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The $o%e Song o& J. Al&re' (ru&roc)* A (ostmo'ern (oem with a
(ostmo'ern +ero
Annesha ,an'al
-esearch Scholar
.e/artment o& +umanities 0 Social Sciences
National Institute o& Technolog12 .urga/ur
.urga/ur2 3est 4engal2 In'ia
0
Arin'am ,o'a)
Assistant (ro&essor o& English
.e/artment o& +umanities 0 Social Sciences
National Institute o& Technolog12 .urga/ur
.urga/ur2 3est 4engal2 In'ia
A5stract
The /olitical an' economic crisis o& the "960s 'iminishes the stature o&
,o'ernist mo%ement an' chronologicall1 (ostmo'ernism ma'e its mar) in 'i&&erent
areas o& stu'1. (ostmo'ernism is a Janus &ace' i'eolog17/artl1 a continuation o& an'
/artl1 a 'e%iation &rom ,o'ernism. (u5lishe' in "9"# in the Chicago maga8ine (oetr12
T. S. Eliot9s :The $o%e Song o& J. Al&re' (ru&roc); is consi'ere' as one o& the
master/ieces o& ,o'ernist /oem. This /a/er she's light on the (ostmo'ernist &eatures
li)e interte<tualit12 allusion2 ju<ta/osition2 'iscontinuit12 &ragmentation2 sel&-
consciousness2 am5iguit12 an' ina5ilit1 to &ace real worl' &oun' in the /oem. In a nut
shell2 this stu'1 esta5lishes :The $o%e Song o& J. Al&re' (ru&roc); as a (ostmo'ern /oem
an' its /rotagonist (ru&roc) as a /ostmo'ern hero.
Intro'uction
Thomas Stearns Eliot is one o& the high /riests o& ,o'ernism who hol's an
esteeme' /osition in the histor1 o& English $iterature. +e was 'ee/l1 in&luence' 51 the
conce/ts o& classicism an' tra'ition as enunciate' 51 4a55itt an' Santa1ana= an' there51
'enounce' the tenets o& the earl1 mo'ernists* attac)ing tra'ition2 /o/ulari8ing the
&ree'om o& in'i%i'ual sel&-e</ression. +e em/hasi8es the nee' &or tra'ition in his wor)s2
rejects the /ossi5ilit1 o& &ree'om in art2 an' 'enies the %alue o& sel&-e</ression as
hallmar)s o& artistic achie%ements. 4eing one o& the /rominent &igures o& >0th centur1
,o'ernism2 Eliot /ortra1s the elements o& ,o'ernism in his /oems. (u5lishe' in "9"# in
the Chicago maga8ine (oetr1 :The $o%e Song o& J. Al&re' (ru&roc); is regar'e' as one
o& the master/ieces o& the ,o'ernist ,o%ement which 'is/la1s the traits o& ,o'ernism.
As a mo'ernist artist2 Eliot is inno%ati%e an' e</erimental in nature. +e
e</eriments with the &orm an' structure o& the /oems. In :The $o%e Song o& J. Al&re'
(ru&roc)2; he uses the well-)nown &ormula o& the o5jecti%e correlati%e to 'escri5e the
mental state o& (ru&roc). John +a)ac in his article :The ?ellow @og o& :(ru&roc);; gi%es
a 5eauti&ul 'ramatic 'escri/tion o& wooing an' lo%e-ma)ing 5etween the 1ellow &og an'
the cat to intensi&1 an' clari&1 the theme o& (ru&roc)9s &ailure A+a)ac #6-#BC. Eliot
Issue ">2 @e5ruar1 >0"6. "
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actuall1 'escri5es the &og in terms o& a cat to e</ress (ru&roc)9s /s1cholog1. +e
contem/lates the action through the mo%ement o& the cat an' the &og2 5ut the
contem/lation ultimatel1 en's u/ in inertia an' 'rowsiness AJain BC. Eliot uses 'i&&erent
images in his /oems to e</ress the /re'icament o& man. It is also consi'ere' as one o& the
characteristics o& ,o'ernism. The o/ening lines o& the /oem :The $o%e Song o& J.Al&re'
(ru&roc); /ro%i'es us with an image o& a /atient l1ing stretche' u/on a ta5le un'er
anaesthesia. This image suggests an o/eration o& a /atient. 3e can &ocus on the 'ilemma
o& the /rotagonist (ru&roc) through this image. The image o& &og remin's us o& an ur5an
atmos/here &ille' with 'irt2 smo)e2 an' soot. ,o'ern ci%ili8ation is com/le< an'
com/le<it1 comes to the &ore&ront through the /s1chic state an' acti%ities o& the
characters. Not onl1 these= other elements o& ,o'ernism which inclu'e minimalisation2
'istortion o& &orms2 /aro'12 an' 'islocation o& grammar are &oun' in Eliot9s /oetr1.
