Despite the dramatic distance between their personalities, Biedma’s fascination for Eliot goes beyond the limits of a mere reader. Eliot in the poetic discourse of Jaime Gil de Biedma is today an accepted fact among critics.
cit, 52) moreover, accentuates the confession booth nature of the poem, and considers the epigraph as underlining "the closed circle of Prufrock's frightened isolation." Portrait of A Lady Thou has committed: Fornication: but that was in another country, Roberta Morgan and Albert Wohlstetter in "Observations on 'Prufrock,'" 2 According to their explication, the epigraph builds the incongruity of the poem in light of the fact that it introduces a verse wherein the speaker admits to himself as somebody Who will stay away for the indefinite future to the world and in this way in certainty. By setting Guido's apprehension of notoriety among the living against Prufrock's trepidation of a chuckle from among the dead, Eliot has emphasized the irony of the poem. Incongruity and emotion are both heightened by Prufrock's own acknowledgment that the ladies to whom he would talk about affection, of the contrasts in the middle of life and passing, are themselves all dead. We sympathize with, but then grin at, his pickle. The ladies who travel every which way, talking of Michelangelo, the ladies whom he sits alongside after tea and cakes and frosts they are the ones who might remark upon his words, and they are all dead. The incongruity, obviously, lies in the way that Prufrock fears the remarks, not of the living, but rather of the dead. Prufrock also was hesitant to talk he feared remarks, of chuckles, of not being caught on. Thus did apprehension of the world's judgment and utter carelessness for the judgment of the dead condition the reaction of Guido da Montefeltro. The soul, later recognized as Count Guido da Montefeltro, introduced his answer with the words which Eliot has utilized as the epigraph to "Prufrock" in actuality his, answer was: If I believed you were alive, I would not talk but rather since you are dead and cannot rehash my story to the living, I have no trepidation and I shall respond you. In answer Dante depicted quickly the despondent state of that land, and thus asked the fire to tell his name and for what valid reason he was in this manner being rebuffed. He saw the purpose of the fire shake, and he heard a voice issuing forward and requesting news of Romagna. 61-66) Dante portrays one of the flares that appeared to him in the eighth circle of damnation in canto twenty-seven of his Inferno. Ma perciocche giammai di questa fondo Non tor no vivo alcun, s'i'odo il vero, Senza tema d'infamia ti rispondc.' 1 (Dante, Inferno, Canto XXVII, II. mai tornasse al mondo, Questa fiamma staria senza piu scosse. Alfred Prufrock S'io credesse che mia risposta fosse A persona che. I shall endeavour to demonstrate what relationship the poem has with the epigraph, and henceforth what role it has in an explication, or criticism, of the entire poem. Anywhere the original milieu of the epigraph appears to bear carefully upon the entire verse, I shall provide a summery of that context. In this study my main object is to specify by simple, yet exact, references the bases for the epigraphs that Eliot utilised in his poetry.
Eliot, an epigraph may brighten an entirety of the poem, and is intended to create an vital fragment of the outcome of the verse (Matthiessen 52). Yet, as Matthiessen notes in The Achievement of T. Introduction Sometimes the epigraphs that Eliot used in his poetry are not clear enough that is why some readers might not understand them easily and to make connections between the epigraph and the poem.
Notwithstanding when the inclination of the quotation is not superbly comprehended, its power is obviously felt. Evidently readers of Eliot's verse comprehend an exceptional wellness in the citations which head Eliot's poems they perceive that the quotation, not exactly the title, has a place characteristically to the content which it serves. The quotation is an epigraph that is completely an insight into the content of the poem "Mistah Kurtz-he dead," or "however that was in another nation." are two citations every now and again offered in token of the real thing. It is very hard to see Eliot's poems without having a quotation or two that precedes it.