Page 92 - Konferensiya to'plami - 1 (ASR)

existence and eternal reality. These journey metaphors illustrate how Eliot's
symbolism became increasingly concerned with spiritual transformation and
religious experience.
As noted by Uzbek literary scholar Hamidov, "Eliot's poetry demonstrates how
traditional symbols can be reinvigorated through modernist techniques to address
contemporary spiritual crises. This approach has significantly influenced the
development of symbolism in twentieth-century Uzbek poetry" [8]. This observation
highlights the global impact of Eliot's innovative use of metaphor and symbolism,
extending beyond Western literary traditions to influence poetic developments in
Central Asia and elsewhere.
The fragmentation that characterizes much of Eliot's poetry serves as both a
stylistic technique and a powerful metaphor for the disintegration of modern
civilization. In "The Waste Land," the disjointed structure—with its abrupt transitions
between voices, languages, and literary allusions—mirrors the fractured
consciousness of post-war society. This formal fragmentation becomes symbolic of
cultural dissolution, yet paradoxically, through his careful arrangement of these
fragments, Eliot suggests the possibility of creating meaning from chaos. The famous
line "These fragments I have shored against my ruins" from the poem's final section
encapsulates this dual movement of acknowledging fragmentation while
attempting to construct a coherent response to it.
Among the most haunting symbols in "The Waste Land" is the figure of Tiresias,
the blind prophet from Greek mythology who has experienced life as both man and
woman. Eliot positions Tiresias as the central consciousness of the poem, writing in
his notes that "what Tiresias sees, in fact, is the substance of the poem." This mythical
figure becomes a symbol of universal witness, transcending the limitations of
individual perspective to observe the cyclical patterns of human folly and suffering
across time. Through Tiresias, Eliot suggests that contemporary spiritual bankruptcy
is not unprecedented but part of an ongoing historical pattern—a perspective that
both universalizes modern suffering and offers the possibility that, like previous
spiritual crises, it might eventually be overcome.
The symbolic landscape of "The Waste Land" also includes the "unreal city," a
recurring image drawn from Baudelaire's "Les Sept Vieillards" but transformed by
Eliot into a specifically modern hellscape. London becomes a contemporary inferno,
populated by the spiritually dead who flow over London Bridge, "undone" by "death"
yet paradoxically still moving through the motions of life. This spectral city serves as
a powerful metaphor for modern civilization itself—superficially functional but
spiritually hollow. The image recurs throughout Eliot's poetry, appearing again in
"The Hollow Men" with its famous refrain, "This is the way the world ends / Not with a
bang but a whimper," suggesting the spiritual exhaustion of modern society.
In "Ash Wednesday," Eliot develops a rich symbolic vocabulary to express his
newfound religious faith. The poem's title refers to the Christian ritual marking the
beginning of Lent, symbolizing penitence and spiritual renewal. Throughout the
poem, the "Lady" figure emerges as a multivalent symbol, simultaneously
representing the Virgin Mary, Dante's Beatrice, and the abstract principle of divine
grace. This deliberate ambiguity allows the symbol to function on multiple levels—
personal, literary, and theological—reflecting Eliot's understanding of religious
experience as both deeply individual and connected to cultural and spiritual 90
traditions.

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