The love Song written Of J. Alfred Prufrock is a poem by T. S. Eliot written in 1910 and published in 1915. Right from the title the reader can understand that it's a song, and it's about love.

The structure results the juxtaposition of scenes and we can considerer the poem revolutionary, because it doesn't follow any pattern. The poem displays its revolutionary aspect: it has not pattern, and it's in free verse. In the traditional novel the reader is helped by the structure of the poem. In this case the reader in only guided by the initial quotation of Dante.

 The poem is a dramatic interior monologue between Alfred Prufrock and his consciousness, so it reports the most inner and private emotion. The reader is adverted of this aspect by the epigram; it alerts the reader that he is reading something very private, so it's a private form of communication, an inner  relation. In addiction the name of the character, Prufrock remind the idea of rock. This element allude to the difficulty of communication. Prufrock, despite his name Alfred, he is not able to reveal feelings to the reader. In this poem the center of investigation is Prufrock's consciousness.

The extract is taken from Dante's Divina Commedia, Inferno, XXVII. The protagonist of this episode is Guido da Montefeltro. In his life he was a intelligent man, but Dante has condemned him for being a fraudulent proposer. In the verses that Eliot has reported Guido tells Dante that he can tell his story because Dante is in Hell, end from the hell nobody return in life.

Eliot uses images, that imply the use of the image technique. The image must be compact and make the reader feel what there's in Prufrock's consciousness. The quest throw  consciousness comes across time: like an antihero he's afraid. The reason is that he's a man, and he depends on what the other people think and say about him. Besides he's afraid because his disability to process his feelings.

In this love song we have the paradigm of Modernism. We have the relevance of time, heroes and antiheroes. Heroes are committed to God, but in Modernism God is dead, like Nietzsche's idea. Time come to service to the character's consciousness. This middle age man realizes that he's not more an adolescence, he has to pretend to be what he's not. He seems to be a puppet who lives in a world where he can't satisfy his fulfils.

We are not heroes but we want to be; the sense of tragedy comes from the dramatic monologue. This technique was first adopted by two poets , the most relevant poets in Victorian Age, Alfred Tennyson and Robert Browning. Differently from the Romanticism the dramatic monologue is presented by a voice, dramatic personae. The poet who adopts a dramatic personae takes an emotional distance, he wants to acquire a more universal value. Even the great heroes become , to tell the truth, human beings and they reveal they weakness and concerns. To conclude, what make us heroes is sufferance, and it's a part of our life.