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The Love Song of J. Alfred Prufrock
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The Love Song of J. Alfred Prufrock
by T. S. Eliot
First published in
June 1915 issue of Poetry[2]
Country
United States
Language
English
Publisher
magazine (1915): Harriet Monroe
chapbook (1917): The Egoist, Ltd. (London)[1]
Lines
140
Pages
6 (1915 printing)[2]
8 (1917 printing)[1]
Read online
The Love Song of J. Alfred Prufrock at Wikisource
"The Love Song of J. Alfred Prufrock", commonly known as "Prufrock", is the first professionally published poem by American-born, British poet T. S. Eliot (1888–1965). Eliot began writing "Prufrock" in February 1910, and it was first published in the June 1915 issue of Poetry: A Magazine of Verse[2] at the instigation of Ezra Pound (1885–1972). It was later printed as part of a twelve-poem pamphlet (or chapbook) titled Prufrock and Other Observations in 1917.[1] At the time of its publication, Prufrock was considered outlandish,[3] but is now seen as heralding a paradigmatic cultural shift from late 19th-century Romantic verse and Georgian lyrics to Modernism.
The poem's structure was heavily influenced by Eliot's extensive reading of Dante Alighieri[4] and makes several references to the Bible and other literary works—including William Shakespeare's plays Henry IV Part II, Twelfth Night, and Hamlet, the poetry of seventeenth-century metaphysical poet Andrew Marvell, and the nineteenth-century French Symbolists. Eliot narrates the experience of Prufrock using the stream of consciousness technique developed by his fellow Modernist writers. The poem, described as a "drama of literary anguish", is a dramatic interior monologue of an urban man, stricken with feelings of isolation and an incapability for decisive action that is said "to epitomize frustration and impotence of the modern individual" and "represent thwarted desires and modern disillusionment".[5]
Prufrock laments his physical and intellectual inertia, the lost opportunities in his life and lack of spiritual progress, and he is haunted by reminders of unattained carnal love. With visceral feelings of weariness, regret, embarrassment, longing, emasculation, sexual frustration, a sense of decay, and an awareness of mortality, "Prufrock" has become one of the most recognised voices in modern literature.[6]
Contents
[hide]
1 Composition and publication history
1.1 Writing and first publication
1.2 Prufrock's Pervigilium
1.3 Critical reception
2 Description
2.1 Title
2.2 Epigraph
2.3 Themes and interpretation
2.4 Use of allusion
3 Notes
4 Further reading
5 External links
Composition and publication history[edit]
T. S. Eliot in 1923, photographed by Lady Ottoline Morrell
Writing and first publication[edit]
Eliot wrote "The Love Song of J. Alfred Prufrock" between February 1910 and July or August 1911. Shortly after arriving in England to attend Merton College, Oxford, Eliot was introduced to American expatriate poet Ezra Pound, who instantly deemed Eliot "worth watching" and aided the start of Eliot's career. Pound served as the overseas editor of Poetry: A Magazine of Verse and recommended to the magazine's founder, Harriet Monroe, that Poetry publish "The Love Song of J. Alfred Prufrock", extolling that Eliot and his work embodied a new and unique phenomenon among contemporary writers. Pound claimed that Eliot "has actually trained himself AND modernized himself ON HIS OWN. The rest of the promising young have done one or the other, but never both."[7] The poem was first published by the magazine in its June 1915 issue.[2][8]
In November 1915 "The Love Song of J. Alfred Prufrock"—along with Eliot's poems "Portrait of a Lady," "The Boston Evening Transcript," "Hysteria," and "Miss Helen Slingsby"—was included in Catholic Anthology 1914–1915 edited by Ezra Pound and printed by Elkin Mathews in London.[9]:297 In June 1917 The Egoist, a small publishing firm run by Dora Marsden, published a pamphlet entitled Prufrock and Other Observations (London), containing twelve poems by Eliot. "The Love Song of J. Alfred Prufrock" was the first in the volume.[1] Also Eliot was appointed assistant editor of the Egoist in June 1917.[9]:290
Prufrock's Pervigilium[edit]
According to Eliot biographer Lyndall Gordon, when Eliot was writing the first drafts of Prufrock in his notebook in 1910–1911, he intentionally kept four pages blank in the middle section of the poem.[10] According to the notebooks, now in the collection of the New York Public Library, Eliot finished the poem that was originally published sometime in July and August 1911—when he was 22 years old.[11] In 1912, Eliot revised the poem and included a 38-line section now called "Prufrock's Pervigilium" which was inserted on those blank pages, and intended as a middle section for the poem.[10] However, Eliot removed this section soon after seeking the advice of his fellow Harvard acquaintance and poet Conrad Aiken.[12] This section would not be included in the original publication of Eliot's poem but was included when published posthumously in the 1996 collection of Eliot's early, unpublished drafts in Inventions of the March Hare: Poems 1909–1917.[11] This Pervigilium section describes the "vigil" of Prufrock through an evening and night[11]:41, 43–44, 176–90 described by one reviewer as an "erotic foray into the narrow streets of a social and emotional underworld" that portray "in clammy detail Prufrock's tramping 'through certain half-deserted streets' and the context of his 'muttering retreats / Of restless nights in one-night cheap hotels.'"[13]
