Poetry is an art indebted to reference. In T. S. Eliot’s “The Love Song of Alfred J. Pufrock”, this idea holds true. The poem contains multiple abstruse references (e.g. anecdotes of fog personified as a cat, an epigraph from Dante’s the Inferno, references to the biblical figure Lazarus) that do not specifically create a direct meaning. The reader is forced to infer what is unstated, given to a Barthesian paralogical struggle to interpret what is being said from the layers of contextual meaning that is able to drawn upon. This dynamic between indicated and inferred meaning is the quintessential idea of communication, “[f]or philosophers of language from Wittgenstein to Austin, this point is basic: all meaningful relationships begin by creating a semiotic structure that excludes something else” (Peters). In this sense, poetry functions similarly to indexing: both are indicators of meaning, approximating the locations and means to access information, but falling short of relaying something directly. Neither is complete on its own terms. Those who access these digital or poetic indexes are left the role of arbiter, made to bridge symbolic indicators of meaning into that which they can convey.