The Love Song of J. Alfred Prufrock by T. S. Eliot

S’io credesse 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,

When the evening is spread out against the sky

Like a patient etherized upon a table;

Let us go, through certain half-deserted streets,

The muttering retreats

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 …

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,

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,

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;

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;

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

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 —

(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

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,

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—

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?

               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!)

Is it perfume from a dress

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

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!

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?

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,

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,

To have bitten off the matter with a smile,

To have squeezed the universe into a ball

To roll it towards some overwhelming question,

To say: “I am Lazarus, come from the dead,

Come back to tell you all, I shall tell you all”—

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,

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:

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.”

 

. . . . .

 

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,

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 …

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.

 

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

Till human voices wake us, and we drown.

 

by T. S. Eliot


Fun Facts:

Like many of Eliot’s poems, “The Love Song of J. Alfred Prufrock” makes numerous allusions to other works, which are often symbolic themselves.

  • In “Time for all the works and days of hands” (29) the phrase ‘works and days’ is the title of a long poem – a description of agricultural life and a call to toil – by the early Greek poet Hesiod.
  • “I know the voices dying with a dying fall” (52) echoes Orsino’s first lines in Shakespeare’s Twelfth Night.
  • The prophet of “Though I have seen my head (grown slightly bald) brought in upon a platter / I am no prophet — and here’s no great matter” (81–2) is John the Baptist, whose head was delivered to Salome by Herod as a reward for her dancing (Matthew 14:1–11, and Oscar Wilde’s play Salome).
  • “To have squeezed the universe into a ball” (92) and “indeed there will be time” (23) echo the closing lines of Marvell’s ‘To His Coy Mistress’. Other phrases such as, “there will be time” and “there is time” are reminiscent of the opening line of that poem: “Had we but world enough and time”. Marvell’s words in turn echo the General Prologue of Chaucer’s Canterbury Tales, “whil I have tyme and space”.
  • “‘I am Lazarus, come from the dead'” (94) may be either the beggar Lazarus (of Luke 16) returning for the rich man who was not permitted to return from the dead to warn the brothers of a rich man about Hell, or the Lazarus (of John 11) whom Christ raised from the dead, or both.
  • “Full of high sentence” (117) echoes Chaucer’s description of the Clerk of Oxford in the General Prologue to The Canterbury Tales.
  • “There will be time to murder and create” is a biblical allusion to Ecclesiastes 3.
  • In the final section of the poem, Prufrock rejects the idea that he is Prince Hamlet, suggesting that he is merely “an attendant lord” (112) whose purpose is to “advise the prince” (114), a likely allusion to Polonius — Polonius being also “almost, at times, the Fool.”
  • “Among some talk of you and me” may be a reference to Quatrain 32 of Edward FitzGerald’s translation of the Rubaiyat of Omar Khayyam (“There was a Door to which I found no Key / There was a Veil past which I could not see / Some little Talk awhile of Me and Thee / There seemed — and then no more of Thee and Me.”)

Wolves by A. K. Tolstoy

When the streets empty out

and the singing dies down

and a white fog covers

the swamps and the town,

from the forests in silence

one after another

the wolves come out and go hunting.

 

Seven wolves walk on bravely;

in front of them walks

an eighth with white fur;

while bringing up the rear

is a ninth, who is lame:

with a heel that is bloody

he completes their mysterious procession.

 

Nothing frightens or scares them.

If they walk through the town

not a dog will bark at them,

while a man will not dare

even to breathe if he sees them.

He becomes pale with fear

and quietly  utters a prayer.

 

The wolves circle the church

carefully all around;

into the parson’s yard they enter,

with tails sweeping the ground;

near the tavern they listen

pricking their ears

for any words being said that are sinful.

 

All their eyes are like candles,

sharp as needles their teeth.

Go and take thirteen bullets,

with goat’s fur plug them in,

and then fire at them bravely.

The white wolf will fall first;

after him, the rest will fall also.

 

When dawn comes and the townsmen

are awoken by the cock,

you will find nine old women

lying dead on the ground.

In front, a grey-haired one,

in back, a lame one,

all in blood… may the Lord be with us!