Critical reception[edit]
Its reception in London can be gauged from an unsigned review in The Times Literary Supplement on 21 June 1917. "The fact that these things occurred to the mind of Mr. Eliot is surely of the very smallest importance to anyone, even to himself. They certainly have no relation to poetry."[14]
The Harvard Vocarium at Harvard College recorded Eliot's reading of Prufrock and other poems in 1947, as part of their ongoing series of poetry readings by their authors.[15]
Description[edit]
Title[edit]
In his early drafts, Eliot gave the poem the subtitle "Prufrock among the Women."[11]:41 This subtitle was apparently discarded before publication. Eliot called the poem a "love song" in reference to Rudyard Kipling's poem "The Love Song of Har Dyal," first published in Kipling's collection Plain Tales from the Hills (1888).[16] In 1959, Eliot addressed a meeting of the Kipling Society and discussed the influence of Kipling upon his own poetry:
Traces of Kipling appear in my own mature verse where no diligent scholarly sleuth has yet observed them, but which I am myself prepared to disclose. I once wrote a poem called "The Love Song of J. Alfred Prufrock": I am convinced that it would never have been called "Love Song" but for a title of Kipling's that stuck obstinately in my head: "The Love Song of Har Dyal".[16]
However, the origin of the name Prufrock is not certain, and Eliot never remarked on its origin other than to claim he was unsure of how he came upon the name. Many scholars and indeed Eliot himself have pointed towards the autobiographical elements in the character of Prufrock, and Eliot at the time of writing the poem was in the habit of rendering his name as "T. Stearns Eliot," very similar in form to that of J. Alfred Prufrock.[17] It is suggested that the name "Prufrock" came from Eliot's youth in St. Louis, Missouri, where the Prufrock-Litton Company, a large furniture store, occupied one city block downtown at 420–422 North Fourth Street.[18][19][20] In a 1950 letter, Eliot said, "I did not have, at the time of writing the poem, and have not yet recovered, any recollection of having acquired this name in any way, but I think that it must be assumed that I did, and that the memory has been obliterated."[21]
Epigraph[edit]
The draft version of the poem's epigraph comes from Dante's Purgatorio (XXVI, 147–148):[11]:39, 41
'sovegna vos a temps de ma dolor'.
Poi s'ascose nel foco che gli affina.
'be mindful in due time of my pain'.
Then dived he back into that fire which refines them.[22]
He finally decided not to use this, but eventually used the quotation in the closing lines of his 1922 poem The Waste Land. The quotation that Eliot did choose comes from Dante also. Inferno (XXVII, 61–66) reads:
S`io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma perciocchè giammai di questo fondo
Non tornò vivo alcun, s'i'odo il vero,
Senza tema d'infamia ti rispondo.
If I but thought that my response were made
to one perhaps returning to the world,
this tongue of flame would cease to flicker.
But since, up from these depths, no one has yet
returned alive, if what I hear is true,
I answer without fear of being shamed.[23]
In context, the epigraph refers to a meeting between Dante and Guido da Montefeltro, who was condemned to the eighth circle of Hell for providing counsel to Pope Boniface VIII, who wished to use Guido's advice for a nefarious undertaking. This encounter follows Dante's meeting with Ulysses, who himself is also condemned to the circle of the Fraudulent. According to Ron Banerjee, the epigraph serves to cast ironic light on Prufrock's intent. Like Guido, Prufrock had never intended his story to be told, and so by quoting Guido, Eliot reveals his view of Prufrock's love song.[24]
Frederick Locke contends that Prufrock himself is suffering from multiple personalities of sorts, and that he embodies both Guido and Dante in the Inferno analogy. One is the storyteller; the other the listener who later reveals the story to the world. He posits, alternatively, that the role of Guido in the analogy is indeed filled by Prufrock, but that the role of Dante is filled by you, the reader, as in "Let us go then, you and I," (1). In that, the reader is granted the power to do as he pleases with Prufrock's love song.[25]
Themes and interpretation[edit]
Because the poem is concerned primarily with the irregular musings of the narrator, it can be difficult to interpret. Laurence Perrine wrote, "[the poem] presents the apparently random thoughts going through a person's head within a certain time interval, in which the transitional links are psychological rather than logical".[26] This stylistic choice makes it difficult to determine exactly what is literal and what is symbolic. On the surface, "The Love Song of J. Alfred Prufrock" relays the thoughts of a sexually frustrated middle-aged man who wants to say something but is afraid to do so, and ultimately does not.[26][27] The dispute, however, lies in to whom Prufrock is speaking, whether he is actually going anywhere, what he wants to say, and to what the various images refer.
