Essay on Emptiness in The Hollow Men

In her book, “A Man Without Words,” Susan Schaller describes how the eighteenth century French philosophers continually exercised speculation as to how much of human nature was "given" and native, and how much was dependent on language and culture. She encountered Ildefonso, a Mexican Indian who lived in the most unique form of isolation, who was born deaf, and had never been taught even the most basic language. She set herself the challenge to make contact with this man, and introduce him to language. Ildefonso not only lacked any language but lacked any idea of language: he had no conception, at first, of what Schaller was trying to do, yet Ildefonso had a yearning to

Another famous and influential work from T.S. Eliot is The Hollow Men. Likely influenced by World War I, T. S. Eliot portrays a disconnect from humanity and a disillusionment with typical beliefs as a source of human despair in The Hollow Men. The “hollow men” that the work is centered around are depicted devoid of any human qualities that might provide them a relief from despair, such as hope or faith. As is written in “T. S. Eliot's Indigenous Critical Concepts and 'The Hollow Men'” by Muhammad Khan Sangi and others, “In this poem the human beings have been shown devoid of the qualities of faith, moral strength, of personality, determination and that of humanity; they are like empty bodies, lacking all human virtues” (Sangi et al para 4). No matter how these qualities were lost to the individuals, the result is constant and predictable: the individuals feel an inescapable despair. When one has nothing to anticipate in life, no expectations or hopes, then life loses its meaning. This is the world that the hollow men live in perpetually. The entire work, as Sangi describes, “is a cry of despair unrelieved by hope. The peculiarity of the poem is that it is an inner drama with the utmost economy of words. The images echo the deadness of sensibility and the emptiness of hollow men who, like the effigies, are fit only for burning” (Sangi et al para 5). Again, the hollow men are depicted as worthless, insofar as they are compared to effigies, the only purpose of which is to be

Of Mice and Men by John Steinbeck is book of many themes; one that is very prominent is loneliness. Loneliness is common in many people's lives and that is also true for the lives of the characters of the book. Almost all characters in the book are lonely in one way or the other.

People are considered to be social beings, yet, again and again, they seek to falsify the claims of civility, and show themselves as the detached individuals they tend to be. In his novella, “Of Mice and Men,” John Steinbeck designed several faulty pairings that display the true disparity and detachment that are proven to be a part of every relationship in the story. Through the associations of the main characters, Lennie and George, along with several other characters within the narrative, Steinbeck exposes the root of 1930’s relationships in promises, loneliness, and a basic need for companionship, rather than any true fondness- a junction that can easily be nullified.

‘The Darkness Out There’ and ‘The Withered Arm’ are both short stories. The characterization techniques they use are contrasting and similar. Each story is from a different time; ‘The Withered Arm’ being 19th century and ‘The Darkness Out There’ being 20th century. Thomas Hardy writes ‘The Withered Arm’ as a 3rd person narrative whereas Penelope Lively uses a mixture between 3rd and 1st person.

“The Devils Language” by Marilyn Dumont and “The Hollow Men” by T.S. Eliot are quite similar. They both critique their culture in the ways they see it. Nothing Is missing from each authors poem because it is critiquing the world as they have seen and learned from different experiences in their lives. Marilyn Dumont writes about “The great white way” (pg365, line 4) or white culture and the way that aboriginal culture is snuffed out or looked down upon. T.S. Eliot writes about people being too cowardly to be good or bad and also what happens after we die. Therefore, Marilyn Dumont and T.S. Eliot’s works are similar in the way that they see the wrongs in their cultures.

“The image suggests a ruin in a classical landscape painting, a symbol of a broken-down system of belief” (Bloom 61). The “hollow men” do not have the faith to be judged and move on to “death’s other Kingdom.”

No one can deal with the complete unadorned truth, not even men.  Kurtz entered the jungle with illusions of civilizing the natives; later, when he realizes what has actually happened and exclaims, "The horror!  The horror!" he dies (86).  The disillusionment kills him.  Marlow, also, loses some illusions; however, he manages to create some others for himself, like the idea that he does not need illusions after all.  This is how he manages to survive.

