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He criticizes Shakespeare’s characterization of Hamlet, saying that Hamlet’s excessive emotions surpass the factual fabric of the play, namely Gertrude’s hasty marriage to his uncle, who murdered his father to succeed him.For Eliot, the most effective way of representing emotion in drama is by using the ‘objective correlative’: emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.Like Hamlet who is amazed by the complexity of his emotions as he faces his mother’s violation, Shakespeare was confronted with the difficulty of representing the intensity of his character’s emotions on stage.
If Eliot’s entire literary achievement is considered against the background of his psychobiography, then one can argue that his major life-crisis which occurred during the composition of and caused the fragmentation of his personality was the result of mixed emotions which he could not master.
The purpose of this essay is to demonstate the influence that the objective correlative had in shaping Eliot’s combined personae in corresponds to the sublimation of his unconscious need to appease (his) sexually aggressive father.
The negative insignificance of Gertrude’s character is another factor that prompts Hamlet’s disgust of his mother.
Eliot thinks that since Gertrude is such a negative character, she is incapable of conveying the disgust she evokes in Hamlet on stage as dramatically as she should.
In contradiction with the aims of the “objective correlative” and, like Hamlet, who is trapped by his unresolved Oedipus complex, the characters of the waste land are the victims of intricate and obscure emotions that exist in inextricable knots.
When we analyse the events in Eliot’s life between 19, his marital problems with his wife who suffered from constant psycho-somatic illnesses and the psychological traumatism caused by the discovery of his wife’s affair with his close friend, Bertrand Russell, we can understand how Eliot’s apathy and his incapacity to connect anything with anything during his major life-crisis in 1921, influenced the grim melancholy of (1932), in which he speaks of the difficulty of representing emotion in drama, can be a preliminary and visionary step in defining his concept of the “objective correlative” and its relation to his psycho-biography and the composition of . In the essay, he refers to the inadequacy of Hamlet’s emotions, which exceed the plot’s texture, and the difficulty of representing this deficiency on stage.When Eliot wrote toward the end of the poem, “These fragments I have shored against my ruins” (line 430), he described a process of partial integration that brough a relief from his personal grouse against life.The purpose of this essay is to demonstrate the manner in which Eliot turned to poetry and literature as he tried to resolve the regression into which he was passively plunged during his major life-crisis.In ‘The Fire Sermon’, the typist considers her lover as someone to be gotten rid of at the end of the shunned sexual act which she hates.Like the couple in the pub, their foil, who pervert love’s meaning by an abortion, the neurotic couple in ‘A Game of Chess’ love and hate each other simultaneously, showing more negative dependence on each other than love.[…] (After his mother’s visit in 1921), he sought help for his “emotional derangement”.It is likely that Eliot’s expectations for maternal support were high, and he was bitterly disappointed by his mother’s critical attitude towards Vivienne and himself.The departure of his mother and resultant sense of estrangement and alienation was probably the significant precipitant for the subsequent decompensation.From a psychological point of view, Eliot’s achievement lay in utilizing the content of his narcissistic regression for creative purposes.The application of the objective correlative in writing or on stage heightens one’s identification hence, allowing the appropriate representation of emotional states on stage and suscitating similar emotions in the audience for catharsis through which both readers and the audience transcend and purify their emotions.According to the Formalists, creating an emotion through external factors which defines the objective correlative, enables the author to be detached from the depicted character and transfer the emotion to the literary work as Eliot did in .