The intended audience is not evident. Some believe that Prufrock is talking to another person[28] or directly to the reader,[29] while others believe Prufrock's monologue is internal. Perrine writes "The 'you and I' of the first line are divided parts of Prufrock's own nature",[26] while Mutlu Konuk Blasing suggests that the "you and I" refers to the relationship between the dilemmas of the character and the author.[30] Similarly, critics dispute whether Prufrock is going somewhere during the course of the poem. In the first half of the poem, Prufrock uses various outdoor images (the sky, streets, cheap restaurants and hotels, fog), and talks about how there will be time for various things before "the taking of a toast and tea", and "time to turn back and descend the stair." This has led many to believe that Prufrock is on his way to an afternoon tea, where he is preparing to ask this "overwhelming question".[26] Others, however, believe that Prufrock is not physically going anywhere, but rather, is playing through it in his mind.[29][30]
Perhaps the most significant dispute lies over the "overwhelming question" that Prufrock is trying to ask. Many believe that Prufrock is trying to tell a woman of his romantic interest in her,[26] pointing to the various images of women's arms and clothing and the final few lines in which Prufrock laments that the mermaids will not sing to him. Others, however, believe that Prufrock is trying to express some deeper philosophical insight or disillusionment with society, but fears rejection, pointing to statements that express a disillusionment with society, such as "I have measured out my life with coffee spoons" (line 51). Many believe that the poem is a criticism of Edwardian society and Prufrock's dilemma represents the inability to live a meaningful existence in the modern world.[31] McCoy and Harlan wrote "For many readers in the 1920s, Prufrock seemed to epitomize the frustration and impotence of the modern individual. He seemed to represent thwarted desires and modern disillusionment."[29]
In general, Eliot uses imagery which is indicative of Prufrock's character,[26] representing ageing and decay. For example, "When the evening is spread out against the sky / Like a patient etherized upon a table" (lines 2–3), the "sawdust restaurants" and "cheap hotels," the yellow fog, and the afternoon "Asleep...tired... or it malingers" (line 77), are reminiscent of languor and decay, while Prufrock's various concerns about his hair and teeth, as well as the mermaids "Combing the white hair of the waves blown back / When the wind blows the water white and black," show his concern over aging.
Use of allusion[edit]
Like many of Eliot's poems, "The Love Song of J. Alfred Prufrock" makes numerous allusions to other works, which are often symbolic themselves.
In "Time for all the works and days of hands" (29) the phrase 'works and days' is the title of a long poem – a description of agricultural life and a call to toil – by the early Greek poet Hesiod.[26]
"I know the voices dying with a dying fall" (52) echoes Orsino's first lines in Shakespeare's Twelfth Night.[26]
The prophet of "Though I have seen my head (grown slightly bald) brought in upon a platter / I am no prophet — and here's no great matter" (81–2) is John the Baptist, whose head was delivered to Salome by Herod as a reward for her dancing (Matthew 14:1–11, and Oscar Wilde's play Salome).[26]
"To have squeezed the universe into a ball" (92) and "indeed there will be time" (23) echo the closing lines of Marvell's 'To His Coy Mistress'. Other phrases such as, "there will be time" and "there is time" are reminiscent of the opening line of that poem: "Had we but world enough and time". Marvell's words in turn echo the General Prologue of Chaucer's Canterbury Tales, "whil I have tyme and space".[26]
"'I am Lazarus, come from the dead'" (94) may be either the beggar Lazarus (of Luke 16) returning for the rich man who was not permitted to return from the dead to warn the brothers of a rich man about Hell, or the Lazarus (of John 11) whom Christ raised from the dead, or both.[26]
"Full of high sentence" (117) echoes Chaucer's description of the Clerk of Oxford in the General Prologue to The Canterbury Tales.[26]
"There will be time to murder and create" is a biblical allusion to Ecclesiastes 3.[26]
In the final section of the poem, Prufrock rejects the idea that he is Prince Hamlet, suggesting that he is merely "an attendant lord" (112) whose purpose is to "advise the prince" (114), a likely allusion to Polonius — Polonius being also "almost, at times, the Fool."
"Among some talk of you and me" may be[32] a reference to Quatrain 32 of Edward FitzGerald's translation of the Rubaiyat of Omar Khayyam ("There was a Door to which I found no Key / There was a Veil past which I could not see / Some little Talk awhile of Me and Thee / There seemed — and then no more of Thee and Me.")
Notes[edit]
^ Jump up to: a b c d Eliot, T. S. Prufrock and Other Observations (London: The Egoist, Ltd., 1917), 9–16.
^ Jump up to: a b c d Eliot, T. S. "The Love Song of J. Alfred Prufrock" in Monroe, Harriet (editor), Poetry: A Magazine of Verse (June 1915), 130–135.
Jump up ^ Eliot, T. S. (21 December 2010). The Waste Land and Other Poems. Broadview Press. p. 133. ISBN 978-1-77048-267-8. Retrieved 9 July 2017. (citing an unsigned review in Literary Review. 5 July 1917, vol. lxxxiii, 107.)
Jump up ^ Hollahan, Eugene (March 1970). "A Structural Dantean Parallel in Eliot's 'The Love Song of J. Alfred Prufrock'". American Literature. 1. 42: 91–93. doi:10.2307/2924384. ISSN 0002-9831.
Jump up ^ McCoy, Kathleen, and Harlan, Judith. English Literature From 1785 (New York: HarperCollins, 1992), 265–66. ISBN 006467150X
Jump up ^ Bercovitch, Sacvan. The Cambridge History of American Literature. Volume 5. (Cambridge: Cambridge University Press, 2003), 99. ISBN 0521497310
Jump up ^ Capitalization and italics original. Quoted in Mertens, Richard. "Letter By Letter" in The University of Chicago Magazine (August 2001). Retrieved 23 April 2007.
Jump up ^ Southam, B.C. A Guide to the Selected Poems of T.S. Eliot. (New York: Harcourt, Brace & Company, 1994), 45. ISBN 057117082X
^ Jump up to: a b Miller, James Edward. T.S. Eliot: The Making of an American poet, 1888–1922. (State College, Pennsylvania: Pennsylvania State University Press, 2005) ISBN 0271026812
^ Jump up to: a b Gordon, Lyndall. Eliot's New Life. (Oxford: Oxford University Press, 1988), 45.
^ Jump up to: a b c d e Eliot, T. S., and Ricks, Christopher B. (editor). Inventions of the March Hare: Poems 1909–1917 Ed. Christopher B. Ricks. (New York: Harcourt, 1996).
