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.

By Ihe "objective correlalive,“ a verbal equivalenl for Ihe poel’s personal experience, T. S. Eliol meanl 10 end the abuse of language which he believed widely spread by the pemlclOus influence of Romanticism and Symbolism. Ironically, howcver, its ongm dates back to the Romantic I Symbolist aesthetes. Amold taught Eliot how to achieve a balance between “the style’‘ and “the subjecl matter." by curbing both Symbolist and Imagist indulgence in stylistic expcriments. Pater, on thc other hand, showed Eliot ho\V to be modem by denying Hegel’s transcendental self, someLhing he al50 leamed directly from the French poets. Even though the quasi-scientilìc tcml strips it of any historical context the exploration of it shows a continuous line which run5 from lhe Romantic' s idea of symbol, through the Symbolists, and into the 페nage" of Poutid and the Imagists. This is the line that slrived 10 make Creation self-sufficient by the indirecl method of evocation, and a line in which Amold and Paler form an important link. The idea of “objective correlalive" belongs to the tradition, starled by Ihe great Romanlic poels, that aimed to overcome Carlesian represenlalional realism as well as subjective idealism. Eliot’s contribulion is in adding further sceplicism aboul Ihe I.ranscendental self and his recognition of Ihe danger that poelic Iranscendence could lum into solipsism.

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.