And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair"
Passage 2: "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.”"
The first passage is near the first half of the poem, where Prufrock is still young, with years stretching out of ahead of him to accomplish the things he wants. He doesn't feel pressure to act because there's always a tomorrow. This allows him to put off saying and doing the things he wants to do, with the justification that there is time ahead.
The second passage is a more contemplative view from the years nearing his death. This section shows his thoughts looking back at the life he lived, and the things he failed to say out of fear. It seems as if Prufrock tries to justify his silence in life to the fear of being misunderstood. Basically, his idea boils down to: "If it's not going to be perfect, why bother trying?" It is only towards the very end of the poem, that he finally begins to regret the years he wasted, and realizes that he has drowned himself in his own silence.
I like this. It's as if the character grows during the poem, and slowly starts to realize how immature he was. By musing to himself about how he will go about life, he's passed by what he needed to do and now it's too late. If only Eliot himself were old when this was written, it could echo with reality so perfectly, but it shows how amazing his writing is in that he is able to craft the entire life of this character over the course of a handful of paragraphs. They contradict each other the same way our real thoughts slowly begin to contradict each other as we grow older.
DeleteI agree with you that what makes this poem so special is how it transverses time to make its point. The fact that the poem goes from when the narrator is a “young adult” to when he is “an old man” emphasizes, in itself, the concept of how fast time passes us by. Although I am reluctant to make a definitive statement about the narrator’s age, because he never outright says how old he is, the facts certainly point in this direction. This makes the poem especially uncomfortable, because as you said we can all relate to it, but even more so, because there is no resolution to the issues the narrator brings up. The narrator continues to ask important rhetorical questions throughout the poem that we have all asked ourselves, but fails to ever answer them. This leaves us with a simple, but disturbing idea. There may not be an answer to these questions at all. Maybe it comes down to personal interpretation. What gives you meaning in life? Is it worth acting on your biggest dreams even though you may never reach them? Regardless of what the “correct” resolution might be, it is certainly something to think about…
DeleteI love the way you presented Prufrock using two passages because this idea was somewhere in the back of my mind though I couldn't have expressed them this nicely. By thinking that he has time left to do things, he is unconciously hesitating and showing his unwillingness to act. He is "justifying" by playing the young as you put it. But before he knew it, time passed so much that he doesn't have the ability to act anymore and can only regret what he gave up.
DeleteI was in the same position as Momna in thinking something along these same lines that you thought. I think that comparing these two specific passages was great because it can clearly show, when analyzed closely, that this poem represents somewhat of a timeline of Prufrocks life. In passage 1, the word time is mentioned 3 times. This goes to show that Prufrock truly believes that he has more time in life, time to dare tot do things, time to change anything, This implies an early age. On the contrary, the second passage beings with "would it" ; this implies that Prufrock is looking back on something. This looking back is further proved when Prufrock says "that is not what I meant" because it is past tense.
DeleteNo! I am not Prince Hamlet, nor was meant to be;
ReplyDeleteAm 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 think these lines are the most significant in the poem because of how they show the character for who he really is, as well as nod to the fourth wall. J. Alfred Prufrock doesn't know how to classify himself. He knows he is not up to par with Hamlet in any way, but he's confused over what he actually is. Is he the attendant lord, or is he the fool? He knows what he thinks of himself, but he isn't sure how the rest of the world sees him.
The same can be said of Eliot describing this poem, or his work as a whole. He knows it is no Hamlet, it's no masterpiece. But he uses sort of a wink to the reader to express that he doesn't know where it falls. He uses these lines to ask whether the poem is a companion to Hamlet, one that will be held in (almost) as high esteem, or whether it is just another poem that will be forgotten. He's obviously borrowing the theme of being so self-conscious from Hamlet itself in a nod to it.
I do not think that 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
Till human voices wake us, and we drown.