Jump up ^ Mayer, Nicholas B (2011). "Catalyzing Prufrock". Journal of Modern Literature. 34 (3): 182. doi:10.2979/jmodelite.34.3.182. JSTOR 10.2979/jmodelite.34.3.182.
Jump up ^ Jenkins, Nicholas. "More American Than We Knew: Nerves, exhaustion and madness were at the core of Eliot's early imaginative thinking" in The New York Times (20 April 1997). This is a 1997 book review of Inventions of the March Hare:Poems 1909–1917, vide supra. Retrieved 12 June 2013.
Jump up ^ Waugh, Arthur. The New Poetry, Quarterly Review, October 1916, citing the Times Literary Supplement 21 June 1917, no. 805, 299; Wagner, Erica (2001) "An eruption of fury", The Guardian, letters to the editor, 4 September 2001. Wagner omits the word "very" from the quote.
Jump up ^ Woodberry Poetry Room (Harvard College Library). Poetry Readings: Guide
^ Jump up to: a b Eliot, T. S. "The Unfading Genius of Rudyard Kipling" in Kipling Journal (March 1959), 9.
Jump up ^ Eliot, T. S. The Letters of T. S. Eliot. (New York: Harcourt, Brace Jovanovich, 1988). 1:135.
Jump up ^ Montesi, Al, and Deposki, Richard. Downtown St. Louis (Arcadia Publishing, 2001), 65. ISBN 0-7385-0816-0
Jump up ^ Christine H. The Daily Postcard: Prufrock-Litton – St. Louis, Missouri. Retrieved 21 February 2012.
Jump up ^ Missouri History Museum. Lighting fixture in front of Prufrock-Litton Furniture Company. Retrieved 11 June 2013.
Jump up ^ Stepanchev, Stephen. "The Origin of J. Alfred Prufrock" in Modern Language Notes. (1951), 66:400–401. JSTOR 2909497
Jump up ^ Eliot provided this translation in his essay "Dante" (1929).
Jump up ^ Dante Alighieri, and Hollander Robert and Hollander, Jean (translators), The Inferno. (Princeton: Princeton Dante Project). Retrieved 3 November 2011.
Jump up ^ Banerjee, Ron D. K. "The Dantean Overview: The Epigraph to 'Prufrock'" in Comparative Literature. (1972) 87:962–966. JSTOR 2907793
Jump up ^ Locke, Frederick W. "Dante and T. S. Eliot's Prufrock." in Modern Language Notes. (1963) 78:51–59. JSTOR 3042942
^ Jump up to: a b c d e f g h i j k l m Perrine, Laurence. Literature: Structure, Sound, and Sense, 1st edition. (New York: Harcourt, Brace & World, 1956), 798.
Jump up ^ On 'The Love Song of J. Alfred Prufrock' (accessed 14 June 2006).
Jump up ^ Headings, Philip R. T. S. Eliot. (Boston: Twayne Publishers, 1982), 24–25.
^ Jump up to: a b c Hecimovich, Gred A (editor). English 151-3; T. S. Eliot "The Love Song of J. Alfred Prufrock" notes (accessed 14 June 2006), from McCoy, Kathleen; Harlan, Judith. English Literature from 1785. (New York: HarperCollins, 1992).
^ Jump up to: a b Blasing, Mutlu Konuk, "On 'The Love Song of J. Alfred Prufrock'", in American Poetry: The Rhetoric of Its Forms (New Haven: Yale University Press, 1987). ISBN 0300037937
Jump up ^ Mitchell, Roger. "On 'The Love Song of J. Alfred Prufrock'", in Myers, Jack and Wojahan, David (editors). A Profile of Twentieth-Century American Poetry. (Carbondale, Illinois: Southern Illinois University Press, 1991). ISBN 0809313480
Jump up ^ Schimanski, Johan Annotasjoner til T. S. Eliot, "The Love Song of J. Alfred Prufock" (at Universitetet i Tromsø). Retrieved 8 August 2006.
Further reading[edit]
Drew, Elizabeth. T. S. Eliot: The Design of His Poetry (New York: Charles Scribner's Sons, 1949).
Gallup, Donald. T. S. Eliot: A Bibliography (A Revised and Extended Edition) (New York: Harcourt Brace & World, 1969), 23, 196.
Luthy, Melvin J. "The Case of Prufrock's Grammar" in College English (1978) 39:841–853. JSTOR 375710
Soles, Derek. "The Prufrock Makeover" in The English Journal (1999), 88:59–61. JSTOR 822420
Sorum, Eve. "Masochistic Modernisms: A Reading of Eliot and Woolf." Journal of Modern Literature. 28 (3), (Spring 2005) 25–43. doi:10.1353/jml.2005.0044
Sinha, Arun Kumar and Vikram, Kumar. "'The Love Song of J Alfred Prufrock' (Critical Essay with Detailed Annotations)" in T. S. Eliot: An Intensive Study of Selected Poems (New Delhi: Spectrum Books Pvt. Ltd, 2005).
Walcutt, Charles Child. "Eliot's "The Love Song of J. Alfred Prufrock" in College English (1957) 19:71–72. JSTOR 372706
External links[edit]
Wikisource has original text related to this article:
The Love Song of J. Alfred Prufrock
Original text from Poetry magazine June 1915
Text and extended audio discussion of the poem
The Love Song of J. Alfred Prufrock at the British Library
Prufrock and Other Observations at Project Gutenberg
Annotated hypertext version of the poem
Love Song of J. Alfred Prufrock public domain audiobook at LibriVox
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Shelley Morrison
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Shelley Morrison
Born
Rachel Mitrani
(1936-10-26) October 26, 1936 (age 81)
New York City, New York U.S.
