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The Fragmented Prufrock

An Analysis of “The Love Song of J. Alfred Prufrock”

Caitlin Yaun

Honors Project Spring 2015

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On a first reading of T.S. Eliot's "The Love Song of J. Alfred Prufrock," the

repetitive fragmentation may be confusing. The poem appears to be a series of

unrelated subjects that are haphazardly sewn together into disorganized stanzas. The

settings shift constantly, sometimes within a stanza or sentence, making the poem a

challenge to comprehend. Even Eliot concurs, because Eliot himself once said, “Only

genuine poetry can communicate before it is understood.” Although the shifting

settings and subjects may be difficult to decipher, we can appreciate the speaker’s

confusion and despair even on a first reading. However, in order to fully experience

the poem, we must first understand Eliot's fragmentation in regard to organization and

theme.

The fragmented structure of “Prufrock” originates within the apparent

disconnect between the various settings of the poem. “Prufrock” begins with an

ambiguous description of a dilapidated city. The speaker, J. Alfred Prufrock himself,

invites “us” to accompany him “through certain half-deserted streets” (line 5). Here,

the city seems to be a ghost town of sorts. He calls this area of the city “muttering

retreats” (6), suggesting groups of criminals may come to this section of the city to

engage in illegal activities. This section of the city houses “one night cheap hotels”

(7) and “sawdust restaurants with oyster shells,” (8) depicting the city as a poor and

run-down location with limited economic resources. Nobody stays longer than a night

in these hotels because the hotels are in poor condition and the characters staying at

the hotels may be drifters that are up to no good. This image immediately gives the

poem a gloomy and somber tone that resonates throughout the entire work.
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The image of the seedy town is further emphasized within the next line where

the town is described as a “tedious argument of insidious intent” (8). Since the word

‘insidious’ has such a negative connotation, we can gather that the town is deceptive,

sly and unwelcoming. The streets follow ‘like a tedious argument’ (8) because they

seem almost infinitive; they are winding and tiresome to travel on, just as a long

argument can grow agonizing and tiresome to debate.

Within the next stanza, the imagery abruptly shifts to a polar-opposite setting

of a high society ball, including aristocrats discussing art at an elegant party: “In the

room the women come and go, Talking of Michelangelo” (13-14). This section is

broken into its own stanza, which is two lines long. These two lines appear again later

on in the poem, causing just as much sudden disruption. The stark contrast between

this stanza and the prior stanza is surprising and confuses many first-time readers.

How does the speaker shift from speaking of a poor dilapidated town to a high society

ball? This question provokes many readers to feed confused and frustrated with the

lack of interconnectedness between thoughts and apparent streams of consciousness.

Readers may also wonder why Prufrock is inviting us to wander with him through a

seedy section of the city when he frequently socializes with the rich.

Throughout the third and fourth stanzas, readers are brought back to the seedy

town and the fog that engulfs it. Prufrock calls it a “yellow fog,” one that is cat-like

and “rubs it back upon the window-panes” (15) and “rubs its muzzle on the window-

panes” (16). This fog, he says, “licked its tongue into the corners of the evening,” (17)

suggesting that the fog covers the city in the nighttime and makes it almost impossible

to see.
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The yellow fog then lingers “upon the pools that stand in drains” (18) and lets

chimney soot “fall upon its back” (19) implying that the city air is polluted, dirty, and

unhealthy to breathe. ‘The pools that stand in drains’ sounds unsanitary and implies

that the city isn’t well maintained, further acknowledging the city's’ dilapidation.

Many readers may feel that the description of the fog sounds more like a restless

animal than a lingering smoke, calling its relevance into question. The placement of

this figurative language suggests that Prufrock is referring to the seedy city where

numerous street lights may be causing light pollution, as well as multiple factories

releasing contaminated pollutants into the air that resembles lingering fog. However,

the poem suddenly then shifts back to the aristocratic party where women discuss art.

Stanza three is the point in the poem where Prufrock begins to repeatedly mention the

importance of time. This topic is also seemingly fragmented from the previous

stanzas, even though the yellow fog is briefly mentioned.

