The Love Song of J.

Alfred Prufrock – 5/2 MARKS

1. What is the significance of the epigraph to T.S.Eliot’s poem "The Love Song of J. Alfred Pruforck”?

"The Love Song of J. Alfred Prufrock," commonly known as "Prufrock," is the first professionally published
poem by T. S. Eliot. The epigraph of this poem is a quote from Canto 27 of Dante Alighieri's "Inferno," and it is
spoken by the character of Count Guido da Montefelltro. Dante meets the punished Guido in the Eighth
Chasm of Hell. Guido explains that he is speaking freely to Dante only because he believes Dante is one of the
dead who could never return to earth to report what he says.

It sets the tone for the poem by alluding to the theme of inner conflict and the fear of taking action or making
choices. The epigraph highlights Prufrock's hesitation and his sense of being trapped within his own thoughts
and insecurities, echoing the themes of paralysis, alienation, and the fear of societal judgment prevalent
throughout the poem. One could also say that Prufrock, like Guido from Inferno, lives in a kind of hell from
which it is impossible for him to escape.

2. Mention two ‘modernist’ features in “The Love Song of J.Alfred Pruforck”.

T.S. Eliot's "The Love Song of J. Alfred Prufrock" is widely considered a landmark of modernist poetry, and it
exhibits several features that define the movement.

Firstly, unlike traditional poems that follow a clear narrative or logical structure, "Prufrock" is fragmented and
disjointed. Eliot employs stream-of-consciousness techniques, jumping between thoughts, memories, and
observations without clear transitions. This reflects the modernist idea of the fragmented self and the
difficulty of finding meaning in a chaotic world.

In Modernist literature, fragmentation is a common literary practice, and Eliot, too, achieves much of this
through his exquisite imagery and strong symbolism, which are major characteristics of Modernist literature.
The comparison of the evening sky to a "patient etherized upon a table" is particularly jarring in the opening
part. It creates a surreal and almost clinical image, where the tranquil and stretched-out evening is likened to
a patient rendered unconscious and immobilized for surgery. This simile symbolizes a sense of paralysis and
lifelessness that permeates Prufrock's world—a world that feels anaesthetized, devoid of vitality and agency.

Eliot’s use of fragmentation, stream-of-consciousness, symbolism, imagery, and other modernist features
makes the poem more complex and interesting.

3. What is the English translation of the epigraph?

The epigraph of Eliot’s “The Love Song of J. Alfred Prufrock” is taken from Dante's "Inferno" and is spoken by
the character of Count Guido da Montefelltro. Translated from the original Italian, the lines are as follows: "If I
thought that my reply would be to someone who would ever return to earth, this flame would remain without
further movement; but as no one has ever returned alive from this gulf, if what I hear is true, I can answer you
with no fear of infamy."

4. Let us go then, you and I- Who is the speaker? Who are referred here and where the speaker wants
to go?
In T.S. Eliot's poem "The Love Song of J. Alfred Prufrock," the opening line, "Let us go then, you and I," is
spoken by the poem's protagonist and narrator, J. Alfred Prufrock. The "you" might refer to an imaginary
listener or a part of Prufrock himself, reflecting his internal dialogue and the divided nature of his psyche. As
for where the speaker wants to go, the physical destination is not explicitly stated. It seems like Prufrock is
talking to himself in order to gather courage and confidence for a task that is daring for him.

5. “When the evening is spread out against the sky/Like a patient etherized upon a table;” – Explain
the imagery.

The mentioned lines, taken from T.S. Eliot’s poem "The Love Song of J. Alfred Prufrock," construct an image of
an operation theater. Here, the speaker compares the evening to a "patient etherized upon a table,"
unconscious and immobilized for surgery. This simile symbolizes a sense of paralysis and lifelessness that
permeates Prufrock's world—a world that feels anaesthetized, devoid of vitality and agency.

6. What does the speaker mean by “the women come and go/Talking of Michelangelo”?

The mentioned lines are taken from T.S. Eliot’s poem "The Love Song of J. Alfred Prufrock." Here, the speaker
refers to the women in social gatherings or parties who talk about famous artists such as Michelangelo,
though they know nothing about art. They only mention the names of these famous artists as proof that they
are intelligent and cultured. Michelangelo was an Italian sculptor, painter, architect, and poet of the High
Renaissance. Born in the Republic of Florence, his work was inspired by models from classical antiquity and
had a lasting influence on Western art.

7. With whom does Prufrock disclaim affinity and with whom does he identify himself?

In T.S. Eliot’s poem "The Love Song of J. Alfred Prufrock,” Prufrock disclaims his affinity to The Prince Hamlet,
the title character and protagonist of William Shakespeare's tragedy Hamlet. He identifies with an attendant
of the Lord (“Am an attendant lord”). Probably referring to Polonius,a character in William Shakespeare's
play Hamlet. He is the chief counsellor of the play's ultimate villain, Claudius.

