《英国文学复习(工商学院)》.pptVIP

2.The rhythm of the lines is deliberately irregular. Eliot occasionally rhymes for long stretches (LL 4-12) and then not at all; his rhyme scheme itself seems like he confusing Streets that follow like a tedious argument (8). The concluding two three-line stanzas act as a sestet (six lines). Although the rhyme scheme differs (here it is abbcdd), Petrarchan sonnets complement the opening octet (first eight lines) with a sestet(cdecde). This is Eliots final mock-allusion to yet another Renaissance artist (after Dante and Michelangelo). Petrarch unrequitedly mooned after his love, Laura, but Prufrock, whose name sounds much like Petrarchs, does not even have an unattainable ideal love. He has unattainable, frustrated, paralyzed desire for all women who reject him. 3.Prufrocks fragmented voice It is difficult to decide who is the speaker because it is a combination of so many historic poetic voices. The poem comes in the form of a dramatic monologue, a form that is usually fit for a resonant speaking voice (and one that extinguishes the personality of the poet, too). But Prufrock has a chorus of fragmented voices - the epigraph to Dante, the frequent allusions to the Bible, Shakespeare, and many poetic predecessors - which deny the existence of a solo voice. This, then, is Prufrocks voice: a fragmentation of voices past and present that somehow harmonize. Fragmentation is also embodied in the rhetorical devices used, such as image, allusion. Imagery City image sunlit sky as looking like a patient etherised upon a table (Eliot 3). This is an unusual imagery that would be out of place in a traditional love poem, and this etherised outside world is the key to understanding all of Prufrocks views. He is afraid of the increasingly industrialized and impersonal city surrounding him, and he is unsure of what to do and afraid to commit to any particular choice of action 2.fog image rubs it