Poem I
Among the smoke and fog of a December afternoonYou have the scene arrange itself--as it will seem to do--With “I have saved this afternoon for you”;And four wax candles in the darkened room,Four rings of light upon the ceiling overhead,An atmosphere of Juliet’s tombPrepared for all the things to be said, or left unsaid.We have been, let us say, to hear the latest PoleTransmit the Preludes, through his hair and finger tips.“So intimate, this Chopin, that I think his soulShould be resurrected only among friendsSome two or three, who will not touch the bloomThat is rubbed and questioned in the concert room.”--And so the conversation slipsAmong velleities and carefully caught regretsThrough attenuated tones of violinsMingled with remote cornetsAnd begins.
“You do not know how much they mean to me, my friends,And how, how rare and strange it is, to findIn a life composed so much, so much of odds and ends,(For indeed I do not love it ... you knew? you are not blind!How keen you are!)To find a friend who has these qualities,Who has, and givesThose qualities upon which friendship lives.How much it means that I say this to you--Without these friendships--life, what cauchemar!”Among the windings of the violinsAnd the ariettesOf cracked cornetsInside my brain a dull tom-tom beginsAbsurdly hammering a prelude of its own,Capricious monotoneThat is at least one definite “false note.”--Let us take the air, in a tobacco trance,Admire the monumentsDiscuss the late events,Correct our watches by the public clocks.Then sit for half an hour and drink our bocks.
Words in this poem
- afternoon n.
- The part of the day which follows noon, between noon and evening.
- chopin n.
- A liquid measure formerly used in France and Great Britain, varying from half a pint to a wine quart. [F. chopine, fr. G. schoppen.]
- attenuated a.
- Made thin or slender. [L. attenuatus, p. p.]
- odds n.
- Difference in favor of one and against another; excess of one of two things or numbers over the other; inequality; advantage; superiority; hence, excess of chances; probability. [See Odd, a.]
- cracked a.
- Coarsely ground or broken; as, cracked wheat.
- absurdly adv.
- In an absurd manner.
- monotone n.
- A single unvaried tone or sound. [See Monotonous, Monotony.]
- admire v. t.
- To regard with wonder or astonishment; to view with surprise; to marvel at. [F. admirer, fr. L. admirari; ad + mirari to wonder, for smirari, akin to Gr. smi, and E. smile.]
- discuss v. t.
- To break to pieces; to shatter. Sir T. Browne. [L. discussus, p. p. of discutere to strike asunder (hence came the sense to separate mentally, distinguish); dis- + quatere to shake, strike. See Quash.]
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
Poem I is in the public domain. This text is taken from Prufrock and Other Observations, Project Gutenberg ebook #1459; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.
Cite as: T. S. Eliot, Poem I, in Prufrock and Other Observations (1917), text of Project Gutenberg ebook #1459, Laurel, https://laurelpoetry.com/poem/eliot-prufrock/poem-i.html, id L04652.
Form and metre
Poem I is 40 lines in 2 stanzas. This poem did not settle on a metre of its own; the book it comes from is in iambic pentameter. 92% of its stressed syllables fall where the metre puts the beat. The lines average 9.6 syllables. 2 lines end on an unstressed syllable, a feminine ending. 45% of the lines run on without a stop at the line end.
See other poems in iambic pentameter.
Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.
Rhyme words, stanza by stanza
The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.
- 1 -AABCBCDED-BBE-F-F afternoon · doA · youA · roomB · overheadC · tombB · unsaidC · poleD · tipsE · soulD · friends · bloomB · roomB · slipsE · regrets · violinsF · cornets · beginsF
- 2 ABABC-DD-CE--EFF--GG-- friendsA · findB · endsA · blindB · areC · qualities · givesD · livesD · you · cauchemarC · violinsE · ariettes · cornets · beginsE · ownF · monotoneF · note · trance · monumentsG · eventsG · clocks · bocks
Scansion, line by line
Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic pentameter. How this is done.
| Line | Syl. | Stress |
|---|---|---|
| Among the smoke and fog of a December afternoon | 14 | ········˘/˘·˘/ |
| You have the scene arrange itself--as it will seem to do-- | 14 | ····˘/˘/······ |
| With “I have saved this afternoon for you”; | 10 | ······˘/·· |
| And four wax candles in the darkened room, | 10 | ···/˘··/˘· |
| Four rings of light upon the ceiling overhead, | 12 | ·······/˘/˘/ |
| An atmosphere of Juliet’s tomb | 9 | ·/˘··/˘·· |
| Prepared for all the things to be said, or left unsaid. | 13 | ˘/·········˘/ |
| We have been, let us say, to hear the latest Pole | 12 | ·········/˘· |
| Transmit the Preludes, through his hair and finger tips. | 12 | ˘/·/·····/˘· |
| “So intimate, this Chopin, that I think his soul | 11 | ·/˘·/˘····· |
| Should be resurrected only among friends | 11 | ···˘/˘/˘··· |
| Some two or three, who will not touch the bloom | 10 | ·········· |
| That is rubbed and questioned in the concert room.” | 11 | ····/˘··/˘· |
| --And so the conversation slips | 8 | ····˘/˘· |
| Among velleities and carefully caught regrets | 10 | ·····/˘·˘/ |
| Through attenuated tones of violins | 10 | ·˘/˘·˘··˘/ |
| Mingled with remote cornets | 7 | /˘·˘/˘/ |
| And begins. | 3 | ·˘/ |
| “You do not know how much they mean to me, my friends, | 12 | ············ |
| And how, how rare and strange it is, to find | 10 | ·········· |
| In a life composed so much, so much of odds and ends, | 13 | ···˘/········ |
| (For indeed I do not love it ... you knew? you are not blind! | 14 | ·˘/··········· |
| How keen you are!) | 4 | ···· |
| To find a friend who has these qualities, | 10 | ·······/˘˘ |
| Who has, and gives | 4 | ···· |
| Those qualities upon which friendship lives. | 10 | ·/˘˘···/˘· |
| How much it means that I say this to you-- | 10 | ·········· |
| Without these friendships--life, what cauchemar!” | 10 | ···/˘····· |
| Among the windings of the violins | 10 | ···/˘··˘˘/ |
| And the ariettes | 4 | ···· |
| Of cracked cornets | 4 | ··˘/ |
| Inside my brain a dull tom-tom begins | 10 | ˘/······˘/ |
| Absurdly hammering a prelude of its own, | 11 | ˘/˘/˘·/···· |
| Capricious monotone | 6 | ˘/˘/˘· |
| That is at least one definite “false note.” | 10 | ·····/˘˘·· |
| --Let us take the air, in a tobacco trance, | 11 | ·······˘/·· |
| Admire the monuments | 6 | ˘/·/˘˘ |
| Discuss the late events, | 6 | ˘/··˘/ |
| Correct our watches by the public clocks. | 10 | ˘///˘··/˘· |
| Then sit for half an hour and drink our bocks. | 10 | ·····/··/· |
The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.