In stanza 3, the poem is no longer a detailed description of a town or a party;

the poem now becomes introspective, regarding Prufrock’s life. Throughout stanza

six and beyond, the speaker discusses the concept of cowardice coinciding with the

essence of time. Literary critic Joachim Seyppel states in his criticism titled T.S. Eliot,

“The concept of time evolves as one of the most important and essential problems in

this work” (21). When Prufrock refers to the “bald spot in the middle of my hair”

(40) and how his friends will say “How his hair is growing thin!,” (41) the speaker

reveals his self-consciousness about his aging appearance. Prufrock suggests that he is

aging rapidly and that his friends are judging him because of it. Seyppel goes on to

empathize Prufrock’s aging appearance by saying, “What can one do? One grows old,
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one’s hair is growing thin, the necktie is “rich” yet modest, and yet still people will

say that one’s arms and legs are thin” (21). Here, Seyppel states that criticism of one’s

appearance is inevitable, and Prufrock’s self-consciousness is somewhat justified.

Prufrock’s overwhelming embarrassment regarding his outward appearance

reflects his cowardice with approaching and seducing women because he frequently

mentions his lack of a romantic relationship. Throughout this stanza, Prufrock also

attributes his humdrum existence to his passivity, and the redundancy of his life to

multiple missed opportunities. Prufrock “measures out [his] life in coffee spoons”

(50) because he is too cowardly to make a positive advancement for himself, and

inevitably fears the change that he wholeheartedly desires. Thus, Prufrock existence

remains routinely stagnant and he inevitably wastes his life trying to hide from the

world. Seyppel agrees, stating “Boredom remains, old and well-known things remain,

and disappointment remains” (21).

While a majority of the poem seems to take place in Prufrock’s “real” world of

aristocratic women in personal mansions, the poem oddly closes with a seascape

image regarding the mysticism of daydreams and a fantasy including mermaids.

Within his fanaticism of a hallucination, Prufrock says he hears “mermaids singing,

each to each” but he doesn’t think that they will sing to him. This segment of the

poem alludes to folklore sirens singing beautifully upon the rocky terrain of the

ocean. A comparison can also be made to Homer’s The Odyssey in which the main

characters encounter seductive sea sirens as well. These sirens are so irresistible to

sailors that they crash their ships on the rocks of the ocean and die. When Prufrock

abruptly re-emerges from his seascape daydream, he inevitably drowns due to the
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heavy burden of an unfilled life weighing down upon his heart. A casual reader of this

poem might wonder why Eliot deliberately used three apparently disjointed settings to

create this poem, however, a careful reading of the poem will reveal the

interconnectedness of the settings.

As disjointed as the poem’s structure is, a close reading reveals that the

fragmentation of the poem itself parallels the fragmentation of J. Alfred’s psyche. To

begin with, Prufrock’s distorted sense of self contributes to his fragmented character

because of his general inability to make important life choices. In lines 32-33 of the

poem, Prufrock exploits the idea that there is plenty of time left ahead of him to make

decisions, so he chooses to procrastinate and make decisions later rather than now. He

states “There is time yet for a hundred indecisions” (37) and “a time for a hundred

visions and revisions” (38) suggesting that Prufrock isn’t willing to make lifestyle

changes, even if they are positive, because he lacks the discipline to assert himself

and take charge of his impending fate. This point imposes a juxtaposition between

Prufrock’s anxiety over aging and his thoughts regarding his time which both

exemplify the fragmentation of his psyche.

On one hand, Prufrock is worried that his time on Earth is fleeing due to his

rapid aging, yet on the other hand he feels that he has plenty of time left to make and

reverse decisions. This stark contrast between clashing thoughts suggests that J.

Alfred’s fragmentation is so profound that he almost has a split personality. Within

his essay of “Prufrock” titled T.S. Eliot: Between Two Worlds, David Ward suggests

that Prufrock has a “double soul” because Prufrock “sings of unattainable desire, and

of fear at what will result when desire should be consummated” (16). Ward agrees
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that Prufrock’s fragmented psyche is the result of an overwhelming fear of change

that coincides with a strong desire for a fulfilling existence. The ‘double soul’ aspect

of the analysis is related to Prufrock’s fragmented personality. Within the literary

criticism T.S. Eliot: Poems in the Making, Gertrude Patterson agrees that Prufrock

does in fact have a fragmented personality, suggesting that “Prufrock’s fears are

heightened by a double mood” (52). Thus, Prufrock is inevitably stuck within the

revolving door of indecision, causing his life to be forever stagnant and unfavorable.

