T. S. Elliot (1888-1965)
T. S. Elliot, 1934
Photographer | Lady Ottoline Morrell
Source | Wikimedia Commons
License | Public Domain
Thomas Stearns Eliot was born in St. Louis, Missouri. Eliot’s father, Henry Eliot, was a successful businessman, while his mother, Charlotte Stearns, wrote poetry and was involved in St. Louis’s cultural scene. Eliot lived in St. Louis until 1906, when he enrolled at Harvard University where he studied until 1910. Later that year, Eliot left to study at the Sorbonne in Paris for a year, before returning to Harvard to begin work on a Ph.D. In 1914, Eliot left the United States and accepted a scholarship at Oxford University, where he stayed for a year. Although he did not finish his studies at Oxford, Eliot remained in England, completing his dissertation for Harvard University, since World War I prevented Eliot from returning to the U.S. Instead Eliot stayed in London, later renouncing his American citizenship in favor of British citizenship (1927). Although he was a successful writer, Eliot also worked for a living, first as a teacher, then a banker, before accepting a position at Faber and Faber Publishing House. Eliot would become a tastemaker of the Modernist period, discovering and publishing many Modernist writers and eventually serving as the director of Faber and Faber. Although Eliot never moved back to the United States, he returned quite often to visit as well as to give lectures and readings.
Eliot began writing poetry in college, but it was after he moved to England (1914) that he began to write in earnest. Once he started to publish, Eliot’s reputation grew until he became one of the central figures of the modernist movement. His essay, “Tradition and the Individual Talent,” offered a highly influential approach for reading and interpreting literature. However, Eliot’s poem, The Waste Land (1922), was possibly the most famous work of the Modernist era, one that is considered a masterpiece and significantly raised Eliot’s profile. Written with editorial guidance from fellow Modernist poet Ezra Pound, The Waste Land sought to express the disillusionment of the post WWI Modernist era. It is a poem that many other Modernist writers used in their own writing. Throughout his career, Eliot produced several major works spanning multiple genres, including his poems, “The Love Song of J. Alfred Prufrock,” The Waste Land, “The Hollow Men,” “Ash Wednesday,” and The Four Quartets, as well as the famous essay, “Tradition and the Individual Talent” and the play, Murder in the Cathedral (1935). Common themes in his work include isolation, religious insecurities, and frustration.
Eliot’s poem, “The Love Song of J. Alfred Prufrock,” which begins with an epigraph from Dante’s Inferno, is innovative in form because it is formatted as a dramatic monologue without a clearly identified audience. It quickly becomes evident to the reader that this poem defies the conventions of a traditional love letter; rather, it reads like a confessional, with Prufrock confessing his feelings to the reader. The reader is privy to Prufrock’s own insecurities and self-doubt that cannot be assuaged by God/religion, his fear of rejection, and his fear of dying alone.
“The Love Song 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,
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!)
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,
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.
Reading and Review Questions
- The poem is titled “The Love Song of J. Alfred Prufrock.” How does this poem differ from what we usually consider the typical themes of a love song? Are there any similarities to a love song?
- Eliot’s famous line, “Do I Dare Disturb the Universe,” has been seen as the central line in this poem. What is Prufrock referring to in this line? How could he disturb the universe?
