The Imagist Movement (Imagism)

It is a type of poetry that describes images with simple language and great focus.
In the early 1900, poets abandoned the old ways of writing poems and created a
new movement in poetry called Modernism. Modernist poets changed the style
and content of poetry by abandoning rhyme and meter, among other things. Some
Modernist poets began to focus on imagery in poetry. In traditional poetry, images
are described in great detail with many words, and then they are linked to a
philosophical idea or theme. But some of the Modernist poets decided that the
best way to write poetry was to describe things with simple and few words.
Imagism is a subset of Modernism that focuses on simply described images and
little more. In Imagist poetry, the writer does not talk about the themes behind the
image; they let the image itself be the focus of the poem. There were many famous
American Imagist poets, including Ezra Pound, William Carlos and T.S. Eliot.
The Rules of Imagism
Ezra Pound, the founder of Imagism, said that there were three tenets, or rules, to
writing Imagist poetry.
1. Direct treatment of the subject. That is, the poem should deal directly with
what's being talked about, not try to use fancy words and phrases to talk about it.
2. Use no word that does not contribute to the presentation. Use as few words as
possible.
3. Compose in the rhythm of the musical phrase, not in the rhythm of the
metronome. In other words, create new rhythms instead of relying on the old,
boring ones, the best representative of the imagist movement is T.S. Eliot.
Thomas Stearns Eliot, commonly known as T. S. Eliot, was born on September 26, 1888, in
St. Louis, United States. He was the son of Henry Ware Eliot, a successful businessman and
president of the Press Brick Company, and Charlotte Champe Stearns, a poet and social worker.
Though born in the U.S., Eliot came from a Boston family with a strong tradition of service in
education, community work, and religion. His father passed away in 1919, followed by his
mother in 1929.
Eliot was American by birth but later became a British citizen. He is regarded as one of the
most influential poets of the 20th century. It is often said that if one can understand Eliot’s
poetry, nothing else will seem difficult. He once described himself with the words: "I am an
Anglo-Catholic in religion, a classicist in literature, and a royalist in politics."
1. Classicist in literature: This signifies that Eliot was opposed to Romanticism. His poetry does
not contain romantic elements, as he adhered to the principles and structured approach of
classical writers.
2. Royalist in politics: This reflects his conservative stance, as he resisted political change and
upheld traditional authority. To Eliot, monarchy represented a classical order capable of
resisting the disruptions of modernity.
3. Catholic in religion: The term "Catholic" originates from Latin, meaning "universal." Eliot
believed in a universal religion that could unify moral values across different cultures.
Eliot’s poem The Love Song of J. Alfred Prufrock is a prime example of his use of the dramatic
monologue, a technique in which the entire poem is filtered through the perspective of the
speaker. However, what adds to the poem’s complexity is that the speaker appears
psychologically unstable and mentally fatigued. His fragmented and scattered imagery makes
interpretation challenging. The poem functions almost as a psychological study, where the
reader must listen to the speaker’s thoughts and analyze his imagery to grasp his perception of
love and life as a whole.
Education
Coming from a highly influential and educated family, he had access to the finest education
available in his time. He began his early education privately at Milton Academy and later
attended Smith Academy in St. Louis, where he studied French, German, Latin, and Ancient
Greek. He developed an interest in poetry at a young age, writing his first poem at fourteen.
That same year, he became a published poet when his poem appeared in the Smith Academy
Record.
He then enrolled at Harvard College, where he pursued Comparative Literature and remarkably
completed his undergraduate degree in just three years instead of the usual four, graduating in
1909. In the same year, he also earned a master’s degree in philosophy. During his time at
Harvard, he was deeply influenced by George Santayana, a distinguished philosopher and poet.
In 1914, he received a Harvard scholarship to continue his studies in Germany. However, with
the outbreak of World War I, he was forced to leave and relocated to Merton College, Oxford.
There, he met Ezra Pound, a prominent American poet, and the two formed a lifelong
friendship.

Marriage and Personal Life

While studying at Oxford, T. S. Eliot met Vivienne Haigh-Wood Eliot, and they married in
1915. Their relationship was troubled from the start, as Eliot primarily sought an English wife
to justify his stay in England. Meanwhile, Vivienne struggled with severe health issues and
insecurities about her social status, which only worsened after their marriage. Their deeply
unhappy union ended in divorce in 1933, and Vivienne later passed away from cardiac arrest.
Eliot later remarried his secretary, Esmé Valerie.
Key Achievements in His Life
1. Eliot’s contributions to literature brought him widespread recognition, leading to awards in
various fields, including drama, music, academia, and literature.
2. Due to his profound impact on poetry, drama, and literary criticism, he was awarded the
Nobel Prize in Literature in 1948.
3. He was a remarkable poet, an influential critic, and a skilled editor.
T.S. Eliot’s Works
Best Poems: He was an outstanding poet, some of his best poems include: “The
Waste Land”, “The Love Song of J. Alfred Prufrock”, “Before Morning”, “On a
Portrait”and “Spleen.”
Other Works: Besides poetry, he wrote prose, plays and non-fiction pieces. Some
of them include The Rock, Murder in the Cathedral, The Birds of Prey, The Tale of
Whale, “Tradition and the Individual Talent” , “The Use of Poetry and the Use of
Criticism.”
Important imagery in the poem:
1-Image of sickness
2-Images of lust and physicality
3-Images of depression and cowardice
4-Image of dirt
Summary of T.S. Eliot's "The Love Song of J. Alfred Prufrock"
T.S. Eliot's poem "The Love Song of J. Alfred Prufrock" is a significant work of modernist
literature that delves into themes of self-doubt, isolation, and the passage of time. The poem is
presented as a dramatic monologue, where the protagonist, J. Alfred Prufrock, shares his
innermost thoughts and feelings directly with the reader. This structure, combined with Eliot's
use of free verse, allows for a fluid expression of Prufrock's complex psyche.
Structure and Style
The poem's free verse style means it does not adhere to a strict rhyme scheme or meter, which
contributes to its conversational tone. Eliot employs vivid imagery and stream-of-consciousness
techniques, drawing on various literary and cultural references that enrich Prufrock's narrative.
About the poem
T.S. Eliot (1888–1965)
The Love Song of J. Alfred Prufrock
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 ...
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.
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,

