| 释义 |
objective correlative
[f. objective a. 2 b + correlative n. 1.]
Term applied by T. S. Eliot to the technique in art of representing or evoking a particular emotion by the presentation of physical symbols of it, as surroundings, situations, sets of objects, etc., which become indicative of that emotion and are associated with it.
[1850W. Allston Lect. Art, & Poems 16 No possible modification in the degrees or proportion of these elements [sc. air, earth, heat, water] can change the specific form of a plant... So, too, is the external world to the mind; which needs, also, as the condition of its manifestation, its objective correlative. ]1919T. S. Eliot in Athenæum 26 Sept. 941/1 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. 1946Sewanee Rev. LIV. 301 In that Eliot proposes the objective correlative, ‘he accepts with the vast majority of his contemporaries the modern dogma that the artist is primarily concerned with emotion’. 1947T. S. Eliot Milton 7 Two or three phrases of my coinage—like ‘objective correlative’—which have had a success in the world astonishing to their author. 1951H. Kenner Poetry E. Pound viii. 66 It is easy to see why the objective correlative, the image as sensory equivalent of an emotion, the Aristotelian equation of a poem with an action, and Eliot's claim that emotions the poet has never experienced will serve his turn as well as familiar ones, should seem in such eyes impossibly muddle-headed. 1955D. Davie Articulate Energy vii. 86 The use of the objective correlative, the invention of a fable or an ‘unreal’ landscape. 1957Wimsatt & Brooks Lit. Crit. 676 A realization that Winters' conception of poetry, like Eliot's, is ultimately ‘dramatic’ need not impugn the useful distinction between motive (the reason for an emotion) and objective correlative (the symbol of an emotion). 1962T. P. Dunning in Davis & Wrenn Eng. & Medieval Stud. 168 The pagan element of the story is superbly handled by Chaucer as an essential feature of his inventum, or objective correlative. 1963N. Frye Romanticism Reconsidered 3 Some belief of which Romantic poetry is supposed to form the objective correlative. 1964J. B. Leishman Rilke's New Poems 9 An essentially expounding poet..might still be continuously engaged in a search for ever new ‘objective correlatives’ for old and unchanged convictions. 1966K. Amis Anti-Death League ii. 176 This communicability..can work via an outward symbol or artefact, so that state-of-mind produces object which in turn produces state-of-mind. There are obvious analogies here with aesthetic theory, in particular with Eliot's notion of the objective correlative. 1971Times Lit. Suppl. 31 Dec. 1629/4 In all these poems the objective correlative was utterly unsatisfactory from any partisan political point of view. |