Themes: The Condition of Modernity
As both a poet and critic, T. S. Eliot investigated Western cultural history. Eliot was particularly interested in modern history, which begins with the Renaissance in the 15th century. From his 20th-century vantage point, Eliot was of the opinion that Western culture is in a state of decline and therefore that early modernity (the 15th through 18th centuries) surpasses late modernity (the 18th century onward). “The Love Song of J. Alfred Prufrock” reflects Eliot’s views on these cultural and historical trends.
One window into Eliot’s diagnosis of 20th-century Western culture is the explicit contrast J. Alfred Prufrock draws between himself and the eponymous character of Shakespeare’s Hamlet, written three centuries earlier. Eliot suggests that Prufrock’s feeble, self-conscious, unheroic character is the product of a superficial contemporary culture. After all, in his view, 20th-century modernity is a degraded version of the early modern era that produced Prince Hamlet.
Still, Hamlet and Prufrock have certain issues in common. Both are indecisive and struggle to take action, both feel alienated from the people around them, and both express discontent with the capacity of language to “say just what [they] mean.” Yet Hamlet is an exemplar of grand internal drama who wrestles with life’s enormous questions, whereas the self-conscious Prufrock is reduced to discussing trivialities such as whether to part his hair at the back. While Prufrock also struggles with questions of greater meaning, he cannot muster the certainty or boldness to even state the questions.
Eliot implies that the difference between Hamlet and Prufrock is largely one of social context. Something has been lost in the three-hundred years between the two characters. When he says, “I have seen the moment of my greatness flicker,” Prufrock is also speaking as the voice of modernity itself. It’s not just Prufrock but 20th-century modernity that is “cautious, meticulous… [and] a bit obtuse.” Hamlet can’t decide whether or not to avenge his father’s murder; more broadly, he struggles to discern the worth and purpose of human life. By comparison, Prufrock can’t decide whether it’s even worth it to ask such questions, nor can he articulate them. Eliot argues that later modernity is one that discourages heroism and the genuine gravitas of the prince, forcing the contemporary individual to stoop to the superficial “high sentence” and mocking irony of the fool.
Expert Q&A
What is the "overwhelming question" in "The Love Song of J. Alfred Prufrock" in relation to Dante's Inferno epigraph?
The overwhelming question in "The Love Song of J. Alfred Prufrock" is ambiguous. On one level, Prufrock wonders if he should propose marriage to his beloved, but on a deeper level, the question is whether he should have put his all into his life and art. This ties to the epigraph, which is the confession Guido makes to Dante in hell because he thinks Dante can't reveal it. Prufrock also thinks his secrets are safe.
How does the epigraph at the beginning of T. S. Eliot's "The Love Song of J. Alfred Prufrock" relate to secrecy, duality, emotion, and Prufrock's inferiority complex?
The epigraph from Dante's Inferno in T.S. Eliot's "The Love Song of J. Alfred Prufrock" highlights themes of secrecy, duality, and inferiority. It suggests a dark, hellish experience and Prufrock's inner turmoil. The secrecy reflects Prufrock's private musings and emotional complexity. Duality is evident as Prufrock, like the epigraph's speaker, leads a double life, feeling inferior to others. This complex interplay sets a tone of dark humor and introspection.
How does the opening epigraph from Dante’s Inferno relate to Prufrock in the poem?
The epigraph from Dante's Inferno connects to Prufrock by highlighting themes of isolation and unconfessed secrets. Guido da Montefeltro, speaking to Dante in hell, believes he can safely reveal his sins as Dante won't return to the living. Similarly, Prufrock is trapped in a personal "hell" of anxiety and inaction, unable to share his inner turmoil with the world. Like Guido, Prufrock remains isolated, unable to connect with others.
Why does the speaker in "The Love Song of J. Alfred Prufrock" repeatedly mention women discussing Michelangelo? What question does Prufrock yearn to ask?
In "The Love Song of J. Alfred Prufrock," the speaker repeatedly mentions women discussing Michelangelo to highlight his repetitive, unfulfilled social experiences and contrast his deeper existential concerns with their superficial conversations. Prufrock yearns to ask if he dares to "disturb the universe" by creating meaningful literature and questions the purpose of life and his own courage to live more boldly and creatively.
Why does Eliot open "The Love Song of J. Alfred Prufrock" with a Dante allusion?
Eliot opens "The Love Song of J. Alfred Prufrock" with a Dante allusion to highlight Prufrock's banality and despair. Unlike the fearless Dante, Prufrock is indecisive and ineffectual, unable to confront even ordinary life. The specific allusion to Count Guido da Montefeltro underscores Prufrock's isolation and impotence, revealing him as a pathetic figure in contrast to Dante's resolute quest for truth.
Why does Prufrock compare the sunset to an "etherised patient" in "The Love Song of J. Alfred Prufrock"?
Prufrock compares the evening sky to "a patient etherised upon a table" to convey a sense of paralysis and detachment. This metaphor suggests the city is like a patient undergoing "exploratory surgery," reflecting Prufrock's introspective journey through half-deserted streets. The poem's epigraph from Dante's "Inferno" further likens the modern city to Hell, emphasizing the bleak and aimless exploration of both the city and Prufrock's mind.
Why does the phrase "there will be time" repeatedly appear in "The Love Song of J. Alfred Prufrock"?
The phrase "there will be time" in "The Love Song of J. Alfred Prufrock" reflects Prufrock's procrastination and fear of taking action. It highlights his inner conflict and insecurity about expressing his feelings. By repeatedly telling himself that there is still time, he delays confronting his fears and avoids potential rejection. This repetition serves as a comfort and an excuse to postpone the bold actions he struggles to take.
How does the title "The Love Song of J. Alfred Prufrock" reflect and contradict the poem's content?
The title "The Love Song of J. Alfred Prufrock" is ironic because the poem lacks the joy and celebration typical of a love song. Prufrock is a neurotic, anxious man who longs for human connection but feels unworthy and misunderstood. The poem's dreary and ominous mood, along with Prufrock's hesitance and overanalysis, contradicts the idea of a traditional love song, highlighting his isolation and despair.
Who is Prufrock speaking to in the poem, and how does this influence his fear of being "formulated in a phrase"?
Prufrock appears to address multiple audiences, including a universal one, himself, and possibly a specific listener akin to Dante in "Inferno." This multiplicity reflects his fear of being "formulated in a phrase," as he struggles with self-doubt and social anxiety. His intimate, confessional tone suggests trust towards his listener, although he is wary of societal judgment, particularly from women who "come and go talking of Michelangelo." This layered approach highlights his internal conflicts and fears.
In "The Love Song of J. Alfred Prufrock," what does "Do I dare disturb the universe" mean?
In "The Love Song of J. Alfred Prufrock," "Do I dare disturb the universe" reflects Prufrock's internal struggle with self-doubt and fear of disrupting his predictable, unremarkable life. He contemplates asking a significant question, possibly a marriage proposal, which he fears would drastically alter his social world. Prufrock sees himself as insignificant, akin to an "attendant lord," and worries that such an action would unsettle the natural order where he feels he doesn't belong.
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