"[T]he poet is occupied with frontiers of consciousness beyond which words fail,
though meanings still exist."
'The Music of Poetry' (1942)
In 'The Social Function of Poetry' (1945)...
Eliot revisits the site of this second 'psychological' objective correlative.
Listing various functions of poetry, Eliot mentions
'the expression of something we have experienced but have no words for,
which enlarges our consciousness or refines our sensibility'.
This is the core of his argument in this essay --
that, without expression, our emotions will atrophy.
The poet's role is to find objective expression for the purely subjective.
The poet articulates the inexpressible -- and makes the culture more articulate
and, therefore, more sensible to subtle feeling.
This is quite different from the idea of the objective correlative as restricted to drama.
Put like this,
the objective correlative looks more intelligible
-- a refinement of the idea of impersonality in art.
Every artist starts with his emotions and his autobiography
-- and addresses the task of transcending mere subjectivity.
Self-expression isn't the sole aim. The aim is to create an intelligible work of art.
The two functions of the objective correlative
-- to make emotion manifest for a theatre audience;
to articulate one's inexplicable feelings --
are conjoined a little uncomfortably, like unidentical Siamese twins.
Craig Raine, T.S. ELIOT, pp. 134-135
quite a lucid exposition
--- On Mon, 12/29/08, Chokh Raj <[log in to unmask]> wrote:
From: Chokh Raj <[log in to unmask]>