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LET us go then, you and I, |
|
When the evening is spread out against the sky |
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Like a patient etherised upon a table; |
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Let us go, through certain half-deserted streets, |
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The muttering retreats |
5 |
Of restless nights in one-night cheap hotels |
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And sawdust restaurants with oyster-shells: |
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Streets that follow like a tedious argument |
|
Of insidious intent |
|
To lead you to an overwhelming question … |
10 |
Oh, do not ask, “What is it?” |
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Let us go and make our visit. |
|
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In the room the women come and go |
|
Talking of Michelangelo. |
|
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The yellow fog that rubs its back upon the window-panes, |
15 |
The yellow smoke that rubs its muzzle on the window-panes |
|
Licked its tongue into the corners of the evening, |
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Lingered upon the pools that stand in drains, |
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Let fall upon its back the soot that falls from chimneys, |
|
Slipped by the terrace, made a sudden leap, |
20 |
And seeing that it was a soft October night, |
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Curled once about the house, and fell asleep. |
|
|
And indeed there will be time |
|
For the yellow smoke that slides along the street, |
|
Rubbing its back upon the window-panes; |
25 |
There will be time, there will be time |
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To prepare a face to meet the faces that you meet; |
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There will be time to murder and create, |
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And time for all the works and days of hands |
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That lift and drop a question on your plate; |
30 |
Time for you and time for me, |
|
And time yet for a hundred indecisions, |
|
And for a hundred visions and revisions, |
|
Before the taking of a toast and tea. |
|
|
In the room the women come and go |
35 |
Talking of Michelangelo. |
|
|
And indeed there will be time |
|
To wonder, “Do I dare?” and, “Do I dare?” |
|
Time to turn back and descend the stair, |
|
With a bald spot in the middle of my hair— |
40 |
[They will say: “How his hair is growing thin!”] |
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My morning coat, my collar mounting firmly to the chin, |
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My necktie rich and modest, but asserted by a simple pin— |
|
[They will say: “But how his arms and legs are thin!”] |
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Do I dare |
45 |
Disturb the universe? |
|
In a minute there is time |
|
For decisions and revisions which a minute will reverse.
|
|
|
For I have known them all already, known them all:— |
|
Have known the evenings, mornings, afternoons, |
50 |
I have measured out my life with coffee spoons; |
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I know the voices dying with a dying fall |
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Beneath the music from a farther room. |
|
So how should I presume? |
|
|
And I have known the eyes already, known them all— |
55 |
The eyes that fix you in a formulated phrase, |
|
And when I am formulated, sprawling on a pin, |
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When I am pinned and wriggling on the wall, |
|
Then how should I begin |
|
To spit out all the butt-ends of my days and ways? |
60 |
And how should I presume? |
|
|
And I have known the arms already, known them all— |
|
Arms that are braceleted and white and bare |
|
[But in the lamplight, downed with light brown hair!] |
|
It is perfume from a dress |
65 |
That makes me so digress? |
|
Arms that lie along a table, or wrap about a shawl. |
|
And should I then presume? |
|
And how should I begin?
. . . . . |
|
Shall I say, I have gone at dusk through narrow streets |
70 |
And watched the smoke that rises from the pipes |
|
Of lonely men in shirt-sleeves, leaning out of windows?… |
|
|
I should have been a pair of ragged claws |
|
Scuttling across the floors of silent seas.
. . . . . |
|
And the afternoon, the evening, sleeps so peacefully! |
75 |
Smoothed by long fingers, |
|
Asleep … tired … or it malingers, |
|
Stretched on the floor, here beside you and me. |
|
Should I, after tea and cakes and ices, |
|
Have the strength to force the moment to its crisis? |
80 |
But though I have wept and fasted, wept and prayed, |
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Though I have seen my head [grown slightly bald] brought in upon a platter, |
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I am no prophet—and here’s no great matter; |
|
I have seen the moment of my greatness flicker, |
|
And I have seen the eternal Footman hold my coat, and snicker, |
85 |
And in short, I was afraid. |
|
|
And would it have been worth it, after all, |
|
After the cups, the marmalade, the tea, |
|
Among the porcelain, among some talk of you and me, |
|
Would it have been worth while, |
90 |
To have bitten off the matter with a smile, |
|
To have squeezed the universe into a ball |
|
To roll it toward some overwhelming question, |
|
To say: “I am Lazarus, come from the dead, |
|
Come back to tell you all, I shall tell you all”— |
95 |
If one, settling a pillow by her head, |
|
Should say: “That is not what I meant at all. |
|
That is not it, at all.” |
|
|
And would it have been worth it, after all, |
|
Would it have been worth while, |
100 |
After the sunsets and the dooryards and the sprinkled streets, |
|
After the novels, after the teacups, after the skirts that trail along the floor— |
|
And this, and so much more?— |
|
It is impossible to say just what I mean! |
|
But as if a magic lantern threw the nerves in patterns on a screen: |
105 |
Would it have been worth while |
|
If one, settling a pillow or throwing off a shawl, |
|
And turning toward the window, should say: |
|
“That is not it at all, |
|
That is not what I meant, at all.”