,o'ernism reache' its 8enith 'uring "9"0 to "960. It gra'uall1 lost its &ormer
eminence 5ecause o& the /olitical an' economic crisis o& the "960s. Su5seFuentl12
(ostmo'ernism ma'e its mar) in 'i&&erent areas o& stu'1. Earlier norms were 5ro)en an'
'i&&erent &iel's o& stu'1 li)e literature2 music2 &ilm2 &ashion2 an' technolog1 attaine' their
own new 'imensions in the era o& (ostmo'ernism.
Characteristics o& (ostmo'ernism
(ostmo'ern art &a%ours certain &eatures such as interte<tualit12 allusion2
ju<ta/osition2 'iscontinuit12 &ragmentation2 sel&-consciousness2 am5iguit12 ina5ilit1 to
&ace real worl'2 an' em/hasis on 'e-structure' 'e-humani8e' su5jecti%it1. The conce/t
o& (ostmo'ernism can 5e e</laine' in relation to that o& a /arent an' chil' in the sense
that it is /artl1 a continuation o& an' /artl1 a 'e/arture &rom ,o'ernism. Eliot2 the iconic
&igure o& ,o'ernism2 /ortra1s some as/ects o& (ostmo'ernism in his /oems. This section
gi%es a 'etaile' anal1sis o& the a5o%e mentione' (ostmo'ern elements in Eliot9s /oem
:The $o%e Song o& J. Al&re' (ru&roc);.
Gne o& the heral'ing te<ts o& ,o'ernism as it is2 :The $o%e Song o& J. Al&re'
(ru&roc); also e<hi5its the major &eatures o& (ostmo'ernism. Gne o& the major
characteristics o& (ostmo'ernism is the use o& interte<tualit1. The term :interte<tualit1;
was coine' 51 Julia Hriste%a. Each an' e%er1 te<t is an interte<tual a'a/tation o& other
te<ts which o/ens u/ a new hori8on. It is an um5rella term which inclu'es the echoing o&
a te<t into another. ,an1 critics o/ine that :interte<tualit1; is consi'ere' as the new
name &or the literar1 terms li)e allusion an' re&erence. It cannot 5e limite' to either o&
those a5o%e mentione' literar1 terms. It inclu'es a 'e%ice li)e e/igra/h ANasi B-C. Eliot
uses e/igra/h throughout the 'i&&erent stages o& his maturit1 as a /oet &rom :(ru&roc); to
:@our Iuartets;. The /oem :The $o%e Song o& J. Al&re' (ru&roc); 5egins with an
e/igra/h cite' &rom .ante9s In&erno <<%ii2 "-. It is in $atin. The e/igra/h is a5out
Count Jui'o 'a ,onte&eltro9s e</erience in the eighth chasm o& +ell. In the eight chasm
o& +ell .ante &in's those sinners who misuse' their wis'om to 'ecei%e others. Count
Jui'o2 one o& the sinners in the eight chasm o& +ell was /unishe' &or his treacherous
a'%ice to (o/e 4oni&ace. The1 are im/risone' an' 5urnt in the &lames o& their
consciousness. 4elie%ing .ante as one o& the 'amne' souls o& +ell2 Count Jui'o re%eals
his i'entit1 to him. A sense o& intense /ain an' torment characteri8es Count Jui'o. This
e/igra/h /ro%i'es a com/arison 5etween Count Jui'o an' (ru&roc). As Count Jui'o
Issue ">2 @e5ruar1 >0"6. >
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'oes not want to 'isclose the true stor1 to the entire worl' Eliot also in'icates his ironic
%iew o& (ru&roc)9s lo%e song. $i)e Count Jui'o2 the &rau'ulent (ru&roc) is also a sel&-
'ecei%ing man who uses h1/er5oles to a%oi' a situation. Eliot through this e/igra/h tries
to show the 5eha%iour an' /s1chic state o& (ru&roc)2 a re/resentati%e o& /resent
generation.