In addition, Prufrock’s self-consciousness about his aging appearance to the

point of paralysis, contributes to his fragmented psyche. David Ward suggests that

Prufrock sees himself turning back and descending the stairs at the elegant party

because the guests are commenting on Prufrock’s receding hairline and thinning

extremities (11). He is so insecure with his appearance that he would rather run away

and hide from the criticism than have fun at the party and socialize. This constant fear

of rejection prohibits Prufrock from living a happy existence, for he would rather hide

from the world than be seen and judged.

Next, Prufrock’s fragmented identity can be attributed to his lack of self-

confidence. Prufrock’s inability to make decisions is due to cowardice, as Prufrock

himself is highly insecure. Within stanza 13, Prufrock demonstrates his inability to

communicate effectively with women, suggesting that he feels lonely and unfilled in

terms of love as well. For example, the line “Is it perfume from a dress that makes me

so digress?” (65) shows the speaker's inability to effectively communicate with

women. Gertrude Patterson explains that Prufrock’s insecurities show “the complex

ironical attitude of Prufrock towards women” (53). Patterson adds, “Prufrock is afraid
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and even repulsed by the thought of a mature physical relationship with a woman, but

at the same time is aware of the emptiness of life without it” (53). This point further

signifies Prufrock’s psychological fragmentation.

Prufrock states that he attempts to approach a woman and carry a meaningful

conversation, but ultimately fears that the woman will reject him, so he digresses out

of nervousness and abandons his plans of acquiring a romantic relationship. Even

smelling the women’s perfume makes Prufrock uncomfortable and unable to engage

in conversation. This point is emphasized when Prufrock desires to ask a woman an

“overwhelming question” (93) but is too afraid of rejection to speak. Whether the

question regards a woman’s hand in marriage or a night in bed with her is unknown

because Prufrock is too afraid of rejection to even mutter the question to himself.

Ward adds, “The poem tells us nothing exact about the question...it does, however,

tell us something about romantic longing” (16). Here, Ward suggests that Prufrock

does, indeed, desire a romantic relationship but is far too cowardly to pursue one.

Ward also further address Prufrock’s intense desire for a romantic relationship by

acknowledging the significance of the poems’ title. Ward states that Eliot effectively

titled the piece “The Love Song of J. Alfred Prufrock” because of J. Alfred’s latent

proclamation of his loneliness and unwavering desire for love. Ward writes, “’The

Love Song of J. Alfred Prufrock’ should be seen as a love song of the soul which

takes place in a world of hypocritical self-deception” (13). Here, Prufrock is

deceiving himself by being afraid to love.

There is a clear disconnect between Prufrock’s desires and what he is willing

to risk in order to make his dreams become reality. The line following the
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‘overwhelming question’ is comprised of the words “that’s not what I meant at all,”

meaning that Prufrock thinks his love interest will embarrass him by not expressing

the same emotions that he feels towards her. Ward suggests, “The overwhelming

question to which his uneasiness leads him is his inability to do anything” (11). Ward

ultimately agrees that Prufrock is setting himself up for failure every time he

approaches a woman by being so overtly uncomfortable with his physical appearance.

The juxtaposition between Prufrock’s desires and his cowardice ultimately

contributes to his psychological fragmentation.

In addition, Prufrock’s fantasy dream about mermaids further signifies his

self-loathing and low self-esteem. Prufrock is so insecure with himself that he doesn’t

even think that sirens would be romantically interested in him, hence the phrase “I do

not think that they will sing to me”. Even though sirens are known throughout

mythology to lure sailors and fishermen to their deaths, Prufrock would rather receive

dangerous attention than no attention at all. Here, Prufrock is self-loathing because he

wishes he could stop doubting himself and be able to approach women, but his mind

is far too fractured and fragmented to think optimistically.

