Alfred Prufrock Upon reading Eliot's "The Love Song of J.

Answer It is obvious that the excessive and obsessive reflection of self that Prufrock undergoes in the poem, "The Love Song of J Alfred Prufrock" written by T.S.

Alfred Prufrock T.S Eliot's The Love Song of J.

Alfred Prufrock" Society gives us a set of unspoken rules and regulations that must be abided by or else society becomes ones own worst enemy; thus is Eliot's' message in his poem, "The Love Song of J.


Alfred Prufrock In his poem “The Love Song of J.

We can see this process clearly in "The Love Song of J. Prufrock." The poemcircles around not only an unarticulated question, as all readers agree, but also anunenvisioned center, the "one" whom Prufrock addresses. The poem nevervisualizes the woman with whom Prufrock imagines an encounter except in fragments and inplurals -- eyes, arms, skirts - synecdoches we might well imagine as fetishisticreplacements. But even these synecdochic replacements are not clearly engendered. Thebraceleted arms and the skirts are specifically feminine, but the faces, the hands, thevoices, the eyes are not. As if to displace the central human object it does notvisualize, the poem projects images of the body onto the landscape (the sky, the streets,the fog), but these images, for all their marked intimation of sexuality, also avoid thedesignation of gender (the muttering retreats of restless nights, the fog that rubs,licks, and lingers). The most visually precise images in the poem are those of Prufrockhimself, a Prufrock carefully composed – "My morning coat, my collar mountingfirmly to the chin, / My necktie rich and modest, but asserted by a simple pin" --only to be decomposed by the watching eyes of another into thin arms and legs, a baldinghead brought in upon a platter. Moreover, the images associated with Prufrock arethemselves, as Pinkney observes, terrifyingly unstable, attributes constituting theidentity of the subject at one moment only to be wielded by the objective the next, likethe pin that centers his necktie and then pinions him to the wall or the arms thatmetamorphose into Prufrock's claws. The poem, in these various ways, decomposes the body,making ambiguous its sexual identification. These scattered body parts at once imply andevade a central encounter the speaker cannot bring himself to confront, but in the patternof their scattering they constitute the voice that Prufrock feels cannot exist in the gazeof the other.