Gne o& the /rime as/ects o& (ostmo'ernism is the use o& allusions. Eliot
&oregroun's allusions in his /oem :The $o%e Song o& J. Al&re' (ru&roc).; +e allu'es to
An'rew ,ar%ell9s /oem2 :To +is Co1 ,istress.; ,ar%ell /ersua'es his 5elo%e' to ma)e
lo%e with him 51 em/hasi8ing on the &act that time has its own winge' chariot* :+a' we
5ut worl' enough an' time; AFt'. in Jain BC2 5ut (ru&roc) thin)s that there will 5e
enough time to ma)e 'ecisions. All his e&&orts ultimatel1 en' u/ in &utilit1 5ecause o& his
in'ecisi%eness. The lines :I shoul' ha%e 5een a /air o& ragge' clawsK Scuttling across the
&loors o& silent seas; A76-7BC allu'es to Sha)es/eare9s +amlet. It remin's us o& +amlet9s
wor's to (olonius where he sa1s* :&or 1ou 1oursel&2 sir2 shoul' 5e ol' as I am2 i& li)e a
cra5 1ou coul' go 5ac)war's; AFt'. in Jain B9C. This allusion suggests that (ru&roc) is
/anic-stric)en an' he 'emeans himsel& 51 com/aring himsel& to a worm-li)e cra5.
(ru&roc)2 instea' o& con&ronting the situation2 retreats &rom it. So he com/ares his own
acti%ities to the scuttling mo%ement o& a cra5 &rom the sea-shore to the silent seas.
$iterar1 wor) 5ecomes a /atch wor) in the age o& (ostmo'ernism. Ju<ta/osition
is one o& the 'e%ices o& (ostmo'ernism. It inclu'es /astiche2 collage2 montage2 an'
contrast 5etween gran' /ast an' tri%ial /resent. In the /oem :The $o%e Song o& J. Al&re'
(ru&roc); Eliot ju<ta/oses (ru&roc) an' the 'rawing room women Awho are tal)ing a5out
,ichelangeloC in or'er to show the contrast 5etween them. The contrast shows that
(ru&roc) is una5le to e</ress his &eelings a5out his la'1lo%e whereas the 'rawing room
women can e&&ortlessl1 'iscuss a5out ,ichaelangelo. There is an echo o& the title
:3or)s an' .a1s2; a /oem 51 +esio' A!th centur1 4CC in :Lthe wor)s an' 'a1s o&
han's; A>9C &oun' in the /oem :The $o%e Song o& J. Al&re' (ru&roc).; The Jree) writer
+esio' in his a5o%e-mentione' /oem shows honest la5our an' instructions on
agriculture= there lies a contrast 5etween the two worl's7the worl' o& the /easants
e%o)e' 51 the title o& the /oem an' the so/histicate'2 o%er-re&ine' societ1 in which
(ru&roc) li%es. Eliot through the allusion in line >6 shows a contrast 5etween (ru&roc)
an' the lo%er in An'rew ,ar%ell9s /oem2 :To +is Co1 ,istress.; The lo%er in ,ar%ell9s
/oem /ersua'es his la'1-lo%e to ma)e lo%e with him= otherwise time will /ounce u/on
them li)e a /re'ator1 5ir'. In contrast to the lo%er in ,ar%ell9s /oem2 (ru&roc)2 a
/ostmo'ern entit12 com&orts himsel& 51 thin)ing that there will 5e enough time to
/ro/ose his 5elo%e'. So there lies a shar/ contrast 5etween (ru&roc) an' the other
characters mentione' in the /oem. E%er1 te<t is a mosaic o& /ast citations. In :The $o%e
Song o& J. Al&re' (ru&roc); the e%i'ences o& /ast citations are unra%elle' with a 'egree o&
'i&&erence. The /oem is a collage7as rea'ers can &in' echoes an' allusions o& 5i5lical
lines2 Sha)es/earean 'rama2 /oem o& Jree) writers. Eliot has create' :(ru&roc); who
com/ares himsel& with +amlet2 John2 the 4a/tist2 an' $a8arus 5ut &ails to act li)e them.
