Many poems work by leaving out, omitting connections, asking us to make bridges. Discuss the ways in which two or more poems ask for our collaboration to make meaning. .

             T.S. Eliot believed in conveying meaning via the use of the "objective correlative".

             Conveying meaning via the objective correlative therefore means that the reader must become involved in the poem in the sense that T.S Eliot rellies on them to be able to "extract" meaning from carefully structured stanzas. The "objective correlative" means that a chain of events, images or situations is formulaic of on emotion and thus meaning. This method of portraying meaning is a strong one when employed carefully. T.S Eliot, who is known to structure his poems very carefully, shows this "formulating" in many of his poems including Preludes and The Love Song of J. Alfred Prufrock. .

             The Love Song of J. Alfred Prufrock is constructed in a manor that suggests T.S. Eliot is using the objective correlative to convey meaning. The first hint that Eliot is using the objective correlative in Love Song is the way it is structured in 21 stanzas. This implies that each stanza, like paragraph of verse, would contain the "single idea" or "situation" that formulates an emotion. This, as the definition of the "objective correlative" states, is one "idea" or "image" and thus a chain of events that result in the conveyance of meaning. Therefore the reader is depended on to be able to "identify" what each stanza is meant to represent. Given that the reader does understand the idea dealt with in each stanza the resulting emotion should in turn portray the meaning T.S Eliot is trying to portray.

             Preludes is another poem that appears to require the reader"s collaboration in the conveyance of meaning. By seaming to follow the structure that would have it obey the laws of the objective correlative, Preludes, is also a poem that requires the reader to be able to follow the sequence of "events" that result in the final meaning or emotion.