Monday, June 8- Thursday, June 11 "Prufrock" essay

In class on Tuesday: I am passing back your graded "Prufrock" analysis worksheet. You will use yours, along with the thematic organizer and the poem, to write your essay. This is due on Thursday, June 11 at the end of the day.  You will need to turn in the essay and thematic organizer on Thursday. The organizer will count as a class participation grade (30%), whilst the essay will, of course, be a writing grade (40%)  These are the last grades of this marking period.

“The Love Song of J. Alfred Prufrock”  by T. S. Eliot essay       Due Thursday, June 11 at then end of class. At that time, turn in your thematic graphic organizer.  

General information review that you might want to incorporate into the essay. Please read.

1. implied, rather than overtly stated themes.

2. fragments (think of a puzzle with pieces missing; consider the world after World War I).

3. omitting of expositions (background information about events, settings, characters that help the reader make sense of the novel, short story or, in this case, the poem).

4. omitting transitions (think of a dream, where anything and everything may be juxtaposed without any seeming logic.)

5. omitting a resolution (so how does the story play out? who knows? You figure it out for yourself.

6. lack of explanations ( why did this happen? Again, you figure it out; draw your own conclusions.)

7. sense of uncertainty, paralysis and ANGST.

ex·is·ten·tial·ism:  a chiefly 20th century philosophical movement embracing diverse doctrines but centering on analysis of individual existence in an unfathomable universe and the plight of the individual who must assume ultimate responsibility for acts of free will without any certain knowledge of what is right or wrong or good or bad

Existentialism is a philosophy that emphasizes the isolation of the individual experience in a hostile or indifferent world in regards human existence as unexplainable, and stresses freedom of choice and responsibility for the consequences of one's acts.

Literary elements: character, point of view, setting, tone, theme, plot or conflict (crisis, climax and resolution)

Literary terms / figurative language devices: stream of consciousness, irony, foreshadowing, personification, metonymy and synecdoche (what the heck are those? The difference, to the extent that it exists at all, is whether the attribute that is substituting for the whole is part of the whole (synecdoche), or merely associated with it (metonymy), hyperbole, simile, metaphor, allusion, onomatopoeia, imagery, symbolism

Now look on the back for specifics for your essay.

Essay mechanics

MLA heading

Typed (of course)

Minimum of 500 words

Minimum of 5 paragraphs, including an introduction with a clear thesis statement.

Your body paragraphs must include a thesis statement (that’s the particular supporting point that you introduced in your introduction), supporting textual evidence chosen from the poem. This need not be whole lines, but a cherry picking of relevant words and phrases throughout the poem. You then MUST have an analysis statement; that is you should ask yourself why or how what you said is significant.

Essay topic: Choose one of the following themes from T. S. Eliot’s “The Love Song of J. Alfred Prufock” and show how the poet develops the idea through the character of Prufrock as an example of modernist literature. (theme choices: loneliness, indecision, inadequacy, pessimism)

Organizational strategy.

Introduction:  Write a hook sentence o that establishes the poem within the time frame in which it was written.

                         Write a brief description of setting, character of Prufrock and the plot. (one or two well-written sentences

                        will do)

                        Rephrase the essay topic for your thesis statement, include three points that you will argue within the body of the essay that will support your thesis statement.

Paragraph one: you are focusing on only one aspect of the one theme.  Organize your points chronologically.  How is the theme initially established in the poem? How does it manifest itself in Prufrock? How does he process this? (think about figurative language devices!)  Now prove. What does this signify in terms of the character and his actions or non-actions?

Paragraph two: Continue with your theme, but approach it at another angle. How is the Prufrock manipulated, dominated or controlled by the theme?  Prove it now.  What does this say about his world? His life experiences?  You must find supporting text for whatever you say. Make sure you conclude with stating why or how this is significant to the character of Prufrock.

Paragraph three: As you are exploring this in chronological order, at this point focus on after Prufrock has, not only realized that he will never make the marriage proposal, but rethought different scenarios if he had. At this point there are several allusions. How do these connect to the theme? What does this say about Prufrock as a man? Proof, proof proof!  How is this important in seeing this character as representative of modernism. (check notes above)

Conclusion: (DO NOT SAY IN CONCLUSION) (DO NOT REPEAT THE INTRODUCTION) (Do not repeat the whole title!)  Why are the modernist qualities of “The Love Song of J. Alfred Prufrock” (mention 2 or 3) significant in terms of the social transitions that occurred post World War I? What are the factors that still resonate in society 100 years later?