Other names
Rachel Dominguez
Occupation
Actress
Years active
1961–2016
Spouse(s)
Walter Dominguez (m. 1973)
Website
http://shelleymorrison.com/
Shelley Morrison (born Rachel Mitrani; October 26, 1936) is an American actress. Early in her career, she was sometimes credited as Rachel Domínguez. Morrison has been a theater and television actress since the early 1960s, predominantly as a character actress in ethnic roles. Her most recognizable role has been as the maid Rosario Salazar in the NBC comedy television series Will & Grace, which she played from 1999 to 2006. She was a regular performer on the sitcom The Flying Nun playing Sister Sixto, a nun known mostly for mangling the English language; and she continued in television guest roles until securing a recurring role in the soap opera General Hospital in 1982.
Contents
[hide]
1 Early life
2 Career
3 Cancer
4 Activism
5 Personal life
6 References
7 External links
Early life[edit]
Morrison was born in New York City, the only daughter of Sephardic Jewish (specifically, Spanish Jewish)[1] parents, originally surnamed Mitrani.[2] She was raised in the Bronx, New York, and her first language was Spanish.[1] Her father, Maurice Morris, was a clothing manufacturer. Morrison moved to California with her parents in 1946.
Career[edit]
Morrison went on to study acting at Los Angeles City College and landed early film roles in Divorce American Style and How to Save a Marriage (And Ruin Your Life).[citation needed]
From 1965 to 1967, she appeared four times as an American Indian, Linda Little Trees, in the NBC western television series Laredo (in the episodes "Yahoo", "Jinx", "No Bugles, One Drum", and "Split the Difference.")[3] In 1967, she capitalized on her own experiences learning English to play the Puerto Rican nun, Sister Sixto, who had trouble with English in Sally Field's show The Flying Nun. She would keep this role until the show was cancelled in 1970.[4]
Morrison's most widely recognizable recent role has been as the Salvadoran maid Rosario Inés Consuelo Yolanda Salazar on the NBC sitcom Will & Grace. She appeared in 68 episodes from 1999 to 2006 (as well as a brief cameo appearance on the September 2016 Will & Grace webisode in support of Hillary Clinton's presidential campaign). The role was originally created for a brief one-episode appearance, but Rosario was so popular with viewers that she became a recurring character. In addition to sparring with her libertine and very spoiled employer, Karen Walker (Megan Mullally), Rosario married Karen's gay friend Jack McFarland (Sean Hayes) to prevent her impending deportation.
Among approximately 25 film appearances and 200 television appearances, Morrison has portrayed a maid or housekeeper on 32 separate occasions. Morrison had just informed her agent not to offer her any more "maid parts" when the call came for Will & Grace. In 2017, NBC revived Will & Grace for a new series of episodes. On August 3, 2017, co-creator Max Mutchnick announced to reporters that Morrison had been asked to reprise her role as Salazar on the show, but that she had ultimately decided to retire completely from acting. Although her last official acting role was a voiceover in the 2012 animated film Foodfight!, her final appearance as an actress was the 2016 election-themed webisode of Will & Grace.[5]
Cancer[edit]
Morrison underwent a lumpectomy for breast cancer in 1988, followed by a full mastectomy when the cancer recurred in 1998. She had lung cancer and underwent surgery to remove the upper third of her right lung. Morrison's lung cancer went into remission, but her breast cancer returned after the treatment in 1988 and 1998.[citation needed]
Activism[edit]
Morrison endorsed U.S. Congressman Dennis Kucinich for President in 2008, actively fundraising, contributing to his campaign, and seeking votes for him.[citation needed]
Personal life[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2017) (Learn how and when to remove this template message)
Morrison lives with her husband of many years, Walter Domínguez, a Mexican-American, in a three-story apartment in Los Angeles – the same apartment in which her father had settled the family five decades earlier. Morrison and Dominguez adopted three sons and three daughters (adopted through a traditional Native American ceremony).
References[edit]
^ Jump up to: a b Fretts, Bruce; Roush, Matt. "The Greatest Shows on Earth". TV Guide. 61 (3194-3195): 16–19. |access-date= requires |url= (help)
Jump up ^ Sheridan, Patricia (August 23, 2004). "Shelley Morrison". Pittsburgh Post-Gazette. Retrieved 2008-12-28.
Jump up ^ "Shelley Morrison". Internet Movie Data Base. Retrieved January 16, 2013.
Jump up ^ "Shelley Morrison", IMDb and "The Flying Nun", IMDb
Jump up ^ Stanhope, Kate; Goldberg, Lesley (August 3, 2017). "'Will & Grace': Why Shelley Morrison's Rosario won't return for the revival". The Hollywood Reporter. Retrieved September 28, 2017.
External links[edit]
Shelley Morrison on IMDb
Authority control
WorldCat Identities
VIAF: 68651172
LCCN: no2004106384
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Tears in rain monologue
From Wikipedia, the free encyclopedia
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"C-beam" redirects here. For steel beams with a C-shaped cross-section, see structural channel.