But it is this last passage that really hits home the reference to Hamlet and how Eliot thinks he will be remembered (another reference, memory). He states that he doesn't believe they will sing to him. His dream is the paradisiacal scene on the beach, which I think represents how he hopes his work will be remembered as a masterpiece, but the "til human voices wake us, and we drown" shows that he knows this is not the case. It's almost as if he's suggesting that his time to be this master has passed, and while he gets swept up in that idea, reality hits him and brings him back down to earth. I know he was young when this was written, it just seemed like a mix of his own musing through the character and independent thoughts of the character, almost separated from Eliot's own thoughts.
I really like the idea that the reference to Hamlet is a reference to the play itself, not just the character. It adds another layer to the poem that I didn't think of when I read it. Eliot writes this poem that discusses the idea of one's thoughts being misunderstood and whether or not they should be shared in the first place -- it's an idea that can be applied to any piece of writing or speech in existence, and that includes this very poem. Of course, Eliot is writing from the point of view of a character, but one could easily take a psychoanalytic look at this and interpret it as Eliot doubting the worth of the poem he's writing and expressing it within the poem itself.
DeleteI also thought that the reference to the character Hamlet by Prufrock in this poem is interesting. Prufrock clearly immediately shrugs off the fact that “he is no Hamlet” or perhaps believing that he is no main character or anyone important for that matter. However, he considers himself as “an attendant lord,” “ridiculous,” and as a “fool”, attributes that fit the character Polonius. However, I find it ironic that while Prufrock considers himself to be like Polonius, Prufrock seems to bear a greater resemblance to Hamlet, as he and Hamlet are both emotionally troubled characters.
DeleteI also noticed the reference to Hamlet and interpreted it in an existential light; though I picked up on this more so as a reinforcement of the theme of fear that is so prevalent throughout the poem. I saw the line in which Prufrock concedes that he is not Hamlet as saying that Prufrock does not have the boldness and complete disregard of all societal standards in pursuit of destiny as does Hamlet, and his lacking of that trait (not necessarily a bad thing, given the extremes to which Hamlet went) is the source of his inability to overcome his own fear. Still, I felt that your interpretation of the Hamlet reference was completely legitimate and it added to my interpretation of the poem.
DeleteShould I, after tea and cakes and ices,
ReplyDeleteHave the strength to force the moment to its crisis?
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.
I noticed throughout the poem how the word "time" and the concept were mentioned again and again. A before and after situation exists but these lines referring to some time in the middle reveal about both situations. It shows the regret Prufrock is feeling and how the indecision and failure to act in his life will harm after his death. This is similar to "No Exit" in many ways especially the character of Garcin and how he was in hell because he failed to act. The fact the Prufrock is afraid and the Footman is snickering also shows where he will end up (chasing after a yellow banner) because it was the snicker that even made him conscious of the fact that something went very wrong in his life.
I agree that the notion of time is an important piece in the poem and in addition to "No Exit" I think that in some way it could be connected to Hamlet in that the notion of time throughout the play was quite vague. This could show an interesting contradiction between the way that Prufrock felt and the way that Shakespeare wanted his audience to view the notion of time. The failure of action that you also brought up is something that Hamlet feared as well. He feared that if he didn't find out what happened with his fathers death that his father would be shamed in some way.
DeleteIt's interesting that you talk about before and after in regards to how Prufrock sees his death. This passage is written mostly in the present perfect, indicating that, although he is still alive, he has already experienced his own death somehow -- maybe in a dream? I like the connection you made to "No Exit," because although real time was not moving forward normally (it seemed like it was speeding forward until there was something that a character had to see), the time in Hell seemed to be normal for the characters.
DeletePassage:
ReplyDelete83 I am no prophet—and here’s no great matter;
84 I have seen the moment of my greatness flicker,
85 And I have seen the eternal Footman hold my coat, and snicker,
86 And in short, I was afraid.
Analysis:
The poem follows the emotional trials of a narrator who suffers from a paralysis to take action. The narrator details the passing of time, his habitual tendencies, and his constant procrastination in the first half of the poem. “There will be time,” he says repeatedly. His inability to act upon what he believes would give his life meaning and value haunts him profoundly throughout the poem. This recurrent failure to act, the continued passing of time, and emotional build up eventually culminate in the realization detailed in lines 83 through 86, making them some of the most significant lines in the poem.