+ere lies the 'i&&erence 5etween (ru&roc) an' the others mentione' a5o%e.
Iha5 +assan2 one o& the (ostmo'ern critics sums u/ the characteristics o&
(ostmo'ernism either with :.e; or :.i.; .iscontinuit1 is one o& them an' (ostmo'ern
art &a%ours the element o& 'iscontinuit1. It in%ol%es an a5ru/t 5eginning or en'ing o& a
literar1 art. :The $o%e Song o& J. Al&re' (ru&roc); has a startling 5eginning*
Issue ">2 @e5ruar1 >0"6. 6
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$et us go then2 1ou an' I2
3hen the e%ening is s/rea' out against the s)1
$i)e a /atient etheri8e' u/on a ta5le= A"-6C
The wor' :etheri8e'; suggests the sus/en'e' state o& (ru&roc)9s min'. The image o& an
etheri8e' /atient o//oses the image o& the inten'e' acti%it1 to 5e /er&orme' 51 (ru&roc)
in the &irst line o& the /oem. So there occurs a su''en transition in (ru&roc)9s mental
stratum which is clearl1 e%i'ent &rom the images mentione' 51 Eliot.
(ostmo'ern art re&lects sel&-consciousness in it. :The $o%e Song o& J. Al&re'
(ru&roc); e<em/li&ies the a5o%e mentione' as/ect o& (ostmo'ernism through the
/rotagonist o& the /oem. . The critics o& :The $o%e Song o& (ru&roc); o&ten cite the
'M'ou5lement o& /ersonalit1 to e</lain the moti& o& sel&- 'i%ision /resent in the /oem.
The moti& o& sel&- 'i%ision engage' in the /oem shows a /s1chic con&lict 5etween the
'ut1 an' sel&-in'ulgence o& art an' it &inall1 5ecomes the su5ject o& Eliot AGser "96-"9BC.
The term 'M'ou5lement can 5e 'e&ine' as the un'ou5ling or s/litting o& the sel& into
su5ject an' o5ject. It can 5e &urther re&erre' to as s/litting o& the sel& into thin)ing an'
o5ser%ing7thin) an' act just as :1ou; an' :I; o& the /rotagonist (ru&roc). This
$a&orguian 'M'ou5lement use' 51 Eliot in his /oem :(ru&roc); will lea' to intense sel&-
consciousness. It will colla/se his will an' /ower to thin)2 &eel an' act. Sel&-
consciousness is a s/lit state where the /erson is aware o& himsel& as well as those who
o5ser%e him. The element o& sel&-consciousness ma)es a /erson inacti%e as well as
in'ecisi%e. The hero o& the /oem :(ru&roc); is o%er/owere' 51 sel&-consciousness which
ma)es him in'ecisi%e in each an' e%er1 as/ect o& li&e. The /hrase :eternal &ootman; is an
allusion ta)en &rom John 4un1an9s (ilgrim9s (rogress. Christian in his course o&
/ilgrimage to the Eternal Cit1 was gi%en a coat 51 the ministering s/irit o& the $or'. +e
thought that the $or' woul' recogni8e his goo'ness as he was wearing the coat /resente'
51 +im. (ru&roc)9s sel&-consciousness is suggeste' 51 this allusion. Eliot has
incor/orate' the stor1 o& John the 4a/tist in the /oem*
Though I ha%e seen m1 hea' Agrown slightl1 5al'C 5rought in
u/on a /latter2 A!>C
John the 4a/tist was 5ehea'e' on +ero'9s or'ers an' his hea' was 5rought u/on a /latter
5e&ore the assem5le' mass as a rewar' &or Salome9s 'ance. +e was 'eca/itate' as he
'eclare' that +ero'9s marriage to +ero'ias2 Salome9s mother was unlaw&ul. (ru&roc)
'raws a moc)-heroic /arallel 5etween himsel& an' John2 the 4a/tist= he thin)s that he
