Paper no.03 Literary Theory and Criticism
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Coleridge viewed imagination as key to poetry and divided it into two components: primary and secondary imagination. Primary imagination is the living power of human perception that enables understanding of unity in objects. Secondary imagination is the conscious, creative power possessed by poets to select and reorder raw materials into works of beauty. Fancy differs from imagination as it merely recombines fixed concepts through imitation, while imagination creates through symbolic representation in a chemical-like process.
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Colridge's view on "IMAGINATION" and role of imagination in Literature.
Coleridge viewed imagination as key to poetry and divided it into two components: primary and secondary imagination. Primary imagination is the living power of human perception that enables understanding of unity in objects. Secondary imagination is the conscious, creative power possessed by poets to select and reorder raw materials into works of beauty. Fancy differs from imagination as it merely recombines fixed concepts through imitation, while imagination creates through symbolic representation in a chemical-like process.
Coleridge's theory of imagination
Samuel Taylor Coleridge was an influential English poet and philosopher in the Romantic movement. He developed a theory of imagination that distinguished between primary and secondary imagination. Primary imagination observes the world directly through perception, while secondary imagination is a more conscious and comprehensive faculty that shapes raw materials through all human faculties into objects of beauty and meaning. Coleridge believed secondary imagination was responsible for truly creative and inventive acts in poetry by unifying different forms and extracting hidden ideas.
Fancy and Imagination in Biographia Literaria
This document summarizes Coleridge's distinction between fancy and imagination as outlined in his work Biographia Literaria. It explains that Coleridge defines fancy as a mechanical, associative faculty that merely reproduces materials, while imagination is a creative faculty. Coleridge further distinguishes between primary imagination, which is the living power of human perception, and secondary imagination, which is the artistic faculty that exists alongside the conscious will. The document provides examples from Coleridge to illustrate these concepts and their significance to his aesthetic theory.
Primary and secondary imagination
Coleridge distinguishes between primary and secondary imagination. Primary imagination is an involuntary and subconscious faculty that allows humans to perceive and receive sense impressions from the external world. Secondary imagination is a creative and conscious faculty that selects and reshapes the raw materials of primary imagination to create something new. It involves both conscious selection and subconscious infusion. While primary imagination is a universal human ability, secondary imagination is a heightened creative power that allows poets to blend conscious and unconscious elements into new wholes.
The concept of imagination in biographia literaria
Coleridge's Biographia Literaria discusses his concepts of imagination and fancy. He divides the mind into two faculties: primary imagination, which is a creative power that mimics the divine principle of creation; and secondary imagination, which relies on the will to recreate primary imagination. Coleridge coined the term "esemplastic" to describe imagination's ability to shape multiple ideas into a unified whole. In contrast, fancy is a mechanical, passive faculty that accumulates facts but cannot create anything new. Coleridge viewed imagination as the primary creative force in writing.
Coleridge
This document summarizes Samuel Taylor Coleridge's views and contributions to literary criticism and poetry. It discusses his key ideas around imagination, fancy, poetic diction, and poetic genius. The summary is:
Coleridge was a founder of the Romantic Movement in England and developed philosophical principles of literary criticism. He distinguished imagination from fancy and analyzed the primary and secondary imagination. He saw poetry as the product of both nature and the poet's mind, and emphasized imagination's role in reconciling opposites. Coleridge analyzed Wordsworth's views of poetry and established definitions of a poem, poetic language, and poetic genius.
s.t coleridge in romantic criticism
In the 18th century, philosophy failed to explain life's mysteries so focus shifted to emotions, imagination, and feelings, known as Romanticism. Romantic criticism arose from "Reviewers" who judged literature based on personal tastes, though this led to impressionism. Coleridge and Wordsworth voiced against neo-classicism and laid the foundations of romantic criticism. Coleridge differentiated primary imagination, which receives external impressions, and secondary imagination, which enables artistic creation. He believed fancy merely combines perceptions beautifully while imagination is a creative power transforming ingredients into something new.
Samuel Coleridge - Biographia Literaria chapter 15
Samuel Taylor Coleridge was an English philosopher, poet, and literary theorist born in the late 18th century. In 1795, he met William Wordsworth and the two collaborated on the collection Lyrical Ballads in 1798, which helped launch the Romantic movement in British literature. In 1817, Coleridge published Biographia Literaria, a work that blended autobiography, literary criticism, philosophy and religious theory. In it, he analyzed Shakespeare's Venus and Adonis and Rape of Lucrece to elucidate the qualities and symptoms of poetic genius through a close reading of these works.
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Colridge's view on "IMAGINATION" and role of imagination in Literature.
