Thomas S. Eliot
English – Poetry Revision Notes
Covering:
-
The Lovesong of J. Alfred Prufrock
Preludes
Aunt Helen
from The Waste Land II. A Game of Chess
Journey of the Magi
from Landscapes III. Usk
from Landscapes IV. Rannoch, by Glencoe
from The Four Quartets East Coker IV.
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1 TS Eliot – Poetry English Revision notes.
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2 TS Eliot – Poetry English Revision notes.
3 TS Eliot – Poetry English Revision notes.
Thomas S Eliot.
T.S. Eliot was born in St. Louis, Missouri, in 1888. He published his first poetic
masterpiece, "The Love Song of J. Alfred Prufrock," in 1915. In 1921, he wrote the
poem "The Waste Land" while recovering from exhaustion. The dense, allusionheavy poem went on to redefine the genre and become one of the most talked
about poems in literary history. For his lifetime of poetic innovation, Eliot won the
Order of Merit and the Nobel Prize in Literature in 1948. Part of the ex-pat
community of the 1920s, he spent most of his life in Europe, dying in London,
England, in 1965.
The Lovesong of J. Alfred Prufrock
Text
The Lovesong 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 percioche 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?”
Let us go and make our visit.
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,
4 TS Eliot – Poetry English Revision notes.
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.
In the room the women come and go
Talking of Michelangelo.
And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
With a bald spot in the middle of my hair —
(They will say: “How his hair is growing thin!”)
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin —
(They will say: “But how his arms and legs are thin!”)
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.
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!)
5 TS Eliot – Poetry English Revision notes.
Is it perfume from a dress
That makes me so digress?
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? ...
I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
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 towards some overwhelming question,
To say: “I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all”—
If one, settling a pillow by her head
Should say: “That is not what I meant at all;
That is not it, at all.”
And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the floor—
And this, and so much more?—
It is impossible to say just what I mean!
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:
“That is not it at all,
6 TS Eliot – Poetry English Revision notes.
That is not what I meant, at all.”
No! 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.
Summary
This poem, the earliest of Eliot’s major works, was completed in 1910 or 1911 but not
published until 1915. It is an examination of the tortured psyche of the more typical modern
man of that era – overeducated, eloquent, neurotic, and emotionally stilted.
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.
But Prufrock knows too much of life to ‘dare’ an approach to the woman: 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.
The poem moves from a series of fairly concrete (for Eliot) physical settings – a cityscape
(the famous ‘patient etherised upon a table’) and several interiors (women’s arms in the
lamplight, coffee spoons, fireplaces) – to a series of vague ocean images conveying
Prufrock’s emotional distance from the world as he comes to recognize his second-rate
status (‘I am not Prince Hamlet’).
‘… Prufrock’ is powerful for its range of intellectual reference and also for the vividness of
character Eliot achieved in writing it.
7 TS Eliot – Poetry English Revision notes.
Annotation
The Lovesong of J. Alfred Prufrock (this phrase reveals ‘Prufrock’ as narrator)
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.
If I believed my answer was
to a person who'd ever get back to the world,
this flame would keep still without moving any further.
But since from those undergrounds
no one has ever come back alive, if I hear what's true,
I answer you without fear of infamy. (this quotation implies that the narrator is motivated
to act by his fear of death and time, of time running out and it being too late)
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table; (anaesthetized; not a particularly romantic image for
the evening this couple could share)
Let us go, through certain half-deserted streets, (‘then’ omitted when narrator repeats his
urging phrase, suggests his sense of urgency)
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells: (sense of romance’s absence continues,
possible settings for this evening seem seedy and thoughtlessly chosen on the narrator’s
part, as if anywhere will do once she agrees to go with him)
Streets that follow like a tedious argument (dull and seemingly pointless)
Of insidious intent (proceeding in a gradual, subtle way, but with very harmful effects;
evocative of the manner in which the narrator is trying to woo his audience, and the
impact his being successful may have on her)
To lead you to an overwhelming question ... (irony: this poem is all about what he asks of
her, and yet he does not ask the actual ‘question’)
Oh, do not ask, “What is it?” (an innocent narrator might be embarrassed at having to
ask; this narrator’s character thus far suggests he doesn’t want to have to ask, that he
feels she should know what he wants without him having to spell it out)
Let us go and make our visit. (request repeated for a third time; where are they leaving
from?); (seems a euphemism for ‘make’ love)
In the room the women come and go
Talking of Michelangelo. (hints at the speaker’s setting, possibly a museum or art gallery,
the Sistine Chapel?)
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes, (windows could be of
stained glass, with the sunlight creating the image of ‘fog’ then ‘smoke’ for the narrator;
8 TS Eliot – Poetry English Revision notes.
‘smoke’ compounds the ‘fog’, suggesting the narrator is becoming more impatient at
having to wait)
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, (this imagery is arguably zoomorphism,
attributing the qualities of an animal to an object; the fading sunlight is portrayed as an
animal, possibly a dog)
And seeing that it was a soft October night,
Curled once about the house, and fell asleep. (the ‘October night’ has fallen; the sun/dog
is ‘asleep’)
And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes; (Yes, the speaker is saying, the sun will rise
again; tonight is not our end)
There will be time, there will be time
To prepare a face to meet the faces that you meet; (switches from the acceptance of the
previous line; here the speaker resumes his encouragement of his audience; she will be
able to hide what they end up doing from others)
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; (some of the things life means to the narrator
– taking and giving life, working and socializing)
Time for you and time for me, (suggestion that they can continue to be separate, even if
they come together for this one night)
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea. (speaker returns to the more imminent present; all of
this can happen before either supper of breakfast)
In the room the women come and go
Talking of Michelangelo. (repetition of previous stanza; the life of this setting is passing
the narrator by. He is focused only on his ‘insidious intent’)
And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair, (speaker proceeds with the present, suggests
that his audience could still change her mind, even if they leave ‘the room’ together)
With a bald spot in the middle of my hair —
(They will say: “How his hair is growing thin!”)
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin —
(They will say: “But how his arms and legs are thin!”) (narrator describes his own
appearance; he is aging but is still relatively fit and well)
Do I dare
Disturb the universe?
In a minute there is time
9 TS Eliot – Poetry English Revision notes.
For decisions and revisions which a minute will reverse. (reminiscent of Hamlet’s ‘To be or
not to be…’ monologue; speaker weighs up the importance of choosing to act, and such a
choice’s consequences)
For I have known them all already, known them all:
Have known the evenings, mornings, afternoons, (suggests that the narrator has already
been faced with choices to make in his life)
I have measured out my life with coffee spoons; (the narrator seems bored by his life’s
routine)
I know the voices dying with a dying fall
Beneath the music from a farther room. (narrator returns to the sentiment of the poem’s
opening quotation; death comes to us all, the time is now, etc.)
So how should I presume? (nothing is sure in life, unless we make it so)
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10 TS Eliot – Poetry English Revision notes.
11 TS Eliot – Poetry English Revision notes.