WLEM AM

Where we prepare a face to meet the faces that we meet.

The Love Song of J. Alfred Prufrock

And would it have been worth it, after all, 
Would it have been worth while,                                           100 
After the sunsets and the dooryards and the sprinkled streets, 
After the novels, after the teacups, after the skirts that trail along the floor— 
And this, and so much more?— 
It is impossible to say just what I mean! 
But as if a magic lantern threw the nerves in patterns on a screen: 
Would it have been worth while 
If one, settling a pillow or throwing off a shawl, 
And turning toward the window, should say: 
  "That is not it at all, 
  That is not what I meant, at all."                                          110
        .     .     .     .     .

No! I am not Prince Hamlet, nor was meant to be; 
Am an attendant lord, one that will do 
To swell a progress, start a scene or two 
Advise the prince; no doubt, an easy tool, 
Deferential, glad to be of use, 
Politic, cautious, and meticulous; 
Full of high sentence, but a bit obtuse; 
At times, indeed, almost ridiculous— 
Almost, at times, the Fool. 

  I grow old . . . I grow old . . .                                              120 
I shall wear the bottoms of my trousers rolled. 

  Shall I part my hair behind? Do I dare to eat a peach? 
I shall wear white flannel trousers, and walk upon the beach. 
I have heard the mermaids singing, each to each. 

  I do not think they will sing to me. 

  I have seen them riding seaward on the waves 
Combing the white hair of the waves blown back 
When the wind blows the water white and black. 

  We have lingered in the chambers of the sea 
By sea-girls wreathed with seaweed red and brown               130 
Till human voices wake us, and we drown.

~~~~~~~~~~~~~~~~~~~~~~~~~

Let's put this baby to bed.

WLEM AM

Where with six you get eggroll

The Love Song of J. Alfred Prufrock

  And I have known the arms already, known them all— 
Arms that are braceleted and white and bare 
[But in the lamplight, downed with light brown hair!] 
Is it perfume from a dress 
That makes me so digress? 
Arms that lie along a table, or wrap about a shawl. 
  And should I then presume? 
  And how should I begin?
        .     .     .     .     .

Shall I say, I have gone at dusk through narrow streets              70 
And watched the smoke that rises from the pipes 
Of lonely men in shirt-sleeves, leaning out of windows? . . . 

I should have been a pair of ragged claws 
Scuttling across the floors of silent seas.
        .     .     .     .     .

And the afternoon, the evening, sleeps so peacefully! 
Smoothed by long fingers, 
Asleep . . . tired . . . or it malingers, 
Stretched on the floor, here beside you and me. 
Should I, after tea and cakes and ices, 
Have the strength to force the moment to its crisis?                  80 
But though I have wept and fasted, wept and prayed, 
Though I have seen my head (grown slightly bald) brought in upon a platter, 
I am no prophet–and here's no great matter; 
I have seen the moment of my greatness flicker, 
And I have seen the eternal Footman hold my coat, and snicker, 
And in short, I was afraid. 

  And would it have been worth it, after all, 
After the cups, the marmalade, the tea, 
Among the porcelain, among some talk of you and me, 
Would it have been worth while,                                             90 
To have bitten off the matter with a smile, 
To have squeezed the universe into a ball 
To roll it toward some overwhelming question, 
To say: "I am Lazarus, come from the dead, 
Come back to tell you all, I shall tell you all" 
If one, settling a pillow by her head, 
  Should say, "That is not what I meant at all. 
  That is not it, at all." 

~~~~~~~~~~~~~~~~~~~~

Just when you thought it was safe to go back in the water.

WLEM AM

Where all shall be well.

The Love Song of J. Alfred Prufrock

  And indeed there will be time 
To wonder, "Do I dare?" and, "Do I dare?" 
Time to turn back and descend the stair, 
With a bald spot in the middle of my hair—                               40 
[They will say: "How his hair is growing thin!"] 
My morning coat, my collar mounting firmly to the chin, 
My necktie rich and modest, but asserted by a simple pin— 
[They will say: "But how his arms and legs are thin!"] 
Do I dare 
Disturb the universe? 
In a minute there is time 
For decisions and revisions which a minute will reverse. 

