Thanks for the reply, CR! I like your interpretation
of that bit. It seems to be that the poem contains two
opposite moments: one one hand, there is an everyday
life, everyday language, everyday faces, everyday
yellow smoke. On the other, there is this metaphysical
burden of time and finiteness. It is interesting that
the motive of Michelangelo serves as an opposition to
the first "world" and at the same time it is an
opposition Prufrock himself (according to your point
on masculine figures). So maybe we have here the
"self" which is (trying to be) over and above this
distinction, and yet, does it dare? and yet, it is not
Hamlet... Ahh, this is such a complex poem (and
that's, I guess, what makes it so great) - no matter
where you try to catch it, it always slips away (for
example, I can't figure out this motive of mermaids).
--- cr mittal <[log in to unmask]> wrote:
> Thanks for your comments, Dunja. I answer you first.
> Your pardon, Marcia. Dunja's is an easier
> I take the poem to be an internal monologue --
> the poet talking to his own self.
> As for Michaelangelo being the topic of
> among the women, please consider the lines:
> 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.
> You will observe that the ambience of the place
> depicted here
> hardly indicates a place where artists, or
> art-minded people,
> would meet and discuss art. It underscores the
> of the place.
> The talk about Michaelangelo (as glib as that of
> the Polish music maestro in 'Portrait'),
> therefore, is nothing
> more than a sop to seduce a customer.
> Yes, there's an ironic dimension to this repeated
> harping on
> "Michaelangelo". (The italian sculptor made
> masculine figures
> of enviable virility and strength.) It's an ironic
> dig at Prufrock's
> emasculated body. No wonder, he becomes too
> and suffers the shame of "wriggling on the wall"
> like a worm.
> ~ CR
> Dunja Seselja <[log in to unmask]> wrote: Hm,
> interesting, CR. I don't know if I could agree
> with that completely, have to think about it
> What confuses me a bit is the fact that the poem
> brings with "Let us go then, you and I..." - that
> line, as well as the last one, brings in the story
> another person... so I've always had a feeling the
> poem is related to the love between two persons, but
> in the light of an "overwhelming question" - our
> finiteness and time.
> By the way, what do you think about the lines "In
> room the women come and go/ Talking of
> I guess this has an ironic flair (or maybe I'm
> wrong?), but why exactly Michelangelo?
> --- cr mittal wrote:
> > Thanks, Dunja, for raising what I believe to be
> > core and crucial questions vis-a-vis this poem.
> > Here're my perceptions:
> > why is the poem called "the love song of j. a.
> > prufrock"?
> > It's a love song of _J. Alfred Prufrock_,
> > implying thereby that it is "his" love song,
> > and it's not like a conventional romantic love
> > song we're used to hearing.
> > what sort of love is that?
> > It's not human love (love of a man or woman) in
> > the conventional sense that he has in mind. His
> > is "love of God" -- love of the Absolute Good --
> > being in harmony
> > with that principle of goodness and divinity that
> > is deep within us.
> > and does it at all matter...?
> > To Prufrock, this is the only form of love that
> > matters.
> > The rest, if not inspired (or informed) by this,
> > is meaningless.
> > Of course, what I say will make better/fuller
> > sense if the poem is read/explicated
> > in this light.
> > Regards.
> > ~ CR
> > Dunja Seselja wrote:
> > //What do you think, why is the poem called "the
> > love
> > song of j. a. prufrock"? what sort of love is
> > and does it at all matter...? //
> > Dunja
> > ---------------------------------
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