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(28). According to Formalist critics, this action of creating an emotion through external factors and evidence linked together and thus forming an objective correlative should produce an author's detachment from the depicted character and unite the emotion of the literary work. The "occasion" of Eugenio Montale is a further form of correlative ...
The objective correlative concept that Eliot popularized in this essay refers to the concept that the only way to express an emotion through art is to find "a set of objects, a situation, [or] a chain of events" [2] that will, when read or performed, evoke a specific sensory experience in the audience.
The Sacred Wood is a collection of 20 essays by T. S. Eliot, first published in 1920.Topics include Eliot's opinions of many literary works and authors, including William Shakespeare's play Hamlet, and the poets Dante Alighieri and William Blake.
The only decorative word is 'long-winged' (τανυπτέρυγος), used to denote a dragonfly, and it emerges from the generalised meanings of the passage as an 'objective correlative' for the fragility of the human condition. [81] The rhythm evokes the movement of the dragonfly and the mutability of human fortunes. [82]
In "Hamlet and His Problems" Eliot presents the phrase "objective correlative." The theory is that the expression of emotion in art can be achieved by a specific, and almost formulaic, prescription of a set of objects, including events and situations. A particular emotion is created by presenting its correlated objective sign.
Eliot targeted Hamlet's disgust with his mother as lacking an "objective correlative"; viz., his feelings were excessive in the context of the play. Questions about Gertrude and other minor characters were later taken underwing by the feminist criticism movement, as criticism focused more and more on questions of gender and political import.
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Also important to New Criticism was the idea—as articulated in Eliot's essay "Hamlet and His Problems"—of an "objective correlative", which posits a connection among the words of the text and events, states of mind, and experiences. [94]