The seedy section of the city that Prufrock frequently wanders through can be

equated to Prufrock’s fragmented psyche as well. The seedy part of the city represents

Prufrock’s strong desire to escape his super-refined lifestyle. Prufrock wants to get in

touch with the part of himself that hasn’t been over civilized and refined out of

existence. When Prufrock says “I have measured out my life in coffee spoons,” he is

referring to his prim and proper lifestyle, which requires him to adhere to a strict set

of social rules that he finds mundane and routine. Prufrock’s mental fragmentation is
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essentially a social commentary illustrated by Eliot which describes, what he feels, is

society’s “dissociation of sensibility.”

Eliot’s “dissociation of sensibility” refers to the essay that Eliot penned a few

years after “Prufrock,” titled “The Metaphysical Poets.” The focus of “The

Metaphysical Poets” was the separation of thought and feeling within poetry written

after the 17th century. The metaphysical poets of the 17th century revealed in their

poetry a “unified sensibility”- that is, the interconnectedness of intellect and

sensation. Eliot says that these poets did not, like average modern 20th century

people, compartmentalize different aspects of themselves into separate beings such as

the body and soul, thoughts and feelings, or intellect and emotion (Dissociation 1).

We modern humans compartmentalize ourselves and as a result, become essentially

“fragmented.” This fragmentation makes us become paralyzed like Prufrock when he

describes himself as a being “like a patient etherized upon a table.” We are so out of

touch with our emotions and sense of self that we essentially live our lives in a

constant state of sedation. David Ward states that Prufrock is perpetually in a “state of

being that is passive and mimics death” (Ward 15). Here, Ward agrees that Prufrock’s

fragmentation leaves him an inferior daze that prohibits him from achieving his peak

potential. Eliot also voices his dissatisfaction with post 17th century poetry by saying

that the language is far too refined and that the emotions expressed within the poetry

are far too crude.

To try to repair this emotional disconnect from each other and from the

brilliant minds of the past, Eliot frequently uses allusions within “Prufrock” in order

to remind his readers of their connections to the past regarding history and literature.
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For example, one prominent allusion that Eliot incorporates into “Prufrock” is the

reference to seventeenth-century metaphysical poet Andrew Marvell who wrote the

famous poem “To His Coy Mistress.”The speaker of Marvell's poem, suggests that he

and his lover should “roll all our strength and all our sweetness up into one ball” in

order to savor their love for eternity. Within “Prufrock,” Prufrock says he desires “to

have squeezed the universe into a ball” and “to roll it towards some overwhelming

question.”Clearly, Eliot is alluding to Marvell’s poem not only to convey Prufrock’s

desire for romance but also to reignite the public’s passion for metaphysical poetry.

David Ward suggests that Eliot alludes to “To His Coy Mistress” in order to “mimic

Marvell’s lover in his erotic determination to cheat time for the sake of love” (17).

Not only does Eliot want to emphasize the importance of seventeenth-century poetry,

but he also is using it better convey Prufrock’s insecurities with approaching women

Prufrock wishes to cheat time for the sake of love, but he ultimately hypocritically

procrastinates in order to avoid finding love and experiencing rejection. The opposing

thoughts regarding love within Marvell’s characters and Eliot’s characters ultimately

reveal the contrast of ideas between metaphysical poets and modern day poets. These

ideological difference signifies a shift in society’s beliefs that has taken place

throughout the time periods as well.

Not only does Eliot use “To His Coy Mistress” as a literary allusion within

“Prufrock,” but he also references Shakespeare's Hamlet as well. Since Shakespeare

was a sixteenth-century playwright and metaphysical poet, it is no wonder that Eliot

includes Hamlet as an allusion. Prufrock says, “No! I am not prince Hamlet, nor was I

meant to be.” The allusion to Hamlet represents the indecisiveness of both Prufrock
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and Hamlet. Both characters are unsure of their desires for a romantic relationship as

well as their equal indecision regarding the quintessential purpose of their lives.

