It is also quite possible that something else prompted him to change the epigraph. 
Do you think free association is a valid critical approach?

Date: Thu, 4 Feb 2010 04:33:04 -0800
From: [log in to unmask]
Subject: Re: {Disarmed} Re: Prufrock question
To: [log in to unmask]

Given that Eliot was reading Dante ALL THE TIME in those
days, it is quite possible that he was influenced by the
di Montefeltro passage and only realised it later,
which is what prompted him to change the epigraph.
----- Original Message -----
From: [log in to unmask] href="mailto:[log in to unmask]">Chokh Raj
To: [log in to unmask] href="mailto:[log in to unmask]">[log in to unmask]
Sent: Wednesday, February 03, 2010 9:49 AM
Subject: Re: {Disarmed} Re: Prufrock question

Thanks, Nancy. I'm sorry.
The question essentially centers around what actually spurs a poet into activity --  irrespective of whether one is aware of something before or not. As for Dante's Divine Comedy, especially Inferno, it is germane to both the matter and the manner of 'Prufrock'. Significantly, The Divine Comedy is a most dramatic poem.

--- On Wed, 2/3/10, Nancy Gish <[log in to unmask]> wrote:
Do you think it courteous to thank Ken for being discourteous to me?  I think that an odd idea of politeness.  //And this still does not address the whole issue of why it would take a specific instance in all of the Divine Comedy (Dante encounters persons throughout) to suggest to Eliot a common poetic technique.//
These parallel monologues serve no purpose.  Unless you answer a direct question about facts, it is not a discussion. Have you any evidence whatever--historic, linguistic, biographical, critical--to speculate that in a single epigraph Eliot found so common an idea and was apparently not aware of it before?

>>> Chokh Raj 02/03/10 11:07 AM >>>
Thanks, Ken. As for chronology, Eliot could always go back to the lines (in Dante) that might have inspired him in the first place and choose to make them into an epigraph subsequently.

--- On Wed, 2/3/10, Ken Armstrong <[log in to unmask]> wrote:

Nancy Gish wrote:
> Why do you ignore the fact that the word does not mean "persona" in Italian
    CR says explicitly "*a person who could/would/might..."    etc. Do you see it? "Persona" he uses in reference to Prufrock. Can we not say Prufrock is a persona? "One can visualize," not
"one can confirm that" is as legitimate a way of grasping (at) Eliot's poetry as any.

Ken A
> and that Eliot did not use that epigraph when he first wrote the poem?  It was not, chronologically, a starting point: the poem was written with a different epigraph. So it is not clear what point you are making.
> Nancy
> >>> Chokh Raj 02/02/10 10:00 PM >>>
> Words that struck a chord in Eliot  One can visualize Eliot reflect on Montefeltro's words and make them into a starting point for a confessional monologue of * (conversely) never return to the world* -- a persona that lives out this philosophy of indifference to "the world" not just in 'Prufrock' but in the rest of Eliot's poetry.
>  CR
> --- On *Mon, 2/1/10, Chokh Raj /<[log in to unmask]" rel=nofollow>MailScanner has detected a possible fraud attempt from "" claiming to be [log in to unmask]>/* wrote:
>     Peter, going by Eliot's habits of mind (ref. Southam), the
>     epigraph may have provided him with a clue, the
>     all-important starting point, for conceiving this dramatic
>     monologue as a disguised mode of confession [a la Montefeltro in
>     Inferno] -- putting on the persona of a middle aged man. Apart
>     from what "persona" denotes in the epigraph, it could
>     easily suggest to Eliot the technique of "persona" as a masque
>     for a character other than the poet himself.
>          Thanks & regards,
>          CR
>     --- On *Mon, 2/1/10, Peter Montgomery /<MailScanner has detected a possible fraud attempt from "" claiming to be venture_v@TELUS....NET>/*
>     wrote:
>         Let us not over look Dante's use of the word PERSONA in
>         Eliot's epigraph
>         of the poem.
>                  P.

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