Analysis of "La Figlia Che Piange" by T. S. Eliot

T. S. Eliot's "La Figlia Che Piange," meaning "young girl weeping," serves as the poignant conclusion to his inaugural poetry collection, "Prufrock and Other Observations." Despite Eliot's modest output of poems during his lifetime, he held the belief that each should be "perfect in their kind, so that each should be an event." This brief yet emotionally charged poem, penned in 1917, delves into the theme of lovers parting, presenting a departure from feelings that is intricately woven into the fabric of memory.

The Poetic Landscape: Unraveling the Origins

The title itself, "La Figlia Che Piange," draws its inspiration from a stele that Eliot encountered during a visit to an Italian museum at the behest of a friend. The poem opens with an Italian epitaph from Aeneas' greeting to Venus in the "Aeneid," directed toward an unidentified lady. The speaker assumes a dual role: he paints a vivid portrait of his lover and vividly expresses the emotions that engulf him when her memory floods his consciousness.

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Simultaneously, imperative verbs such as "stand," "lean," "clasp," "fling," and "wave" are employed, suggesting a commanding tone directed towards the absent subject.

It becomes apparent that the girl, to whom the speaker addresses his commands, now exists solely within the realm of his memory, transforming the dialogue into an internal monologue with his own recollections. The initial stanza hints at the speaker as the initiator of the breakup, accentuated by the lover's "resentment." The doubt surrounding the authenticity of her pain is evident through the use of the adjective "fugitive.

" Additionally, the stanza's rhyming pattern (ABA CBC) and the end-word rhyme between the first and seventh lines contribute to its compact and rhythmic feel, establishing a cohesive structure.

A Divided Self: The Poet's Persona Unveiled

The second stanza shifts the focus towards the speaker himself. It introduces a division within the speaker, distinguishing between the "I" who narrates the scene and the "him" who actively plays a role in the lovers' separation. This dichotomy is highlighted in lines such as:

So I would have had him leave,
So I would have had her stand and grieve,
So he would have left.

The speaker employs a metaphor, suggesting a reciprocal nature between the male and female souls. The metaphorical departure described is both tragic and beautiful, although the speaker's tone carries a hint of sarcasm. The use of a complex conditional in the stanza's inception indicates willingness and seamlessly transitions from a hypothetical past scenario to the present reality signaled by the word "should." The rhyming pattern (AA B CC B DD) and the sustained iambic rhythm maintain continuity with the preceding stanza.

Reflecting on the Past: A Tapestry of Regret

The third stanza unveils a different facet of the speaker's recollection of his lover. The shift to the past indicative tense signifies a revisiting of a remembered event. Here, the speaker fixates on a simple yet powerful gesture, "She turned away," suggesting a source of pain for which he bears responsibility. The self-imposed punishment takes the form of incessantly replaying this memory over "many days and many hours."

The speaker's remorse permeates the entire stanza, reaching its climax with the poignant verse:

And I wonder how they should have been together!

Following this crescendo, the tone subsides, adopting the rhythmic structure of iambic pentameter. Interestingly, the speaker seems somewhat grateful for the loss of his lover, acknowledging that this separation provided the fertile ground for the blossoming of his creativity. Ultimately, "La Figlia Che Piange" serves as a dramatic portrayal of Eliot's emotions, shrouded behind the veiled persona crafted by the poet to distance himself from his own emotional landscape, aligning with Eliot's assertion in his essay "Tradition and the Individual Talent" that poetry is an "escape from emotion" and "personality."

Conclusion: Unraveling the Layers of Emotion

In conclusion, T. S. Eliot's "La Figlia Che Piange" stands as a testament to the poet's mastery in encapsulating profound emotions within a concise yet evocative piece of verse. The interplay between memory, loss, and the creative process unveils layers of complexity, as the poet navigates the delicate terrain of human relationships and self-reflection. Through meticulous language and a nuanced exploration of themes, Eliot invites readers into the inner sanctum of his emotional world, where the echoes of parting lovers reverberate long after the final lines have been read.