“Prufrock” by T. S. Eliot: Stream-Of-Consciousness Technique

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Table of Contents

Introduction
Main body
Conclusion
Works cited

Introduction

The poem of T.S. Eliot The Love Song of J. Alfred Prufrock is picaresque due to the way it sounds and provides lines of changes appeared to the main character in the poem. The plot of the poem concerns the story of a man reasoning on his life and its peculiarities at the moment and supposed changes in the future. One should be able to designate the stream-of-consciousness technique by T. S. Eliot. This method is relevant to Modernism and the philosophy of Henry Bergson. Thus, the puppet film on this poem is possible to make up due to the vortex of different changes that a narrator experiences in his “love story.”

Main body

It is a peculiarity of genre that this poem comprises lots of events that are going around one person only. In this respect it is better to pay attention to the main characters of the would-be puppet film. The characters are as follows:

J. Alfred Prufrock – He tries to understand his willingness to find out love when meeting a woman to please his expectations. He provides personal reasoning on this problem going far beyond triviality of the love issue.
A woman – This character is supposed to be imaginary in most cases. She is allegedly flying in the dreams of the main character constantly talking of Michelangelo. This woman is desired by J. Alfred Prufrock. Hence, she constantly present in his imagination.
Footman – he gives a coat to the main character in his imaginary wanderings down the street. It has an outlook of an old and respectful man in his field of activities.
Crowd – These multiple characters are supposed to direct a sad man to what he is seeking for.
Mermaids – These creatures are thought of pleasing the look of a sad man on the reality. They are signing satisfying inner world of J. Alfred Prufrock.

Once the main characters are done, it is about time to think of the decorations. It is a matter of the way the poem narrates. Thus, the narrative presupposes the essence of the street, first of all. In this respect one should prepare decorations in the form of several buildings, street lamps, and, perhaps, shades of other persons walking the street. The second is considered with the decorations for different weather on the street. It means that the fog and the dusk should be represented, as imitated drawn pictures. To lay more emphasis on the live performance of what is happening in the episode as for fog, it is better to provide decorations in motion. In the bellow mentioned episode they need to show different movements:

The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes (Eliot 1)

The final major part of decorations represented in this puppet film should touch upon the sea. In this case representation of waves is at a focus. They also need to be in motion. It especially suitable for the following occasion, namely:

We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown (Eliot 1).

One more important and symbolic decoration is the window. J. Alfred Prufrock is constantly looking through the window. He wants to expand the reality of his love and life by what he sees outside. Thereupon, a director of the film should make this decoration as enormous window that might pay special attention of viewers to its symbolic coloring. The latter means the way to see the truth of life and its changeability or constant character supposed with people.

The next step is to define the way in which the whole performance should take place. As might be seen, there are several transformations of the main character who tries different images as related to him. In this respect the first image is supposed to look like an ordinary man, one of the single visitors of cafes. The next image which makes change is considered with prophet. Supposedly, it is better to use here well-known and recognizable image of Jesus Christ. It would make the audience follow the way of narrative in the poem. One more image is the image of Prince Hamlet. There should be medieval clothing on this image along with long hair, perhaps. Everything concerning the latter one should comprise peculiarities of Shakespearian epoch.

Conclusion

Finishing strokes touch upon the connectedness of the whole performance. In fact, while looking through the text of the poem, everything becomes clear. J. Alfred Prufrock is getting through the night surrounded by the thoughts related to time, destination, and use of him. He meets a woman but he just hears her voice talking of Michelangelo. The crowd is asking some rhetoric questions (their mouths should keep moving). A footman sneezes and gives a cloak. Finally, mermaids provide divine singing that makes the main character think of better times to come. All in all, after the performance is done, all puppets should come in front of the improvised stage and bow.

Works cited

Eliot, T. S. The Love Song of J. Alfred Prufrock (1917). Web.

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“Prufrock” by T. S. Eliot: Stream-Of-Consciousness Technique

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