Dante Inferno Essay Prompt
On The Love Song of J. Alfred Prufrock. This site is owned and maintained by William Ames, a member of the Modern Language Association. In The Love Song of J. Eliot reveals the thoughts and feelings of the poem’s subject, Prufrock, in a way that Prufrock could not have articulated himself, since it is the poem’s objective to illustrate Prufrock’s insecurity. By not commenting directly and allowing the reader to draw conclusions from clues given in dramatic monologue, Eliot adds meaning and rewards the reader.
His use of an epigraph heightens the reward and demonstrates that J. Alfred Prufrock cannot speak in life as he does in the poem. Through use of these techniques, Eliot creates a poem that is both subtle and effective at generalizing the insecurity of Prufrock. The Love Song of J. Alfred Prufrock, gives the reader subtle hints about its meaning. The first of these comes in the epigraph from Dante’s Inferno. S’io dredesse che mia reposta fosse.
A persona che mai tornasse al mondo,Questa fiamma staria senza piu scosse. Ma perciocche giammai di questo fondo. Non torno vivo alcun, s’I’odo il vero,Senza tema d’infamia ti rispondo. Since he knows that Dante will not leave, he relates his secrets- -known only to the dead. Without the rest of the poem as context, this quote means little, if anything, but it is the device that Eliot chooses to deliver a clue to his readers.
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The information may seem irrelevant until it is placed in the context of the entire poem, but by comparing his poem to the story told to Dante, Eliot warns the reader that this is not an ordinary monologue. In this case, the epigraph reveals that Prufrock himself could not have articulated his introspection of the poem, but this will not be evident until an analysis of the other images Eliot uses (Norton, 2. The poem is set as a monologue, since the speaker refers to a listener in the opening line as . This lets the reader know that what is stated is being spoken to another person.
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Since a dramatic monologue typically reveals character traits that the speaker is unaware of, Eliot uses this to give the reader a clue about how to read his poem. Eliot sets a scene that is identified by the recurring phrase, . This probably places the scene at a social event, perhaps a tea party, and Eliot’s use of the . Should Drinking Age Be Lowered To 18 Essay Format. Alfred Prufrock is probably a student in this setting, but even if he is not, the setting remains one of light sophistication. Slowly, Eliot gives small amounts of information about the character of J. Alfred Prufrock. And indeed there will be time.
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- A critical analysis by William Ames of The Love Song of J. Alfred Prufrock, with particular attention to the opening epigraph.
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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!”) (ll. These lines depict a man with an overwhelming fear and insecurity about his situation, as Prufrock delivers a clue to this in each line. He convinces himself that there is time, so there is no need to rush into action. He asks if he can dare, and then has second thoughts and plans to . He is concerned with a bald spot and what people will say about it. He desires something very much, yet he is afraid to act.
Eliot is not content with simply portraying a man who is insecure, instead, he uses the character’s own recollections and melancholy to deepen his meaning, . The speaker is tormented by his neurotic insecurity, and he describes it in more detail in the successive lines.
If J. Alfred Prufrock was actually able to identify and articulate all of the feelings he demonstrates in the poem, he would most likely have been more confident and secure in himself. He then would not feel as insecure and would not need to write the poem.
This is the paradox which is explained by the epigraph. The epigraph from Inferno is what Eliot uses to show the reader that the poem is spoken, not as Prufrock would, but as what Prufrock would say if he were come back from another place, like Dante. This is a place where he could understand his insecurity and relate it in poetic form. While the speaker from Inferno has come back from Hades, Eliot does not make it clear where Prufrock is speaking from, but he is distanced, nevertheless, from the scene. The melancholy reflections in the poem are more like what an aged man would say in reflection of his youth, yet the speaker is apparently a young person who goes to academic tea parties with women who speak of Michelangelo. He is uncomfortable because he wishes to talk to them.
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!)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? This is what is troubling to Prufrock.
He is afraid to speak to the women he sees because he feels that he will not speak well enough to have them interested in him, and his insecurity will not allow him to overcome this shyness. The women are young, as the references to . He is taken by their appearance, and it seems that he has had this problem before, since he has . Again, it Is the understanding that Prufrock is speaking as though he were come back from another place, like Dante, that allows him to reveal his emotions in such heightened language.
Prufrock has skill with language throughout the poem, but it is not Prufrock in the setting that is relating the scene. It is not the Prufrock of the scene that can quote from Marvell and Shakespeare; instead, it is the Prufrock of another place that is speaking in the poem.
All this is given by Eliot's use of a passage by Dante, but without the context of the poem as a whole, looked back on, as it were, the epigraph makes little sense and seems out of place. When taken in retrospect, the reference to Dante is not only appropriate, but it explains how a character as insecure and inarticulate as Prufrock can say exactly what he means in the poem (through the poet), but not in the scene in the poem. Eliot draws, perhaps, on his own experiences to write The Love Song of J. Alfred Prufrock, but he extrapolates his sensations into the neurotic Prufrock, his alter ego. Since a poem spoken by Prufrock might have been unimaginative, Eliot chooses the device of a dramatic monologue to make his observations of the human condition. His use of the epigraph works well with the monologue to allow Eliot to write in the first person, and the technique keeps the poem fresh, even after several readings. It is more rewarding for a reader to make sense of a difficult poem, or a poem that makes its point in a very subtle manner, than it is to simply state an observation in plain language.
