"The Love Song of J. Alfred Prufrock" by TS Eliot is the story of a man contemplating his way out of his solitude into the world, a man wracked by the fear of being misunderstood. In this poem Eliot uses the motif of the quest ironically to explore the internal struggle of a man in a "heterized" society. Through a variety of obscure metonymic images Eliot sends Prufrock on a quest to find the answer to a never articulated question, in the sense that Prufrock cannot articulate what he thinks. This is not the quintessential literary pursuit of the Romantics; it is a fragmented and disjointed search of an isolated mind without any spatial alteration. This reflects the disintegrated and destroyed world after the First World War. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essayThe first indication of the solitary nature of this expedition is Dante's epigraph. This excerpt is Guido de Montefeltro speaking from the fiery pits of hell without trepidation of any human being who has ever known his sin because he believes Dante cannot convey it. This insinuates that Prufrock is a similar character, who speaks without fear of making himself known. One can guess that the reason for this is that the context of this tale occurs in his mind. Another indication that this is not a literal quest is the nature of tense in this poem, which implies the passage of time. Eliot jumps from the present “Let us go (line 1),” to the future, “there will be time” (line 26) to the past, “I have measured” (line 51). Furthermore, in contemplating the action, Prufrock shifts from speaking about the future: "I should, after tea, cakes and ice creams/ Have the strength...," (lines 79-80) to speaking as if it had already happened: "And I wish it was worth it after all." (line 99) This shows that he is simply reflecting on what he should do, and this is his quest. Eliot uses the symbols of a house and rooms to show the encapsulated existence of society. At the beginning of the poem Prufrock thinks about going out into "certain half-deserted streets" (line 4) suggesting that he is inside. People as a whole share a home; a house that seriously risks being consumed by the “yellow fog”. This yellow mist is another symbol that suggests the pervasive nature of the evil that consumes the world and, unlike what these people choose to believe, is also among them; it is "[curling] around the house" (line 22). The people in the house are each sheltered in their own room. Eliot uses metonymy here to allude to the room through the frequent mention of windows in lines 15,16,25,72 and 108. He refers to an actual room only in the case of the women; “In the room the women come and go/ Talking about Michelangelo” (lines 12 13). This house and these rooms serve as protection from facing the real world or from having to force yourself to ask the overwhelming question. When Prufrock is considering inciting change, he talks about "[going] down the ladder" (line 39) or, in other words, leaving this comfortable isolation of his mind where he is in control of what does or does not exist, and venture out in reality. The true nature of reality is also illustrated. Prufrock exists among people dumbed down by the horrors that exist in their world. Furthermore, because, like Prufrock, they can retreat into their own minds and rationalize their existence, they do nothing. Prufrock suggests going out "when the evening stretches against the sky / Like a patient etherized upon a table" (lines 2, 3). Evening becomes representative of various ideas in this poem. Here is the culmination of what has been built and constructed about how people exist. It is the end, the absolute hour of decision in which something must be done. Creating a simile thatcomparing the evening to an etherized patient, Eliot conveys that society, having become dull and unaware of reality, needs healing; casts Prufrock as the future doctor. Subsequent references to sleep express a sense of peace, real or believed. The yellow mist, for example, is able to fall asleep around the house because it knows that no one in there is brave enough to harm its existence. Later "in the afternoon, in the evening, he sleeps so peacefully", (line 75) he is "asleep...tired...or pretends" (line 77). This last word, malingers, suggests that the afternoon, evening (here symbolizing Prufrock in his years of contented aging) are not truly enjoying a peaceful life in his feigned ignorance of his surroundings; he pretends to "sleep" because he is afraid to act. This fear that delays Prufrock from action is exemplified in the woman whose reaction represents anyone who can, and will, in Prufrock's mind, reject him as a fool. He is "placing a pillow near his head" (line 96). This indicates that even she, who repeatedly insists that Prufrock does not understand what he means, chooses to ignore reality by retreating into her fantasy world. He has windows in his room; he simply chooses to ignore what he sees. When considering Prufrock's realization of the nature of reality, the question becomes: why is he unable to extend his research outside of his head and turn his ideas into action. The answer is, quite simply, fear. Ironically, Prufrock, who himself admits that he is not a prophet, had understood exactly how his destruction of the universe would unfold. He will "know the evening, the morning, the afternoon", (line 49), he knows the end, the beginning and the middle of everything. He knows the “eyes that will stare at you in a formulaic sentence” (line 55). Although he would be brave enough to leave his room in his "morning coat" (line 41) which suggests he is full of possibility, in a "tie rich and modest, but affirmed by a simple brooch" (line 43), he is the his knowledge of the eyes (another metonymy) that will destroy him and leave him "lying on a pin", the only thing that initially defended his departure, and pinned against the wall, which prevents him from action. And even if he sees what his eternity holds for him, he can do nothing because he is nobody. He is not "Prince Hamlet" (line 111), but a "gentle attendant" (line 112). It's simply not suited to thinking about the universe or important issues. He's too mediocre, too human and too weak. He can't even begin his journey without worrying about his baldness, he can't defend his thoughts in the face of opposition, the simple scent of a dress or the desire for things here and now and easy. He has heard better men try to bring about change and fail; “I know the voices that die with a dying fall” (line 52). A man like him would fare better with "ragged claws" (line 73) in "silent seas" (line 74). So why would he assume? J. Alfred Prufrock would do better to consider questions about how to part his hair or whether he should eat a peach, and ultimately these are the questions he will end his days with. Please note: this is just an example. Get a custom paper now from our expert writers. Get a Custom Essay The title of this poem “The Love Story of J. Alfred Prufrock” is ironic as it is the story of a tragedy; the story of a man's quest that never got to begin. TS Eliot uses this search motif in a very interesting way making it so useful because it is actually completely absent. J. Alfred Prufrock is the greatest metonym in this work because he, like a room in a house, is part of our entire society. As an average man he is indicative of everyone, and perhaps he.