Although Hamlet and Prufrock have striking similarities, Prufrock feels that it is

incorrect to compare himself to Hamlet. Eliot writes that Prufrock wasn’t meant to be

Hamlet because he is far too insecure to compare himself to a lead character in such a

famous work. Even though Prufrock is as indecisive as Hamlet, he still cannot picture

himself taking initiative and being a leader. In A Student’s Guide to T.S. Eliot, author

Naomi Pasachoff suggests that Prufrock “sees himself at best as a minor figure, one

whom even the servant’s mock” (49). She adds that Prufrock is “terrified of

embarrassing himself by making a social blunder” (49). Hamlet was the sole driving

force in his quest for vengeance after his father’s heinous murder. Since Prufrock is

insecure to the point of paralysis and struggles with making a simple decision like

whether or not to eat a peach, Prufrock clearly couldn’t handle such a stressful task as

Hamlet does. Prufrock would feel far too anxious, and for that reason, he can’t

compare himself realistically to Hamlet. Eliot later goes on to write that Prufrock is

an “attendant lord,” which could indicate that Prufrock sees himself as more as

Polonius, the father of Hamlet’s love interest, Ophelia. Polonius is frequently referred

to as an “old fool” throughout the play, which is suits Prufrock due to his aging

appearance and his foolishness regarding his low self-esteem. .

Another of Eliot’s allusions in “Prufrock” is of Lazarus from the Bible.

Prufrock says, “I am Lazarus, come back from the dead, come back to tell you all, I

shall tell you all.” The story of Lazarus is a triumphant tale that tells of the miracles

performed by Jesus and the possibility of a second chance at life. The story of Lazarus
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is referred to in the Gospel of John as “the raising of Lazarus” because Jesus

resurrects him after his death four days prior. While no obvious parallels to Prufrock

can be immediately identifiable, further analysis can uncover many strong

similarities. For example, Prufrock dreams of the miracle of being given a second

chance at life, so obviously Prufrock would like to like to consider himself Lazarus.

Ward notes, “Prufrock stands at the door of life listening to the music from a farther

room, and the eternal footman snickers both at his presumption and at his fear” (15).

Prufrock’s fragmentation leaves him in a perpetual state of limbo because his

indecisiveness prohibits him from living a fulfilled life. Prufrock is existing, but he

ultimately fails to live.

In addition, the Lazarus reference may very well be a social commentary

depicting the decline of religious values within poetry and within society during the

early twentieth-century. In his book on Eliot, David Bloom comments on Eliot’s

allusion to Lazarus of the Bible by saying, ”Prufrock’s thoughts imply the intimate

knowledge of the religious traditions of New England, and breakdown of those

traditions” (26). The breakdown of traditional Christian values also correlates with the

decline of Metaphysical poets, as Eliot implies within “Prufrock”.

Prufrock’s desired second chance at life is further discussed within the

epigraph of the poem. Written in Italian, the epigraph provides a more in-depth vision

into the hellish existence that Prufrock endures daily. The epigraph tells of Guido da

Montefeltro who is separate from Prufrock, but is essentially suffering the same

terrible fate. Montefeltro has been banished to hell for his continued attachment to the

real world. He refuses to let his soul pass on because he firmly desires the world and
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all it has to offer. However, he cannot obtain his desires within the real world because

he is condemned to the underworld for all of eternity. At face value, the aspect of

desiring something out of reach is relatable to Prufrock’s situation, but the similarities

don’t cease there. Both characters share a mutual entrapment within their own hellish

existences. Prufrock’s anxieties and self-imposed obstacles serve as his own form of

hell because he is essentially trapped within his insecurities which prevent him from

possessing true happiness and meaning on Earth. If Prufrock had a second chance at

life, he may find that he is able to break out of his hell and start living more happily.

Unfortunately, he is deeply rooted within his hell, just as Guido is. Ward also speaks

of Prufrock’s hell by stating that Guido “gives his reason for speaking freely without

fear of scandal his belief that nobody who listens to him could ever possibly return

from hell to the real world” (Ward 13). Just as nobody can hear Guido in hell, nobody

can interact with Prufrock due to his fragmented existence, so he speaks truthfully

about his feelings within his own mind. Critic Naomi Pasachoff agrees with Ward’s

assertion, stating, “Those readers who could understand and identify the Italian

epigraph to the poem would connect the paralysis of the evening with the paralyzed

self-consciousness of its speaker, Guido da Montefeltro” (48). Here, Pasachoff

restates the central idea that Guido and Prufrock both share the common element of

being mentally and physically unable to obtain their desires.

