On the basis of Eliot’s poetic theory, this paper attempts to analyze some of Shakespeare’s dramatic techniques as exemplified in Macbeth, one of his four tragedies. Macbeth is the shortest, but its structure is tight with its precise and dense language. Eliot sees Shakespeare as one of the best examples, who fits into his theory of poetry, “objective correlative”; A good poet is merely a medium, not revealing his own personal feelings. Shakespeare is such a good poet. Shakespeare, using symbols and images of organic things and cosmetic order, realizes the objective correlative; he presents things that represent his feelings, such as owls, hawks, eagles, doves, and a banquetes’ scene that symbolizes harmony, fellowship, and union. In the meantime, Eliot uses persona, alter ego, shadow images in his works; there appear Madame Sosostris, typist, clerk, Thames’ daughters in The Waste Land, which is the manifestation of his theory, the objective correlative.

Th.is article aims to interpret T. S. Eliot’s doctrine of th.e objective correlatÎve in terrns of th.e European tradition of organicism. A consideration of the organic implications in Eliot's major critical concepts, s찌u따c대h. as “ whole of fee터ling’r’”’ “끼un삐nt비i“fied sensibility," and "depersonalization," reminds us that Aristotle, Longinus, and Horace also highly valued the organic relation between the part and the whole and tbe organic unity of thought and feeling in great classical poetry. S. T. Coleridge had imported organic ideas from Gerrnan thinkers and applied tbem to bis Shakespearean criticism. Refuting the neo-classical view tbat Shakespeare failed to give an adequate verbal forrn and organized structure to his talent, Coleridge insisted that “no work of genius dares want its appropriate forrn," and eulogized Shakespeare’s organic verbal structure equal to his genius. But, contrary to Coleridge, Eliot underestimated Hamlet as an artistic failure on tbe ground that Shakespeare could n이 find the obj야tive correlative equivalent to Hamlet’s baff1ement. However, it is worth noting that in the course of denouncing Hamlet, Eliot invented his doctrine of the objective correlative, wbich is an adoption of the organic principle inherited from S. T. Coleridge and Gottfried Leibniz. In his Knowledge and Experience, Eliot noticed that, having essential organic features, Leibniz’s windowless monad was very similar to F. H. Bradley’s concepts of the finite centre and immediate experience. In these concepts of holistic and empirical idealism, the distinctions between the subjective and the objective, spirit and matter, self and the world, feeling and image, and forrn and content cann이 be maintained for their mutual interdependence. So, it should be said that the concept of the objective correlative was a special application of Eliot's general principle of “the unity of feeling and objectivity," for feeling and objectivilY are only discriminaled aspects of Ihe whole experience. He remarked Ihal there was Ihe mutual incJinalion of menlal feeling and verbal image 10 reacl upon one anolher so inexplicably that Ihe relalion should be said 10 be organic. Therefore, the organic features implied in his crilical concepls and, in particular, Ihe doctrine of Ihe 0비e이ive correlalive confirrns Ihal he achieved a rapprochement between modem poetics and Iradilional authority.

T. S. 엘리엇은 ｢햄릿과 그의 문제들｣에서 세익스피어의 ꡔ햄릿ꡕ을 뿌리깊은 감정적인 소재들을 적절히 객관화시키지 못한 실패작으로 여기면서, 그 대안으로 객관적인 “일단의 사물, 정황, 혹은 일련의 사건”을 통해 정서를 환기시키는 “객관적 상관물”이라는 개념을 소개한다. 낭만주의와 빅토리아조의 문학에 불만을 표시하며, 감수성의 분열을 예리하게 의식했던 엘리엇은 프랑스 상징주의, 영국의 형이상학파, 이미지즘 등으로부터 “객관적 상관물”에 대한 영감을 받았다. “객관적 상관물” 이론은 단순한 실험의 차원에 그치지 않았으며, 이 기교적인 발견은 엘리엇으로 하여금 의미의 상실 속에 사는 현대인의 곤궁을 유기적인 전체 속에서 다룰 수 있게 해주었다. 그는 시어에 상응하는 독특한 경험이 있다고 간주하며, 사고와 정서를 환기시키는 “객관적 상관물”을 통해, 광범위한 지식을 동원하여 현대시 속에 황무지 같은 현대의 인간조건에 비젼을 제시할 만족스러운 상관물의 정교한 망을 구축하고자 한다.