Death will always have a place in the lives of men, but it will only serve as a reason to hide away the fears of dying. Furthermore, death is men’s “rest of their bones and soul’s delivery” to freedom but “poppy or charms” can do the same. The author is telling the reader here that it doesn’t take very much to free man’s soul from the imprisonment of his body. Going through this transition isn’t very significant since all of man will end up in heaven, so death shouldn’t be so proud.

T.S. Eliot’s The Waste Land explores modernism, specifically focusing on the troubling of binaries and the breakdown of the traditional. The boundaries between life and death, wet and dry, male and female, and more are called into question in Eliot’s conception of modernity and the waste land. The blurring of gender boundaries—significantly through Tiresias and the hooded figure scene in “What the Thunder Said”— in the poem lends itself to Eliot’s suggestion that traditional masculinity breaks down and decays in the waste land. Traditional masculinity is further challenged through Eliot’s criticism of hyper-masculinity and heterosexual relations in the modern era through allusions to the myth of Philomela and the “young man carbuncular” scene in “The Fire Sermon.” Along with this, Eliot stages scenes charged with homoeroticism to further challenge ideas of traditional masculinity. Homoerotic scenes such as the “hyacinth girl” scene in “The Burial of the Dead” and the Mr. Eugenides scene in “The Fire Sermon” suggest an intensity and enticement towards male-male relations, while also offering a different depiction of masculinity than is laid out in the heterosexual romance scenes. Through scenes depicting queer desire and homosexual behavior, Eliot suggests that masculinity in the modern era does not need to be marked by aggression and

The end of The Hollow Men can only be the beginning of a deep and long reflection for thoughtful readers. T.S. Eliot, who always believed that in his end is his beginning, died and left his verse full of hidden messages to be understood, and codes to be deciphered. It is this complexity, which is at the heart of modernism as a literary movement, that makes of Eliot’s poetry very typically modernist. As Ezra Pound once famously stated, Eliot truly did “modernize himself”. Although his poetry was subject to important transformations over the course of his

T. S. Eliot’s “The Wasteland” depicts a definitive landscape of desolation, reflecting the damaged psyche of humanity after World War I. Relationships between men and women have been reduced to meaningless social rituals, in which sex has replaced love and physical interaction has replaced genuine emotional connection. Eliot’s “The Love Song of J. Alfred Prufrock” goes a step further in depicting these relationships: the speaker reveals a deep sexual frustration along with an awareness of morality, in which he is conscious of his inability to develop a connection with women yet cannot break free from his silence to ask “an overwhelming question” (line 10). “The Wasteland” and “The Love Song of J. Alfred Prufrock” together illustrate that

In part one 'The Burial of the dead', Eliot opens with a scene of isolation and desolation. 'April is the cruellest month…'which is an inversion of what spring represents, this being new life and hope. It is seen here as cruel because, for Marie, it stirs memories, which are no longer there and have led nowhere. He follows this image of isolation with an image of togetherness, 'Winter kept us warm, covering Earth in forgetful snow…' She recalls being free in the mountains, but freedom involves taking risks and she hesitates and goes 'south in the winter'. Marie's memories portray the shallowness of the aristocracy and in many ways we are reminded of the ladies in Prufrock who 'come and go talking of Michael Angelo'. There talking leads nowhere and so by implication their lives are meaningless and dead, as dead as the wasteland.

In this discussion of Eliot’s poem I will examine the content through the optic of eco-poetics. Eco- poetics is a literary theory which favours the rhizomatic over the arborescent approach to critical analysis. The characteristics of the rhizome will provide the overarching structure for this essay. Firstly rhizomes can map in any direction from any starting point. This will guide the study of significant motifs in ‘The Waste Land.’ Secondly they grow and spread, via experimentation within a context. This will be reflected in the study of the voice and the language with which the poem opens. Thirdly rhizomes grow and spread regardless of breakage. This will allow for an

Eliot’s use of symbolism can be very disorienting. It has been proposed that this choppy medley is actually furthering his point by representing the “ruins” of a culture. An article