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giv6 @si{rcmblc .xepls <strong>of</strong> Elior's difercfl ch@lc6 physical g6luB lhal<br />
coEl e w<strong>it</strong>h . deli.<strong>it</strong>c .bstBu oi me!61 idcc. Lines li*e t &rr.r' 6y lonE fuqca in<br />
Ptultuck:tlg l^tfnge4 <strong>of</strong>ledf/ cld.h atu! sink into ip \|etbankin e w6te Lmd<br />
ad a h!e[L] <strong>of</strong> rt^t, nn Mtk jnserMiL <strong>of</strong> dntr ha i,6d * d, dc quol.d to<br />
sho} Elid s us <strong>of</strong>hrndt srhbolisfr. Elior *s gEdly inspircd by ed idch.d lo th.<br />
FE.ch sldtolins. vidu (2002) quo|B Eliot, 'A1 on ti6. h. eid $al hc o*.d !<br />
8@l<br />
deol to Anhur S)mons b.ok on Frcnch sybbolists, b.cause il helpcd him<br />
disevq .,!les L<strong>of</strong>orgu.. He added $al krot8ue had laolht him lh. PNric<br />
'To$ibilnis ol hh oM idiom- At eorhcr re he reD€akn $al had he .or kno$n<br />
L.forlue\ pffrr). h. mighr nevd hav. bmm. rh. pd h. tr!s-<br />
Sandq(377) defines. ii Eliot\ Fn|qt. dc a <strong>of</strong>symbolism, .n 0n in which oie <strong>of</strong><br />
$. norc Mnsrtrblc l.nsio.s nst sie frcm $e po€fs rcccptiv.ne$ ro rhe subllest<br />
i.neions <strong>of</strong> sp€eh $ot rhouch wilh r difidme in thc u$ <strong>of</strong> hir Nn voic.. rn<br />
dif.rent poms <strong>of</strong>eliot.l. iind such chancl.risrics oaide$ and laneuaee that nake<br />
an <strong>of</strong>slhbolism a poqeriul rml <strong>of</strong>ankic expB$ion. Bcllin (2003) speal$ <strong>of</strong>the<br />
pr@ric6l sisnificdce <strong>of</strong> de imleery esltciatty 6t Fou. Qtfuttr,<br />
And $c fomil<br />
unily <strong>of</strong>d. Olrr.rJ im.g.ry rnd snucturc. ficn very rppGnl @t suggpns an<br />
e.losu un<strong>it</strong>y <strong>of</strong> @.t nt." H.rgmvc, jn nis b@1. Landsape at S>nnol i" the P@try<br />
,/LS. ,/0(1973), .pp@iat.s Elior's rqrcle.rarive symbolism. The blulb fmm fte<br />
dusrcoler Fads, "Throughour his poetr], ElioteDplols bolh u60n rnd Mallan4odpe<br />
b slDbolize the divcN ndrl otrd cnoriMcl skts <strong>of</strong> fie hurln soul 6 n nov$ liom<br />
. n@insl6 exiskncc b onc *hich is spirnually rig.ificor. And a quor.tion fM<br />
th. b@E lmdsclpc c.n b. sdn a thc nijor symb.lic expEsion <strong>of</strong> Eli<strong>of</strong>s tolal<br />
p..ric $bjsl dd fiecloE ds6 rc@r.irion.. . d a brilli6nr md hiShly @mplex<br />
rchi.v.m.nl which li.s .t fi. vtr, cenler <strong>of</strong> his poelry."<br />
Ev..y g6i aurhor losss rh. rbil<strong>it</strong>t to c@r. rhen ltumr.v wolt d6ply wov.n <strong>it</strong><br />
synbolis .nd subliminal n6s!Be. llnd.m.a$ the l<strong>it</strong>edljoumel ocou crcd in<br />
los.ph Co"nd s F.art <strong>of</strong> Derhrerr lics a tlle erumEd r<strong>it</strong>h sublle, yet, sigiincanl<br />
im.g.., thal brinss aonh $c iM m{i.3 <strong>of</strong> his worl( Througholt /Latr ,/ &t*e$-<br />
ConEd us ! pldhoa <strong>of</strong> simpl. olou. obj6ls' dd Plt .s ro convey nuh<strong>it</strong>&.rcd<br />
inigB ud idea. His nrc mo(idn <strong>of</strong> lh. roh <strong>of</strong>lhe English ldguaBe alloss him ro<br />
quickly lure the ftadc! rb&d rhe Nellie sd not El6e him unlil the horor is ov.r.
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