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The Hollow Men T. S. Eliot Mistah Kurtz—He Dead. a Penny for The The Hollow Men T. S. Eliot Mistah Kurtz—he dead. A penny for the Old Guy I We are the hollow men We are the stuffed men Leaning together HeadpieCe filled with straw. Alas! Our dried voices, when We whisper together Are quiet and meaningless As wind in dry grass Or rats’ feet over broken glass In our dry cellar Shape without form, shade without Colour, Paralysed forCe, gesture without motion; Those who have crossed With direCt eyes, to death’s other Kingdom Remember us—if at all—not as lost Violent souls, but only As the hollow men The stuffed men. II Eyes I dare not meet in dreams In death’s dream kingdom These do not appear: There, the eyes are Sunlight on a broken Column There, is a tree swinging And voiCes are In the wind’s singing More distant and more solemn Than a fading star. Let me be no nearer In death’s dream kingdom Let me also wear Such deliberate disguises Rat’s coat, crowskin, crossed staves In a field Behaving as the wind behaves No nearer— Not that final meeting In the twilight kingdom III This is the dead land This is cactus land Here the stone images Are raised, here they reCeive The suppliCation of a dead man’s hand Under the twinkle of a fading star. Is it like this In death’s other kingdom Waking alone At the hour when we are Trembling with tenderness Lips that would kiss Form prayers to broken stone. IV The eyes are not here There are no eyes here In this valley of dying stars In this hollow valley This broken jaw of our lost kingdoms In this last of meeting plaCes We grope together And avoid speeCh Gathered on this beaCh of the tumid river Sightless, unless The eyes reappear As the perpetual star Multifoliate rose Of death’s twilight kingdom The hope only Of empty men. V Here we go round the prickly pear Prickly pear prickly pear Here we go round the prickly pear At five o’CloCk in the morning. Between the idea And the reality Between the motion And the aCt Falls the Shadow For Thine is the Kingdom Between the conception And the creation Between the emotion And the response Falls the Shadow Life is very long Between the desire And the spasm Between the potency And the existenCe Between the essence And the desCent Falls the Shadow For Thine is the Kingdom For Thine is Life is For Thine is the This is the way the world ends This is the way the world ends This is the way the world ends Not with a bang but a whimper. Online text © 1998-2010 Poetry X. All rights reserved. From The Hollow Men | 1925 On "The Hollow Men" Grover Smith Although "The Hollow Men" is not a mere appendage to The Waste Land, it may most profitably be read as an extension of the same design of quest and failure. The quest has already failed once when the poem opens. The history of Kurtz in "Heart of Darkness" conforms to the general pattern. Conrad may often be understood best through the study of primitive rituals of succession, initiation, and fertility. That Kurtz has been initiated into the tribe, becoming its shaman, its "rain and fine weather" maker, and that he has been ceremonially worshiped and appeased, seems an express symbol of his disastrous descent into the dark places. The gracious figure of his "Intended," from whom he has turned to immerse himself in the shadows, represents the light which Marlow, shaken by his own knowledge of the horror, is scarcely able to credit, except as either an illusion of the innocent or an ideal of the courageous. What happens actually to Kurtz happens figuratively to Marlow, who voyages into a hell so dreadful that he comes back unconvinced of any other reality. The sheer Manichaeism of the revelation only narrowly fails to overwhelm with darkness Marlow as well as Kurtz. Kurtz, after undertaking to combat darkness and devils, yields to them and is installed in the midst of them and, despite his final relative victory of self-knowledge, cannot avert his damnation. The whole design approximates that of hero myths, but it combines with curious subtlety the quest to subdue evil with a quest to restore the god overtaken by death in the guise of life. In a sense Kurtz is like the Fisher King and Marlow is like the quester, but Kurtz has been a quester too. The main parallel between "Heart of Darkness" and "The Hollow Men" consists in the theme, implicit throughout the latter, of debasement through the rejection of good, of despair through consequent guilt. In Part II of the poem the speaker confesses the impossibility of facing "the eyes," even in dreams, in the dream kingdom of his world; and in his imagination