in "Hamlet and His Problems" (1921). Aqui
The only way of expressing emotion in the form of art is by finding an
“objective correlative”; in other words, a set of objects, a situation, a
chain of events which shall be the formula of that particular
emotion; such that when the external facts, which must terminate in
sensory experience, are given, the emotion is immediately evoked. If you
examine any of Shakespeare’s more successful tragedies, you will find
this exact equivalence; you will find that the state of mind of Lady
Macbeth walking in her sleep has been communicated to you by a skilful
accumulation of imagined sensory impressions; the words of Macbeth on
hearing of his wife’s death strike us as if, given the sequence of
events, these words were automatically released by the last event in the
series. The artistic “inevitability” lies in this complete adequacy of
the external to the emotion; and this is precisely what is deficient in Hamlet.
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