. . . . . |
110 |
No! I am not Prince Hamlet, nor was meant to be; |
|
Am an attendant lord, one that will do |
|
To swell a progress, start a scene or two, |
|
Advise the prince; no doubt, an easy tool, |
|
Deferential, glad to be of use, |
115 |
Politic, cautious, and meticulous; |
|
Full of high sentence, but a bit obtuse; |
|
At times, indeed, almost ridiculous— |
|
Almost, at times, the Fool. |
|
|
I grow old … I grow old … |
120 |
I shall wear the bottoms of my trousers rolled. |
|
|
Shall I part my hair behind? Do I dare to eat a peach? |
|
I shall wear white flannel trousers, and walk upon the beach, |
|
I have heard the mermaids singing, each to each. |
|
|
I do not think that they will sing to me. |
125 |
|
I have seen them riding seaward on the waves |
|
Combing the white hair of the waves blown back |
|
When the wind blows the water white and black. |
|
|
We have lingered in the chambers of the sea |
|
By sea-girls wreathed with seaweed red and brown |
130 |
Till human voices wake us, and we drown. |
|
|
Comments (6)
hrberma@... said
at 4:40 pm on Jan 29, 2009
The narrator in this poem is not something special, nor something significant. He's what I would like to call a "cog in the American Dream machine." He is middle-aged and has "a bald spot in the middle of [his] hair." He is describing himself with these words, which leads me to believe that he is unsatisfied with himself and what he has become. He also "...measure[s] out [his] life with coffee spoons." He looks back on his life, and he cannot compare it to anything better than coffee spoonfuls. This man is simply lost. In his old age, there is not much more to do and no where else to go but at the pace he has been going at. When reading this I feel sorry for him. He states "the mermaids will not sing to me." He knows he is nothing special, and that his life has just been a run through, nothing more.
Jung Hong said
at 7:25 pm on Jan 29, 2009
Some of the themes portrayed in this poem include loneliness, indecisiveness and pessimism. For example, lines 17 – 19 allude the speaker’s unconfident self as he alienates himself from vibrant social scene into the “corners of the evening.” The image of the “evening” was initially introduced in lines 2-3, where the author uses simile that compares the “evening” with “etherized patient.” This suggests lifelessness and hopelessness of the evening just like what ether would do to a patient – render him unconscious. Therefore, putting himself into the corners of this depressing imagery suggests his inferior position or inability to interact with people in the society. Then, he does not have the courage to enter the room (lines 20-21), and remain reiterating over and over again, “there will be time,” as if he is reassuring himself that one day he will become courageous and interactive.
In addition to the speaker’s dark personality, I also wonder if he is sane. Making “a hundred indecisions…visions and revisions before the taking of a toast and tea” (lines 32-24) is not a normal behavior. It is possible that he is making his daily chores more complicated to overcome his loneliness, to keep his mind preoccupied, but I also think he might be mentally unstable, possibly suffering from depression or obsessive-compulsive disorder. -- Jung M. Hong (my computer won't let me footnote this for some reason!!)