 

by Алексей Константинович Толстой (Aleksey Konstantinovich Tolstoy)

(1840s)

translated by Ilya Bernstein

Mini Film Reviews May 2015

Byzantium (2012) http://en.wikipedia.org/wiki/Byzantium_%28film%29

An average vampire film, very much in the vein of Interview with a Vampire, starring Gemma Arterton and Saoirse Ronan which many will feel is more concerned at character development at the cost of maintaining dramatic momentum. A very good central cast and scenic cinematography raise it above what it otherwise would be. It is enjoyable for a one time watch but there is nothing to bring you back.

Berberian Sound Studio (2012) http://en.wikipedia.org/wiki/Berberian_Sound_Studio

A psychological horror film which experiments with the concept of sound. By being focused more on the audio experience than its visuals you do not get the tired ‘quiet, quiet LOUD!’ experience which has turned many away from the genre of late. Definitely worth experiencing at least once as it is original and suspenseful. Toby Jones as always is an excellent actor. Go watch it!

The Fog (2005) http://en.wikipedia.org/wiki/The_Fog_%282005_film%29

A modern horror remake. John Carpenter’s original came out after his success with Halloween so it was never going to get the credit it deserved but go watch that rather than this even if a lot of its content may seem dated by now. You will, even all these years later, see Tom Welling and think ‘hey it’s that guy from Smallville’. An okay TV movie but really if they could edit it and show it earlier in the day for kids to watch it would get a better audience than it deserves.

The Holy Mountain (1973) http://en.wikipedia.org/wiki/The_Holy_Mountain_%281973_film%29

Alejandro Jodorowsky’s masterpiece of surreal fantasy depicting the occult alchemist journey to enlightenment based on Ascent of Mount Carmel by John of the Cross and Mount Analogue by René Daumal, who was a student of George Gurdjieff. . Visually arresting even if it isn’t your kind of film you will still have a story to tell people of the wonders you have seen. I know much of the imagery used and its context so it is not as ‘surreal’ as some may claim although not having this knowledge in no way will make the film less visually engaging. GO WATCH IT!

The Hangover (2009) http://en.wikipedia.org/wiki/The_Hangover

Good standalone film. Would have been a classic in the style of many late 1970s/early 1980s comedies but unfortunately the modern trend in Hollywood of running concepts into the ground with sequels has diluted its impact. Watch this and don’t both with the sequels unless they are on television and you have nothing else to do.

Elfie Hopkins (2012) film DVD http://en.wikipedia.org/wiki/Elfie_Hopkins

Nancy Drew with swearing and cannibals in a quasi-Welsh town. Some characters have Welsh accents and some don’t. You could argue its set on the border with England but the setting seems too remote. There are some good performances, especially Gwyneth Keyworth, but it ultimately feels like a film that had good potential and not the budget to achieve it. The tone also feels uneven as if it is not sure if it should take itself seriously or not yet wants to emulate the uneasiness David Lynch is famed for using in his works like Blue Velvet or even Twin Peaks. Even worse it leaves a lot of questions unanswered about what happened to some plot points raised as if to suggest they were setting up to make this a series which unfortunately failed with this first effort. The ‘Little Munchkin’ short film, also starring Gwyneth Keyworth, included on the DVD offers a more compact story which I feel the film wanted to recreate but something went wrong along the way sadly.

License To Kill (1989) http://en.wikipedia.org/wiki/Licence_to_Kill

James Bond played by Timothy Dalton. If this film was made today it would fare far better but back in the 80s it was deemed too dark and realistic for a character who was associated with Roger Moore’s dry quips by this point. Not a terrible film, just not as enjoyable as others of the series. The exterior shots of the meditation centre are suitably grandiose and we get a performance from a young Benicio del Toro but otherwise it’s a bit too involved in trying to be serious without any scenes for the audience to take a breather from the events.

