Objective Correlative – Bookish Bay

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Definition

According to Wikipedia:

In literary criticism, an objective correlative is a group of things or events which systematically represent emotions.

The concept of the objective correlative, introduced by T.S. Eliot (1888-1965), has become a pivotal element in literary theory. Objective correlative refers to a set of objects, situations, or events that serve to evoke specific emotions in the reader or audience. This idea was thoroughly discussed in Eliot’s collection of essays, The Sacred Wood (1920), where he critiques works of literature that either effectively utilize or fail to employ this technique.

Eliot’s application of the objective correlative can be seen in his analysis of Shakespeare’s plays, such as Hamlet and Macbeth. He argued that the absence of such a mechanism in Hamlet rendered it less emotionally effective compared to Macbeth, where the use of external objects and events seamlessly evokes deep emotional responses.

The objective correlative is not limited to the works of Shakespeare. Modern authors like F. Scott Fitzgerald and Virginia Woolf have also harnessed this technique to enrich their narratives. Elucidating emotions through tangible elements, these writers provide readers with a more immersive and evocative literary experience.

The Concept of Objective Correlative

The concept of objective correlative establishes a method to evoke precise emotions in literature. In storytelling, it emphasizes using tangible objects, situations, or a series of events.

Origins and Definitions

T. S. Eliot first introduced the term “objective correlative” in his 1919 essay, “Hamlet and His Problems.” Eliot argued that art should express emotion through a set of objects, situations, or a chain of events that serve as a formula for conveying specific emotions. This theory asserts that the sensory experience of these elements helps create a direct emotional reaction in the reader, bypassing abstraction.

Eliot highlighted the importance of concrete imagery and dialogue in conveying feelings effectively. He believed that a physical correlation in the text could best communicate emotion, enabling the reader to experience the intended emotional state.

Applications in Literature

Objective correlative is highly significant in modernist literature, a period that emphasizes fragmented structures and innovative narrative strategies. Poets and novelists have utilized this theory to craft compelling, emotionally resonant works. In contemporary literature, the car in Stephen King’s Christine (1983) and the character Boo Radley in To Kill a Mockingbird (1960) exemplify how an object or character can serve as an objective correlative, symbolizing deeper themes and emotions present in these stories.

By using tangible elements, authors enable readers to connect emotionally with the narrative’s situations and characters. This creates a richer, more vivid sensory experience, enhancing the emotional impact of the literary work.

Objective Correlative in Hamlet

Eliot’s most notable discussion of objective correlative occurs in his critique of Shakespeare’s Hamlet. He argued that the play fails because it lacks an effective objective correlative. Eliot argues that the surrounding objects, situations, and chain of events fail to adequately support Hamlet’s emotions, resulting in a disjointed emotional experience for the audience.

In contrast, Eliot praised other works by Shakespeare, such as Macbeth. He believed Lady Macbeth’s obsessive handwashing vividly represented her emotional state and guilt. This physical action serves as an effective objective correlative, providing a clear, tangible manifestation of her internal turmoil and contributing to the cohesiveness of the play’s emotional landscape.

Critical Perspectives

The objective correlative concept has sparked a variety of analyses and critiques. Scholars and critics discuss its influence on literary theory, as well as its impact on artistic success and failure.

Analysis by Scholars

Scholars such as Balachandra Rajan and others have extensively analyzed T.S. Eliot’s objective correlative. Rajan emphasizes its importance in linking external facts to an emotional response, creating a verbal formula that evokes specific emotions in the reader. Other critics have explored its roots in Washington Allston’s earlier works, noting its historical evolution.

Eliot’s essay “Hamlet and His Problems” is often referred to as a focal point. Some scholars argue it provided a critical lens through which to evaluate literary works based on their ability to crystallize emotions through concrete imagery. This approach has been pivotal in literary theory and criticism, underscoring the significance of tangible signs within literature.

Artistic Impact and Criticism

The objective correlation’s artistic impact has been profound. It provides a structural framework that writers use to evoke precise emotional responses in their audience. This concept shifts the focus from subjective interpretations to more universally relatable emotional experiences, determined by external facts that form the core of a situation.

Critics, however, have pointed out potential pitfalls. Some argue that rigid adherence to this method can lead to artistic failure, as it might constrain creative expression. The balance between the objective correlative and artistic freedom remains a significant point of contention among critics.

The concept of objective correlative’s enduring influence can be seen in how modern writers and poets approach their craft. It offers a blueprint for achieving emotional depth and resonance, balancing literary technique with the necessity of connecting meaningfully with the audience.