8. "I do not think that they will sing to me”. _ who is the speaker here? Who are they?

In T.S. Eliot's "The Love Song of J. Alfred Prufrock," the speaker of the line "I do not think that they will sing to
me" is J. Alfred Prufrock, the poem's protagonist and narrator.

The "they" in this line refers to the mermaids. This reference is part of the concluding section of the poem,
where Prufrock engages in a kind of melancholic fantasy. In folklore, mermaids are aquatic creatures with the
head and upper body of a human and the tail of a fish.

The mermaids can be interpreted as symbols of an unattainable ideal, whether that be love, beauty, poetic
inspiration, or some form of transcendent experience. In the context of the poem, these mermaids also hark
back to mythical sirens whose singing was irresistible to sailors, often leading them to their doom.

Prufrock's assertion that the mermaids will not sing to him reflects his sense of alienation, his feelings of
inadequacy, and his resignation to a life unfulfilled. It's a poignant acknowledgment of his belief that the
beauty, romance, and adventure symbolised by the mermaids are beyond his reach. This line encapsulates the
essence of Prufrock's character: a man deeply introspective, full of longing, yet paralysed by his own self-
doubt and fear of inadequacy.
9. What is meant by the phrase "sawdust restaurants..."?

The phrase "sawdust restaurants with oyster-shells" in "The Love Song of J. Alfred Prufrock" by T.S. Eliot refers
to the cheap and dirty hotels or restaurants. Sawdust was commonly used to absorb spills and clean floors in
eateries during Eliot's time. Its presence suggests cheap, dingy establishments frequented by the lower
classes. The discarded oyster shells further reinforce this image of lowbrow dining and excess consumption.

10. The Image of Yellow fog

The image of yellow fog in T.S. Eliot's "The Love Song of J. Alfred Prufrock" is a significant and evocative
symbol that contributes to the overall mood and thematic content of the poem. The imagery in the lines,
“The yellow fog that rubs its back... and fell asleep,” is rich in connotations.

Critics are divided as to the symbolism of the yellow smog. Michael North wrote, “The yellow fog that rubs its
back upon the window-panes” appears clearly to every reader as a cat. Still, the cat itself is absent,
represented explicitly only in parts—back, muzzle, tongue—and by its actions—licking, slipping, leaping,
curling. Here, the ‘cat’ that is made by the yellow fog is fragmented and ghostly. It is never explicitly stated to
be a cat but hinted at. This feline imagery suggests a sense of stealth, slyness, and lurking danger. The
fragmentation of the cat could also symbolise the fragmentation of Prufrock’s psyche.

In conclusion, the yellow fog could also be a symbol of pollution and decay in the modern world that Prufrock
or Eliot was living in.

11. “And indeed there will be time” – explain

The line “And indeed there will be time” from Eliot’s “The Love Song of J. Alfred Prufrock” is laden with a
number of possible interpretations. It highlights Prufrock's hesitancy for an unknown task, which might
possibly be his love proposal to one of the girls in the clubrooms. He believes that he is not ready for the task,
and there is enough time left for him to gather courage and confidence for the task. Which is why he repeats
the phrase again and again.

Prufrock repeats "There will be time" four times during the fourth stanza, perhaps to mirror the four seasons
of the year. Prufrock wants to tell his readers that there is a season for sowing seeds, then plants grow, they
become ripe, and finally they are reaped, and the poet is no exception to this cycle of growth. It is important
for Prufrock to wait, because if he tries to voice his thoughts before he reaches maturity, he will never be
successful, and his voice will be akin to "dying with a dying fall."

In conclusion, Prufrock knows that claiming "there will be time" is a way of pacifying his anxieties, knowing full
well that time might be running out, or worse, that his indecision itself might be wasting the time he already
has.

12. “time for all the works and days of hands” – What is the allusion here?

In the line "time for all the works and days of hands" from T.S. Eliot's "The Love Song of J. Alfred Prufrock," the
allusion is to the ancient Greek poem “Works and Days” by Hesiod. This didactic poem, written in 700 BC,
focuses on farming and agriculture. The allusion here is ironic because Prufrock is known for his
procrastination and paralysis. He talks about "time" but does not translate it into action, creating a stark
contrast with the hard-working individuals he references.
13. “Do I dare/Disturb the universe?” – Explain.

The line "Do I dare/Disturb the universe?" from T.S. Eliot's "The Love Song of J. Alfred Prufrock" is a profound
expression of the poem's central character, Prufrock, and his existential crisis. The repetition of the phrase "Do
I dare" highlights his indecisiveness and self-doubt. By contemplating whether to "disturb the universe," he
exaggerates the significance of his actions, reflecting his deep anxiety about the impact of his choices and his
fear of disrupting the status quo.

