In which lines in this excerpt from t. s. eliot's "the love song of j. alfred prufrock" does the speaker compare himself to an insect? select one of the bolded and numbered options within the excerpt.

let us go, through certain half-deserted streets, the muttering retreats of restless nights in one-night cheap hotels 1. and sawdust restaurants with oyster-shells: streets that follow like a tedious argument, of insidious intent

the yellow fog that rubs its back upon the window-panes, the yellow smoke that rubs its muzzle on the window-panes 2. licked its tongue into the corners of the evening, lingered upon the pools that stand in drains, let fall upon its back the soot that falls from chimneys, slipped by the terrace, made a sudden leap, and seeing that it was a soft october night, curled once about the house, and fell asleep

and i have known the eyes already, known them all— the eyes that fix you in a formulated phrase, 3. and when i am formulated, sprawling on a pin, when i am pinned and wriggling on the wall, then how should i begin to spit out all the butt-ends of my days and ways? and how should i presume?

4. and would it have been worth it, after all, after the cups, the marmalade, the tea, among the porcelain, among some talk of you and me, would it have been worth while, to have bitten off the matter with a smile,

if one, settling a pillow by her head, should say: "that is not what i meant at all; that is not it, at all."

am an attendant lord, one that will do to swell a progress, start a scene or two, advise the prince; no doubt, an easy tool, deferential, glad to be of use, politic, cautious, and meticulous; full of high sentence, but a bit obtuse.

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Answer :

[ Number 3 ]

Let us go, through certain half-deserted streets,  

The muttering retreats

Of restless nights in one-night cheap hotels  

And sawdust restaurants with oyster-shells:  

Streets that follow like a tedious argument  

Of insidious intent

The yellow fog that rubs its back upon the window-panes,

The yellow smoke that rubs its muzzle on the window-panes  

Licked its tongue into the corners of the evening,  

Lingered upon the pools that stand in drains,  

Let fall upon its back the soot that falls from chimneys,  

Slipped by the terrace, made a sudden leap,

And seeing that it was a soft October night,  

Curled once about the house, and fell asleep

And I have known the eyes already, known them all—

The eyes that fix you in a formulated phrase,

[ And when I am formulated, sprawling on a pin,

When I am pinned and wriggling on the wall ]

Then how should I begin

To spit out all the butt-ends of my days and ways?

And how should I presume?

And would it have been worth it, after all,  

After the cups, the marmalade, the tea,  

Among the porcelain, among some talk of you and me,  

Would it have been worth while,

To have bitten off the matter with a smile,  

...

If one, settling a pillow by her head,  

 Should say: "That is not what I meant at all;  

 That is not it, at all."

Am an attendant lord, one that will do  

To swell a progress, start a scene or two,  

Advise the prince; no doubt, an easy tool,  

Deferential, glad to be of use,

Politic, cautious, and meticulous;  

Full of high sentence, but a bit obtuse;

the sentence that avoid faulty coordination is:

culture, which is well represented in philadelphia, plays a major role including theatre, music, and the visual arts.  

faulty coordination occurs when the writer gives equal importance two different ideas (clauses) which in fact are not equivalent. in order to correct a misplaced clause or idea, the writer can place less important or emphatic ideas in a relative clause as in the previous sentence.  

i would pick a. i think this is more of a personal question though.