The Theory of Objective Correlative
This phrase was first of all used by
Eliot in his essay on on ‘Hamlet’ in 1919. Since then it has gained a popularity which could not have been
foreseen by Eliot himself. Indeed he calls it a “notorious “term. In his essay
Eliot declared ‘Hamlet ‘ as an artistic failure. In support of his declaration he gave reason that
‘Shakespeare had failed to find the proper objective correlation for
Hamlet’s feelings.
Objective correlative was a part of
Eliot’s impersonal theory of poetry. It is process of fusion of
poet’s emotions with the emotions of the character and makes them inseparable
part of the poetic work. The theory of impersonal poetry will not allow the
poet to communicate his ideas and expressions straight away into his poems.
Thus, objective correlative, required for the purpose. Personal emotions and
are transmitted into fused images and ideas, which have a quality of
universality. In Macbeth and in Othello as well the dramatist has been able to
devise situations which are appropriate “objective correlative” for the
emotions of the characters.
In his own great work “the Waste
Land” Eliot has used ancient myths and legends as objectives to express his
emotions in the form of art. The background created by allusion, to literary
tradition is the primary objective correlative in Eliot’s poetry. A line such as,”broken
finger nails of dirty hands,” shows a feeling of revulsion. Yet the emotion is
not directly mentioned. Objective correlative is a set of objects a situation,
a chain of events, which shall be a formula of that particular emotion, such
that when the external facts which must terminate in sensory experience, are
given the emotion is immediately evoked.
Amit Vashist
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