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The Love Song of J. Alfred Prufrock (1917)
“The Neuroticism of the Modern Man which Stagnates Meaningful Progress”
In his articulation of “human impotence” (Jackie Manuel), Eliot uses a distinct characterisation of Prufrock, aiming to emulate the neuroticism of the modern man, for whom Prufrock has become a tour de force. Exignantly, Eliot’s Prufrock is an immediate criticism of the incongruous quiescence, discomfiture and neurasthenia of the modern individual amidst a rapidly transformational milieu.
Prufrock’s quiescence; his stagnant inability to progress, contradicts the rapidity which not only occurs industrially in the modern world, but socially. Despite the frequency of the social events, and the consistent dynamism of the effervescent gatherings, Eliot overlays a sense of superficial disconnection, as women satirically “come and go”, and Prufrock mourns the presence of endless “tea and ices” which ludicrously prevent Prufrock from “forc[ing] the moment to its crisis” – achieving nothing.
This same disconnection is wrought with a second Modernist concern; the innate inability of the individual to consequentially communicate with another. The resulting stagnation, as Prufrock struggles relentlessly to express “what I meant”, to no avail, is mirrored also in other characters in the poem, such as a nameless female, thus allowing Eliot to shift a foible belonging solely to Prufrock, into symbolism of a collective infirmity in a modern Society.
The overall stagnation of the modern world is also used by Eliot to fortify the neurotic characterisation of Prufrock; the same superficial bourgeoisie that traps him mentally, also traps him emotionally, paralysed in the unforgivable gaze of the partygoers, or more accurately, the constant fear of this judgement, without much proof of its existence. Eliot gives way to vividly disturbing imagery of the inside of Prufrock’s mind, where disconcerting animalistic imagery of Prufrock as an insect, pinned to a wall, is indicative of a mind that is trapped by a materialistic society; disconnected and meaningless, and giving way to debilitating social anxiety.
This is partly why The Love Song of J Alfred Prufrock is an important poem that encapsulates Modernist concerns. It represents the Modernist endeavour for social evolution and a contrivance to move out of the meaningless cycle that characterises the modern consciousness, a trait which is reflected in Prufrock himself, as he searches endlessly for meaning, obsessively considering the nuances of time and the inescapable affliction of one’s own identity. Yet this search for meaning is continuously undermined by another Modernist concern; Thus, Eliot criticises not only the modern world, but Modernist concerns in itself, its own obsession with progression is paradoxically stagnated by their obsession with communication.
Quotes and Points
''In the room the women come and go
Talking of Michelangelo."
As the poem is written largely in blank verse, it is therefore evident that Eliot uses rhyme deliberately; in this case it can be inferred that it is an overt satire of the futile grasps at meaning enjoyed by a perfunctory milieu. This criticism is different from the piercing judgement elucidated in some of the lines that “pin” Prufrock; this criticism is an attack on the lackadaisical individual, obsessed with trivialities.
“Do I dare?” and, “Do I dare?”
The hesitation that precedes and impedes action is a strong theme in the poem; Eliot criticises the incessant fear of judgement, as well as the fear that the response will not be worth the necessary action, revealing with the repetitive questioning of one’s own outrageous limits, and the resulting impotency of human progression.
“Do I dare
Disturb the universe?” (Later in poem)
“Do I dare to eat a peach?”
These juxtaposed lines are a clear display of the neurotic breakdown of Prufrock’s mind, mirroring the breakdown of spiritual and emotional purpose in the industrial progression of modern society. The profoundness of the first line is so overt, that it becomes satirical; Eliot trivialises even the Modernist grasp for meaning, resigning them to the painful mundanity of consuming fruit.
''With a bald spot in the middle of my hair —
(They will say: “How his hair is growing thin!”)''
This line is evidence of a paralysing disquietude that stems from a shallow society. The inexorable display of modern civilisation is symbolic of Eliot’s judgement of modern society; obsessed with the veneer of pure progress, shaping the modern world out of the agrarian foundations of humankind, at the expense of pulchritude and moral principle.
''In a minute there is time
For decisions and revisions which a minute will reverse.''
The repetition in this line asserts the endless nature of neurotic stagnation, with a mention to the inevitable progression of time, which ultimately undoes all decisions made, Eliot hyperbolically explores how a lack of conviction in one’s own decisions – a by-product of compulsively analysing oneself – furthers stagnation.
''when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,''
The deep undercurrents of fear are what establishes and solidifies the neuroticism in this poem. Prufrock’s mind spins wildly out of control as he vividly imagines the judgement of others, reducing him to a metaphorical bug. Just as the world itself is “etherized”, Prufrock is unified with his environment, metaphorically “pinned”, allowing the thoughts of others to entirely direct his own. The grotesque imagery of a grown man “wriggling on a wall” creates a pathetic impression for the reader, Eliot criticises Prufrock’s inability to form his own opinion and progress past the thoughts of others.
“Of lonely men in shirt-sleeves, leaning out of windows? ...”
Prufrock will, too, be left lonely, isolated in a dormant world, symbolically united with all the countless other people who lack the conviction and the determination to form strong connections. In this, Eliot alleviates the potent criticism of Prufrock, diverting his critical gaze to all of the trapped individuals in the modern world, who value the opinion of others over their own sense of purpose, allowing their being to be entirely enveloped by the gaze of the superficial bourgeoisie.
“Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?''
In this, Eliot exposes how Prufrock values the importance of trivial social normalities as much as he values strength and conviction. In the questioning tone, Prufrock inadvertently satirises himself to the reader, as if sourcing internal strength and creative meaningful movement was as simple as taking tea with members of the upper-class society. It is this blind unappreciation and misunderstanding of moral conviction and which reveals to the reader the extent to which Prufrock’s obsession with societal pleasantries warps his awareness of his own identity – he is stagnant not only because of a lack of meaningful conviction and a fear of judgement, but also because of a misunderstanding of rigour and determination, essential to provoking change.
''If one, settling a pillow by her head
Should say: “That is not what I meant at all;
That is not it, at all.”
An introduction to the intensely Modernist concern about the incommunicable nature of language, Eliot chooses to shift into a female consciousness, momentarily changing the viewpoint in order to clearly show the universality of the struggle to communicate. In allowing this failing to transcend Prufrock’s character, Eliot allows the reader to recognise communication as intrinsically difficult, contributing to an alienated sense of disconnection towards others, and therefore furthering the stagnation of the modern world, which is unable to progress past barriers in communication.
''No! I am not Prince Hamlet, nor was meant to be;''
Ironically, Prufrock laments his separation from Prince Hamlet, although it is clear to the reader that the pair share a fundamental failing, a paralysis that is a result of superfluous contemplation. It is therefore significant that the Modernist mission of understanding the self and providing an end to one’s perpetual ontological uncertainty, is focussed by Eliot into a man with so little awareness of his own being; his desire to be spotlighted and celebrated, similar to Prince Hamlet, blinds him to the flaws which eventually and symbolically lead to Hamlet’s demise.
Hope this helped give you an insight into one of the key Eliot poems!
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