“The Love Song of J. Alfred Prufrock” by T.S. Eliot is an early poem that showcases the irony in its title. This is a dramatic monologue where Eliot’s speaker explores the lack of love, rather than actually singing about it. The poem serves as a reflection on the disappointment of romantic relationships.
The initial image of nightfall, traditionally associated with romance, is unsettling instead of comforting or enticing, and the night “becomes a patient” (Spender 160): “When the evening is spread out against the sky / Like a patient etherized upon a table” (2-3). According to Berryman, this line marks the beginning of contemporary poetry (197). Rather than being attractive, the urban setting of the poem is confrontational. As a Modernist, Eliot places his poem in a deteriorating cityscape, “a dull area of inexpensive hotels and restaurants, where Prufrock resides in solitary sadness” (Harlan 265).
The text compares Prufrock’s experience to that of unnamed women, who collectively represent all women. These women are portrayed as unattainable due to their constant movement and their polite conversations about Michelangelo, contrasting with Prufrock’s lack of creative energy. It is unlikely that they would be interested in listening to a love song by Prufrock or find him attractive, as his name and appearance suggest he is too formal and prudish.
The “yellow fog” metaphor in the fourth stanza represents the jaundiced environment of the modern city and is likened to Eliot’s “infernal version of the forest of Arden”. Despite its ambiguity, the fog’s motions are strangely attractive as it reminds us of a cat licking its tongue into the corners of the evening. The onomatopoeia of “licked” adds to the unsettling nature of this image. In the following stanza, the repetition of “time” reinforces how Prufrock’s existence is tied to temporality. He addresses his listeners as if they have entered a stagnant hell where time has stopped and all actions have become theoretical. Eliot emphasizes not just the inescapable presence of time, but also the banality of how we utilize it, such as through “the taking of a toast and tea”.
Prufrock expresses his melancholy as he reflects on his past failures in love and life. The initial excitement of his invitation to venture out into the evening is now overshadowed by memories of countless evenings that ended in disappointment. This reflection expands to encompass every aspect of his life, including mornings and afternoons. In a well-known metaphor, he likens his existence to measuring out time with coffee spoons.
The emphasis on “I” in the poem is typical of Romanticism, reflecting its celebration of the ego. However, Eliot’s poem deviates from romantic conventions as he portrays the “I” in a negative light, deserving of ridicule. Prufrock, the speaker of the poem, reveals that he has been repeatedly diminished and even treated as a mere laboratory specimen by others’ judgment of him. As a result, his self-confidence, a critical attribute for a successful lover, has been completely shattered.
The judgement on Prufrock is delivered by women. He finds them extremely attractive, with “arms that are braceleted and white and bare” (63). However, we observe that this portrayal, similar to the earlier depiction of eyes that “fix you in a formulated phrase” (56), does not represent a complete person, but rather a fragment of humanity, almost lifeless, like “arms that lie along the table” (67). Although we can criticize Prufrock, the objects of his desire are hardly more desirable. The criticism extends to include not only society but also civilization, and Prufrock becomes a representation of a particular type of human – perhaps modern urban man – rather than just himself.
The poem is centered around the refrain about women, with Prufrock embarking on a quest to pursue them. He invites both himself and us, saying, “Let us go then, you and I” (1). However, Prufrock faces obstacles due to the modern setting and his unheroic qualities. His physical appearance, clothing, and behavior all reveal his shortcomings as a potential lover and singer of a love song. His clothes indicate that he is not a rebel to his surroundings but rather inhibited. Despite his rich necktie, it is described as “modest” (43). His middle-aged appearance with a bald spot reflects his lack of typical Romantic qualities. He is also apprehensive about how others, especially the woman he desires, will perceive him. He fears they will comment on his thin arms and legs (44). Amidst this description, he ironically questions if he dares to disturb the universe (45-46). However, the universe he refers to is actually his small social circle of middle-class acquaintances according to Harlan (265). It is unlikely that he is capable of disturbing anything.
The protagonist of the poem rehearses different conversational strategies in the hopes of diverting the women from their constant talk about Michelangelo. He even uses images from earlier in the poem, such as “lonely men in shirt-sleeves, leaning out of windows.” However, he is aware that his attempts are not enough and imagines himself becoming a crab that scuttles across silent seas. This image is both unsettling and strangely alluring, representing a desire for escape.
In the final stanzas of the poem, Eliot uses four figures from history – Michelangelo, John de Baptist, Lazarus, and Hamlet – to present Prufrock’s dilemma. These figures represent the contrast between what Prufrock currently is and what he aspires to be, such as Lazarus or Hamlet. They symbolize insights into the question of immortality and the tragic nature of existence. Prufrock himself recognizes that he is not Prince Hamlet and instead aligns himself with Polonius, the old fool from the same play. Although foolish, the Fool in Shakespeare’s works often sees the truth. Thus, the poem delves into Prufrock’s psychology.
In the closing image of the poem, Prufrock’s relationship – or lack thereof – with women is highlighted as the principal theme. This theme embodies the modernist disillusionment with Romanticism. Prufrock longs to escape to a fantasy world where he can find fulfillment with the mermaids. However, even they disappoint him as he does not believe they will sing to him. Additionally, as the dream fades, Prufrock must face the mundane and destructive reality once again: “Till human voices wake us, and we drown” (131).
“The Love Song of J. Alfred Prufrock” represents the concept of “modern disillusionment,” portraying a character who has been frustrated by various aspects of life, including his own mindset and the bleak society of the twentieth century wasteland. This theme is explored further in Eliot’s renowned poem, “The Waste Land” (Harlan 266).
Bibliography
- Berryman, John. “Prufrock’s Dilemma” The Freedom of the Poet. Farrar: Strauss, 1976: 270-78. Rpt. in Contemporary Literary Criticism. Ed. Dedria Bryfonski and Laurie Harris. Vol. 13. Detroit: Gale, 1982. 197-98.
- Cervo, Nathan A. “Eliot’s ‘The Love Song of J. Alfred Prufrock’”. Explicator. Vol. 57, Issue 4, Summer 1999: 227.
- Eliot, T.S. “The Love Song of J. Alfred Prufrock.” Literature and the Writing Process. Elisabeth Mc Mahan, Susan X Day, and Robert Funk. 5th ed. Upper Saddle River, NJ: Prentice, 1999. 577-80.
- Harlan, Judith, and Kathleen McCoy. English Literature from 1785. New York: Harper, 1992: 265-66.
- Miller, Vincent. “Eliot’s Submission to Time.” Sewance Review (Summer 1976): 448-64. Rpt. in Contemporary Literary Criticism. Ed. Dedria Bryfonski and Laurie Harris. Vol. 9. Detroit: Gale, 1978. 183-86.
- Spender, Stephan. “T.S. Eliot in His Poetry.” The Destructive Element. Cape, 1935. 132-52. Rpt. in Poetry Criticism. Ed. Robyn V. Young, Vol. 5. Detroit: Gale 1992. 159-62.