Coleridge viewed imagination as key to poetry and divided it into two components: primary and secondary imagination. Primary imagination is the living power of human perception that enables understanding of unity in objects. Secondary imagination is the conscious, creative power possessed by poets to select and reorder raw materials into works of beauty. Fancy differs from imagination as it merely recombines fixed concepts through imitation, while imagination creates through symbolic representation in a chemical-like process.
Coleridge's theory of imagination
Samuel Taylor Coleridge was an influential English poet and philosopher in the Romantic movement. He developed a theory of imagination that distinguished between primary and secondary imagination. Primary imagination observes the world directly through perception, while secondary imagination is a more conscious and comprehensive faculty that shapes raw materials through all human faculties into objects of beauty and meaning. Coleridge believed secondary imagination was responsible for truly creative and inventive acts in poetry by unifying different forms and extracting hidden ideas.
Fancy and Imagination in Biographia Literaria
This document summarizes Coleridge's distinction between fancy and imagination as outlined in his work Biographia Literaria. It explains that Coleridge defines fancy as a mechanical, associative faculty that merely reproduces materials, while imagination is a creative faculty. Coleridge further distinguishes between primary imagination, which is the living power of human perception, and secondary imagination, which is the artistic faculty that exists alongside the conscious will. The document provides examples from Coleridge to illustrate these concepts and their significance to his aesthetic theory.
Primary and secondary imagination
Coleridge distinguishes between primary and secondary imagination. Primary imagination is an involuntary and subconscious faculty that allows humans to perceive and receive sense impressions from the external world. Secondary imagination is a creative and conscious faculty that selects and reshapes the raw materials of primary imagination to create something new. It involves both conscious selection and subconscious infusion. While primary imagination is a universal human ability, secondary imagination is a heightened creative power that allows poets to blend conscious and unconscious elements into new wholes.
The concept of imagination in biographia literaria
Coleridge's Biographia Literaria discusses his concepts of imagination and fancy. He divides the mind into two faculties: primary imagination, which is a creative power that mimics the divine principle of creation; and secondary imagination, which relies on the will to recreate primary imagination. Coleridge coined the term "esemplastic" to describe imagination's ability to shape multiple ideas into a unified whole. In contrast, fancy is a mechanical, passive faculty that accumulates facts but cannot create anything new. Coleridge viewed imagination as the primary creative force in writing.
Coleridge
This document summarizes Samuel Taylor Coleridge's views and contributions to literary criticism and poetry. It discusses his key ideas around imagination, fancy, poetic diction, and poetic genius. The summary is:
Coleridge was a founder of the Romantic Movement in England and developed philosophical principles of literary criticism. He distinguished imagination from fancy and analyzed the primary and secondary imagination. He saw poetry as the product of both nature and the poet's mind, and emphasized imagination's role in reconciling opposites. Coleridge analyzed Wordsworth's views of poetry and established definitions of a poem, poetic language, and poetic genius.
s.t coleridge in romantic criticism
In the 18th century, philosophy failed to explain life's mysteries so focus shifted to emotions, imagination, and feelings, known as Romanticism. Romantic criticism arose from "Reviewers" who judged literature based on personal tastes, though this led to impressionism. Coleridge and Wordsworth voiced against neo-classicism and laid the foundations of romantic criticism. Coleridge differentiated primary imagination, which receives external impressions, and secondary imagination, which enables artistic creation. He believed fancy merely combines perceptions beautifully while imagination is a creative power transforming ingredients into something new.
Samuel Coleridge - Biographia Literaria chapter 15
Samuel Taylor Coleridge was an English philosopher, poet, and literary theorist born in the late 18th century. In 1795, he met William Wordsworth and the two collaborated on the collection Lyrical Ballads in 1798, which helped launch the Romantic movement in British literature. In 1817, Coleridge published Biographia Literaria, a work that blended autobiography, literary criticism, philosophy and religious theory. In it, he analyzed Shakespeare's Venus and Adonis and Rape of Lucrece to elucidate the qualities and symptoms of poetic genius through a close reading of these works.
Primary and secondary imagination
The document summarizes key concepts related to imagination according to Samuel Taylor Coleridge. It defines primary imagination as the unconscious ability to receive impressions from the senses, and secondary imagination as the conscious, creative ability to reshape and recombine these impressions into new forms. Secondary imagination dissolves and diffuses primary impressions in order to recreate them through conscious effort of will. Fancy is described as a mode of memory that associates and rearranges experiences but does not involve creative reshaping in the way secondary imagination does. The cartoon of Aladdin is provided as an example of secondary imagination at work.
Keats search for organic form
This document discusses the concept of organic form in Romantic poetry. The key points are:
1) Romantic poets believed that the language of a poem should evolve naturally from its content, rather than being imposed from outside. Each feeling was thought to have its own natural form of expression.