lac)s the courage to 'isclose the truth2 unli)e John the 4a/tist= an' so he sa1s :I am no
/ro/hetL; A!6C.The image o& 5ehea'ing suggests (ru&roc)9s terri&ie' sel&- consciousness
an' s/lit /ersonalit1. Eliot allu'es to Sha)es/eare9s +amlet in the /oem to e</ress
(ru&roc)9s 'esire to 5e &ree &rom his sel&-consciousness. The &eature o& sel&-
consciousness is re%eale' 51 (ru&roc)9s action o& 'escen'ing the stairs. +e is aware o&
himsel& while 'escen'ing the stairs an' at the same time he also notices others who are
o5ser%ing his action an' his /h1sical a//earance. This s/lit consciousness o& (ru&roc)
/aral1ses his actions an' creates a great 'iscom&ort to him.
The (ostmo'ern critics cele5rate the as/ect o& &ragmentation. In the /oem :The
$o%e Song o& J. Al&re' (ru&roc)2; we see that (ru&roc) has &ragmente' sel&7there lies a
con&lict 5etween the social sel& an' the inner sel& o& (ru&roc). The con&lict 5etween the
two sel%es o& (ru&roc) ma)es him in'ecisi%e. The rea'ers o5ser%e that (ru&roc) is
greatl1 attracte' 51 the &ragmente' /arts o& the &emale 5o'17:the e1es2; :the arms.;
Issue ">2 @e5ruar1 >0"6. B
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This suggests &ragmente' /ersonal i'entit1. Eliot through his /rotagonist (ru&roc) shows
the 'escri/tion o& onl1 :a /air o& ragge' claws; A76C o& the cra5 instea' o& /ortra1ing the
whole cra5 in the /oem. It connotes the 'isintegrate' /ersonalit1 o& (ru&roc).
Am5iguit1 is another &eature o& (ostmo'ernism. Eliot utili8es this as/ect o&
(ostmo'ernism in his /oem :The $o%e Song o& J. Al&re' (ru&roc);. The :o%erwhelming
Fuestion; mentione' in the /oem 5elongs to a te<t where am5iguit1 /la1s a %ital role.
The /hrase :o%erwhelming Fuestion; &oun' twice in lines "0 an' 96 creates an aura o&
m1ster1 &rom its iterations. This Fuestion remains un'e&ine' an' in'eterminate= it can 5e
inter/rete' as a Fuestion which concerns the meaning o& (ru&roc)9s social li&e an'
e<istence. In the /oem :The $o%e Song o& J. Al&re' (ru&roc)2; there is am5i%alence in
:Time to turn 5ac) an' 'escen' the stair; A69C. At the to/ o& the staircase there awaits a
woman with whom (ru&roc) wants to meet. The image o& the stairs is am5iguous as there
are %arious /ossi5ilities o& inter/retation. There ma1 5e a /ossi5ilit1 o& communication
51 sa%ing the 'istance 5etween the /rotagonist an' the awaite' woman. It ma1 also im/l1
the e&&ort nee'e' to attain an i'eal. @inall12 (ru&roc) goes 'own the stairs as he lac)s the
courage to &ace the woman. The last line o& the /oem :Till human %oices wa)e us2 an'
we 'rown; A"6"C is signi&icant as it /ro%i'es an am5i%alent connotation. There is an
im/licit &ear in (ru&roc)9s min' regar'ing the marine worl' as mermai's tra'itionall1
'rown their lo%ers. (ru&roc) remains in a trance which gi%es him a tem/orar1 relie&. The
wor's :wa)e; an' :'rown; are use' in the /oem in an am5iguous sense. There is no wa1
o& esca/e &rom the realit17either one will 'rown while in'ulging in 'reams or will 5e
awa)ene' &rom 'reams 51 human %oices.
