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A continuation of the previous stanza. If one does not “hold fast” to one’s dreams, then life will never reach its full potential to blossom, become fruitful, and transform into something beautiful.

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If you don’t passionately follow your dreams, aspirations, and beliefs, then how are you ever supposed to get your life off the ground?

The word “dreams” was central to Langston Hughes' poetry: in all their many “variations” (deferred, broken, maintained, achieved), they crop up constantly throughout his work. See for example:

His emphasis influenced, among others, Martin Luther King, Jr., whose “I Have a Dream” speech and other oratory further elaborates the “deeply rooted” connection between the African-American dream of equality and the American dream as a whole.

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Edgar Allan Poe (1809 – 1849) had a defining impact on the development of the short story in English, and is credited with helping define the horror and mystery genres as we know them. He was also a prolific poet, famous then and now for “The Raven,” “Annabel Lee,” and other frequently anthologized classics.

A notorious gambler and addict, frequently ill, impoverished, or otherwise desperate, he nevertheless translated these shortcomings and sufferings into some of the darkest and most enduring works in the history of American literature.

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WCW’s quiet early morning celebration of life.

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Through the fantastical, romantic image of mermaids and beautiful ocean views, Eliot has set us up for anticlimax. Once you wake up to the knowledge that the ideals of romance are a fantasy–in part because you yourself are incapable of achieving them–you die a little inside.

Prufrock is living in a superficial, pretentious society in which he is constantly being judged for his looks, actions, etc. This is the only external identity he knows, but “waking” to it from his own inner life, he essentially “drowns"—his life is empty and meaningless.

Eliot is alluding here to Homer’s Odyssey; the “sea-girls” are the Sirens, whose song is so beautiful that no man can resist it. It causes the sailors to throw themselves into the sea and drown or crash their vessel into the rocks and die.

Prufrock’s waking also mirrors and subtly revises the ending of John Keats’s sonnet “On the Sea,” which urges the reader to sit at the shore as a place of imaginative and spiritual escape:

Oh, ye! who have your eyeballs vexed and tired,
Feast them upon the wideness of the Sea;
Oh ye! whose ears are dinned with uproar rude,
Or fed too much with cloying melody—
Sit ye near some old Cavern’s Mouth and brood,
Until ye start, as if the sea nymphs quired!

The voices that “start” (startle) and break the fantasy here are like, but are not really, sea nymphs; in Prufrock’s version, the fantasy is of sea-girls, and the voices that shatter it are explicitly identified as coming from the “human” world.

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On one level this can be interpreted as Prufrock’s fear of trying, but failing, to relate effectively, to a woman. But these lines express something deeper; Prufrock’s search for an existential answer to his social and deeper personal failings; a search for authenticity.

The reference to Lazarus is significant.

John 11:38-53 tells the story of Jesus raising Lazarus from the dead by calling him by name–after which Lazarus walks out of the tomb still wrapped in his burial cloth.

John 11:42: And I knew that thou hearest me always: but because of the people which stand by I said it, that they may believe that thou hast sent me.
John 11:43: And when he thus had spoken, he cried with a loud voice, Lazarus, come forth.
John 11:44: And he that was dead came forth, bound hand and foot with graveclothes: and his face was bound about with a napkin. Jesus saith unto them, Loose him, and let him go.

Another possibility is that this refers to another biblical Lazarus: a leper who had dogs lick his sores, though this is less likely.

The image of Lazarus raised from the dead also recalls the epigraph from Dante at the poem’s start, translated as:

“But since no man has ever come alive / out of this gulf of Hell, if I hear true.”

The raising of Lazarus is a momentous story, not only of a man returning from the dead, but a God, Jesus, exerting ultimate power, defeating death. The raising of Lazarus foreshadows Jesus’s own raising from the dead. But the lines end with the brutal anti-climax of the woman’s imagined words, ‘That is not what I meant at all’. Prufrock fears that his grand aspirations are cruelly shot down by a woman’s casual emasculation, so he doesn’t attempt to make his statement at all.

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Ragged claws, floors of silent seas: the speaker is likening himself to a bottom-dwelling crab. Crabs scuttle horizontally and never forward, much as the speaker moves horizontally in thought but never forward in his actions. The image also conveys the speaker’s feeling of pathetic aloneness and apartness, as well as his immersion in the deep seas of fantasy (compare the final lines of the poem).

This may also be an allusion to Hamlet’s quip to Polonius (Hamlet Act 2, Scene 2): “Yourself, sir, should be old as I am, if like a crab you could go backward.”

The line may also suggest that Prufrock wishes he were free from the burdens of consciousness and volition (see the end of Marianne Moore’s “A Grave”). Note that he wishes not to be the creature, but its claws.

Alternatively, it might express his desire, despite all his doubts, to speak and be heard in his social world–amidst the conventional, pseudo-intellectual conversation of the women who “come and go / Talking of Michaelangelo.”

These lines also appear in the movie Apocalypse Now. Dennis Hopper’s character quotes them when raving about the intellectual prowess of Colonel Kurtz, played by Marlon Brando–and based on Mr. Kurtz in Heart of Darkness, by Joseph Conrad, an author who influenced T. S. Eliot.

That his claws are “ragged” may imply not only merely the serrated claws of a crab, but also a sense of experience, of worn-ness. The narrator is perhaps weary of the world and of his own life, and his hands (his “claws”) are weary from all of life’s burdens.

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Prufrock is objectifying parts of women here. The perfume is what makes him so lustful: it’s like modernist pheromones.

There may be a disconnect between the ideal (the “braceleted, white, bare”–virginal, innocent–arms) and the real, non-idealized female before him. “Idealized” females are totally hairless and sanitized, whereas this woman has fuzz on her arms–how inappropriate! (At least, to Prufrock’s immaturely sexualized mind.)

Or is the “light brown hair” an arousing detail, which he focuses on in a momentary aside?

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The final couplet is one of the most famous instances of repetition in American poetry.

The speaker is exhausted and wishes he could fall asleep. His repetition thus has a weary quality. On the literal level he still has a long ways to go before he’s home. Metaphorically, “miles to go” suggests life; “sleep,” death. The metaphorical linkage between sleep and death is as old as the most ancient mythology, and echoes through some of the most famous passages in English literature; see e.g. Hamlet’s “To die, to sleep.”

If we read the previous line (“promises to keep”) as the speaker yielding to his societal obligations, this couplet may indicate how difficult fulfilling those obligations will be–how hard the road ahead is. Tensions like these are part of why critic Lionel Trilling famously called Frost (against the opinion of most critics at the time) “a terrifying poet.”

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This line marks a major change in the narrator. He does not allow himself to enter the darkness of the woods. The narrator is pulled back by his responsibilities and societal obligations, though the sublime beauty of nature and of death were enough to make him halt his journey for a while.

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