"Tears in rain" (also known as the "C-Beams Speech")[1] is a monologue delivered by character Roy Batty (portrayed by Rutger Hauer) in the 1982 Ridley Scott film Blade Runner. Altered from the scripted lines and improvised by Hauer the night before filming,[2][3][4] the monologue is frequently quoted;[5] critic Mark Rowlands described it as "perhaps the most moving death soliloquy in cinematic history".[6] The speech appears as the last track on the film's soundtrack album.
Contents
1 Script and improvisation
2 Critical reception
3 Tannhäuser Gate
4 References in other media
5 References
Script and improvisation[edit]
The dying replicant Roy Batty delivers the speech to Rick Deckard, moments after Batty saved his life despite Deckard being sent to terminate him. The scene occurs during a heavy downpour of rain, moments before Batty's own death. Reflecting on his experiences and imminent mortality he says (with dramatic pauses between each statement):
I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears in rain. Time to die.
In the documentary Dangerous Days: Making Blade Runner, Hauer, director Ridley Scott, and screenwriter David Peoples confirm that Hauer largely wrote the "Tears in Rain" speech. Earlier versions in Peoples' draft screenplays included the sentence, "I rode on the back decks of a blinker and watched C-beams glitter in the dark, near the Tannhäuser Gate."[7] In his autobiography, Hauer said he merely cut the original scripted speech by several lines, adding only, "All those moments will be lost in time, like tears in rain",[8] although the original script, displayed during the documentary, before Hauer's rewrite, does not mention "Tannhäuser Gate":
I have known adventures, seen places you people will never see, I've been Offworld and back...frontiers! I've stood on the back deck of a blinker bound for the Plutition Camps with sweat in my eyes watching the stars fight on the shoulder of Orion. I've felt wind in my hair, riding test boats off the black galaxies and seen an attack fleet burn like a match and disappear. I've seen it...felt it!
Hauer described this as "opera talk" and "hi-tech speech" with no bearing on the rest of the film, so he "put a knife in it" the night before filming, without Scott's knowledge.[9] In an interview with Dan Jolin, Hauer said that these final lines showed that Batty wanted to "make his mark on existence ... the replicant in the final scene, by dying, shows Deckard what a real man is made of".[10] When Hauer performed the scene, the film crew applauded, and some even cried.[11]
Critical reception[edit]
Sidney Perkowitz, writing in Hollywood science, praised the speech: "If there's a great speech in science fiction cinema, it's Batty's final words." He says that it "underlines the replicant's humanlike characteristics mixed with its artificial capabilities".[12] Jason Vest, writing in Future Imperfect: Philip K. Dick at the Movies, praised the delivery of the speech: "Hauer's deft performance is heartbreaking in its gentle evocation of the memories, experiences, and passions that have driven Batty's short life".[13]
The Guardian writer Michael Newton noted that "in one of the film's most brilliant sequences, Roy and Deckard pursue each other through a murky apartment, playing a vicious child's game of hide and seek. As they do so, the similarities between them grow stronger – both are hunter and hunted, both are in pain, both struggle with a hurt, claw-like hand. If the film suggests a connection here that Deckard himself might still at this point deny, at the very end doubt falls away. Roy's life closes with an act of pity, one that raises him morally over the commercial institutions that would kill him. If Deckard cannot see himself in the other, Roy can. The white dove that implausibly flies up from Roy at the moment of his death perhaps stretches belief with its symbolism; but for me at least the movie has earned that moment, suggesting that in the replicant, as in the replicated technology of film itself, there remains a place for something human."[14]
Tannhäuser Gate[edit]
The place name Tannhäuser Gate (also written "Tannhauser Gate" and "Tanhauser Gate") is not explained in the film. It possibly derives from Richard Wagner's operatic adaptation of the legend of the medieval German knight and poet Tannhäuser.[15] The term has since been reused in other science fiction sub-genres.[16]
Joanne Taylor, in an article discussing film noir and its epistemology, remarks on the relation between Wagner's opera and Batty's reference, and suggests that Batty aligns himself with Wagner's Tannhäuser, a character who has fallen from grace with men and with God. Both man and God, as she claims, are characters whose fate is beyond their own control.[15]
References in other media[edit]
The monologue's influence can be noted in various references and tributes.
Tad Williams paid homage in 1998 to the Batty monologue in River of Blue Fire (the second book of the Otherland series): "I've seen things you people wouldn't believe [...] Attack ships on the fire off the shores of the Nonestic Ocean. I watched magic blunderbusses flash and glitter in the dark near Glinda's palace. All those moments will be lost in time like tears in rain."[17]
Rosa Montero and Lilit Zekulin Thwaites's science fiction novel Tears in Rain (2012) is set in a future where self-aware androids live among humans. The main character, Bruna Husky, is aware of her mortality in the same way that Roy Batty and his crew were, and Bruna often thinks about the significance of Batty's monologue. The androids in the novel, like those of Blade Runner, are known as replicants.[18]
References[edit]
Jump up ^ Blade Runner: The Final Cut (Commentary Track). Ridley Scott. Warner Bros. 2007 [1982].
Jump up ^ Huw Fullerton (2017), Interview with Rutger Hauer
Jump up ^ Ridley Scott; Paul Sammon (2005), Ridley Scott: interviews, University Press of Mississippi, p. 103
Jump up ^ Jim Krause (2006), Type Idea Index, p. 204, ISBN 9781581808063
Jump up ^ Mark Brake; Neil Hook (2008), "Different engines", Scientific American, Palgrave Macmillan, 259 (6): 163, Bibcode:1988SciAm.259f.111E, doi:10.1038/scientificamerican1288-111, ISBN 9780230553972
Jump up ^ Mark Rowlands (2003), The Philosopher at the End of the Universe, pp. 234–235, Roy then dies, and in perhaps the most moving death soliloquy in cinematic history...
