…forth Eliot’s theory of the objective correlative:…

Herein lies the real source of the artistic failure Different critics have explained the phrase ‘objective correlative’ in different ways. is an artistic failure for here the external situation does not suitably embody the effect of a mother’s guilt on her son. The disgust of Hamlet is in excess of the facts as presented in the drama.It becomes apparent that it is neither the intensity of the emotion nor the greatness of its components that determines the poetic quality of a poem but what matters is the intensity of the fusion, and one of the ways in which the poet achieves this intensity is through the embodiment of an emotion in a concrete object. profnaeem@outlook.com

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Email: Fill in your details below or click an icon to log in:Website: In the twentieth century both Hulme and Pound expounded the theory that the poet should choose something external to represent his emotions, and they stressed the need for accuracy and concreteness of the object that would be symbolic expression of the emotions of the poet,       . The American Painter Washington Allston first used the term "objective correlative" about 1840, but T. S. Eliot made it famous and revived it in an influential essay on Hamlet in the year 1919.

For example, Coleridge points out ‘that images however beautiful, though faithfully copied from nature…do not of themselves characterize the poet. Mallarme contended that poetry is not made of ideas but of words, and explored the potentialities of words as modes of evocative suggestion. History at your fingertips In "Hamlet and His Problems",The only way of expressing emotion in the form of art is by finding an "objective correlative"; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.It seems to be in deference to this principle that Eliot famously described the play One possible criticism of Eliot's theory includes his assumption that an author's intentions concerning expression will be understood in one way only.



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As Eliot himself explains in his Introduction to the by Marianne Moore, ‘the aim of imagism….was to induce i peculiar concentration upon something visual, and to set in motion an expanding succession of concentric feelings.’ Thus the ideas of the Imagists are similar to those of Eliot contained in his theory of the ‘objective correlative’; it is not the poet’s aim to set in motion his original emotion but ‘to induce a peculiar concentration upon something visual’.The basic idea in Eliot’s theory of the ‘objective correlative’, that the emotions in poetry are embodied in an object, owes much to the romantics.

Shakespeare wanted to convey something unexpressibly horrible but the character of Gertrude and the whole plot of the play is inadequate for the purpose.


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