14. What is the “overwhelming question” in the poem?

In T.S. Eliot's "The Love Song of J. Alfred Prufrock," the nature of the "overwhelming question" is unclear and
ambiguous, attributing to the modernist elements of the poem. It could refer to the love or marriage proposal
Prufrock wants to make to one of the girls in the clubrooms. The question could also be interpreted more
broadly as a reflection of Prufrock's existential crisis. It might relate to the meaning of his life, the nature of his
existence, or a deeper search for identity and purpose.

15. “I know the voices dying with a dying fall’- What is the allusion here?

The line "I know the voices dying with a dying fall" from T.S. Eliot's "The Love Song of J. Alfred Prufrock"
contains an allusion to William Shakespeare's play "Twelfth Night." In the first act of "Twelfth Night," the
character Orsino says, "That strain again! It had a dying fall." He is referring to the music he's listening to, and
the "dying fall" describes the way the music seems to diminish or fade away.

16. “The eyes that fix you in a formulated phrase”- What is mean by ‘formulated phrase’?

In T.S. Eliot's "The Love Song of J. Alfred Prufrock," the line "The eyes that fix you in a formulated phrase"
carries significant meaning. The "formulated phrase" may represent the way people in society quickly judge
and categorize others. Prufrock feels that the people around him (symbolized by "the eyes") are constantly
evaluating and labeling him, reducing his complex identity to simple, preconceived notions or stereotypes.
This feeling contributes to his sense of alienation and insecurity.

17. And when I am formulated, sprawling on a pin,/When I a 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 presume?-
Explain the lines.

These lines from T.S. Eliot's "The Love Song of J. Alfred Prufrock" are rich in imagery and metaphor, and they
convey deep-seated anxiety and self-consciousness.

"And when I am formulated, sprawling on a pin, / When I am pinned and wriggling on the wall," - These
lines use the metaphor of an insect being pinned for display, like a specimen in an entomological collection.
This imagery conveys a feeling of being exposed, analyzed, and judged. Prufrock feels as if he is under
scrutiny, his actions and character dissected and laid bare for all to see.

"Then how should I begin / To spit out all the butt-ends of my days and ways?"- Prufrock believes that his
life is made up of trivialities which make up his days and ways. His life is as useless as the butt-ends of smoked
cigarettes which are thrown away.

"And how should I presume?" - This rhetorical question reflects Prufrock's deep insecurity and indecision. It
indicates his hesitancy to take action or speak, driven by fear of how he will be perceived or the possibility of
 rejection. The word "presume" suggests that for Prufrock, even the act of initiating conversation or expressing
himself feels audacious or risky, revealing his profound sense of inadequacy and self-doubt.

Overall, these lines encapsulate the essence of Prufrock's character - his self-consciousness, his fear of
judgment and misunderstanding, and his paralyzing indecision.

18. I should have been a pair of ragged claws/Scuttling across the floors of silent seas.- Explain.

These lines are taken from T.S. Eliot’s poem, “The Love Song of J. Alfred Prufrock." In these lines, Prufrock
compares himself to a crab who is “Scuttling across the floors of silent seas.”

Crabs are known for their sideways movement and their ability to retreat quickly into hiding. This
characteristic mirrors Prufrock's own tendencies to withdraw and evade direct action and his desire to escape
the complexities and anxieties of his social life. The crab thus becomes a symbol of his retreat from the world
and his fear of confrontation or exposure.

19. “Though I have seen my head...brought in upon a platter”- Explain the allusion.

These lines are taken from T.S. Eliot’s poem, “The Love Song of J. Alfred Prufrock," and are an allusion to John
the Baptist.

John the Baptist was decapitated on Herod's orders, and his head was brought upon a platter before the
assembled company. Herod presented it to Salomé, who had demanded it as a reward for her dancing. John
the Baptist had declared Herod's marriage to Herodias, Salomé's mother, unlawful on the grounds that she
was Herod's brother's wife. The story is told in Mark VI, 17–29, and Matthew XLV, 3–11. Prufrock draws a
mock-heroic parallel between himself and John the Baptist in his feeling of being socially decapitated. But,
unlike the prophet, he lacks the courage to tell the truth and so disclaims the role. The image of decapitation
is indicative of Prufrock's terrified self-consciousness and of his split personality. It also suggests his fear of
castration.

20. "the eternal Footman...”- In T.S. Eliot’s poem, “The Love Song of J. Alfred Prufrock, the expression the eternal
Footman is, possibly, a parodic allusion to The Pilgrim's Progress by John Bunyan. In the course of Christian's
pilgrimage to the Eternal City, a ministering spirit of the Lord strips him of his rags and gives him a coat. Christian
hopes that when he reaches the city, the Lord will recognise his goodness since he is wearing the coat that the Lord
has given him.

In the context of the poem, the "eternal Footman" is a personification of death. A regular footman is a servant who
generally admits and waits on guests—the suggestion being that if death is holding your coat, then you've entered a
place where either you're not likely to come out or are on death's doorstep.