Thursday / Friday, November 21 Day 2 Graphic organzier "Love Song"

Learning Targets: 11-12R1: I can cite strong and thorough textual evidence to support analysis of what the text says explicitly/implicitly and make logical inferences, including determining where the text is ambiguous; develop questions for deeper understanding and for further exploration.

11-12R4: I can determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings. Analyze the impact of specific word choices on meaning, tone, and mood, including words with multiple meanings.


Audio of "The Love Song of J. Alfred Prufrock" 6:23

In class: on Thursday and Friday, you are working INDEPENDENTLY on the "The Song of J. Alfred Prufrock" graphic organizer. You have two days class time and the weekend to finish this. I must stress that this is independent work. Please address any questions to me only. This assignment will count as a writing  grade.

Take your time! The assignment will be collected at the start of class on Monday; plan accordingly.

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The Love Song of J. Alfred Prufrock by Thomas Stearns 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. 1 Let us go then, you and I, 2 When the evening is spread out against the sky 3 Like a patient etherized upon a table; 4 Let us go, through certain half-deserted streets, 5 The muttering retreats 6 Of restless nights in one-night cheap hotels 7And sawdust restaurants with oyster-shells: 8 Streets that follow like a tedious argument 9 Of insidious intent 10 To lead you to an overwhelming question ... 11 Oh, do not ask, "What is it?" . 12 Let us go and make our visit 13 In the room the women come and go 14 Talking of Michelangelo. 15 The yellow fog that rubs its back upon the window-panes, 16The yellow smoke that rubs its muzzle on the window-panes, 17Licked its tongue into the corners of the evening, 18Lingered upon the pools that stand in drains, 19Let fall upon its back the soot that falls from chimneys, 20Slipped by the terrace, made a sudden leap, 21And seeing that it was a soft October night, 22Curled once about the house, and fell asleep. 23And indeed there will be time 24For the yellow smoke that slides along the street, 25Rubbing its back upon the window-panes; 26There will be time, there will be time 27To prepare a face to meet the faces that you meet; 28There will be time to murder and create, 29And time for all the works and days of hands* 30That lift and drop a question on your plate; 31Time for you and time for me, 32And time yet for a hundred indecisions, 33And for a hundred visions and revisions, 34Before the taking of a toast and tea. 35In the room the women come and go 36Talking of Michelangelo. 37And indeed there will be time 38To wonder, "Do I dare?" and, "Do I dare?" 39Time to turn back and descend the stair, 40With a bald spot in the middle of my hair – 41(They will say: 'How his hair is growing thin!") 42My morning coat, my collar mounting firmly to the chin, 43My necktie rich and modest, but asserted by a simple pin --* 44(They will say: "But how his arms and legs are thin!") 45Do I dare 46Disturb the universe? 47In a minute there is time 48For decisions and revisions which a minute will reverse. 49For I have known them all already, known them all: 50Have known the evenings, mornings, afternoons, 51I have measured out my life with coffee spoons; 52I know the voices dying with a dying fall* 53Beneath the music from a farther room. 54     So how should I presume? 55And I have known the eyes already, known them all— 56The eyes that fix you in a formulated phrase, 57And when I am formulated, sprawling on a pin, 58When I am pinned and wriggling on the wall, 59Then how should I begin 60 To spit out all the butt-ends of my days and ways? 61     And how should I presume? 62 And I have known the arms already, known them all— 63Arms that are braceleted and white and bare 64(But in the lamplight, downed with light brown hair!) 65Is it perfume from a dress 66That makes me so digress 67Arms that lie along a table, or wrap about a shawl. 68     And should I then presume? 69     And how should I begin? 70 Shall I say, I have gone at dusk through narrow streets 71 And watched the smoke that rises from the pipes 72 Of lonely men in shirt-sleeves, leaning out of windows? ... 73 I should have been a pair of ragged claws 74Scuttling across the floors of silent seas.      * * * * 75And the afternoon, the evening, sleeps so peacefully! 76Smoothed by long fingers, 77Asleep ... tired ... or it malingers, 78Stretched on the floor, here beside you and me. 79 Should I, after tea and cakes and ices, 80 Have the strength to force the moment to its crisis? 81But though I have wept and fasted, wept and prayed, 82Though I have seen my head (grown slightly bald) brought in upon a platter, 83I am no prophet -- and here's no great matter; 84 I have seen the moment of my greatness flicker, 85 And I have seen the eternal Footman hold my coat, and snicker, 86 And in short, I was afraid. 87 And would it have been worth it, after all,* 88 After the cups, the marmalade, the tea, 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 smile, 92To have squeezed the universe into a ball 93To roll it towards some overwhelming question, 94 To say: "I am Lazarus, come from the dead, 95 Come back to tell you all, I shall tell you all" -- 96 If one, settling a pillow by her head 97     Should say: "That is not what I meant at all; 98     That is not it, at all." 99 And would it have been worth it, after all, 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?— 104It is impossible to say just what I mean! 105 But as if a magic lantern threw the nerves in patterns on a screen: 106Would it have been worth while 107If one, settling a pillow or throwing off a shawl, 108And turning toward the window, should say: 109     "That is not it at all, 110     That is not what I meant, at all." 111 No! I am not Prince Hamlet, nor was meant to be; 112 Am an attendant lord, one that will do 113 To swell a progress, start a scene or two, 114 Advise the prince; no doubt, an easy tool, 115 Deferential, glad to be of use, 116 Politic, cautious, and meticulous; 117 Full of high sentence, but a bit obtuse; 118 At times, indeed, almost ridiculous-- 119 Almost, at times, the Fool. 120 I grow old ... I grow old ... 121 I shall wear the bottoms of my trousers rolled. 122 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. 125 I do not think that they will sing to me. 126 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 131Till human voices wake us, and we drown.

