A literary analysis of the lovesong of j alfred prufrock by t s eliot

The Love Song of J. Alfred Prufrock, by T.

A literary analysis of the lovesong of j alfred prufrock by t s eliot

S'io credesse che mia risposta fosse A persona che mai tornasse al mondo, Questa fiamma staria senza piu scosse.

A literary analysis of the lovesong of j alfred prufrock by t s eliot

Ma perciocche giammai di questo fondo Non torno vivo alcun, s'i'odo il vero, Senza tema d'infamia ti rispondo. 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… Oh, do not ask, "What is it?

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.

And indeed there will be time To wonder, "Do I dare? 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! 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? 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: That is not it, at all.

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: 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.

This poem is in the public domain. Eliot Born in Missouri on September 26,T. Eliot is the author of The Waste Land, which is now considered by many to be the most influential poetic work of the twentieth century.The Love Song of J.

Alfred Prufrock study guide contains a biography of T.S. Eliot, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis. About The Love Song of J. Alfred Prufrock.

Using the theory of conceptualisation of metaphor, this study analyses the imagery created by accounting metaphors of The Love Song of J. Alfred Prufrock. The paper applies a typology of metaphors as the basis of metaphorical analysis for the detection of accounting in Eliot’s poem.

The initial reception to The Love Song of J. Alfred Prufrock, by T.S. Eliot, can be summed up in a contemporary review published in The Times Literary. The initial reception to The Love Song of J. Alfred Prufrock, by T.S. Eliot, can be summed up in a contemporary review published in The Times Literary Analysis of The Naming of Cats by T.

S. It was in London that Eliot came under the influence of his contemporary Ezra Pound, who recognized his poetic genius at once, and assisted in the publication of his work in a number of magazines, most notably "The Love Song of J.

Alfred Prufrock" in Poetry in In November "The Love Song of J. Alfred Prufrock"—along with Eliot's poems "Portrait of a Lady," "The Boston Evening Transcript," "Hysteria," and "Miss Helen Slingsby"—was included in Catholic Anthology – edited by Ezra Pound and printed by Elkin Mathews in London.

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S’io credesse che mia risposta fosse A persona che mai tornasse al mondo, Questa fiamma staria senza piu scosse. Ma percioche giammai di questo fondo Non torno vivo alcun, s’i’odo il vero, Senza tema d’infamia ti rispondo. In November "The Love Song of J. Alfred Prufrock"—along with Eliot's poems "Portrait of a Lady," "The Boston Evening Transcript," "Hysteria," and "Miss Helen Slingsby"—was included in Catholic Anthology – edited by Ezra Pound and printed by Elkin Mathews in London. The Love Song of J. Alfred Prufrock. T.S. Eliot. Prufrock and Other Observations The Love Song of J. Alfred Prufrock: S’io credesse che mia risposta fosse: A persona che mai tornasse al mondo, Questa fiamma staria senza piu scosse. Ma perciocche giammai di questo fondo.

Eliot's poem, 'The Love Song of J. Alfred Prufrock.' It outlines the general setup of the poem, its enigmatic lead character and its stylistic characteristics.

Analysis of The Love Song of J. Alfred Prufrock by T.S. Eliot