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Yes. Please give us an example of what you think is an example of an O.C.
that Eliot may not have intended.


On Wed, 2 May 2012 16:10:04 -0400, Ken Armstrong <[log in to unmask]>
wrote:

>Interesting. What then is your notion of it?
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>On May 2, 2012, at 3:30 PM, Chokh Raj <[log in to unmask]> wrote:
>
>> Also, may we not use the term 'objective correlative' with regard to
Eliot's poetry 
>> without being bound by Eliot's specific notion of it? 
>> 
>> IMHO, we may. 
>> 
>> CR
>> 
>> From: Chokh Raj <[log in to unmask]>; 
>> To: <[log in to unmask]>; 
>> Subject: Re: OT - Chapel Perilous 
>> Sent: Wed, May 2, 2012 7:02:48 PM 
>> 
>> An interesting remark, Peter. It prompts me to raise a query.
>> In deciphering Eliot's poetry, are we bound by Eliot's notion of
'objective correlative'? 
>> IMHO, a reader is free to view Eliot's poetry in the light of what we
generally mean by
>> objective correlative rather than be guided solely by Eliot's criterion
of it. 
>> 
>> Regards,
>>   CR
>> 
>> 
>> From: Peter Montgomery <[log in to unmask]>
>> To: [log in to unmask] 
>> Sent: Wednesday, May 2, 2012 2:45 AM
>> Subject: Re: OT - Chapel Perilous 
>> 
>> Sounds to me like we're creeping closer and closer to the objective
correlative.
>> 
>> Cheers,
>> Peter 
>> 
>> ----- Original Message ----- From: "Rickard Parker" <[log in to unmask]>
>> 
>> > Why, for all of us, out of all that we have heard, seen, felt, in a
>> > lifetime, do certain images recur, charged with emotion, rather than
others?
>> > The song of one bird, the leap of one fish, at a particular place and time,
>> > the scent of one flower, an old woman on a German mountain path, six
>> > ruffians seen through an open window playing cards at night at a small
>> > French railway junction where there was a water-mill: such memories may
have
>> > symbolic value, but of what we cannot tell, for they come to represent the
>> > depths of feeling into which we cannot peer. We might just as well ask why,
>> > when we try to recall visually some period in the past, we find in our
>> > memory just the few meagre arbitrarily chosen set of snapshots that we do
>> > find there, the faded poor souvenirs of passionate moments.
>> >                                                          TSE 
>> 
>