This can be interpreted through both a literal and psychoanalytic lens. In the above passage the narrator discusses a close encounter with death. In the first line, the narrator notes that his death would be unimportant in the realm of all things, saying, “I am no prophet—and here’s no great matter.” He continues to describe his encounter with death as “I have seen the eternal Footman hold my coat, and snicker.” He summarizes the entire experience with the simple but reflective words “I was afraid.” The fact that the narrator contradicts himself by saying that his death would be “no great matter” and “the moment of my greatness flicker” emphasizes how greatly the narrator values his own life, but that his actions, and thus the way the world sees him, does not reflect his viewpoint.
In a psychoanalytic view, these lines might represent a dream or a vision of the narrator’s future. The fact that he describes his encounter with death in third person saying, “I have seen (myself or my belongings)” a multitude of times may allude to the fact that he is dreaming or envisioning. These lines also ride the heels of a dramatic description of evening and sleep, which further bolsters this interpretive lens. In this view, the core of the narrator’s tribulations can be traced to the knowledge that he will one day die and he will have nothing of what he considers value to show for it. This is his most compelling fear and the reason behind the narrator’s grievances throughout the entire poem.
For I have known them all already, known them all:—
ReplyDeleteHave known the evenings, mornings, afternoons,
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?
I chose these lines as being most significant because I think they show the overall arching question that Eliot is showing the main character is dealing with. That overall problem would be his uncertainty and inability to act, even if he knows the impact it can have. It's as if he has been watching in the distance for a while know, and understands the contributions and things he can do but just can’t get himself to act on those things because of his insecurities about what other people may think. He says in lines above the question, that he has pretty much seen it all, more than once, “have already known them all already.” But his conflict is how to “presume,” with the knowledge he has and the acts he wants to make.
I can connect this to Hamlet's feelings about everything that happened with his Father’s death, Mother's remarrying and his killing of Polonius. After all of this had happened and he had pieced it all together, I think that this was one of the main questions that he was struggling with. He knew that he wasn't going to let his Uncle get away with everything even if he was able to fool his Mother, the problem was that he didn't know at first how to handle it. He contemplated death a couple times and the Ghost gave him the idea of revenge.
I definitely agree with everything that you said. Something that I thought of when you mentioned that Hamlet and the person in the poem were both confused with what they had to do, it made me think of Inferno when Dante didn't know where to turn or what to do. Both characters are looking for a Virgil to guide them on their respective journeys. The ghost provides Hamlet his guidance but the author in the poem still seems to be lacking the guidance he needs at the conclusion of the poem.
DeleteWould it have been worth while
ReplyDeleteIf 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.”
This is the passage that jumped out at me the most, along with the very similar few lines that ended the stanza right before it. When taken out of context, this passage describes something every person fears: miscommunication and its consequences. The hypothetical woman Prufrock describes seems positively disappointed, and almost angry, that she has been misunderstood. She turns "toward the window" and, it can be assumed, away from him, as if she were shutting him out.
And Prufrock wonders if these consequences negate the worth of whatever he had said or done. He doesn't specify what "it" is that may no longer be worthwhile, though, and that is what makes this passage frightening. Put it back in the context of the poem, and it could be in reference to any number of things that have been mentioned already. The "decisions and revisions?" All of the "evenings, mornings, afternoons" and all the eyes and arms he has known? Or perhaps his false martyrdom, seeing his balding head on a platter? Everything Prufrock has or could have gone through would be called into question, he says, if any part of it were based on something no one actually said to him.
I liked how you analyzed the stanza by taking out of context first and I agree with what you said. There are so many beautiful phrases in this poem that even out of context they remain beautiful (if not more)." That is not what I meant" is repeated which emphasizes the feeling of panic almost and how we all are afraid of miscommunication and its consequences. In context, it is not specified what "it" means and you have listed many possibilties which actually adds to the poem.
Delete"Though I have seen my head [grown slightly bald] brought in upon a platter,
ReplyDeleteI 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."
