Love and Nemesis
River Road
The Virginia Exhibit
A Lost Car on Spike Canyon
The Beneficiaries
Invisible The Morning After
Beautiful Shadows
Something Like Wonder
Try to Keep Up
A Series of Moments Between Clocks
The Unromantic REAL World of Gulliver's Travels
Meant for One Thing
The Lesser of Evils
Love and Nemesis
The Sinning Bishop
The World In Your Pocket
Higher Purpose
A Promising Look at Genesis
Not For The Ladies
Fooling Around and Falling In Love
The Tediousness of Tragic Love
Poetic Analysis for "The Trees"
Creation On Dub
Creating the Universe
Fast Acting In Small Doses
As Crazy As They
We Can Always Use More Utopia
A Little Church in Corinth
The Theory of Carl Rogers
Historically Speaking
Different Shades, Same Color
A Rose for a Funeral
Obsessed With Race

     Common songs of love from the present day are a man-made phenomena; though they are written in a modern world that the modernist poet would describe as fast, fragmented, and "sold to the highest bidder," love songs encapsulate the accessible, personal, and confident nature of the Romantic era. In "The Love Song of J. Alfred Prufrock," T.S. Eliot has taken creative liberties with what characteristics can or should make up a "love song" according to this careful synthesis. A love song, as most people would recognize it, contains allusions to "going against the crowd (The Romeo and Juliet cliche)", as well as the physical, verbal, or spiritual characteristics of a person or idea that are attractive or appealing. Prufrock takes those very characteristics and turns them on their heads, spinning their truly negative light on his feelings. There is a profound irony in the poem being titled as a love song, when the entire piece is riddled with the insecurities, mal-decision, and desperate abandonment of the main persona, Prufrock. What is most striking is the poet's decision to end the poem with the Prufrock's decision to live out a life of hopeless loneliness that he blames himself for, an idea that the Romantics would not likely settle for!

     Prufrock, the poem's speaker, seems to be addressing a potential lover, with whom he would like to "force the moment to its crisis" by somehow consummating their relationship. Prufrock, however, knows too much of life to "dare" an approach to the woman in the poem: In his mind he hears the comments others make about his inadequacies, and he chides himself for "presuming" emotional interaction could be possible at all. Right away, in his desire "to prepare a face to meet the faces that you meet (27)," he reveals his insecurity in society as a prominent one. Plagued with the self-conscious questions "Do I dare?" and, "Do I dare? (38)," he attempts to move through the actions of his courtship as if succeeding would be the greatest of heroic victories. Throughout, he imagines the thoughts of on-lookers in the crowd, who he imagines to criticize everything from his small bald spot ("How his hair is growing thin!(41)") to the size of his limbs ("But how his arms and legs are thin!(44)") Prufrock's obvious fear of lacking hair or body mass alludes to one of many insecure fears of being lesser in some way, or insignificant. He asks himself "Do I dare/ Disturb the universe?(45-46)" as if the victory and contentment he seeks are somehow in opposition to the cosmic plan, and a feat unlikely to acheive. Prufrock, as a doubting individual, extends his doubt even further to proclaim that nomatter how long successful he is in his attempt to convince himself all is well, "In a minute there is time/ For decisions and revisions which a minute will reverse (47-48)."

     Prufrock's fear of society as a collective being narrows now to the fear of the female gender. In the time he was created (in other words, at the time the poem was written), the woman's right and habit to assert herself in society was just becoming truly stationed. This could have been a very intimidating factor for Prufrock and men like him. One must keep in mind that The Love Song of J. Alfred Prufrock is an examination of the tortured psyche of the prototypical modern man--overeducated, eloquent, neurotic, and emotionally uneasy. These factors can only be made worse by the presence of a possibly oppositional gender- women who were undereducated against their own wills and in the former habit of keeping words and emotions to themselves. These women, Prufrock believes, have special abilities when it comes to making him question himself and his ability to exist in these advantages.

     Lines 55-59 read "... 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," showcasing his insecurity when pressured with a question or challenge from a woman, and his inability to form words that support his role as an educated male.

     The next stanza picks up with Prufrock's uneasiness at the physical attributes of the women and how those characteristics impair his ability to function as a superior, well-spoken member of the male gender: "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 (62-68)" Catching sight or sense of these iconic features of a woman seem to make him uneasy and unable to communicate his true intent or feelings.

     Prufrock, as a thinking, feeling character, does not begin the poem resigned to live a life avoiding the people and things that make him insecure- it is he, after all, who notices the "lonely men in shirt-sleeves, leaning out of windows (73)" and assigns them the label of "lonely" as if they are separate from him. However, he also makes several references to being dead, which would counter this possibility. He refers to himself as "Lazarus"- meaning that it would likely take a true miracle of Biblical proportions to bring him back to life from whatever death he has taken upon himsef (94). The language of "a patient etherised upon a table (3)" has similar connotations, pointing to the possibility that maybe this idea of a figurative death is the only way Prufrock can avoid his insecurities that push him toward a life full of loneliness.

     "Prufrock" ends with the hero assigning himself a role in one of Shakespeare's plays: While he is no Hamlet, he may yet be useful and important as "an attendant lord, one that will do / To swell a progress, start a scene or two (111-113)." This implies that there is still a continuity between Shakespeare's world (more Romantic in nature) and Prufrock's. It seems to suggest that Hamlet is still relevant to Modern society and that Prufrock is still part of a world that could produce something like Shakespeare's plays (or a love song, at that!). The last line of the poem suggests otherwise--that when the world intrudes, when "human voices wake us," the dream is shattered: "we drown." With this final line, the romantic notion that poetic ability and appreciation for love and beauty is all that are needed to triumph over the destructive, impersonal forces of the modern world is destroyed. What is left at the end is the complete opposite of a love song, and seeks to represent the possibility that love and insecurity just may be mortal enemies in every context.