The refrains and echoes indicate Prufrock's entrapment in the present tense, but Eliot notes his hero's other temporal afflictions. Browse Library, Teacher Memberships These papers were written primarily by students and provide critical analysis of The Love Song of J. Alfred Prufrock. By the end of the poem, Prufrock feels ostracized from the society of women, the "mermaids singing, each to each. The rest of the poem is a catalogue of Prufrock's inability to act; he does not, "after tea and cakes and ices, / Have the strength to force the moment to its crisis" (79-80). Sex, of course, reproduces new life while death ends it; Prufrock is somewhere in the middle, gradually advancing on the latter. This is one of the most influential songs of the 20th century. Prufrok's poem is the antithesis of standard themes in a love song. He truly believes his beloved has sent him signals that she likes him, but he is worried that he might be misinterpreting her signals. The swinging rhythm of the poem - at times rhymed for long stretches, often not - hints at a confusing, chaotic sense of time within Prufrock's head. He speaks of normal life with a sort of weary detachment. At least here the women seem to be paying attention to him, however hostile they may be. James Joyce's Ulysses, with fragments as obscure as specific letters that course meaningfully throughout the novel, is possibly the defining fragmented Modernist work. 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 Prufrock's allusions, however - "And indeed there will be time" (23) and "Would it have been worth while, / To have squeezed the universe into a ball" (90, 92) - reinforce his fixation on paralysis rather than sex. One of the key terms in Modernist literature, fragmentation is the accumulation of numerous and varied - often to chaotic effect - signs (words, images, sounds). The Love Song of J. Alfred Prufrock was published in 1917. Wayne, Teddy. The Love Song of J. Alfred Prurock by T.S. Themes in The Love Song of J. Alfred Prufrock Indecision: One of J. Alfred Prufrock’s central neuroses arises from the fact that he does not know what to do with himself. Prufrock consistently feels worse about himself in these situations - the reference to "Scuttling across the floors of silent seas" (74) is the ultimate in self-pitying - but they have more resonance when we consider the Dante epigraph. Learn more. Source(s): main theme quot love song alfred prufrock quot: https://tr.im/YqTRM. "The Love Song of J. Alfred Prufrock Themes". The Love Song of J. Alfred Prufrock as an Anti-love Poem: Although the title of the poem suggests that its content is enchanting about the ripe memories of love, the situation is quite contrary. This repeated mention of Michelangelo by the women in “The Love Song of J. Alfred Prufrock” serves as more than just a representation of the idle chatter of the attendees of the tea party. At best he is the doddering Polonius from "Hamlet," or a generic clown. Find full texts with expert analysis in our extensive library. This website uses cookies to ensure you get the best experience. Learn about the different symbols such as Magic Lantern in The Love Song of J. Alfred Prufrock and how they contribute to the plot of the book. "To prepare a face..." Yet Prufrock admits he is not even "Prince Hamlet, nor was meant to be; / Am an attendant lord / Almost, at times, the Fool" (111-112, 119). Prufrock's paralysis (see Prufrockian paralysis, above) roots itself in the poem's... Fragmentation. 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