I believe that these lines are significant to the poem because it is the first time that Prufrock blatantly states his emotions; up to this line in the poem, it is left up to the readers interpretation. The placement of these lines (in the middle) was intentional in symbolizing Prufrock's confusion and loneliness in this foggy world. The placement also shows a turning point in Prufrock's timeline of life.
Up to these line sin the poem, Prufrock is continuously questioning himself and reminding himself that there is more time, there is more time. However, after Prufrock admits that he is afraid and he realizes that he is no prophet, that his greatness has flickered, he turns to looking at life the opposite way: time running out and him questioning his actions and decisions in the past.
These lines prove that Prufrock's existential being has changed; or so he believes. Prufrock has changed his view on life from optimistic to pessimistic.
I definitely agree that this part in the poem shows a change in his emotions, almost like the first time he has realized what his life is coming down too. I don't know though that I think he really has a pessimistic view on life though. The way Prufrock describes this character, makes mem think of someone, that is really mellow, and stays hidden and away from chaotic and large groups of people and places. Although I think that the character would like to be out and about and amongst all the chaos, I just don't think he knows how to handle it. So I think that when he realizes that he wont be living forever, that he is more disappointed in what he has missed out on, and sort of sorrowed by the way he lived his life. I don't know that it is really life itself that he views pessimistically, nor the way he lived his life, but he definitely seems disappointed in the way he lived his life.
DeleteLet us go then, you and I,
ReplyDeleteWhen the evening is spread out against the sky
Like a patient etherised 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 …
Oh, do not ask, “What is it?”
Let us go and make our visit.
I think these lines are significant as they set the scene for Prufrock's poem. This passage gives a somewhat depressing perception of Prufrock and shows him to be in a negative state of mind. I think this "visit" that he refers to in the passage pertains to his life and his journey through it. From his words, he evokes a feeling that this is a sort of dark world, that one would not travel through happily. These "streets that follow like a tedious argument," and that are," of insidious intent," tell me that he does not view life in a positive light.
Prufrock concludes this passage by mentioning the overwhelming question, "What is it?" I think this question refers to life in general and the paths that he will take in living. This overwhelming query sets up the rest of the poem, and allows him to answer his question and describing life from his point of view. I think this question and its placement, in the first passage is similar to the question, "Who's there?" from Hamlet. This question, in Hamlet, tells the audience right from the beginning that Hamlet feels he is being watched or that there is some greater presence overwhelming him. Prufrock portrays many of the same emotions as Hamlet, and this question is just one example.
And indeed there will be time
ReplyDeleteTo wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
The first part of this passage which says "And indeed there will be time to wonder, "Do I dare? and, "Do I dare?" shows that Prufrock is confused and frustrated. I liked this line because it portrays the idea which I strongly agree with. We are given our entire lives to sit and wonder, "What if?" instead of taking risks and taking chances. If you spend your whole life wondering what could happen, you will always be wondering what could have been.
I felt that the second part of this passage "Time to turn back and descend the stair" was significant because it shows how even if we take chances and "climb the stairs" we still have time to hold back and "descend the stairs" if it's not the right choice.
I like that you connected his indecision to our own. 'What if' is a very important question regardless of scenario. The idea of thinking versus doing strikes a vein with Hamlet. Hamlet is aware of his father's murder and sits around scheming for virtually the entire play. Laertes, on the other hand, hears of Polonius' death and rushes home to confront and kill the culprit. It all lies in the decision. It looks as if Prufrock errs on the side of caution and does not act, much like Hamlet for most of the play. Will he ever act? That is a question I would be interested in exploring.
DeleteThis comment has been removed by the author.
ReplyDeleteI found the following excerpt from the poem to be interesting:
ReplyDeleteWould it have been worth while
…
To roll it toward some overwhelming question,
To say: “I am Lazarus, come from the dead,
Came back to tell you all, I shall tell you all”
If one, setting a pillow by her head,
Should say, “That is not what I meant at all.
That is not it, at all.”
