But what is an objective correlative? It is, in simple terms, the idea of conveying an emotion by attaching it to an object. Julie Daines was the workshop presenter who shared some great insights into this topic in her workshop "How to Show: Say Goodbye to Clenched Fists and Pounding Hearts" on Saturday afternoon. She revealed some great objective correlatives that past authors have used, such as Tolkien's ring in Lord of the Rings, or the books in The Book Thief. As I studied this idea, I realized I had seen a succinct example of an objective correlative, but had never known what to call it, in the Sense and Sensibility movie by Ang Lee, screenplay by Emma Thompson.
For those poor non-Jane Austen addicts who are not intimately familiar with the book or movie, I will summarize: Sisters Elinor and Marianne are thrown into poverty at the death of their father. They each have a love interest. Elinor is becoming attached to Edward, the brother of her sister-in-law, and Marianne has attracted the attention of two suitors, first Colonel Brandon, an older but steady sort, then Willoughby, a handsome rogue. There is a long portion of the movie where the female leads are separated from their love interests and must work toward being reunited.
During these times of separation, the viewer is reminded of the missing hero by physical items--the objective correlative. The first object is the white handkerchief with E.C.F. embroidered on it. In a moment of grief, Edward offered Elinor this handkerchief to dry her tears. Elinor comes to treasure it after she's forced to part from Edward, and in another scene is sitting near a window, running her fingers over the initials. There's no need to outwardly state "Elinor is feeling sad here and missing Edward, longing for his affection." No, the audience views Elinor’s lingering attachment to his memory in the subtle reappearance of the handkerchief. Even when the memento he promised to personally deliver, the atlas, is sent by mail to younger sister Miss Margaret instead of in person, Elinor longs for his return and pines in his absence. There may be no formal promise or attachment, but the connection is vividly portrayed through the treasure of the handkerchief.
How utterly alarming, then, when Lucy Steele presses her confidential information of a secret five-year engagement with Edward Ferrars. Elinor understandably mutters, “We can’t mean the same Mr. Ferrars,” but then Lucy pulls out of her reticule an identical handkerchief embroidered with E.C.F.
Marianne’s final relationship is foreshadowed by the objects given and taken from her. While Brandon is getting to know his new neighbors, he attentively hands Marianne a lawn bowling ball. When cutting reeds, he hands her a knife. After her fall, he brings her “hothouse” flowers. Willoughby also brings flowers and gives her his pocket Shakespeare. He takes a cutting of her hair as a memento. This scene is filmed from the perspective of someone looking in from another room, not hearing any dialogue, but seeing the affection of the couple and watching the clipped section of hair being pressed to his lips and wrapped up to keep for later.
Not long afterward, he departs with no explanation and Marianne is sobbing. Marianne writes him letters which are never returned or replied to. In the end, Marianne runs into him in London but the reunion is only embarrassing for them both. Willoughby finally replies to her letters by returning all the mementos, including the little lock of hair. The viewer only needs to see the hair folded into the letter to know that heartbreak and betrayal are contained therein. Brandon, however, has not rescinded his affections and has left all his mementos with Marianne. Upon return to Barton Cottage, he additionally gives a book, a much-desired pianoforte, and some music. It is with no surprise that her true, permanent feelings attach to Colonel Brandon and his kindness.
Can an object convey emotion? Yes, if the appearance of the object is set off in a way that the reader/viewer clearly understands the emotion of the scene. When that object returns or is re-presented, the audience feels the return of that emotion. And, as in Sense and Sensibility, when that object appears in a reversed emotional context, the audience feels an opposite emotion. This is what I love about the subtlety of an objective correlative--you can give your reader "mood swings" just by showing an object again. This is something I look forward to using adeptly in my future writing.
