The Hollow Men (published 1925) portrays a poetic consciousness in which intense nostalgia for a state of Edenic purity conflicts with the paradoxical search for a more enduring form of order through acts of denial and alienation. To the common observation that The Hollow Men expresses the depths of Eliot's despair, one must add that the poet in a sense chooses despair as the only acceptable alternative to the inauthentic existence of the unthinking inhabitants of the waste land. Eliot himself saw this kind of metaphysical despair as more intellectual than emotional. He says of Pascal, a "Christian thinker" with whom be clearly identifies:
His despair, his disillusion, are ... no illustration of personal weakness; they are perfectly objective, because they are essential moments in the progress of the intellectual soul; and for the type of Pascal they are the analogue of the drought, the dark night, which is an essential stage in the progress of the Christian mystic.
Principles of intellectual order control the despair of The Hollow Men as well, in the way the poem consciously evaluates experience in abstract terms, distinguishes between antithetical states of being, and establishes, both in form and subject matter, the archetype of the Negative Way as an alternative to disorder as well as to the illusory order of visionary experience. The following pages examine formal and thematic elements of the poem as representing the progress of Eliot's own "intellectual soul," and then show this progress as frustrated by the poet's attraction to a visionary imagery.
The Hollow Men replaces the richly chaotic style of The Waste Land with an austerity of expression that prepares for the contemplative mode of Ash-Wednesday. In what Bergonzi has called "a virtual surrender to the silence," the formal strategy of The Hollow Men, like its thematic content, seems designed to demonstrate how effectively the shadow of the inarticulate falls between the conception and the creation of an artistic work. Formal aspects of the poem imitate the characteristics of the hollow men it portrays. For example, their desire to "avoid speech" finds a counterpart in the poem's general paucity of utterance: the technique of constant repetition and negation--"The eyes are not here / There are no eyes here"--manages to employ only about 180 different words in a work 420 words long. The "Paralysed force, gesture without motion" applies not only to the men themselves but also to the poem as a whole, which exhibits little narrative progression in the conventional sense and eschews verbs of direct action.
As the hollow men grope together, form prayers to broken stone, and whisper meaninglessly, so the poem itself gropes toward a conclusion only to end in hollow abstraction, broken prayer, and the meaningless circularity of a child's rhyme. The conscious reduction of poetic expression to a bare minimum does away with metaphor and simile and produces a final section of the poem almost completely devoid of modifiers. The poem avoids capitulation to the silence of the inarticulate by relying on a highly structured syntax that tends to order experience in terms of binary opposition: "Shape without form, shade without colour," or "Between the idea / And the reality / Between the motion / And the act."
The quality of a poetic style marked by verbal austerity and relentless negation forms a structural counterpart to a thematic strategy that repudiates the validity of human experience at every level. In this respect the poem expands upon the theme of denial explored as part of the individual's search for meaning in The Waste Land. In modern existential terms as well as those of traditional Christianity, the Negative Way leads ultimately to an encounter with nothingness which, paradoxically, can inspire the individual with faith in God. Kierkegaard seeks to explain this paradox by showing that dread [aengste], the simultaneous fear and intense awareness of nothingness, opens up the possibility of faith in an infinite beyond human life by "laying bare all finite aims and discovering their deceptions," by revealing the "deadendedness" of life itself: "When the discoveries of possibility are honestly administered, possibility will then disclose all finitudes and idealize them in the form of infinity in the individual who is overwhelmed by dread, until in turn be is victorious by the anticipation of faith." The via negativa brings the individual to a terminal point marking the boundary between the finite and the infinite.
The Hollow Men explores this boundary situation in its images of finality or extremity and in a thematic structure comprising two different states of being. The poem's speaker anticipates with dread "that final meeting"; the men grope together "In this last of meeting places"; the final section, in its generalized abstraction of all that has gone before, tells us that "This is the way the world ends." The Dantescan image of the lost souls "Gathered on this beach of the tumid river" belongs to a boundary motif that recurs throughout Eliot's poetry: Prufrock escapes from the world of skirts and teacups to the world of visionary imagination via a "walk upon the beach." The protagonist of The Waste Land sits down and weeps "By the waters of Leman," then upon the shore "with the arid plain behind me." The sea of The Dry Salvages "is the land's edge also." The persona of The Hollow Men has arrived, intellectually and imagistically, at the outer limit of one world only to find that its ''deliberate disguises" conceal a finite lack of possibility: between the potency and existence "Falls the Shadow."
From Conflicts in Consciousness: T.S. Eliot’s Poetry and Criticism. Urbana: University of Illinois Press, 1984.