Cara Weiner said
at 7:42 pm on Jan 29, 2009
For the past few hours I have been trying to put in a footnote but the screen does not proceed past "preview," so I will post here. The footnote would have been at line 48:
This extensive poem seems to reflect the thoughts and reflections of an aging man. The first few stanzas include much repetition, symbolizing the speaker’s low confidence in his life. He continuously repeats the word, "time" to further enforce that he is looking back on his life. There is also a good amount of personification in the third and fourth stanzas, where the fog "rubs its back…rubs its muzzle…licked…fall[s] upon its back…slipped…curled…slides." Perhaps the speaker feels lonely in the world at this time and personifying fog and smoke makes him feel better. This poem is like his monologue of what the speaker is thinking. Throughout most of the poem with the repeated "time," it seems that the speaker is wondering about the future, but at the same time, looking back on the past, trying to determine if everything was "worth it." The speaker thinks about what life amounts to, and what it means, in the end. His repetition of "shall I" and "I should have" indicated that he cares what other people think, and wonders if he made the most of his life. In the last few stanzas, he seems to answer some of his own questions and perhaps has accepted that he is "grow[ing] old." Despite what seems like acceptance, the speaker still ends the poem with a feeling like he does not deserve certain things, like the mermaids will sing "each to each" but not "to [him]." This poem is somewhat depressing, but interesting, reading into the thoughts of this lonesome speaker. –Cara Weiner
Kyuhee (Ginny) Chae said
at 7:54 pm on Jan 29, 2009
I had the same problem as Cara.
The footnote is for Line 1:
The first line of the poem, "Let us go then, you and I", seems to be a direct response to the epigraph from "Dante's Inferno". In the epigraph, Guido (a poet in the 8th circle of hell) tells Dante that he admit his sins as Guido is under the impression that he will never leave hell. Similarly, Prufrock says: "let us go then", "then" being the key word. Under normal circumstance readers would question why Eliot has decided to include the word "then", but if we are to see the poem as a response to the epigraph, Prufrock is in a way admitting his “sins” to the ambiguous "you". And like "Dante's Inferno", Prufrock leads "you" through "half-deserted streets...streets that follow like a tedious argument/Of insiduous intent". The streets are a metaphor for exploring who Prufrock is, and as we examine further we find ourselves in Prufrock's own personal circle of hell.
In short, I read the poem as Prufrock being dead and revisiting parts of his life. When Prufrock compares himself to John the Baptist, he explains his fear of women (since John the Baptist was beheaded because Salome), a woman, but he also articulates that he is "no prophet", and he feared the "eternal Footman", most likely death. Since it is all written with past tense, I thought Prufrock to be dead and looking back on how he felt these things when alive. However we catch glimpses of Prufrock's life when he was alive (which seems to be made up of cowardice and feeble attempts to talk to women), which are his sins.
-Ginny (Kyuhee) Chae
Gregory Irons said
at 9:14 pm on Jan 29, 2009
The sixth stanza begins, “And Indeed there will be time/ To wonder, ‘Do I dare?’ and, ‘Do I dare?’” The speaker is reassuring his audience. In saying there will be time we can infer that there is a pending event, possibly a tea party, causing apprehension. It’s clear that either the speaker or audience is considering doing something significant because they ask “Do I dare?” twice. It seems to be that the speaker is speaking to himself when he says “Time to turn back and descend the stair,/ With a bald spot in the middle of my hair—.” He is nervous about what others will think of him. He is apparently aging and balding and losing weight and has dressed up for the event. The issue of “Do I dare?” still weighs on him. He gives it more importance by asking, “Do I dare/ Disturb the universe?/ In a minute there is time/ For decisions and revisions which a minute will reverse.” He is contemplating doing something with enormous consequences. The tone is very apprehensive and indecisive because the last line describes the speaker coming up with scenarios and changing his mind all within a short period of time, which could all be thrown out the window with a simple event. Given it is a love poem, I would assume a woman he desires is going to be at the event and he is considering expressing himself to her. Greg Irons
Myung keun Shim said
at 9:35 am on Jan 30, 2009
Yes there are some problems with the footnoting and I would write it here. The poem is about a modern man in that period who had too much information about life to the extent of being pessimisstic and lonely. He is somewhat overly informed of the word, and is emotionaly unstable. Prufock who is the poem's direct speaker has somebody he secretly loves. However he is scared and his passive of his love because he knows too much of life to share love with a woman. The ryhme and the structure seems like arbitrary, but as you read it several times, there is a form to it that is easily noticeable. There are stages to his reactions. First he asks,“What is it?” He is not as pessimistic yet but as he grows older, “That is not it at all." He has become pessimistic and has denied the possibilties in life.
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