The general meaning

"The Love Song of J. Alfred Prufrock" by T.S. Eliot is a modernist poem that explores the
themes of self-doubt, isolation, and the complexities of social interaction. The narrative follows
J. Alfred Prufrock, a middle-aged man who grapples with his insecurities as he prepares to
attend a social gathering, likely a tea party or reception characterized by intellectual
pretentiousness. Through a series of vivid and introspective musings, Prufrock reflects on his
anxieties about aging, appearance, and the fear of judgment from others, particularly women.

The poem employs rich imagery, including a haunting description of the "yellow fog" that
envelops the city, symbolizing Prufrock's emotional state. As he imagines the conversations that
will take place at the gathering, he oscillates between grand aspirations and self-deprecation,
ultimately comparing himself to figures like John the Baptist and Polonius. The culmination of
his internal struggle reveals a profound sense of alienation, encapsulated in the poignant
realization that he is not a heroic figure, but rather one who feels irrelevant and unworthy. The
poem concludes with a fantasy of mermaids singing, suggesting a longing for connection that
remains unfulfilled, as they do not sing for Prufrock. This exploration of modern existential
themes invites readers to consider their own experiences of doubt and longing in social
contexts.

The analysis of lines ( only 20 line)

Certainly! Here is a detailed explanation of these lines from The Love Song of J. Alfred
Prufrock by T.S. Eliot.

Lines 1–3: Setting the Scene with an Unusual Image

"Let us go then, you and I,

When the evening is spread out against the sky
Like a patient etherized upon a table;"

The poem opens with an invitation: "Let us go then, you and I," immediately engaging the
reader as if they are being led on a journey. The phrase creates a sense of intimacy, but also
uncertainty—who is the "you"? It could be the reader, the speaker’s own inner thoughts, or an
unidentified companion.

Eliot then presents a striking simile: the evening sky is compared to "a patient etherized upon a
table." This is a startling and unsettling image, breaking away from traditional romantic
descriptions of twilight. Instead of a peaceful or beautiful sunset, the sky is lifeless,
anesthetized, and passive. This imagery reflects the modernist themes of alienation, paralysis,
and existential uncertainty.

Lines 4–10: The Journey Through the City

"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 ..."

Prufrock's journey takes place in a decayed urban landscape. The "half-deserted streets" suggest
loneliness, isolation, and perhaps even danger. The mention of "one-night cheap hotels" and
"sawdust restaurants with oyster-shells" evokes a seedy, impoverished area, possibly frequented
by lonely or transient individuals. The "muttering retreats" hints at secretive, anxious
conversations happening in the background, adding a sense of unease.

The metaphor comparing the streets to "a tedious argument of insidious intent" reinforces the
theme of uncertainty. The streets seem to lead somewhere significant, yet they are
overwhelming and filled with an air of deception. The phrase "overwhelming question" is left
unanswered, heightening suspense and ambiguity. This question could symbolize Prufrock’s
inner anxieties about love, life, or existence itself.

Lines 11–12: Hesitation and Avoidance

"Oh, do not ask, 'What is it?'

Let us go and make our visit."

Here, Prufrock deliberately avoids the "overwhelming question," as if he fears directly

confronting his own uncertainties. He quickly shifts the focus to continuing the journey,
suggesting a tendency to avoid deep introspection or decisive action—a recurring theme in the
poem.

Lines 13–14: The Refrain of Social Superficiality

"In the room the women come and go

Talking of Michelangelo."

This is one of the most famous lines in the poem. It depicts a refined social setting, possibly an
art gallery or an intellectual gathering, where women engage in cultured small talk about the
Renaissance artist Michelangelo. However, the repetitive, detached tone suggests Prufrock finds
these conversations superficial and meaningless. This highlights his alienation from high
society and his own insecurities about measuring up to intellectual and aesthetic ideals.

Lines 15–20: The Yellow Fog as a Symbol of Indecision

"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,"

The "yellow fog" and "yellow smoke" are often interpreted as symbols of hesitation,
uncertainty, and the polluted, industrial environment of the modern city. Eliot personifies the
fog, comparing it to a cat moving stealthily through the cityscape—rubbing against windows,
licking its tongue, and lingering in dark corners. The imagery is both eerie and dreamlike,
reinforcing the poem’s mood of isolation and indecision.

The fog’s movements mirror Prufrock’s own uncertainty and passivity. Just as the fog hesitates
before making a sudden leap, Prufrock himself seems trapped in a state of indecision, struggling
to take action in his life.

In this section of the poem, Eliot introduces key themes:

1. Paralysis and Indecision – Prufrock is hesitant and avoids confronting the "overwhelming
question."
2. Urban Alienation – The setting is lonely, decayed, and impersonal, reflecting modern
disconnection.
3. Superficiality vs. Depth – The women’s conversation about Michelangelo contrasts with
Prufrock’s deep existential struggles.
4. Symbolism of the Fog – The fog embodies uncertainty, blending with the city’s gloom and
Prufrock’s own inability to act.