Thomas Stearns Eliot
l1888: Born on September 26th
l1911: Graduates from Harvard with BA & MA
l1915: Marries Vivien Haigh-Wood on Jun 26th
l1922: Publishes The Waste Land
l1927: Assumes British citizenship
Vivien Eliot dies
Wins Nobel Prize for Literature
Marries Valerie Fletcher on January 10
Dies on January 4
a continuation of thought in several lines of poetry. Lines
language that evokes one or all of the five senses. Lines
rhyme words at the ends of lines. All throughout the poem.
comparison using like or as.
line of poetry. Lines 13-14.
The Love Song
of J. Alfred Prufrock
che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma percioche 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,
2 When the evening is spread out against the
3 Like a patient etherized upon a table;
4 Let us go, through certain half-deserted
5 The muttering retreats
6 Of restless nights in one-night cheap
7 And sawdust restaurants with oyster-shells:
Streets that follow like a tedious
9 Of insidious intent
10 To lead you to an overwhelming question ...
11 Oh, do not ask, "What is it?"
Let us go and make our visit.
13 In the room the women come and go
14 Talking of Michelangelo.
The yellow fog that rubs its back upon the window-panes,
16 The yellow smoke that rubs its muzzle on the
17 Licked its tongue into the corners of the evening,
18 Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
20 Slipped by the terrace, made a sudden leap,
21 And seeing that it was a soft October night,
22 Curled once about the house, and fell asleep.
And indeed there will be time
24 For the yellow smoke that slides along the street,
25 Rubbing its back upon the window-panes;
26 There will be time, there will be time
27 To prepare a face to meet the faces that you meet;
28 There will be time to murder and create,
29 And time for all the works and days of
That lift and drop a question on your plate;
31 Time for you and time for me,
32 And time yet for a hundred indecisions,
33 And for a hundred visions and revisions,
34 Before the taking of a toast and tea.
In the room the women come and go
36 Talking of Michelangelo.
And indeed there will be time
38 To wonder, "Do I dare?" and,
"Do I dare?"
39 Time to turn back and descend the stair,
40 With a bald spot in the middle of my hair --
41 (They will say: 'How his hair is growing
My morning coat, my collar mounting firmly to the
43 My necktie rich and modest, but asserted by a
simple pin --
44 (They will say: "But how his arms and
legs are thin!")
45 Do I dare
46 Disturb the universe?
47 In a minute there is time
48 For decisions and revisions which a minute
For I have known them all already, known them
Have known the evenings, mornings,
51 I have measured out my life with coffee
52 I know the voices dying with a dying
53 Beneath the music from a farther room.
54 So how should I
And I have known the eyes already, known them
56 The eyes that fix you in a formulated
57 And when I am formulated, sprawling on a
58 When I am pinned and wriggling on the
59 Then how should I begin
60 To spit out all the butt-ends of my
days and ways?
61 And how should I
And I have known the arms already, known them
63 Arms that are braceleted and white and
64 (But in the lamplight, downed with light
65 Is it perfume from a dress
66 That makes me so digress?
67 Arms that lie along a table, or wrap about
68 And should I then
69 And how should I
Shall I say, I have gone at dusk through
71 And watched the smoke that rises from the
Of lonely men in shirt-sleeves, leaning
out of windows? ...
I should have been a pair of ragged claws
74 Scuttling across the floors of silent
And the afternoon, the evening, sleeps so
76 Smoothed by long fingers,
77 Asleep ... tired ... or it malingers,
78 Stretched on the floor, here beside
you and me.
79 Should I, after tea and cakes and
80 Have the strength to force the moment
to its crisis?
81 But though I have wept and fasted,
wept and prayed,
82 Though I have seen my head (grown
slightly bald) brought in upon a platter,
83 I am no prophet -- and here's no great
84 I have seen the moment of my greatness
85 And I have seen the eternal Footman
hold my coat, and snicker,
86 And in short, I was afraid.
And would it have been worth it, after
88 After the cups, the marmalade, the
89 Among the porcelain, among some talk
of you and me,
90 Would it have been worth while,
91 To have bitten off the matter with a
92 To have squeezed the universe into a
93 To roll it towards some overwhelming
94 To say: "I am Lazarus, come from
95 Come back to tell you all, I shall
tell you all" --
96 If one, settling a pillow by her
say: "That is not what I meant at all;
98 That is
not it, at all."
And would it have been worth it,
100 Would it have been worth while,
101 After the sunsets and the dooryards
and the sprinkled streets,
102 After the novels, after the
teacups, after the skirts that trail along
the floor --
103 And this, and so much more?--
104 It is impossible to say just what
105 But as if a magic lantern threw the
nerves in patterns on a screen:
106 Would it have been worth while
107 If one, settling a pillow or
throwing off a shawl,
108 And turning toward the window,
"That is not it at all,
110 That is
not what I meant, at all."
No! I am not Prince Hamlet, nor was
meant to be;
112 Am an attendant lord, one that
113 To swell a progress, start a scene or
114 Advise the prince; no doubt, an
115 Deferential, glad to be of use,
Politic, cautious, and
117 Full of high sentence, but a bit
118 At times, indeed, almost
119 Almost, at times, the Fool.
I grow old ... I grow old ...
121 I shall wear the bottoms of my
Shall I part my hair behind? Do I
dare to eat a peach?
123 I shall wear white flannel
trousers, and walk upon the beach.
124 I have heard the mermaids singing,
each to each.
I do not think that they will
sing to me.
I have seen them riding seaward
on the waves
127 Combing the white hair of the
waves blown back
128 When the wind blows the water
white and black.
129 We have lingered in the
chambers of the sea
130 By sea-girls wreathed with
seaweed red and brown
131 Till human voices wake us,
and we drown.
Enjambment- a continuation of thought in
several lines of poetry. Lines 1-3, 23-26.
language that evokes one or all of the five
senses. Lines 15-18.
Scheme- rhyme words at the ends of lines.
All throughout the poem.
A comparison using like or as. Lines
A line of poetry. Lines 13-14.
down dark and deserted streets
to a party with a low self-esteem
meet the lady with the milk white arms
out knowing what to say
having nothing to offer
to say something wrong
people will see through me
important, or good enough for other people
with what I have not knowing what I could
here for the works cited page