Jump up ^ Hampton Fancher & David Peoples (23 February 1981). "Blade Runner Screenplay". Retrieved 11 March 2010.
Jump up ^ Rutger Hauer & Patrick Quinlan (2007), All Those Moments: Stories of Heroes, Villains, Replicants and Blade Runners, HarperEntertainment, ISBN 978-0-06-113389-3
Jump up ^ 105 minutes into the Channel 4 documentary On the Edge of Blade Runner.
Jump up ^ Laurence Raw (2009), The Ridley Scott encyclopedia, p. 159, ISBN 9780810869523
Jump up ^ "The top 10 film moments - 6: Blade Runner — Batty's dying speech in the rain", The Observer, 6 February 2000, retrieved 6 October 2014
Jump up ^ S. Perkowitz (2007), Hollywood science, Columbia University Press, p. 203, ISBN 9780231142809
Jump up ^ Jason P. Vest (2009), Future Imperfect, University of Nebraska Press, p. 24, ISBN 0803218605
Jump up ^ Newton, Michael (14 March 2015). "Tears in rain? Why Blade Runner is timeless". The Guardian. London. Retrieved 26 July 2017.
^ Jump up to: a b Taylor, Joanne (2006), "'Here's to Plain Speaking': The Condition(s) of Knowing and Speaking in Film Noir", Florida Atlantic Comparative Studies, 48: 29–54, ISBN 9781581129618
Jump up ^ Hicham Lasri, Static, ISBN 978-9954-1-0261-9, ff 255
Jump up ^ Williams, Tad (1998). Otherland: River of Blue Fire. NY, USA: DAW Books. p. 303. ISBN 0-88677-777-1.
Jump up ^ Kross, Karin L. "Cyberpunk is the New Retro: Rosa Montero's Tears in Rain". Tor.com. Tor Books. Retrieved 28 May 2015.
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A Cinderella Story: Once Upon a Song
From Wikipedia, the free encyclopedia
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A Cinderella Story: Once Upon a Song
DVD cover
Directed by
Damon Santostefano
Produced by
Dylan Sellers
Written by
Erik Patterson
Jessica Scott
Based on
A Cinderella Story
by Leigh Dunlap
Starring
Lucy Hale
Freddie Stroma
Megan Park
Manu Narayan
Missi Pyle
Music by
Braden Kimbell
Cinematography
John Peters
Edited by
Tony Lombardo
Distributed by
Warner Premiere
Release date
September 6, 2011 (2011-09-06)
Running time
88 minutes
Country
United States
Language
English
A Cinderella Story: Once Upon a Song is a 2011 American teen musical comedy film, directed by Damon Santostefano and starring Lucy Hale, Freddie Stroma, Megan Park, Manu Narayan and Missi Pyle. It is a sequel to Another Cinderella Story (2008) and the third installment in A Cinderella Story series. The film was released on DVD on September 6, 2011.[1]
The film was followed by A Cinderella Story: If the Shoe Fits (2016).
Contents
[hide]
1 Plot
2 Cast
3 Soundtrack
4 Critical reception
5 References
6 External links
Plot[edit]
This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (March 2015) (Learn how and when to remove this template message)
17-year-old aspiring singer Katie Gibbs (Lucy Hale) is over-worked, bullied, and constantly harassed by her stepfamily—mother Gail (Missi Pyle), teenage sister Bev (Megan Park), and young brother Victor (Matthew Lintz). Despite how badly they treat her, Katie does their bidding with no complaints in fear that they might put her in foster care and is only putting up their emotional abuse until she turns 18 and graduates from High School.
In a dream, Katie performs a music video for her hit single ("Run This Town"). Then Victor wakes her up, demanding breakfast. At the Wellesley Academy of the Arts, of which Gail is headmistress, Guy Morgan (Dikran Tulaine)—president of Massive Records, Inc.—enrolls his son Luke (Freddie Stroma). Katie, wanting to change her life for the better, sneaks her demo CD into Guy's briefcase. Guy wants Luke to produce an upcoming showcase at the Academy; Luke, however, is less than excited about following in his dad's footsteps.
Back at home, Bev (Megan Park) wants to win a recording contract with Guy. Bev, however, is a terrible singer; the more she practices, the worse she sounds. Guy calls Gail, who is shocked to hear that he loves Katie's demo. Gail lies, claiming it was Bev's demo and that Katie stole it. Meanwhile, Victor steals Katie's clothes and towel while she showers, locking her out of the house naked. Unable to get back inside, Katie trips over a visiting Luke; thinking fast, she covers herself up using the WELCOME mat. Amused by the situation, Luke gives her his jacket. While Bev welcomes Luke, Gail barges into Katie's room and forces her to sing. Then, after shoving Luke out of the house, Gail plans to get Bev a record deal by using Katie's voice. Bev is reluctant, but goes along with this in order to win Luke's affections.
At school, Katie and her best friend Angela (Jessalyn Wanlim) hear Luke singing. The entranced Katie writes a song of her own, for him, and admits that she likes him. Angela urges Katie to sing for him at the Bollywood Ball that night, and gives her a costume to wear. Then Gail barges in.