The epigraph comes from the Inferno of Dante's Divine Comedy (XXVII, 61-66). Count Guido da Montefeltro, embodied in a flame, replies to Dante's question about his identity as one condemned for giving lying advice: "If I believed that my answer would be to someone who would ever return to earth, this flame would move no more, but because no one has ever returned alive from this gulf, if what I hear is true, I can reply with no fear of infamy." 1a What is the tone (attitude of writer) of the epigraph? 1b. With whom is the narrator speaking? 1.      (line 3)Write a sentence that clearly demonstrates you understand the word etherize. ____________________________________ ____________________________________ ____________________________________ ____________________________________ ____________________________________ ____________________________________ ___________________________________ 2.      (from line 6) In a minimum of 10 words, describe the neighborhood from line 6. 4(from lines 8/9) Explain the simile in these lines; note “tedious” and “insidious”. 5(why would someone not want to even ask him/herself and “overwhelming” question? 6. (line 14) Who was Michelangelo? 7. (line 13) What type of women have the time to leisurely stroll around art galleries? 8. (lines 15-22) What animal is referenced in this extended metaphor? 9. List three phrases in these lines to support your conclusion for number 8. a. b. c. 10 . (line 27)  Give two possible meanings to explain what happens when someone “prepare[s] to meet the faces that you meet.” 11. (line 28) Explain the process implied by “time to murder and create.” *Line 29 is a reference to rural life, people working with their hands. 12. (lines 32-33) Write two adjectives to describe a person who thinks in this manner. 13. (lines 35-36) Who was Michelangelo and what to what type of women is Prufrock referring? 14. (lines 40-41) Why would an older man be concerned about people noting his “bald spot”? *Prufrock dresses in the latest youthful fashion Important word: solipsism the view or theory that the self is all that can be known to exist. 15.  Circle the word that best describes Prufrock’s attitude towards life. A.      inspirational      C. tedious B.      confusing           D. impetuous 16. What type of life is indicated if you measure out your “life with coffee spoons”? ·         a reference to Shakespeare’s play “A Twelfth Night”   17. (line 54) Define presume 18.(line 55) Whose eyes are the narrator referring to? 19. (lines 57-58) draw a picture of an insect, “sprawled on a pin.”  Look up an image, if you are unsure. 20. (lines 62-64) How would you describe a relationship when an individual focuses on knowing someone’s “arms that are braceleted” and “downed with light brown hair”? 21. What does to digress mean? 22. Beginning on line 69, Prufrock is imagining himself making a proposal to the woman he mentions previously. Read through lines 69-72, and in a complete sentence, explain why or why not this is an effective marriage proposal. Include text to support your reasoning. 23. (lines 73/74) To what creature is Prufrock referring here? What does this say about his perspective on himself? 24 (line 77) What does malinger mean? What tone is established by the choice of this word? 25.(line 80) Prufrock’s “forc[ing] the moment to its crisis” refers to his having the fortitude to ask this “braceleted” woman to marry him. He compares himself John the Baptist and Salome (line 82). Explain this allusion. 26. (lines 84-85) Why does Prufrock not propose? *Wow Purfrock continues to second guess himself. Now he thinks what if he had proposed, after deciding her can’t propose, after thinking he was going to propose. 27. (line 94) Who was Lazarus? Why would Prufrock allude to him to explain why he couldn’t make the marriage proposal? 28. (line 102) Name two activities of the woman Prufrock knows. 29. (line 103) What is ironic about this line? 30. (line 105)   Prufrock analogizes “nerve patterns on a screen.” Who does he think can see his fears? 31 (lines 111-119) Prufrock says he is not Prince Hamlet, which is ironic, as Hamlet could not make up his mind, but what qualities does Hamlet have as opposed to those qualities Prufrock thinks he himself possesses? Look up deferential and list below from text. Hamlet                                              Prufrock 32.(line 122) From what you have come to understand about Prufrock’s personality, what does his asking if he “dare eat a peach” tell us about him? 33. (lines 124-128)  Prufrock says he has “heard the mermaids singing” [but] “they do not sing to [him].  What is the mood or atmosphere created by the mermaids? 34. (lines 129-131) According to the text, what will happen if Prufrock actually makes a connection to the joys of sharing a life with another?