  For I have known them all already, known them all; 
Have known the evenings, mornings, afternoons,                       50 
I have measured out my life with coffee spoons; 
I know the voices dying with a dying fall 
Beneath the music from a farther room. 
  So how should I presume? 

  And I have known the eyes already, known them all— 
The eyes that fix you in a formulated phrase, 
And when I am formulated, sprawling on a pin, 
When I am pinned and wriggling on the wall, 
Then how should I begin 
To spit out all the butt-ends of my days and ways?                    60 
  And how should I presume? 

  And I have known the arms already, known them all— 
Arms that are braceleted and white and bare 
[But in the lamplight, downed with light brown hair!] 
Is it perfume from a dress 
That makes me so digress? 
Arms that lie along a table, or wrap about a shawl. 
  And should I then presume? 
  And how should I begin?

~~~~~~~~~~~~~~~~~~~~

Go.

WLEM AM

Where we dare.

The Love Song of J. Alfred Prufrock

Last time we had two conflicting views the meaning of:

"Let us go then, you and I,

When the evening is spread out against the sky

Like a patient etherized upon a table."

Valentine Smith saw it as portending a journey of internal examination:

"There are also lines in [Dante's Inferno] Canto II that shed light on the turn in Line 3, "Like a patient etherized upon a table;":

"As one who unwills what he wills, will stay 

strong purposes with feeble second thoughts 

until he spells all his first zeal away—

so I hung back and balked on that dim coast

til thinking had worn out my enterprise,

so stout at starting and so early lost."

How ambivalent, how human. So, in a mere 3 lines Eliot establishes the paradigm he uses as a template for his own journey inward."

While Mitch H. saw it as promise of a calculated autopsy:

"The bit about etherization is the polar opposite of sympathetic or celebratory. It suggests, as I've said before, a chilly and arrogant attitude of satire, of analysis - of antiseptic, scalpels and the surgeon's very own god complex.

In short, that Elliot proposes to put his little clerk - with his sad little hesitations about peaches and small, carnal dreams without the animal courage to grasp them - on the table for vivisection."

Here is the next section we will discuss:

 The yellow fog that rubs its back upon the window-panes 

The yellow smoke that rubs its muzzle on the window-panes 

Licked its tongue into the corners of the evening 

Lingered upon the pools that stand in drains, 

Let fall upon its back the soot that falls from chimneys, 

Slipped by the terrace, made a sudden leap,                               20 

And seeing that it was a soft October night 

Curled once about the house, and fell asleep. 

  And indeed there will be time 

For the yellow smoke that slides along the street, 

Rubbing its back upon the window-panes; 

There will be time, there will be time 

To prepare a face to meet the faces that you meet; 

There will be time to murder and create, 

And time for all the works and days of hands 

That lift and drop a question on your plate;                                30 

Time for you and time for me, 

And time yet for a hundred indecisions 

And for a hundred visions and revisions 

Before the taking of a toast and tea. 

  In the room the women come and go 

Talking of Michelangelo. 

WLEM AM

Where the beat goes on.

Section 1

Here is a very famous and beautiful poem I thought we might explore together. Every week, or so, I'll put up a brief section, and I hope we can have a good discussion. Consider reading each section aloud, as it will help reveal the beauty of the poetry.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Let us go then, you and I, 
When the evening is spread out against the sky 
Like a patient etherized upon a table; 
Let us go, through certain half-deserted streets, 
The muttering retreats 
Of restless nights in one-night cheap hotels 
And sawdust restaurants with oyster-shells: 
Streets that follow like a tedious argument 
Of insidious intent 
To lead you to an overwhelming question. . .                               10 
Oh, do not ask, "What is it?" 
Let us go and make our visit. 

  In the room the women come and go 
Talking of Michelangelo.