3.

Illustrate your idea of ANY TWO of the following devices with examples:
objective correlative, synesthesia, symbol, negative capability, interior monologue
Objective correlative
Objective correlative is a prominent literary term that has recently gained popularity as a literary
concept. It refers to a literary depiction of an emotion that, hopefully, produces that feeling in the
reader or observer. It is used in a literary work to describe a group of items, a series of events, a
group of pictures, and a setting that will serve as the formula for that specific feeling. If an
artwork evokes the appropriate emotion, the author has identified the appropriate objective
correlative. If it elicits the wrong feeling, that objective correlative has failed. When a writer fails
to discover objective correlatives for the feelings they aim to express, the audience is left
unimpressed, unmoved, or even puzzled, according to Eliot. Eliot applied his 'Objective
Correlative' theory to Shakespeare's play Hamlet (1602), claiming that it is a "artistic failure"
because the play's events do not justify Hamlet's depth of feeling and hence fail to create
compelling motive. There are further advantages of employing objective correlatives. For one
thing, it's a fantastic method to follow the writer's "show, don't tell" axiom, which states that
things should be revealed through conversation, scene, and action rather than a long list of
qualitative statistics. Instead of merely "telling" us details, "showing" them to us by making your
characters or narrative embody them. Objective correlatives do this innately: they present an
article that connects to the conditions of the story frequently, and the reader deduces its meaning
on his or her own.
"The Love Song of J. Alfred Prufrock" is a well-known example of this literary device. Prufrock
is meant to represent the broad character of the modern human being. As a result, Eliot's
description of him serves as an objective correlate for that specific archetype. It is focused with
Prufrock's spiritual illness. Prufrock's psychological illness is communicated indirectly, through
images and visuals. Each imagery, each picture fantasy, reinforces the concept of Prufrock's
sterility with greater clarity. He would like to escape his neurotic issues even through anesthetic
due to his shyness and lack of self-confidence. The seemingly lifeless evening represents the
protagonist's mental state. He resembles a patient etherized on a table. This image represents the
speaker's mental state. Prufrock's ambivalence, reluctance, self-pity, and self-disgust, as depicted
through a sequence of pictures, are rife with possibilities for the reader's imagination. The
winding streets that lead to the salon where he needs to make the marriage proposal represent the
painstaking mental processes that ultimately lead to the point of action or conclusion.
Indeed, as Eliot portrays him, Alfred Prufrock is an average modern guy who sees and knows
modern life in all its nothingness, complexity, and pointlessness. The triviality and stupidity of
this life are obvious to him, and he has no illusions or attachments to it. Prufrock, like an over-
conscious, rather melancholy intellectual, imagines himself as a worm squirming on the wall in
the harsh surroundings of modern metropolitan life. In his candid confession, he admits to the
unimportance of his existence and his limited approach to it.
The allusion to the lonely guys in shirtsleeves looking out of windows alludes to his own feelings
of loneliness and boredom, which have driven him to seek solace in love and marriage. But he is
unable to follow the point, and disgusted with his meticulous mind, he chooses the life of a
creature on the sea floor. Prufrock appears to be a thoughtless and unsophisticated creature in
this photograph of the crab. He wanders sideways about things, like a crab, and gets nowhere. He
could also be at the bottom of the ocean. He looks out the window and sees a mirror of his own
weary self on the last day, lulled to sleep alongside him. As a result, we see this poetry The Love
Song of Alfred Prufrock conveys Alfred Prufrock's overwhelming sense of hopelessness and
inactivity as a middle-aged resident of a modern metropolis, and Eliot's objective correlative
theory is found to be completely suitable for this poem.
Negative capability
The ability to dwell within the penetralium of uncertainty or cope with questions left unanswered
is referred to as negative capability. Not every incident, especially in fiction, need (or will have)
a straightforward, satisfactory explanation. This half-knowledge is embraced by negative
capacity, resulting in a voluntary suspension of disbelief in favor of openness and curiosity
aimed toward a larger, more imaginative story.