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it e-bt..o ftrnrO. of T'g

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thEar to liie, whioh is ultimrGlt conqucGd bv de dBmaric p'Nna w<strong>it</strong>h Contad<br />

drrn.s is the d.piclion <strong>of</strong> u*mwn sub@n$iouscss snh iis otiE dEdtuhes<br />

Sin@ Eliot int ids b pondy the mimble side <strong>of</strong> his r<strong>it</strong>u dd peopl', hc hd<br />

exFid.d this $ne or darkn.s N<strong>it</strong>h ib bleak asptcts lhich Flior pdonss bv<br />

quolin8 s. nono ro his -.Hollo* Md . Misr.h Kutu-hc dc{d . .nd qc EBedber<br />

lhal (um b.qu.athed lo de E.ds his uhimdelruth: the hotutlthe homrl'(vianu,<br />

2005), C<strong>of</strong>fsd &d Elioi. vidu poi s out, sh4 the lechnique <strong>of</strong> bliltlins a<br />

alario.ship betw@n wiEr aid @der thrcugh lh.n cha..cieE 'cc'uni<br />

Accoding !o smnh . ndbq <strong>of</strong> stmboh, cvents dd cha6ctc6 hlvc ben .dopled<br />

fmm lhe liardy $o*s od hhrory <strong>of</strong> Euop€ to make out lh€ demc <strong>of</strong>-'th' 'lollo*<br />

Men" The sccos symbolGninds us <strong>of</strong>Ye.as po.m, Sailing to Bvanrium in<br />

whi.h ht sFoks <strong>of</strong> tn i.d dr upon 1 $ic| rhich &s'ib's irctl4tiYen'ss and<br />

spirnual *eaLness. The c.lebration <strong>of</strong> rhc buming in <strong>of</strong> the emlt on fic finh <strong>of</strong><br />

Novcmbs ielr.choes the clsrom olfi. condemnins guih <strong>of</strong>lrying ro jeopardrs the<br />

mass.s. wn@ s o th. dn r hdd Guy f.qk6 D.v k @nncmoBrcd to pqv ribute<br />

to th. sinceE sedies <strong>of</strong> so qlled Cuy Farles wherc u allurdn workslnarlt. r rs<br />

in$n d s il is, but lhd somc Fn <strong>of</strong> d.ndmenr i3 Equied Eliot f s th' rllusion<br />

a@dingly. R.liFing to rhe .nd <strong>of</strong>thc tocm Sm<strong>it</strong>h t).. -l1le f6t four lin6 <strong>of</strong> Pd v<br />

pa64y lle M bqr,36h, srbsl nuring for the redil<strong>it</strong>v sFbol connoling love (as in<br />

thel.god<strong>of</strong> PFolsddTnisbe)sinascpur.lvphalli.'<br />

L<strong>it</strong>e e many olh.r crilics. Mil|g (p l5) has also depiccd Donle s influence on Elior'<br />

The cord<strong>it</strong>ion <strong>of</strong> lhc houor mcn. in tli. psn. is d.picl.d bv Millcr d: "Th'n fte<br />

hollo{ men-s) st.r. isdefincd $rharo<strong>it</strong>hc timnqs inrhelhndcmrool'h' /tFu'<br />

thoe sr.lched souls, srrhefd on rhis bach <strong>of</strong> th. ruFid d!r'. cillh er al (p 634)<br />

al$ poid at DtL\ iylc in appltinS th. ki.d <strong>of</strong> imaSsrv Elid h6 u*d i' nr<br />

Eoltoe M6.Th.y say, 'Fot ti'. scenc dd imagery <strong>of</strong>lne Hollotr Men is bdcd uPon<br />

the third coto <strong>of</strong> Drnle's lnfcoo, rhich dcsoib.s a d.$1.1. plain lvins bd*q<br />

H.l! s porral dd th. riv.r Ach.on o uhich . hotd. <strong>of</strong> euls p6@ t *hidin8 buncr<br />

Fus$ll (2tJ) h6 kaced our shalcspeari "r,.ir,' a.r ir ir rh' frrlirA rrr fL\ lir:!<br />

{d th.nc <strong>of</strong>ftr Hollov Men He srvs lh.l lhe paftem <strong>of</strong>a 'umbcr <strong>of</strong> l<strong>it</strong>res k ! srcnc<br />

140

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