he encounters only their symbolic counterparts--sunlight, a tree, voices in the wind. The sunlight, however, shines only on "a broken column" among the broken desert images. His inability to return and brave the eyes resembles Tiresias' state after the scene in the Hyacinth garden. In The Waste Land the lost eyes are those of the protagonist himself; here they are the upbraiding eyes of one incarnating his lost redemption: the speaker takes refuge in apathy; he desires to think of himself only as a scarecrow. He shrinks from everything but concealment among the other hollow men and wears, with them, Such deliberate disguises Rat's coat, crowskin, crossed staves In a field. What he cannot contemplate is the reproach of ... that final meeting In the twilight kingdom, when at length he may meet the eyes in the real world of the dead. The scarecrow symbol (like Hawthorne's "Feathertop") is appropriate to designate not only the ineptness and spiritual flaccidity of the speaker but, like the "tattered coat upon a stick" in Yeats's "Sailing to Byzantium" (1927), his inability to attain love. If one turns back to The Golden Bough and to some of the most ancient as well as most persistent rituals of pagan Europe, it is the straw man who seems to have functioned in certain of the fire festivals as a sacrificial representative of the vegetation spirit or as a scapegoat ridding his folk of accumulated ill-chance. The commemoration of the fifth of November itself reflects the custom of burning in effigy the bearer of local guilt; the accident of the season-- for Guy Fawkes Day shortly follows All Souls'--may have suggested kindling traditional autumn fires for the modern culprit. A connection between the straw man and the Fisher King will be easily apparent, for Eliot's hollow men re-enact the distress of the mutilated Tiresias. The figurative straw dummies of the poem suffer both physically and spiritually. How they themselves have erred, the poem does not demonstrate. It is plain enough, however, that they are all but damned; and not for nothing is there an allusion here, as in "The Burial of the Dead," to the third canto of the Inferno, where those, who "lived without blame, and without praise," are doomed to abide at Acheron without crossing into hell. But it is meaningful that the hollow men are not bound to such a torment as theirs: to follow the whirling ensign, goaded by hornets and wasps. Instead they are like the throng awaiting (with "pennies for the Old 'Guy'") the barge of Charon to ferry them across to their everlasting sorrow in the depths. The eyes, terrible and unrelenting, even resemble the glowing coals of Charon's eyes, as described in both the Aeneid and the Commedia, or the streaming eyes of the demon in Kipling's "At the End of the Passage." But the very possibility of descending, of not being forced to remain on the hither shore, paradoxically signifies hope. Miraculously, the eyes that may reappear beyond the river portend salvation. As commentators have recognized, they are comparable to the eyes of Beatrice in the Purgatorio (XXX-XXXI). For the pattern of descent and ascent implies that having plunged into hell, the hollow men may find paradise. Part IV of the poem establishes a geography: the scarecrows, loitering beside "the tumid river" (a fixture also of "Heart of Darkness"), are trapped in Ezekiel's valley of bones, where, as in the "circular desert" of The Family Reunion, their suffering seems futile. Theirs is the "dream kingdom" where the eyes are but a memory. They must invade the "other kingdom," the "twilight kingdom" of actual death, which, after further purgatorial trial, may vouchsafe to them, through the eyes of pain and joy, a way upward, even to the "multifoliate rose" of the final cantos of the Paradiso, to "the perpetual star," a symbol of the Holy Virgin. The way up and the way down are the same; the landscape is not Dantean except in so far as its moral and emotional processes match the allegory of the Commedia. And here, apparent hell is potential, though unrealized, purgatory. In "Heart of Darkness" as in the Commedia, the feminine symbol, a prototype of the eyes in "The Hollow Men," charts the quester's pilgrimage into the region of pain; Kurtz's descent is irretraceable. But Dante's leads finally upward to his vision, beyond the eyes, beyond even the celestial spheres. And "The Hollow Men" has a similar pattern; moreover, as Genevieve W. Foster has shown in her Jungian analysis, the eyes, the rose, and the star are equivalent to the ''Grail" of The Waste Land.
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