J. Levitan 1
Julia Levitan
Mr. M. Ahumada
ENG4U1-02
November 3, 2011
Alienation in T.S. Eliot’s “The Love Song of J. Alfred Prufrock”
The American writer, John Corry, wrote, “Loneliness seems to have become the great American disease.” Indeed, loneliness appears to be the natural condition of many in the western world. In T.S. Eliot’s poem, “The Love Song of J. Alfred Prufrock,” the protagonist is presented as an average man, consumed by loneliness and a yearning for human connection. Over the course of the poem, the reader learns how Prufrock is living a small, unfulfilled life defined by isolation. He is unable to engage with those around him. Eliot suggests that Prufrock’s defeatist, self-doubting behavior makes it impossible for him to do so. Therefore, Prufrock represents an Everyman who is incapable of facing his deep personal alienation, and, in fact, brings it upon himself.
First, Prufrock’s view of humanity encourages him to stay distant from those around him and leads inexorably to his sense of alienation. He sees others as unforgiving and unkind, and assumes they are constantly judging or ridiculing him. Prufrock states, “I have seen the eternal Footman hold my coat, and snicker” (85), and he worries that the women will notice “How his hair is growing thin!” (41). As a result, consumed by his fear of being judged, Prufrock finds it exceedingly difficult to interact with others.
However, Prufrock’s tainted view of humanity is best indicated by his tendency to see people as fragmented parts. He often refers to others, particularly woman, through the use of synecdoche. As he speaks of the various women he has known throughout his life, he explains, “I know the voices” (52) just as he has “known the eyes already” (55) and later, “known the arms already, known them all.” (62). It becomes evident that rather than seeing people as fully realized, Prufrock views them as pieces or sections of a whole. This does not allow him to
connect with others in any meaningful way. Furthermore, Prufrock also describes himself in fragments. He speaks of how “there will be time / To prepare a face to meet the faces that you meet;” (26-27), and he “should have been a pair of ragged claws” (73). Therefore, Prufrock’s failure to see people or himself as whole, in addition to his jaundiced view of humanity, lead to a keen sense of isolation.
Second, the text suggests that Prufrock’s refusal to take risks further alienates him from the people and world around him. Throughout the course of the poem, Prufrock contemplates whether he should strike up a conversation with the object of his affections. It becomes increasingly clear that Prufrock is controlled by fear. He repeatedly wonders “Do I dare” (45), but in the end, it appears that he decides not to take the risk and that he better not “disturb the universe” (46) after all. Instead, Prufrock makes excuses for why there is no need to approach the woman just yet. He argues that he will not know how to express himself : “It is impossible to say just what I mean!” (105), and so he assumes his intentions will be misunderstood: “That is not what I meant at all. / That is not it, at all.” (97-98). Prufrock also reminds himself “indeed there will be time” (23), and later still tries to convince himself that it would not have been worthwhile anyway: “And would it have been worth it, after all” (87). These excuses make it easy for Prufrock to justify to himself why he should not approach the woman. This enables him to avoid taking responsibility for his fears and actions, or lack thereof, and remain in denial about his self-induced alienation. It can be concluded that Prufrock’s fundamental fear of judgment and rejection makes him unable to take even seemingly very small risks when it comes to human interactions. Therefore, this paralysis pushes him further into isolation.
Third, Prufrock’s solitary obsession with time and the aging process also distance him from those around him, thus reinforcing his isolation. In stanza four, Prufrock introduces the concept of time:
There will be time, there will be time
………………………………………
Time for you and time for me,
And time yet for a hundred indecisions
And for a hundred visions and revisions
Before taking of the toast and tea. (26, 31-34).
This theme is repeated and prevalent throughout much of the rest of the poem. As aforementioned, Prufrock uses the amount of remaining time in his life as an excuse for why he does not need to speak to the woman yet, and so remains separate and alienated.
However, these references to an abundant amount of time are juxtaposed with Prufrock’s frequent acknowledgement of the passing of time as he ages. Prufrock worries that when he descends the stairs, the women will notice his “bald spot” (39) and “[They will say: ‘But how his hair is growing thin!’]” (41), and “[They will say: ‘But how his arms and legs are thin!’]” (44). He seems painfully aware that time is, in fact, running out: “I grow old…I grow old…” (121). Prufrock admits, “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.” (84-86). Therefore, Prufrock knows he is past his prime and has seen this “eternal Footman,” perhaps representing God or death, mocking him. Ultimately, Prufrock is a man who prefers to be in control, as seen in his reluctance to take risks that will render him vulnerable. Because Prufrock cannot control the aging process, he becomes obsessed with his old age and wallows in self pity, alone.
Subsequently, Prufrock’s justification that “there will be time” (23) and, paradoxically, his unwillingness to accept his age, exacerbate his discomfort around others and further intensify his isolation.
Last, Prufrock’s opinion of his own self worth cripples his ability to remove himself from his isolation. He does not regard himself highly, but instead as one who might have been better off if he were “a pair of ragged claws / Scuttling across the floors of silent seas.” (73-74). This sense of inadequacy stops Prufrock from joining the women who “come and go / Talking of Michelangelo.” (13-14). Perhaps he feels that, he is unworthy and does not deserve the attention of these sophisticated women who drink tea and discuss famous and talented men like Michelangelo. However, the most telling piece of text about Prufrock’s opinion of himself is found in stanza sixteen: “No! I am not Prince Hamlet, nor was meant to be; / Am an attendant lord,” (112-113). He continues:
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. (116-120).
Similarly, when coming to his final decision about whether he should approach the group of women, Prufrock says, “I do not think they will sing to me.” (19). In other words, he does not think the women will desire him. It is with all this in mind that Prufrock finds it seemingly impossible to strike up a conversation with these women, thus leaving him alone and alienated.
In conclusion, Prufrock, as representative of the common man, lives a life that is defined by alienation. Because of Prufrock’s view of humanity, his unwillingness to take risks, his preoccupation with the passing of time, and his fragile sense of self worth, he engages in self-destructive and isolating behavior. By doing so, Prufrock sabotages any chance of meaningful human connection. Readers in the western world can certainly identify with Prufrock’s loneliness and isolation. In this way, the poem has a universal appeal and effectively captures the spirit of the times. Even though “The Love Song of J. Alfred Prufrock” was written in 1915, it is as relevant today as it was when it was first published, and continues to resonate powerfully with readers.
Works Cited
Corry, John. “Loneliness Quotes.” Brainy Quote. BookRags Media Network, n.d. Web. 27 Oct. 2011.
Eliot, Thomas. “The Love Song of J. Alfred Prufrock.” Poetry: A Magazine of Verse. Ed. Harriet Monroe. Chicago: The Poetry Foundation, 1915.