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Objective correlative

The objective correlative is a foundational concept in literary theory, coined by T. S. Eliot to describe the technique by which emotion is expressed in art through an external "formula" of objects, situations, or events that evoke a specific feeling in the audience upon sensory perception.^[1] In his view, this method ensures that emotions are not merely stated but objectively realized, allowing the artwork to communicate feeling impersonally and precisely.^[1] Eliot first articulated the idea in his 1919 essay "Hamlet and His Problems," published in the 1920 collection The Sacred Wood: Essays on Poetry and Criticism, where he applied it to analyze Shakespeare's tragedy.^[1] He praised the sleepwalking scene in Macbeth as an effective example, in which Lady Macbeth's actions—rubbing her hands and hallucinating blood—serve as the objective correlative for overwhelming remorse, immediately inducing the emotion in the viewer.^[1] In contrast, Eliot critiqued Hamlet for lacking such a correlative, arguing that the prince's profound disgust exceeds the play's external circumstances, rendering the emotion artistically unresolved.^[1] The objective correlative profoundly shaped modernist literature and criticism, aligning with Eliot's broader impersonal theory of poetry, which emphasized escaping the poet's subjective self to achieve universal resonance.^[2] It influenced New Criticism by prioritizing textual autonomy and close reading, encouraging analysts to identify how concrete elements in works like Eliot's own The Waste Land—such as fragmented urban images correlating to spiritual desolation—elicit complex emotions without authorial explanation.^[3] This approach extended to drama, poetry, and prose, becoming a key tool for understanding emotional evocation in 20th-century art.^[4]

Definition and Core Theory

Fundamental Concept

The objective correlative is a literary device defined as a set of objects, a situation, or a chain of events that functions as a precise formula to evoke a particular emotion in the reader or audience, thereby externalizing the inner emotional state of a poet or character through tangible external elements.^[5] This approach transforms subjective feelings into objective representations, allowing the emotion to arise naturally from the described sensory or narrative details rather than direct exposition.^[4] The primary purpose of the objective correlative is to attain emotional precision and universality in artistic expression by circumventing overt subjective declarations, ensuring that the evoked emotion is inherently tied—or "correlated"—to the external stimuli presented.^[6] In this way, it serves as an intermediary that elicits an independent emotional response from the audience, fostering a shared experiential connection without relying on the artist's personal narrative.^[5] This method promotes clarity and immediacy, as the external elements act as catalysts that trigger the intended feeling through their inherent evocative power.^[4] Key characteristics of the objective correlative include its requirement for precision and non-arbitrariness; the chosen objects, situations, or events must form a coherent and specific linkage to the target emotion, avoiding vague or mismatched associations that could dilute the effect.^[6] It operates as a sensory anchor, grounding abstract emotions in concrete particulars to enable the audience's autonomous interpretation and response.^[5] In the context of modernist literature, the objective correlative underscores the principle of impersonality in art, where the creator's personal emotions are conveyed indirectly via symbolic external forms, prioritizing objective craft over subjective effusion to achieve broader artistic detachment and resonance.^[4] T.S. Eliot played a key role in popularizing this concept within modernist theory.^[5]

Eliot's Original Formulation

T.S. Eliot first articulated the concept of the objective correlative in his 1919 essay "Hamlet and His Problems," published in the collection The Sacred Wood. In this work, he defines it as follows: "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."^[1] This formulation emphasizes the necessity of an external, tangible equivalent to evoke emotion reliably in the audience, rather than relying on direct subjective expression. Eliot applies this idea directly to Shakespeare's Hamlet, arguing that the play fails artistically because the protagonist's intense disgust toward his mother exceeds any adequate objective correlative in the dramatic action. He describes Hamlet's emotion as "inexpressible, because it is in excess of the facts as they appear," noting that the character's feelings toward Gertrude "envelop and exceed her," rendering them unobjectified and thus obstructive to the play's coherence.^[1] This absence, Eliot contends, leaves the emotion poisoning the narrative without resolution, highlighting the objective correlative's role in achieving emotional precision in tragedy. The concept is underpinned by Eliot's broader theory of poetic impersonality, which advocates for the artist's depersonalization of emotions to produce objective art free from subjective intrusion. By externalizing feelings through correlatives, the poet escapes personal sentiment, transforming raw emotion into a structured, impersonal form that aligns with artistic detachment.^[1] This formulation evolves from Eliot's concurrent essay "Tradition and the Individual Talent" (also 1919), where he stresses the poet's surrender to historical tradition and mythic structures as means of depersonalization, effectively positioning myth and tradition themselves as forms of objective correlatives that mediate individual emotion.^[1]