Prufrock Analysis Worksheet--- correct responses.

 
lines 1-13

1. Who is the speaker of the poem and to whom is the poem addressed/

The speaker of the poem is the eponymous J. Alfred Prufrock, who is speaking to himself. His mind wanders. The technique is stream of consciousness.

lines 1-15

2. Where is the speaker? Describe the time of day, place, etc, What parts of the poem support your answer?

     The speaker is at his residence, which is located in an area of "cheap hotels / And sawdust restaurants with oyster shells" (6-7).

lines 14-15

3. Identify the two similes in the opening stanza. What do these similes suggest about what is being compared to something else?

 The two similes in lines 1-15 are as follows; "Like a patient etherized upon a table" and "Streets that follow like a tedious argument."   Both of these similes have negative connotations. To be etherized is to be anesthetized, unaware of one's environment, as the individual is as if dead, hence unaware of the world. To compare the streets to a "tedious argument" invokes ideas of boredom and irritation.

lines 14-15

4.  What room is the speaker describing?

     A room where "women come and go / Talking of Michelanglo" would be one where the women have leisure time to talk about art. This implies they are educated and belong to a similar social circle.

lines 15-23

5. Identify the primary metaphor in this stanza.  In other words, what does the poet indirectly liken the yellow fog? Note the specific elements / words from the poem to support your answer.

      The primary metaphor is equating the "yellow fog" with a cat "that rubs its muzzle.../Licked its tongue"..."Slipped by the terrace, made a sudden leap / [and] Curled once about the house, and fell asleep" (15-22).

lines 22-23

6.What is the primary argument of this stanza?  Sum up the argument in one sentence.

    The primary argument is that there is always time for all the things one wants or wishes for in life.

lines 32-33
7. What does the speaker mean in lines 32-33? What does this argument have to do with what is "happening" in the poem? 
He is thinking about his relationship with a woman and is incapable of making a commitment, hence the "in decisions" and "revisions."

lines 37-48
8. What is the speaker's emotional state at this point in the poem? What are his primary concerns?
     Prufrock is plagued with anxiety; he believes any action on his part with reverberate throughout the universe. His primary concern is with how people with perceive his appearance, that he is growing old with a 'bald spot."

lines 46-48
9. Why do you think the speaker is stalling when it comes to socializing?  is this a speaker with whom you'd like to sit down and chat? Why or why not?
 Prufrock is stalling and deluding himself that there is time, because he does not want to act. He would be a frustrating person with whom to speak, as his opinions would have little value, as they change so often.

line 51
10.  What does the speaker mean in line 51?
        To measure out one's life with coffee spoons indicates that his life is shallow and small, devoid of deep, satisfying experiences.

lines 49-69
11. Identify the poem's use of REPETITION.  What effect does repetition have on the poem's meaning? 
 Some of the repeated phrases and words include: "time", the idea of which is an obsession with Prufrock, "I have", which serves to emphasize and even anchor his thoughts- one of the only times where he demonstrates stability, "how should I presume", which shows his insecurity and isolation from others and "do I dare", which works to both define how he perceives his actions in relation to both individuals and the world in general.  The repetitions help to define the various facets of Prufock's character.

lines 49-69
12. What is the speaker's tone at this point in the poem?
       Prufrock's tone is one of pessimism and inadequacy.  He takes an empirical, scientific approach to both others, whom he views as having "arms that are bracelet ed and white and bare" and himself, who he sees as "formulated, sprawling on a pin."  He dehumanizes and distorts his relationships, seeing them in the context of "butt-end[ ] days.


lines 62-66
13. Whom is the speaker describing? 
  Prufrock is describing the woman he wishes to propose to.

line 66
14. Re-read line 66. What stands out about the act of digressing?
         The technique of stream of consciousness is used  throughout the poem, ironically here Prufock acknowledges the act when he refers to the perfume, but in reality, he has done nothing but digress.


lines 75-86
15. Do you think the speaker himself is digressing? Identify parts of the poem to support your answer.
Prufrock jumps from one topic to another without logical transitions. For example, he thinks about the woman to whom he will propose and how he will accomplish this; at the same time he anticipates rejection, an alternative proposal and rejection and then contemplates his useless within the world.

