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The Love Song of Alfred J. Prufrock by T.S. Eliot is a stunning poem which takes the form of a dramatic monologue. It is an internal dialogue and, due to this, there is a hint of something that is not said clearly and directly on the surface, a type of inherent feeling put into phrases. At times it seems that it's really Prufrock's subconscious thoughts talking. But over the course of the poem, Prufrock seems to be shining an almost pathetic light onto himself. This is most clearly shown by his failure actually to be successful in his "love song" and develop a lover, his allusions to Hamlet and fools, along with his constant stress over what appear to be trivial anxieties. Because the poem is an "romance," it's instantly apparent that women will play an extremely large role throughout the poem. The fact that the women in this particular poem can be placed under one of 2 groups, neither of which comprises viable objects of Prufrock's affection, is a notable illustration of his collapse. The first group includes women of Prufrock's course who are finally undesirable to him. Prufrock mocks these women for the social and intellectual masks they hide behind. They are indirectly imaged as pretentious and shallow and very artificial in their behavior. The ever-famous line "In the room the women come and go/Talking of Michelangelo" (13-14), is a very prominent illustration of this. The light emitting around Michelangelo gives the immediate impression of small talk. Other lines suggest that the scene does, in fact, take place in a tea party. The stereotypical portrayal of a tea party will be a gentle, airy, and social assembly in which picture is hugely important to all current. Prufrock viewpoint is along the very same lines. When he states "There.