Gail orders Katie to babysit Victor tonight, since she wants Bev to win Luke over at the Ball. Katie pleads with Tony (Manu Narayan), Gail's guru (who is no real guru but just a method actor from New Jersey who needed the work) to watch Victor while she goes to the Ball. There Katie leads Luke outside and sings ("Extra Ordinary"). He is entranced by her voice. Angela challenges Gail to a Bollywood dance-off ("Oh Mere Dilruba"). Gail loses and then leaves the Ball. Katie tries to beat Gail home, but with no success. Now it's Katie's turn to get blackmailed: Gail vows to expel Angela from the Academy—which will ruin her chances of getting into Juilliard—unless Katie sings for Bev. To save Angela's dance career, Katie goes along with Gail.
Luke wants to find the girl who sang for him. In the music room, he sees Bev lip-syncing to Katie's voice ("Make You Believe"). Jumping to the obvious-but-wrong conclusion, Luke falls for Bev and invites her to write more songs with him. Much to Bev's horror, he treats her out to a restaurant that evening. Luke is amazed by Bev's musical aptitude, unaware that Katie is texting to her what she should say (because Bev forced her to help). The next day, Luke drops by Bev's house and hits it off with Victor, to whom he gives guitar lessons. Katie also reconnects with Luke, who doesn't like it when she has to head out again—this time, to throw away Gail's prized portrait, which Victor has ruined by cutting out her face. Bev cuts in on Luke, whom she then forces Victor to help her deceive by using miniature electronic-communication devices, so that Katie can coach her through another date. Katie puts together a song on the spot ("Possibilities"), which Luke sings, thinking it's Bev's. She and Luke kiss, which breaks Katie's heart. Victor takes notice of Katie's distress and sympathizes with her.
Luke falls in love with Bev, unaware that her singing and songwriting talents are actually Katie's. Later, Gail reveals that she has access to the savings account opened by Katie's late father; ergo, if Katie doesn't submit to her stepfamily's will, she'll be cut off without a cent. Victor also discovers that his family's money is rightfully Katie's. As it turns out, Victor himself is frequently mistreated by Bev and their mom; he shares no more affection with them than Katie does and he only went along with their mistreatment of Katie because he was afraid of his Mother and older sister and he was afraid of what they would do to him if he did not go along with it. Feeling guilty over not having had a better relationship with Katie over the years—among other things, she's the only one who remembers his birthday—Victor agrees to help expose the fraud perpetrated by his family.
At the showcase, Victor sabotages Bev's performance of ("Make You Believe") by destroying her iPhone, on which is Katie's recorded singing voice. After threatening to drown Victor in the kitchen sink for what he's just done, Gail forces Katie to sing live backstage. Luke trips over what's happening; he realizes at last that Bev is a fake, and that beautiful voice is actually Katie's.
During Bev's second performance, Luke steals a videocamera and films Katie singing backstage, thus exposing the whole charade. Gail tries to stop Luke, but Tony stops her first. Victor and Angela bring Katie onstage to perform another song ("Bless Myself"). Katie and Luke admit their feelings for each other. Guy also loves Katie's performance, and green-lights Luke to produce an album for her. He even agrees to help Angela get into Juilliard.
In a mid-credits scene, Guy vows to tell the school board what he thinks of Gail, who is removed as headmistress of Wellesley Academy. Even Bev is delighted to be rid of her mom, being no stranger herself to Gail's manipulative ways. Gail soon finds herself back to where she started decades before: singing (horribly) at a ranch, where she is bombarded with fruit and booed off the stage.
Cast[edit]
Lucy Hale as Katie Gibbs
Freddie Stroma as Luke Morgan
Missi Pyle as Gail Van Ravensway
Megan Park as Beverly "Bev" Van Ravensway
Matthew Lintz as Victor Van Ravensway
Jessalyn Wanlim as Angela
Manu Narayan as Ravi / Tony Gupta
Titus Makin Jr. as Mickey O' Malley
Dikran Tulaine as Guy Morgan
Lucy Davenport as Ms. Plumberg
Onira Tares as Crazy Girl
Soundtrack[edit]
Main article: A Cinderella Story: Once Upon a Song (soundtrack)
Critical reception[edit]
The film received mixed reviews although it did not get criticized by Metacritic. It achieved 50% on Rotten Tomatoes.[2] Rotten audience also rate the film 3.3/5 with the 254 users.[3] Mike McGranaghan of The Aisle Seat scored the film one and 1⁄2 out of four, said: "A Cinderella Story: Once Upon a Song is like a movie version of iCarly or Victorious or any of those other tween girl shows that combine broad physical humor, mild expressions of pubescent sexuality and fantasies of becoming famous".[4] The DVD Sleuth gave the film 1 out of 2.
References[edit]
Jump up ^ http://www.dvdsleuth.com/CinderellaStoryReview/
Jump up ^ http://www.rottentomatoes.com/m/a_cinderella_story_once_upon_a_song/#want_to_see
Jump up ^ http://www.rottentomatoes.com/m/a_cinderella_story_once_upon_a_song/#want_to_see
Jump up ^ http://aisleseat.com/cinderellastory2.htm
External links[edit]
A Cinderella Story: Once Upon a Song on IMDb
[show]
v
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A Cinderella Story
Films
A Cinderella Story (2004)
Another Cinderella Story (2008)
A Cinderella Story: Once Upon a Song (2011)
A Cinderella Story: If the Shoe Fits (2016)
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Another Cinderella Story
A Cinderella Story: Once Upon a Song
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Fright Show (1985)
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