lines 75-86
16.What is the primary argument of this stanza? 
           Prufrock reflects that he is ineffective at life, that life has passed him by, despite his having "fasted, wept and prayed."  He fears death, as noted with his "head [grown slightly bald] and his having "seen the eternal Footman...snicker."

line 85
17. Who /What is the eternal footman? 
Death

Lines 86-98

18. How does this setting relate to the setting of the poem's opening stanza?
      Prufrock refers to Lazarus, who was raised from the dead, whilst the epigraph takes place in the 8th circle of Hell.  Prufrock sees himself like a "patient etherised", somnolent, a walking dead.

Lines 90-98
19. Describe the speaker's relationship to speaking itself?  Is he effective at expressing himself and / or telling a story? Why or why not?

       Prufrock is almost inarticulate and states, "It is impossible to say just what I mean." This is further supported in the manner he disassociates his actions, imagining a scenario where he is rejected and his intended's response is projected by a "magic lantern."

line 104
20. What is your analysis of line 104?
  "So much more" resonates with emptiness and longing.

Lines 111-119
21. What is the primary argument of this stanza?
      Prufrock recognizes that he is
not a leader, but a supporting player in life.

line 117
22. Define "obtuse"
     Obtuse means to be thick headed, not "getting it."- connects to the fog

Lines 120-125
23. Has the speaker finally admitted his primary concern? What effect does "growing old" have on the speaker's socializing?
Prufrock's concern with growing old reflects his fear of death. He is under the delusion that he can hold back time, if he "wear[s] the bottom of [his] trousers rolled" or parts his "hair behind." In his mind, these actions will allow him to keep socializing.

line 125
24. Re-read line 125.  Why does the speaker think this?
   That the mermaids will not sing to Prufrock speaks to his loneliness and recognition that he is not a participant in life, but mere an observer on the sideline.

Lines 129-131
25. What is the speaker's final tone?
       The final lines evoke a deep sadness, for Prufrock believes that connecting with people, awakening to a life force, means death. This is an irreconcilable paradox that is the foundation of his existential angst.

Friday, June 5 "Prufrock" encore

All "Prufrock' analysis organizers are due at the beginning of class today. I will return them on Monday. Remember that these go into the writing category.

In class: we are building your essays by completing a thematic graphic organizer based upon the poem.

You have four topics. For each you need five supporting textual examples. Make sure you note the line number.  Read slowing through the poem to complete the organizer.

On Monday, we will begin the essay.

Prufrock graphic organizer.  For each of the following themes, find four textual examples. Please note the line number.

loneliness	indecision	Inadequacy	pessimism

Thursday, June 4 "Prufock"

 

We are continuing with the "Prufrock" analysis. Please take your time with this, as it will be used to write your essay next week. Note that it is worth a writing grade, so it goes in the 40% category.

For those of you who have completed the analysis, you will begin building your essay. This is through a graphic organizer that is divided into thematically.   Class handout / copy below.

Prufrock graphic organizer.  For each of the following themes, find four textual examples. Please note the line number.

loneliness	indecision	Inadequacy	pessimism

Wednesday, June 3 "Prufock analysis"

In class:   working on the "The Love Song of J. Alfred Prufrock" analysis sheet.

T.S. Eliot (1888–1965).

1. The Love Song of J. Alfred Prufrock

S’io credesse che mia risposta fosse A persona che mai tornasse al mondo, Questa fiamma staria senza piu scosse. Ma perciocche giammai di questo fondo Non torno vivo alcun, s’i’odo il vero, Senza tema d’infamia ti rispondo. LET us go then, you and I, When the evening is spread out against the sky Like a patient etherised upon a table; Let us go, through certain half-deserted streets, The muttering retreats         5 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 …         10 Oh, do not ask, “What is it?” Let us go and make our visit. In the room the women come and go Talking of Michelangelo. 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, Lingered upon the pools that stand in drains, 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, 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 To prepare a face to meet the faces that you meet; There will be time to murder and create, And time for all the works and days of hands 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!”] My morning coat, my collar mounting firmly to the chin, My necktie rich and modest, but asserted by a simple pin— [They will say: “But how his arms and legs are thin!”] 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; I know the voices dying with a dying fall 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, 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, Though I have seen my head [grown slightly bald] brought in upon a platter, 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.