Historical Origins and Development

Coining of the Term

The term "objective correlative" was first introduced by T.S. Eliot in his essay "Hamlet and His Problems," which appeared in the literary periodical The Athenaeum on September 26, 1919, and was later included in the collection The Sacred Wood: Essays on Poetry and Criticism, published in 1920.^[7] Eliot's formulation of the term occurred during a formative period in his intellectual development, influenced by his exposure to French Symbolist poets such as Charles Baudelaire and Jules Laforgue. While pursuing graduate studies at Harvard University from 1906 to 1914, Eliot encountered these writers through English translations and academic discussions; his subsequent residence in Paris from 1910 to 1911, where he studied at the Sorbonne under philosopher Henri Bergson and interacted with avant-garde literary circles, deepened this engagement, shaping his views on poetic expression.^[8]^[9] The novelty of Eliot's term lay in its adaptation of the philosophical concept of "correlative" from idealist traditions, particularly F.H. Bradley's absolute idealism, which emphasized the correlation between subject and object in perception and reality, to a specifically literary context for evoking emotion through external equivalents.^[10] Although the essay received some contemporary notice, the term's immediate impact was limited, with broader recognition and influence emerging in the 1920s and 1930s amid the rise of New Criticism, where it became a cornerstone for formalist approaches to literary analysis.

Literary and Philosophical Precedents

The concept of the objective correlative, which seeks to externalize emotion through objective means, finds early literary precedents in the Romantic emphasis on the interplay between inner feeling and external form, though these often leaned toward subjectivity. William Wordsworth, in his Preface to Lyrical Ballads (1800), described poetry as "the spontaneous overflow of powerful feelings" originating from "emotion recollected in tranquility," where the poet contemplates past experiences to evoke a shared emotional response in the reader. This approach, while innovative in prioritizing authentic emotion over neoclassical artifice, has been critiqued for its reliance on the poet's subjective recollection, contrasting with later calls for more impersonal, externalized structures to convey feeling.^[11] Samuel Taylor Coleridge extended Romantic theory by advocating for "organic unity" in poetry, as outlined in Biographia Literaria (1817), where the poem grows as a living whole, with form emerging naturally from the unified interplay of imagination, emotion, and external elements rather than imposed mechanically.^[12] Coleridge's idealist philosophy, influenced by German thinkers like Kant and Schelling, posited that true poetry reconciles the mind's creative power with objective reality, prefiguring the notion of correlated external symbols to embody inner states.^[13] This organic integration of parts into a cohesive emotional expression provided a foundational contrast to purely subjective models, emphasizing harmony between the poet's vision and perceivable forms. In the late 19th century, French Symbolist poets like Stéphane Mallarmé and Paul Verlaine advanced indirect evocation of emotions through symbols, reacting against realism by using suggestive imagery to imply rather than state inner experiences. Mallarmé, in works such as L'Après-midi d'un faune (1876), employed ambiguous symbols like fog and foam to evoke sensations of impermanence and desire, aiming to create a musical, suggestive language that externalizes elusive feelings.^[14] Verlaine similarly prioritized "music before everything" in his Art poétique (1874), using sensory symbols to hint at emotions indirectly, fostering a tradition of object-mediated expression that influenced subsequent modernist theories. These Symbolist techniques, disseminated through Arthur Symons's The Symbolist Movement in Literature (1899), underscored the use of external correlates to awaken subjective responses, bridging Romantic inwardness with more detached symbolism.^[15] Philosophically, idealist traditions and emerging psychological theories offered correlative frameworks for linking perception and emotion. Coleridge's organic unity drew from idealist notions of a unified reality where mind and object interpenetrate, as explored in Biographia Literaria, laying groundwork for viewing artistic forms as objective embodiments of subjective unity.^[12] William James, in The Principles of Psychology (1890), theorized emotions as perceptions of bodily changes following an exciting fact, reversing common assumptions by positing that external stimuli trigger felt responses through physiological correlates, thus emphasizing observable triggers for inner states.^[16] This perceptual-emotional linkage anticipated ideas of external objects as formulas for evoking specific feelings. Earlier critics like Walter Pater further developed proto-correlative aesthetics by stressing sensory impressions as the core of artistic experience. In the Preface to The Renaissance (1873), Pater argued that "the first step towards seeing one's object as it really is, is to know one's own impression as it really is," advocating for art to capture and discriminate vivid, particularized sensations from external encounters to convey emotional intensity.^[17] Pater's focus on isolated, objective impressions as vehicles for personal response directly prefigures the structured externalization of emotion, influencing later formulations through its emphasis on precise sensory mediation.^[18]