Lost In Space (1998) http://en.wikipedia.org/wiki/Lost_in_Space_%28film%29

Underacting and every character has at least one jerkass moment. If you want an example why films of the late 1990s are not liked look no further than this sterling example of the era’s faults. The lurid bleeding colour palette. The disrespect to the source material. The story which assumes there would be sequels (Dr Smith is still infected and eventually going to turn into ‘future’ Smith). The chemistry between the actors is appalling. You ultimately don’t care, or even want harm to befall, the characters. Of course at the end of the film Dr Smith is still infected and likely to turn into a ‘future Smith’ but ultimately as it is never resolved here we can just assume he eventually eat all the others. Just remember that if you ever have to watch this.

Neighbour No.13 / Rinjin 13-go (2005) http://en.wikipedia.org/wiki/The_Neighbor_No._Thirteen

Japanese Horror. A dark psychological film. Begins with good imagery of a man being tortured in a room in the middle of a grey landscape representing the inner turmoil of the central character but then becomes very mundane and overly serious (as seen in the trailer). At the 1 hour 30 minutes mark a character looks down a toilet at a giant piece of faeces. Also there is some black face at one point. It is a classic example of Japanese story telling where they have a great original idea and then give up on it and make something unremarkable. It is one of my biggest issues with the Japanese entertainment industry – they have no fear in producing original ideas but then seem to fear to truly follow through with distinctive narratives from that point onwards in many cases thus leaving you with stories that often feel drawn out. The Japanese are known for having long lingering shots and letting a story breathe, unlike any break neck paced American works, but sometimes it just feels like its padding the length of a story unnecessarily.

Spirit: Stallion of the Cimarron (2002) http://en.wikipedia.org/wiki/Spirit:_Stallion_of_the_Cimarron

It would be better without Spirit’s inner monologue. I assume it was a studio decision but the animation could have easily carried the narrative. Well-made but being so centred on horses will limit its appeal. It is the sort of story I imagine being made into an animated film in the 1970s. If anything, on a technical side, it reminds me of the computer game industry where they might make games more as a way to experiment with new systems or technology that is available to them – in this case this film is a ‘tech demo’ of how to successfully animate horses with an eye to using the technique in later works.

Sword Of Sherwood Forest (1960) http://en.wikipedia.org/wiki/Sword_of_Sherwood_Forest

Fun, light hearted, take on the Robin Hood stories by Hammer films. It probably seems quite dated by today’s standards but was a fun romp. If you like a bit of hamm[er]y acting and cheesy story there is nothing wrong with this twist on the classic tale.

The Princess And The Frog (2009) Disney. http://en.wikipedia.org/wiki/The_Princess_and_the_Frog

Tiana is a complete blow hard. Being the straight man is one thing but she becomes a buzz killer at every point with her overly repeated moral message ‘you have to work hard to get what you want’ though in true Disney fashion she marries the prince in the end and thus gets what she wants via him immediately. Ironically the character of Charlotte, the spoilt friend who gets whatever she wants immediately and acts childishly, delivers a far more sincere message – though she has the opportunity to kiss the prince and achieve her dreams she puts them aside for Tiana as she values her friendship more than being selfish. Ray, the fire bug, is an awkwardly implemented character as he is often presented as the entertainment and gets killed in quite a sudden, extremely violent for a children’s film, manner. It is to empathise to the audience that things have gotten serious and there is no more time for fun but it seemed the sort of thing censors would have had serious concerns about in any other companies output. This was Disney’s last effort to test the viability of traditional 2D animation against the emergence of 3D and it is a tragedy that the quality seen here is going to be a forgotten bygone for many children growing up now. From a technical stand point even Studio Ghibli cannot match the quality of animation seen here. The songs are more jazz based which is something Disney hasn’t done often before but many of these songs are of great quality and it is a shame they haven’t caught on unlike other soundtracks. Actually there is a bit of hypocrisy I notice now seeing the trailer – Tiana crushes the frog Prince Naveen with a book and it is intentional slapstick comedy while Dr Facilier crushing Ray towards the end is presented as serious drama and a sign of his wickedness. This seems to be the point when Disney suddenly realised they needed to revise their classic storytelling tropes and so in Frozen we got sisterly love and rejection of the prince (albeit very poorly implemented as discussed in one of my prior posts).


Comment, Like, Follow me – All are welcome! I haven’t posted for a while admittedly. Part two will come in a couple of days.