As understood by these lines, it clearly appears as though J Alfred Prufrock, the narrator of the poem, is in emotional conflict with personal feelings of self-doubt and uncertainty. Prufrock, as described by this excerpt, seems to be struggling with a certain “overwhelming question” that he wishes to ask perhaps himself or someone else. In these lines, Prufrock makes an allusion to the biblical figure, Lazarus. Lazarus was a beggar, who after death was pleaded by a rich man to warn his children about the consequences of living a lavish life. However Lazarus was not allowed to do so by Abraham. This allusion hints at the gravity of Prufrock’s question, leading one to wonder what his question could possibly be.
These lines furthermore hold similarities to the theory of existentialism in Hamlet, regarding the concept of perception as well as Hamlet’s question, “to be or not to be?”. Prufrock is apparently apprehensive of how his question will be perceived by the person whom he will ask. He states in forecast, “That is not what I meant at all. That is not it, at all,” showing that he is afraid of his question being perceived incorrectly. This concept furthermore gives light to the question, “to be or not to be?” regarding whether Prufrock ought to act and present his question or keep it to himself and sulk in his emotions. Prufrock never ultimately presents his question, most likely out of his fear of perception, and chooses to harbor his emotions of self-doubt and uncertainty for himself.
I did not pick up on the biblical allusion that you referred to, and that adds an entirely new dimension to my interpretation of the poem. The fact that Prufrock may be afraid not only of asking the question that he so frequently alludes to, but perhaps is also afraid of his question being misinterpreted makes fear an even more prevalent theme, and makes questions about Prufrock's insecurity all the more legitimate.
DeleteI grow old … I grow old …
ReplyDeleteI shall wear the bottoms of my trousers rolled.
Prufrock's poem as a whole shows clear connections to Hamlet's To Be or Not to Be speech. Each of these characters' thoughts are in debate of whether or not they should act upon something and are constantly asking the question "what if". These line specifically show Prufrock's underlying issue of how he has been in debate with himself for a long time. I think this prolonged thought process is growing on him and could possibly be driving him out of his whits. Hamlet, deciding if he should expose the immoral actions of his mother or not, went through a similar situation that Prufrock is going through. Will Prufrock take it as far as Hamlet?
We have lingered in the chambers of the sea
ReplyDeleteBy sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.
I feel this line very powerfully describes the speaker's mind as he comes to the realization that he is an existential failure. The notion of drowning connotes that this is a very overwhelming experience, so overwhelming that it can lead to death. This, interestingly enough, is also depicted in Conrad's "Heart of Darkness" and ultimately leads to Mr. Kurtz's death. Does anyone else feel that this line is powerful in this sense?
These are the lines that I have selected for my analysis:
ReplyDelete"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." (84-86)
These lines epitomize the idea that Prufrock so consistently attempted to convey to the reader throughout this poem; he is able to recognize that the logical step for him is to overcome his “fear” and attain the “greatness” that appears to be within his grasp, but is unable to do so for some deeply rooted fear. He is, in this sense, the typical individual that lives in regret, as he cannot bring himself to break the standard attitude of time being abundant and his indecisiveness as being inconsequential for the multitude of opportunities that he/she will get to eventually make the decision that seems inevitable to an outsider.
Part of the reason why I selected this line is for the striking comparisons that can be made to No Exit. Prufrock’s ability to recognize the source of his discontent (fear) is quite similar to the challenge faced by the three individuals of No Exit who spent an entire play attempting to discover what made their room “hell.” Prufrock, with his fear, is stuck in what could be described as an existential hell, and is very much lost for that reason. The fact that both are entrenched in existential hell and are essentially hopeless were interesting for me, and Prufrock’s recognition of his part in this comparison was very neatly captured in this quote.
And I have known the eyes already, known them all
ReplyDeleteThe 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?
And how should I presume?
I really liked this part of the poem because I think that Prufrock really brought out the idea of "who's watching?" into context. The poem as a whole seems to portray love through the eyes of a very sophisticated man who views the world in a very narrow minded way. He seems to think that he knows better than to approach a woman in the name of love. The thoughts that other people have on him play a big role in his life; he in someways tries to look good in their eyes. This man's self-consciousness gets in the way of his love life.