Although “Prufrock” was published precisely a century ago, the profound

theme of fragmentation within the poem can be applied to modern day life. The theme

of “Prufrock” emphasizes and reflects the fragmentation of both Prufrock and modern

humanity by exposing the increasingly isolated relationship among humans. With the
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21st century explosion of digital communication technology, most people are left

feeling isolated and reclusive just as Prufrock did in 1915. Although social media was

originally designed to connect us to a broader range of people, most find that

cyberspace actually creates more social isolation than previously intended. Many

users of these technological devices don’t feel a connection with others while staring

at a screen, therefore interpersonal communication is necessary for the human race to

prosper. The zombie-like trance that technology leaves us in can be compared to

Prufrock’s sedated patient upon a table. Digital communication hinders the sincerity

of conversations and makes humans feel unfulfilled, depressed, and isolated. Even

before the existence of social media, Prufrock still felt unfulfilled and lonely within

social contexts. The relatable aspect of isolation within the poem makes it applicable

and engaging within modern times. Not only is J. Alfred Prufrock fragmented within

his social life, but he is also fragmented within his personal life as well. Throughout

the poem, Prufrock struggles to navigate through life knowing that he missed

opportunities to better himself and do great things. People who frequently use

technology may have similar regrets because they are too attached to their devices to

experience the world and thus miss out on great opportunities. There is a great

disconnect between Prufrock’s sense of self, which can be equally identified within

modern day humans who live their lives through technology and self-identify with

their devices. If Eliot were alive today, he would most likely use his literary talents to

create a piece of social commentary regarding the inappropriate use of modern day

technology and the further fragmentation it inadvertently causes.

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In conclusion, within the poem “The Love Song of J. Alfred Prufrock”

fragmentation is utilized in regards to both organization and theme. The random

assortment of stanzas reveals the fragmentation within J. Alfred’s psyche. Prufrock’s

actions reveal that he is fragmented after long suffering with low self-esteem and

feelings of worthlessness. This apparent disconnect ultimately leaves Prufrock in an

indecisive state, prohibiting him from finding love and living life to the fullest.

To many first time readers, “The Love Song of J. Alfred Prufrock” appears to

be a nonsensical poem that has no significant meaning. However, careful analysis

extinguishes these thoughts as extensive research and deciphering of figurative

language reveals that the poem has a life beyond its initial meaning and a deeper

understanding of the world that previously thought at face value. A clearer meaning

and in-depth understanding of Eliot’s poem can be extracted after reading this essay

due to the deep literary analysis. Inevitably, through the 20th century and the 21st

century, the common thread the bines the social classes with the fringes of society is

undoubtedly, fragmentation.
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Works Cited

Bloom, Harold. "Momentous Change Examining "Prufrock"" T.S. Eliot. Broomall,

PA: Chelsea House, 1999. Print.

"Essays in Criticism." T. S. Eliot's Dissociation of Sensibility and the Critics of

Metaphysical Poetry. Oxford University Press, n.d. Web. 09 June 2015.

Eliot, T.S. “The Love Song of J. Alfred Prufrock”. The Poetry Foundation. Poetry

Foundation. n.d. Web. 13 May 2015

Eliot, T.S. “The Love Song of J. Alfred Prufrock” 1915. An Introduction to Poetry.

Ed. X.J. Kennedy and Dana Giola. New York. Longman Publishing. 2009.

Print.

Pasachoff, Naomi E. A Student's Guide to T.S. Eliot. Berkeley Heights, NJ: Enslow,

2009. Print.

Patterson, Gertrude. T.S. Eliot: Poems in the Making. New York: Barnes & Noble,

1971. Print.

Seyppel, Joachim. T.S. Eliot. New York: Frederick Ungar, 1972. Print.

Ward, David. T.S. Eliot between Two Worlds: A Reading of T.S. Eliot's Poetry and

Plays. London: Routledge & Kegan Paul, 1973. Print.