Prufy can reveal himself to himself because he thinks no
one else can see inside himself.
----- 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: Sunday, February 07, 2010 9:16 PM
Subject: Re: Prufrock question (Eliot interview citation)

In the epigraph, Montfeltro would reveal his sin of fraud to Dante because he thinks Dante belongs with him to hell -- that there would be no fear of infamy involved in sharing his state of sinfulness with him.
In the monologue, like Dante, Prufrock is a visitor to this den of lust/sin. The women here can be likened to Montefeltro -- they share with Montefeltro his sin of fraudulence, of cleverly concealing their state of sinfulness.

--- On Sun, 2/7/10, Chokh Raj <[log in to unmask]> wrote:
It struck me as well -- the relevance of the circle of fraud in hell -- but only in respect of the women in 'Prufrock'.  Prufrock, like Lazarus or John the Baptist, would like to (though he finds himself lacking in courage) tell them about their state of sinfulness (in a life of lust rather than love), afraid that they will deny the truth saying, this is not it at all etc. He does not know if they are in a state of ignorance (sleep) or they affect ignorance. Fraud (concealment & cleverness) is thus evident in the women who surround him.
I find no evidence that the fraud (concealment/cleverness) obtains in respect of Prufrock
-- of course, he is too keenly aware of his frailties and his alienation from the state of beatitude he envisions in the mermaids.

--- On Sun, 2/7/10, Nancy Gish <[log in to unmask]> wrote:
I am now wondering about the function of the epigraph.  I have long assumed I had figured out a reason for it in the need to somehow articulate the meaning of being in Hell (note also the two Lazarus stories, making three characters who died and could have revealed the afterworld but could not or did not).  Eliot's epigraphs do not simply chunk another story down in a poem whole: they may evoke mood or topic or emotion rather than story.  But I am wondering now if the issue of treachery or fraud is relevant also.  I had not before focussed on the fact that Guido is in that circle or that he wants both to conceal and reveal his own sin--and cleverness. 
Does the choice of the circle of fraud reveal or evoke something about Prufrock?