Prufrock's Waltz Rhetorical Analysis

The main argument of the article, Prufrock’s Waltz, is that “The Love Song of J. Alfred Prufrock” by T.S. Elliot is not truly meant to be a love song, but rather an expression of Prufrock’s social insecurity and internal isolation. David McKay Powell, the author of this article, strives to prove that T.S. Elliot uses various aspects of music as well as Prufrock’s “desire to sing” as a way of highlighting the speaker’s loneliness. Furthermore, an idea introduced by Powell, that supports the central argument is that Prufrock believes primarily in experiential over verbalized knowledge.

Powell argues that Prufrock trusts knowledge gained through experience more than that gained through discussion. An example used from the poem is, “[t]o lead you to an overwhelming question ... /Oh, do not ask, “What is it?”/Let us go

and make our visit.” (10-12). Here, Prufrock is indicating that instead of simply discussing this “overwhelming question” he prefers to “make [a] visit” somewhere in order to experience it. This example pertains to the central argument that Prufrock is socially insecure and isolated by highlighting that he would much rather face things for himself to gain comprehension than socially interact with others. These lines indicate the speaker’s antisocial nature, proving that he cannot form together the words to explain this “question” and would rather allow some encounter to elucidate it for him.
Additionally, Powell uses the quote, “I know the voices dying with a dying fall/Beneath the music from a farther room. /So how should I presume?” (52-54), in order to further prove the theme of isolation in T.S. Eliot’s work. Powell claims that in this stanza, Eliot utilizes a distinct “6/8-time signature used in the waltz.” The waltz is a dance following a specific tempo, thus Powell concludes that as Eliot mentions “music from a father room,” he is subtly indicating, through the rhythm of his stanza, the type of music being heard by Prufrock is that of the waltz.

The waltz is a dance requiring a partner. The speaker says “the voices dying with a dying fall” and then continues to mention that they can hear the music. Powell asserts that the voices are dying because the people who are participating in this social dance are communicating through their body language; no discussion is required. As a result of Prufrock’s insecurity he does not engage, he merely listens from a “farther room.”

The central argument of this article proclaims that T.S. Eliot uses “The Love Song of J. Alfred Prufrock” as an expression of the speaker’s isolation. The ideas that Powell presents were similar to mine as I read this poem. Other readings of this poem argued that Prufrock expresses narcissism over insecurity, however, Powell and myself believe otherwise. An example of our beliefs is present in the first stanza, “Let us go, through certain half-deserted streets, /Of restless nights in one-night cheap hotels/And sawdust restaurants with oyster-shells” Prufrock uses the words “half-deserted”, “cheap” and “sawdust.” The utilization of these words signify his low self-esteem as he deems these as the standards of places

that he is accepted. Another example that was used in Powell’s article is the repetition of the verse, “[i]n the room the women come and go / Talking of Michelangelo.” The article explains Michelangelo’s work as “art known for its depiction of perfected masculine physicality, qualities Prufrock cannot boast.” This point further expanded my understanding of the allusion and how it can be interpreted in terms of the feelings of the speaker. It’s clear that Prufrock cannot compare himself to something so majestic, however it is being discussed around him as if magnificence was so close yet so far away. A similar understanding comes from a reference that is made to Prince Hamlet further in the poem: “No! I am not Prince Hamlet, nor was meant to be;/Am an attendant lord, one that will do” Prufrock further destroys himself because of his lack of self-esteem. In one instance, Prufrock says, “[a]nd I have known the eyes already, known them all—/The eyes that fix you in a formulated phrase,” then continues on, “[a]nd I have known the arms already, known them all—/Arms that are braceleted and white and bare” These lines show evidence of nervousness or lack of self-confidence because it appears Prufrock is expressing fear of judgement by these people. It’s possible that Prufrock feels this way because he has experienced this before which explains why he declares “I have known the eyes already” signifying the familiar, uncomfortable look he receives from people and “I have known the arms already” indicating the body language that replicates disappointment of his presence. Moreover, when Prufrock says, “I have seen the moment of my greatness flicker,” he compares his “moment of greatness” or importance to a flame. It is possible that he forms the association thinking that he is only exceptional and bright inconsistently and for a limited amount of time similar to a flame; thus, adding on to the central argument of social insecurity. An additional instance included in the article is, “I have heard the mermaids singing, each to each / I do not think that they will sing to me.” Powell explains this encounter “serves to underline his isolation” because Prufrock believes is not worthy enough for the mermaids to sing to him. This explanation enhances my reading of this poem because Powell makes connections between this example and another by introducing the social idea of music and the exclusion of Prufrock.