Applications in Literature

Examples from Eliot's Criticism

In his 1919 essay "Hamlet and His Problems," T.S. Eliot exemplifies the objective correlative through a critique of Shakespeare's Hamlet, arguing that the play constitutes an "artistic failure" because it lacks an adequate set of external objects or events to evoke the protagonist's overwhelming disgust and emotion.^[19] Eliot defines the objective correlative as "the only way of expressing emotion in the form of art," specifying it as "a set of objects, a situation, a chain of events which shall be the formula of that particular emotion" such that the emotion is immediately evoked upon presentation of the facts.^[19] He contends that Hamlet's intense revulsion toward his mother, Gertrude, exceeds the dramatic facts provided—her remarriage is portrayed as morally ambiguous but not monstrous—leaving the emotion "in excess of the facts as they appear" and thus inexpressible without proper correlatives.^[19] This failure, Eliot asserts, stems from Shakespeare's inability to objectify the emotion through sufficient situational or symbolic elements, resulting in a play where expressing the emotion in the form of art becomes impossible without an adequate objective correlative.^[19] Eliot further applies the concept in his 1921 essay "The Metaphysical Poets," praising poets like John Donne for employing witty conceits and objective images that precisely correlate to complex, unified emotions, thereby avoiding the dissociated sensibility of later Romantic verse.^[20] He highlights Donne's ability to fuse thought and feeling through "telescoped" imagery, such as the conceit in "A Valediction: Forbidding Mourning" where lovers are compared to a pair of compasses—one fixed foot steadfastly encompassing the other's motion—to evoke the tension of separation without direct emotional effusion.^[20] Similarly, Eliot admires the stark image in Donne's "The Relic"—"A bracelet of bright hair about the bone"—as an objective formula that conveys mortality and devotion through sensual contrast, allowing readers to apprehend the emotion indirectly via the external symbol.^[20] This method, Eliot argues, enables modern poets to restore a comprehensive sensibility by using such precise, dramatic images to express multifaceted experiences, contrasting with the "direct sensuous apprehension of thought" lost after the seventeenth century.^[20] Eliot's own poetry demonstrates the theory's application, particularly in The Waste Land (1922), where fragmented wasteland imagery serves as objective correlatives for the disillusionment and spiritual aridity following World War I.^[21] The poem's barren landscapes, such as the "dead tree" and "dry stone" in its opening, evoke a collective sense of sterility and loss without personal confession, aligning with Eliot's emphasis on external formulas to trigger emotion.^[21]^[22] A key instance is the "hyacinth girl" episode in "The Burial of the Dead," where the speaker recalls a moment of illusory romance—"You gave me hyacinths first a year ago"—only to confront muteness and failure: "Yet when we came back, late, from the Hyacinth garden, / Your arms full, and your hair wet, I could not / Speak, and my eyes failed."^[21] This scene's symbols of fleeting beauty and emotional paralysis provide a correlative for postwar alienation, rendering the disillusionment tangible through mythic and natural imagery rather than subjective outpouring.^[22] These examples underscore the consistency of Eliot's objective correlative with his doctrine of poetic impersonality, as outlined in "Tradition and the Individual Talent" (1919), where he insists that "poetry is not a turning loose of emotion, but an escape from emotion" and "not the expression of personality, but an escape from personality."^[1] By externalizing emotion through objective structures—whether critiquing Shakespeare's deficiencies, lauding Donne's conceits, or constructing The Waste Land's symbols—Eliot ensures the poet's self-sacrifice, transforming personal experience into an impersonal artistic order that evokes universal response.^[1] This approach reinforces his view of the poet as a catalyst, depersonalizing sentiment to achieve a "continual extinction of personality" in favor of tradition-bound expression.^[1]