Eliot makes a simple observation and keeps the reader interested by using unusual techniques that are both subtle and effective. Works Cited. T. S. Persuasive Articles For Middle School Students here.
Eliot, The Love Song of J. The Norton Anthology of English Literature. Abrams New York, London: Norton, 1.
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Sub- Genre Descriptions . Levinson, author. Action: a story that often features a race against the clock, lots of violence, and an obvious antagonist. Comic: a thriller played for laughs, whether through a spoof of the genre or wisecracking interplay between the protagonists.
Conspiracy: a thriller in which the hero battles a large, powerful group whose true extent only he recognizes. Crime: a story focused on the commission of a crime, often from the point of view of the criminals. Disaster: a story in which Mother Nature herself is the antagonist, in the form of a hurricane, earthquake or some other natural menace. Eco- Thriller: a story in which the hero battles some ecological calamity . If you can disentangle it, it will lead you to the answer.”–Jean V.
Naggar, agent. Amateur Detective: a mystery solved by an amateur, who generally has some profession or affiliation that provides ready access to information about the crime. Child in Peril: a mystery involving the abduction or persecution of a child. Classic Whodunit: a crime that is solved by a detective, from the detective’s point of view, with all clues available to the reader.
Comic (Bumbling Detective): a mystery played for laughs, often featuring a detective who is grossly unskilled (but often solves the crime anyway, owing to tremendous good luck). Cozy: a mystery that takes place in a small town—sometimes in a single home—where all the suspects are present and familiar with one another, except the detective, who is usually an eccentric outsider. Courtroom Drama: a mystery that takes place through the justice system—often the efforts of a defense attorney to prove the innocence of his client by finding the real culprit. Dark Thriller: a mystery that ventures into the fear factor and graphic violence of the horror genre.
Espionage: the international spy novel—here based less on action than on solving the “puzzle”—is today less focused on the traditional enemy spies than on terrorists. Forensic: a mystery solved through the forensics lab, featuring much detail and scientific procedure.
Heists and Capers: an “antihero” genre which focuses on the planning and execution of a crime, told from the criminal’s perspective. Historical: a mystery that takes place in a specific, recognizable period of history, with much emphasis on the details of the setting.
Inverted: a story in which the reader knows “whodunit,” but the suspense arises from watching the detective figure it out. Locked Room: a mystery in which the crime is apparently committed under impossible circumstances (but eventually elicits a rational explanation). Medical: generally involving a medical threat (e. Police Procedural: a crime solved from the perspective of the police, following detailed, real- life procedures. Private Detective: Focused on the independent snoop- for- hire, these have evolved from tough- guy “hard- boiled” detectives to the more professional operators of today. Psychological Suspense: mysteries focused on the intricacies of the crime and what motivated the perpetrator to commit them. Romantic: a mystery in which the crime- solvers fall in love.
Technothriller: a spinoff from the traditional thriller mystery, with an emphasis on high technology. Equus Essay. Thriller: a suspense mystery with a wider—often international—scope and more action. Woman in Jeopardy: focuses on a woman put into peril by a crime, and her struggles to overcome or outwit the perpetrator. Young Adult: a story aimed at a teenage audience, with a hero detective generally the same age or slightly older than the reader, pursuing criminals who are generally less violent—but often just as scary—as those in adult mysteries. You might also like.
Song of Myself. Won't you help support Day. Poems? 1. 81. 9- 1. I celebrate myself, and sing myself. And what I assume you shall assume. For every atom belonging to me as good belongs to you.
I do not know what it is any more than he. I do not laugh at your oaths nor jeer you; ). The President holding a cabinet council is surrounded by the great. On the piazza walk three matrons stately and friendly with twined arms.
The crew of the fish- smack pack repeated layers of halibut in the hold. The Missourian crosses the plains toting his wares and his cattle. As the fare- collector goes through the train he gives notice by the. The floor- men are laying the floor, the tinners are tinning the. In single file each shouldering his hod pass onward the laborers. Seasons pursuing each other the indescribable crowd is gather'd, it. Seventh- month, (what salutes of cannon and small arms!).
Seasons pursuing each other the plougher ploughs, the mower mows. Off on the lakes the pike- fisher watches and waits by the hole in. The stumps stand thick round the clearing, the squatter strikes deep. Flatboatmen make fast towards dusk near the cotton- wood or pecan- trees. Coon- seekers go through the regions of the Red river or through. Tennessee, or through those of the Arkansas.
Torches shine in the dark that hangs on the Chattahooche or Altamahaw. Patriarchs sit at supper with sons and grandsons and great- grandsons. In walls of adobie, in canvas tents, rest hunters and trappers after. The city sleeps and the country sleeps. The living sleep for their time, the dead sleep for their time.
The old husband sleeps by his wife and the young husband sleeps by his wife. And these tend inward to me, and I tend outward to them. And such as it is to be of these more or less I am. And of these one and all I weave the song of myself. I resign myself to you also- -I guess what you mean. I behold from the beach your crooked fingers. I believe you refuse to go back without feeling of me.
We must have a turn together, I undress, hurry me out of sight of the land. Cushion me soft, rock me in billowy drowse. Dash me with amorous wet, I can repay you. I will accept nothing which all cannot have their. Iowa, Oregon, California? O welcome, ineffable grace of dying days! I plead for my brothers and sisters.
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