Uploaded by Kelvin Chen


2nd person - direct address to an
unnamed woman.
Anaphora - establishing the
voyeuristic. The speaker is watching
observing and recording in order to
construct a warning of what lies
behind broken blinds
The metaphorical ̳magic lantern‘ that ̳threw
nerves in patterns on a screen‘ in ̳Prufrock‘
are now ̳flickered against the ceiling‘ of the
woman‘s room, a metaphorical picture
show of her past and her present and with
some pathos, her future.
Metaphysical light given agency again.
Imagery and Verb crept- Rather than
advance and bring hope it has ̳crept up
between the shutters‘ echoing the
revelations of regret and guilt that are
encountered each day.
Personification and irony - decisions for
our downfall can’t be blamed on the
Verb - inferring
rejection of the
cloistering blankets
Metaphor What comes after this suggests she maybe a woman from Prufrock “come and
go talking of Michelangelo and the inhabitants of the “thousand furnished
There is also an accusatory tone here.
You tossed a blanket from the bed,
You lay upon your back, and waited;
You dozed, and watched the night revealing
The thousand sordid images
Of which your soul was constituted;
They flickered against the ceiling.
And when all the world came back
And the light crept up between the shutters
And you heard the sparrows in the gutters,
You had such a vision of the street Pun- (link
to Prufrock)
As the street hardly understands;
Sitting along the bed’s edge, where
You curled the papers from your hair,
Or clasped the yellow soles of feet
In the palms of both soiled hands.
Inference they may be a prostitute
Verbs - lethargy caused by the “thousand sordid
Verb clasped‘ to describe how she holds her feet, the internal rhyme of soles‘ and soiled‘
puns that reveal pathos, she has made the choice, it is part of the works and days of hands‘
and as such, these fragments of her humanity have destroyed her whole. Mind and body are
metaphor here suggesting guilt, rejection
of self, an awareness of the acts of the
night before, inescapable truths of her
End rhyme and sentience of hearing sparrows
(symbol of love) - Allusion to Greek
mythology. Love clearly not found in gutters reinforcing prostitution connotations
another masquerade to begin another cycle of her
yellow‘ life
Colour imagery - Prufrock‘, the yellow‘ of
the fog and the smoke reinforcing that this
woman dwells in the streets where he has
Poem IV
Fragmented -> going through the cycle
Returns to evening setting - Modern life has continued on. The image of his soul
stretched tight could be influenced by LaForgue
The cycle is ending - the incessant feet of people heading home
Street is corrupted - blackened by pollution and industrialisation, but also in
abstract metaphorical way
Left agricultural image for urban spaces
This stanza has a lot of religious imagery and connotation in it
Final prelude is in three parts
3rd person - shifts in direction, reference a masculine
entity, perhaps God, perhaps man, perhaps Prufrock.
Perhaps using the man as an expression of an idea
Religious imagery
verb stretched‘ and adverb tight‘ exposes tension heartbroken
Light hiding away from humanity behind the
dramas and demands of the city‘ a modernist
metaphor for corruption and the derisive
nature of human interaction
His soul stretched tight across the skies
That fade behind a city block,
Or trampled by insistent feet
Polysyndeton drags out these hours, reinforcing
time watched, lived and wasted once again, the
time trope linking to Prufrock‘
Repeating symbol - grime we cannot
escape. His soul floats about, ignored
Personification and Negative imagery - fading so
no one bothers with it
Conscience continues to come back and wants to
join the world. (what stops it joining? Does life get
in the way?
At four and five and six o’clock;
And short square fingers stuffing pipes,
And evening newspapers, and eyes
Assured of certain certainties,
The conscience of a blackened street
Skies the one at the beginning of Prufrock
Aggressive verb - being taken advantage
Imagery - parts not a whole/together
Pipe - smoke imagery
Listing of dismembered body parts
Paradox reinforcing they are no wiser about
their purpose or their outcome than Prufrock
(absurdist). Monotony of the day (bills, day,
night, work, hunger, pipe-smoking)
unflatterying image
Impatient to assume the world.
End stop - pause to contemplate this
Eliot is presenting a thoughtful exposé here on modernity. His male soul sees all but
is incapable of being anything more than an observer himself, the city has dictated it
Fragmented images of the city being
trampled by insistent feet‘ is entirely negative
in connotation, the regime, the patterns of
behaviour, the demands of the corrupting
influences stamped by time
Verb - almost like the feline imagery in Prufrock. All
encompassing sense of dismay, like the metaphorical fog
Shifting voices - first person now, a
reflective voice, and then second
person next stanza
I am moved by fancies that are curled
Around these images, and cling:
The notion of some infinitely gentle
Imperative - for their are
weaknesses, limitations and
sorrows and there always
will be.
Repetition of infinitely (adverb) - reminds us
of the intangibility of resolving such
conundrums. They existed at the beginning of
time and will continue to into the next
Infinitely suffering thing.
Wipe your hand across your mouth, and laugh;
2nd person and verbs - collectively
laughter is the only resolve
The worlds revolve like ancient women
Verb revolve‘ to emphasise that his
observations links past, present and future
Simile - reminds of mythology - both
endurance and isolation. world
continues on, history repeats itself.
TIme has no meaning as we continue
to do the same things
Gathering fuel in vacant lots.
Image links to previous one. There is a sense of desperation in these final lines,
images of a dystopian future.The vacant lots‘ are the emotional wastelands we are
left with when the wars of human interaction have long since destroyed the cities
we have built and isolated ourselves within.
The preludes, musical introductions, are paradoxical; these introductions
to the symphonies of human existence are disturbing, discordant. The
shifting perspectives across the poem do not allow a synthetic whole and
yet, cleverly allow glimpses into why we exist within our environment with
such disharmony. The work is ephemeral in one sense, fragments of
moments in time that are paradoxically interminable reminders of our
inability to resolve the fractured inequities of human experience.