Usage in Broader Literary Works

The objective correlative has been identified in James Joyce's Ulysses (1922) through the use of mundane objects that evoke characters' emotional states, such as Leopold Bloom's potato, which serves as a talisman symbolizing vulnerability and his outsider status in Irish society. This everyday item, carried in Bloom's pocket and later lost during hallucinatory episodes, externalizes his inner turmoil and sense of betrayal, mirroring Eliot's formula for arousing emotion via concrete particulars.^[23] In Ernest Hemingway's short story "Hills Like White Elephants" (1927), the barren landscape and sparse dialogue function as objective correlatives for the couple's unspoken conflict over an impending abortion, with the hills evoking the emotional sterility and tension of their relationship.^[24] The setting's dry, exposed terrain and the characters' evasive conversation objectify the underlying anxiety and relational fracture, demonstrating a post-Eliot adaptation where environmental elements and subtext convey profound psychological discord without direct exposition.^[25] Franz Kafka's The Metamorphosis (1915), predating Eliot's formalization, employs proto-objective correlatives through transformed objects and settings that externalize alienation, such as Gregor's insect body and the family's accumulating refuse, which concretely represent his dehumanization and familial rejection.^[26] These elements prefigure the concept by using physical manifestations to evoke the protagonist's existential isolation, influencing later interpretations of modernist estrangement. In contemporary film, Andrei Tarkovsky's works adapt the device, as seen in Stalker (1979), where the anomalous Zone's puddles and ruins serve as objective correlatives for spiritual quests and temporal flux, blending visual motifs with metaphysical unease.^[27] The objective correlative also informed New Criticism, particularly in Cleanth Brooks's The Well Wrought Urn (1947), where analyses of poetic paradox incorporate correlative structures to explore how tensions in imagery and diction unify emotional complexity, as in his reading of Keats's odes where natural objects objectify ironic human predicaments.^[28] Brooks's approach extends the term's utility beyond narrative prose to lyrical forms, emphasizing organic unity through evocative particulars.^[29]

