An objective correlative is an object, several objects, or a series of events (all concrete things) that evoke the emotion or idea of the poem.
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, such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.
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 for that particular emotion; such that, when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.
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.
According to the theory, 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.
In the tradition of "Notes From the Underground," "The Metamorphosis" and "The Case Worker," Richard Kalich's first novel is the manifestation of an unhappy consciousness finding an objective correlative in the world and then wrapping itself around the object, to fester the form into submission.
These sentiments, inverted valentines, as yet lack their objective correlatives in workaday England.
I am chock full of rather significant opinions about such things as objective correlatives in Eliot, and the excremental visions in Swift.
The gigantic engines become the objective correlatives of the characters' clashing emotions, as the powerful imagery overcomes Wellman's enduring flaw: a simplistic, often inconsistent sense of character.
Like "The Poor Mouth," "The Hard Life" drips with disgust, but it feels too autobiographical to direct the disgust outward onto objective correlatives.
These are, in Frank's account, the objective correlatives of the underlying problem: because conservatives, for economic and ideological reasons, don't want government to work, they have arranged for it not to be able to work.
