Eliot aimed to have the right emotion for the right purpose in life represented by the stage.
Eliot conceived the concept of “the objective correlative” in order to emphasize the importance of representing human emotions on stage more effectively.
Eliot’s concept aims at the objectification of emotions so that complex affects can be rendered comprehensible both by the person experiencing them and the reader or the audience.
This process enables the reader to better understand himself and, eventually, to transcend complex ambiguous affects which might endanger his mental health.
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 .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.In psychoanalytic terms, the poet’s unresolved Oedipal conflict is transposed into the love scene between the typist and the real-estate agent who represent Oedipal love-objects or parental imagos in “The Fire Sermon” : The time is now propitious, as he guesses, The meal is ended, she is bored and tired, Endeavours to engage her in caresses Which still are unreproved, if undesired.Flushed and decided, he assaults at once; Exploring hands encounter no defence; His vanity requires no response, And makes a welcome of indifference. She turns and looks a moment in the glass, Hardly aware of her departed lover; Her brain allows one half-formed thought to pass: ‘Well now that’s done: and I’m glad it’s over.’ When lovely woman stoops to folly and Paces about her room again, alone, She smooths her hair with automatic hand, And puts a record on the gramophone.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.Hamlet’s […] disgust is occasioned by his mother, but […] his mother is not an adequate equivalent for it; his disgust envelops and exceeds her.It is thus a feeling which he cannot understand; he cannot objectify it, and it therefore remains to poison life and obstruct action.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.Although he is aware of the gravity of his situation, Hamlet’s disgust is due to the entanglement of his contradictory emotions which victimize him, paralyzing him against taking action.