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Becausethepoemisconcernedprimarilywiththeirregularmusingsofthenarrator,itcanbedifficulttointerpret.LaurencePerrinewrote,[thepoem]presentstheapparentlyrandomthoughtsgoingthroughaperson'sheadwithinacertaintimeinterval,inwhichthetransitionallinksarepsychologicalratherthanlogical.Thisstylisticchoicemakesitdifficulttodetermineexactlywhatisliteralandwhatissymbolic.Onthesurface,TheLoveSongofJ.AlfredPrufrockrelaysthethoughtsofasexuallyfrustratedmiddle-agedmanwhowantstosaysomethingbutisafraidtodoso,andultimatelydoesnot.Thedispute,however,liesintowhomPrufrockisspeaking,whetherheisactuallygoinganywhere,whathewantstosay,andtowhatthevariousimagesrefer.Theintendedaudienceisnotevident.SomebelievethatPrufrockistalkingtoanotherpersonordirectlytothereader,whileothersbelievePrufrock'smonologueisinternal.PerrinewritesThe'youandI'ofthefirstlinearedividedpartsofPrufrock'sownnature,[16]whileMutluKonukBlasingsuggeststhattheyouandIreferstotherelationshipbetweenthedilemmasofthecharacterandtheauthor.[20]Similarly,criticsdisputewhetherPrufrockisgoingsomewhereduringthecourseofthepoem.Inthefirsthalfofthepoem,Prufrockusesvariousoutdoorimages(thesky,streets,cheaprestaurantsandhotels,fog),andtalksabouthowtherewillbetimeforvariousthingsbeforethetakingoftoastandtea,andtimetoturnbackanddescendthestair.ThishasledmanytobelievethatPrufrockisonhiswaytoanafternoontea,inwhichheispreparingtoaskthisoverwhelmingquestion.Others,however,believethatPrufrockisnotphysicallygoinganywhere,butrather,isplayingthroughitinhismind.PerhapsthemostsignificantdisputeliesovertheoverwhelmingquestionthatPrufrockistryingtoask.ManybelievethatPrufrockistryingtotellawomanofhisromanticinterestinher,pointingtothevariousimagesofwomen'sarmsandclothingandthefinalfewlinesinwhichPrufrocklamentsthatthemermaidswillnotsingtohim.Others,however,believethatPrufrockistryingtoexpresssomedeeperphilosophicalinsightordisillusionmentwithsociety,butfearsrejection,pointingtostatementsthatexpressadisillusionmentwithsocietysuchasIhavemeasuredoutmylifewithcoffeespoons(line51).ManybelievethatthepoemisacriticismofEdwardiansocietyandPrufrock'sdilemmarepresentstheinabilitytoliveameaningfulexistenceinthemodernworld.McCoyandHarlanwroteFormanyreadersinthe1920s,Prufrockseemedtoepitomizethefrustrationandimpotenceofthemodernindividual.Heseemedtorepresentthwarteddesiresandmoderndisillusionment.Asthepoemusesthestreamofconsciousnesstechnique,itisoftendifficulttodeterminewhatismeanttobeinterpretedliterallyorsymbolically.Ingeneral,EliotusesimagerywhichisindicativeofPrufrock'scharacter,representingaginganddecay.Forexample,Whentheeveningisspreadoutagainstthesky/Likeapatientetherizeduponatable(lines2-3),thesawdustrestaurantsandcheaphotels,theyellowfog,andtheafternoonAsleep...tired...oritmalingers(line77),arereminiscentoflanguoranddecay,whilePrufrock'svariousconcernsabouthishairandteeth,aswellasthemermaidsCombingthewhitehairofthewavesblownback/Whenthewindblowsthewaterwhiteandblack,showhisconcernoveraging.LikemanyofEliot'spoems,TheLoveSongofJ.AlfredPrufrockmakesnumerousallusionstootherworks,whichareoftensymbolicinandofthemselves.LaurencePerrineidentifiesthefollowingallusionsinthepoem:UseofallusionInTimeforalltheworksanddaysofhands(29)thephrase'worksanddays'isthetitleofalongpoem-adescriptionofagriculturallifeandacalltotoil-bytheearlyGreekpoetHesiod.Iknowthevoicesdyingwithadyingfall(52)echoesOrsino'sfirstlinesinShakespeare'sTwelfthNight.TheprophetofThoughIhaveseenmyhead(grownslightlybald)broughtinuponaplatter/Iamnoprophet-andhere'snogreatmatter(81-2)isJohntheBaptist,whoseheadwasdeliveredtoSalomebyHerodasarewardforherdancing(Matthew14:1-11,andOscarWilde'splaySalome).Tohavesqueezedtheuniverseintoaball(92)echoestheclosinglinesofMarvell's'ToHisCoyMistress'.Phrasessuchas,therewillbetimeandthereistimearealsoreminiscentoftheopeninglineofMarvell'spoem:Hadwebutworldenoughandtime'IamLazarus,comefromthedead'(94)maybeeitherthebeggarLazarus(ofLuke16)returningfortherichmanwhowasnotpermittedtoreturnfromthedeadtowarnthebrothersofarichmanaboutHellortheLazarus(ofJohn11)whomChristraisedfromthedead,orboth.[dubious–discuss]Fullofhighsentence(117)echoesChaucer'sdescriptionoftheClerkofOxfordintheGeneralProloguetoTheCanterburyTales.[24]TherewillbetimetomurderandcreateisabiblicalallusiontoEcclesiastes3.JohanSchimanskiidentifiesthese:Inthefinalsectionofthepoem,PrufrockrejectstheideathatheisPrinceHamletsuggestingthatheismerelyanattendantlord(112)whosepurposeistoadvisetheprince(114),alikelyallusiontoPolonius.PrufrockalsobringsinacommonShakespeareanelementoftheFool,asheclaimsheisalsoAlmost,attimes,theFool.AmongsometalkofyouandmemaybeareferencetoQuatrain32ofEdwardFitzGerald'sfirsttranslationoftheRubaiyatofOmarKhayyam(TherewasaDoortowhichIfoundnoKey/TherewasaVeilpastwhichIcouldnotsee/SomelittleTalkawhileofMEandTHEE/Thereseemed-andthennomoreofTHEEandME.)出自WIKI下面是查良铮的译文：J·阿尔弗瑞德·普鲁弗洛克的情歌假如我认为，我是回答一个能转回阳世间的人，那么，这火焰就不会再摇闪。但既然，如我听到的果真没有人能活着离开这深渊，我回答你就不必害怕流言。那么我们走吧，你我两个人，正当朝天空慢慢铺展着黄昏好似病人麻醉在手术桌上；我们走吧，穿过一些半清冷的街，那儿休憩的场所正人声喋喋；有夜夜不宁的下等歇夜旅店和满地蚌壳的铺锯末的饭馆；街连着街，好象一场