There is nothing real in the /ostmo'ern worl'. Inha5itants o& this worl' are so
unreal that the1 cannot e%en &ace the realit1. The1 are a&rai' to &ace the realit1 since the1
ha%e 'isintegrate' sel&. (ru&roc) is sh1 in nature2 so he cannot initiate a con%ersation.
$i)e a cra5 which crawls 5ac) to the silent seas2 (ru&roc) also retreats &rom an imminent
situation. This ha//ens 5ecause he cannot &ace the realit1. Eliot ma)es a uniFue
com/arison 5etween the two sel%es o& (ru&roc) in his /oem :The $o%e Song o& J. Al&re'
(ru&roc);. The /oem 5egins with :$et us go then2 1ou an' I; A"C.It suggests the
con%ersation 5etween the two sel%es o& (ru&roc). +e 5ecomes ha//1 an' 'elighte' when
one o& his sel%es remains in a trance7his short-li%e' esca/ism &rom realit1 through the
me'ium o& a re%erie o& an i'eal lo%e with the mermai's gi%es him solace. At the same
time he 5ecomes /anic-struc)2 /ain&ull1 tense'2 an' a5normal in his 'ail1 li&e as one o&
his sel%es is una5le to &ace the har' real worl'.
(ru&roc) can 5e consi'ere' as a (ostmo'ern hero as he /ossesses the attri5utes o&
(ostmo'ernism. +is %oice is the outcome o& %oices7echoes2 allusions ta)en &rom the
/ast2 other literar1 te<ts. There are echoes an' allusions &rom Sha)es/eare9s Twel&th
Night an' +amlet2 ,ar%ell9s :To +is Co1 ,istress2; +esio'9s :3or)s an' .a1s2; The
4i5le.
Conclusion
$i)e Anton1 in Sha)es/eare9s Anton1 an' Cleo/atra2 Eliot also hangs 5etween
,o'ernism an' (ostmo'ernism as his /oems re%eal am/l1 the &eatures o& 5oth
,o'ernism an' (ostmo'ernism. 3e can see man1 (ostmo'ern traits li)e interte<tualit12
allusions2 ju<ta/osition2 'iscontinuit12 &ragmentation2 sel&-consciousness in the /oem
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:The $o%e Song o& J.Al&re' (ru&roc).; The /oem is mar)e' 51 the crisscross o&
(ostmo'ern theories. I& we anal1se the /oem :The $o%e Song o& J. Al&re' (ru&roc);7
one o& the master/ieces o& ,o'ernist /oetr17&rom the /ers/ecti%e o& (ostmo'ernism2
we can consi'er it as a (ostmo'ern /oem with a (ostmo'ern /rotagonist.
3or)s Cite'*
4anerjee2 -on ..H. :The .antean G%er%iew* The E/igra/h to :(ru&roc);.; ,$N !7.7
A.ec."97>C* 9>-9. 3e5. Januar1 >0"6.
Eliot2 T. S. The Com/lete (oems an' (la1s o& T. S. Eliot. $on'on* @a5er an' @a5er
$imite'2 "99. (rint
Eliot2 T. S. :A Commentar1.; Criterion ">.B! AA/r."966C* B!N76. (rint.
+a)ac2 John. :The ?ellow @og o& :(ru&roc);.; The 4ulletin o& the -oc)1 ,ountain
,o'ern $anguage Association >.> AJun."97>C* #>-#B. JSTG-. 3e5. B Januar1
>0"6.
Jain2 ,anju. A Critical -ea'ing o& the Selecte' (oems o& T. S. Eliot. New .elhi* G<&or'
Oni%ersit1 (ress2 >0"0. (rint
Nasi2 ,anjola. :The ,1thic ,etho' an' Interte<tualit1 in T. S. Eliot9s (oetr1; Euro/ean
Scienti&ic Journal !. A,archC* "-!. 3e5. 9 Januar1 >0"6.
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