Criticisms and Theoretical Debates

Major Critiques

One prominent critique of the objective correlative centers on the subjectivity paradox inherent in its formulation. F.R. Leavis, in his 1936 essay on Shelley within Revaluation, employs Eliot's concept to analyze poetic emotion, leaning heavily on it while emphasizing the need to ground feelings in concrete moral or human experience, as seen in his assessment of Shelley's work. Leavis's approach highlights potential limitations in the theory's application, where the selection of "objective" elements may reflect the poet's judgment.^[30] Another key limitation highlighted by critics is the theory's overemphasis on precision in emotional evocation, which overlooks the inherent ambiguity of language. I.A. Richards, in Practical Criticism (1929), demonstrates through reader-response experiments that poetic language often produces varied emotional interpretations due to its polysemous nature. This work on ambiguity raises questions about whether a set of objects or events can reliably evoke a singular emotion without interpretive variation, as meanings generate multiple, overlapping affective responses in readers. Feminist scholars have critiqued modernist theories, including Eliot's emphasis on impersonality, for embodying a male bias that marginalizes women's subjective voices. Analyses of works like The Waste Land have portrayed Eliot's approach as reinforcing patriarchal binaries, privileging cultural authority over interiority and potentially silencing women's contributions. This framework has been seen as perpetuating a sexist aesthetic by demanding emotional detachment aligned with masculine norms, excluding personal expressions in women's writing. Post-structuralist thinkers question the stability of sign systems in literary theory, viewing fixed correspondences between external forms and internal states as unstable and prone to deferral of meaning. Such critiques argue that binaries between signifiers (objects/events) and signifieds (emotions) collapse, rendering the objective correlative an illusory pursuit in a play of differences. This perspective sees the formula as presuming stable links, ignoring how texts produce multiple, undecidable interpretations.

Responses and Evolving Interpretations

In the mid-20th century, New Critics like John Crowe Ransom defended T.S. Eliot's objective correlative as a cornerstone of formalist analysis, adapting it to emphasize irony, tension, and the poem's autonomous structure during close reading practices. Ransom's The New Criticism (1941) positioned the concept as vital for understanding poetry's "world's body"—its concrete, particular details that resist abstract generalization—thus reaffirming its utility amid critiques of emotional impersonality.^[31] This adaptation aligned with broader New Critical principles, where the correlative facilitated rigorous textual examination without biographical or historical intrusion.^[3] Postmodern theorists in the 1970s, notably Harold Bloom, reinterpreted the objective correlative through the lens of poetic misreading, transforming it from a fixed formula into a dynamic site for subjective revision and influence anxiety. In The Anxiety of Influence (1973), Bloom integrated the idea by arguing that strong poets swerve from precursors via creative misprision, where correlative elements become reimagined symbols enabling personal reinterpretation rather than universal evocation. This evolution allowed the correlative to accommodate fragmented, belated creativity in late modernism, prioritizing the poet's agonistic struggle over Eliot's impersonal objectivity.^[32] By the 2000s, ecocriticism extended the objective correlative to environmental themes, with scholars like John Elder employing it to depict natural landscapes as formulas evoking collective emotions toward ecological degradation and restoration. Elder's work, as analyzed in Dana Phillips's "Ecocriticism, Literary Theory, and the Truth of Ecology" (1999), treats biotic communities in poetry—such as interdependent ecosystems—as correlatives for human-nature interconnectedness, fostering affective responses to environmental crises without anthropocentric sentimentality.^[33] Similarly, in digital media, interactive narratives repurpose the correlative for user-driven experiences; for instance, Caitlin Fisher's Lexia to Perplexia (2000) uses hypertext fragmentation and code glitches as objective correlatives for posthuman disorientation, as discussed in Hartmut Koenitz's Interactive Digital Narrative (2015).^[34] These applications highlight the concept's flexibility in non-linear, participatory forms, where elements like branching paths evoke emergent emotions tied to agency and instability. Contemporary relevance persists in film theory, where mise-en-scène functions as an objective correlative to externalize psychological states; in Christopher Nolan's Inception (2010), collapsing dream architectures and totems like the spinning top serve as visual formulas for themes of reality and loss, intensifying viewer disorientation and catharsis.^[35] In cognitive literary studies, the correlative aligns with neuroscience of empathy, as narratives employing it activate mirror neuron systems to simulate characters' emotions, enhancing readers' interpersonal understanding; empirical work by Burelli (2016) links such textual devices to neural empathy pathways in literary engagement.^[36] This interdisciplinary tie underscores the concept's enduring role in bridging aesthetic form with cognitive-affective processes.^[37]

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