Objective Correlative:
An image that suggests a particular emotion associated with it. For example, the sentence, "He is a Meer Zafar" evokes in the mind of the readers a sense that "He" is a betiayer. It is because 'betrayal' is associated with the name of "Meer Zafar" who betrayed Nawab Siraj-ud-Daula. So, "Meer Zafar" is an objective correlative for "betrayal". Thus, "waste land" is an objective correlative for spiritual barrenness, "rose" for love and beauty, "nightingale's song" for suppressed agony, and the like.
Objectivity:
A mode of expression in which the writer's personal life remains absent from his writing. Homer, Virgil, Shakespeare and T. S Eliot are some of the famous objective writers. No information about their lives or about their likes and dislikes is found in their great works. It is opposite to subjectivity. [see Subjectivity, Negative Capability]
Onomatopoeia:
A figure in which the sound of the words and phrases suggests the sense. In An Essay on Criticism Pope says about it: "The sound must seem an echo to the sense".
Examples:
The fair breeze blew, the white foam flew, The furrow followed free;
(Coleridge: "The Rime of the Ancient Mariner")
These highly alliterative lines reflect the easeful, smooth movement of the Mariner's ship.
It cracked and growled, and roared and howled,
(Coleridge: "The Rime of the Ancient Mariner")
This line echoes the sounds of the rough sea in the polar region.
With fruit the vines that round the thatch-eaves run;
(Keats: "To Autumn")
The rhythm in this line mirrors a picture of the up and down movement of the vines on the edge of the thatch. The vines lie along the edge of the thatch but they go down at certain points, at regular gaps, where bunches of grapes dangle because of their weight. This up and down of the vines has been indicated here by the use of alternatively stressed iambic feet.