2) Coleridge explained this as an "organic" relationship where the content and form grow together like a living organism. He cited Wordsworth's poem "Daffodils" as exemplifying this organic unity.
3) Keats struggled early in his career to achieve organic form, borrowing styles from other poets. His later odes were praised for their successful embodiment of thought and language evolving together spontaneously.
Coleridge the nature and function of poetry
This document discusses Samuel Taylor Coleridge's views on the nature and function of poetry. It summarizes that Coleridge was an ideal man by nature and a great poet of nature, though the quality of his poetic genius suggested he may not be able to write a large number of finer poems due to a potentially shorter life. It also discusses Coleridge's views that poetry should involve meter, rhyme, diction, theme, and harmony, and that it should provide a pleasurable experience for the reader by exciting the mind through the journey of reading rather than just curiosity about the final solution.
Difference between poem and poerty
Coleridge introduced a new technique of appreciation criticism focused on interpreting works of art rather than judging them. He believed criticism should stress the emotional effect of art and saw art as a source of moral and philosophical wisdom. His major critical work, Biographia Literaria, contained theories of poetry and examined the difference between a poem, which deals with subjects through structured language, and poetry, which deals with objects and can arouse shock through secondary imagination.
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The document discusses different theories of poetry from classical philosophers like Plato and Aristotle and poets like Wordsworth. It traces concepts of poetry from its banishment by Plato as morally corrupting to Aristotle's view of it as using fictional examples to purify emotions. Wordsworth's definition of poetry as the "spontaneous overflow of powerful feelings" is also examined, along with his view of the poetic process. The document concludes that Wordsworth redefined poetry by going back to its origins while building on concepts from Coleridge and classical philosophers.
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This document summarizes Samuel Taylor Coleridge's views on poetry and criticism from his work Biographia Literaria. It outlines Coleridge's distinction between a poem, which deals with subjects through language and form, and poetry, which engages the philosopher mind and evokes deeper feelings in readers. The document also notes that for Coleridge, poetry is a broader category than just poems, as it can be an activity in other creative works. It concludes that Coleridge aimed to establish principles of writing rather than rules for criticism.
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2) Keats discusses the concept of "negative capability," where a poet is able to embrace uncertainties and ambiguities without providing direct answers. He also writes about "sublime egotism," where a poet expresses themselves through their work.
3) The documents examine ideas around what defines a poet,
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Samuel Taylor Coleridge was an English poet, critic, and philosopher who was a leader of Romantic poetry. He divided imagination into primary and secondary forms. Primary imagination is a creative faculty possessed by all, while secondary imagination is the conscious, creative power of poets. Coleridge believed the purpose of poetry was to give pleasure, and defined a poem as having organic unity and seeking to produce immediate pleasure in readers through the willing suspension of disbelief. He saw imagination as the key distinguishing factor of a true poet.
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The document summarizes key concepts related to imagination according to Samuel Taylor Coleridge. It defines primary imagination as the unconscious ability to receive impressions from the senses, and secondary imagination as the conscious, creative ability to reshape and recombine these impressions into new forms. Secondary imagination dissolves and diffuses primary impressions in order to recreate them through conscious effort of will. Fancy is described as a mode of memory that associates and rearranges experiences but does not involve creative reshaping in the way secondary imagination does. The cartoon of Aladdin is provided as an example of secondary imagination at work.
Keats search for organic form
This document discusses the concept of organic form in Romantic poetry. The key points are:
1) Romantic poets believed that the language of a poem should evolve naturally from its content, rather than being imposed from outside. Each feeling was thought to have its own natural form of expression.
2) Coleridge explained this as an "organic" relationship where the content and form grow together like a living organism. He cited Wordsworth's poem "Daffodils" as exemplifying this organic unity.
3) Keats struggled early in his career to achieve organic form, borrowing styles from other poets. His later odes were praised for their successful embodiment of thought and language evolving together spontaneously.
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This document discusses Samuel Taylor Coleridge's views on the nature and function of poetry. It summarizes that Coleridge was an ideal man by nature and a great poet of nature, though the quality of his poetic genius suggested he may not be able to write a large number of finer poems due to a potentially shorter life. It also discusses Coleridge's views that poetry should involve meter, rhyme, diction, theme, and harmony, and that it should provide a pleasurable experience for the reader by exciting the mind through the journey of reading rather than just curiosity about the final solution.
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Coleridge introduced a new technique of appreciation criticism focused on interpreting works of art rather than judging them. He believed criticism should stress the emotional effect of art and saw art as a source of moral and philosophical wisdom. His major critical work, Biographia Literaria, contained theories of poetry and examined the difference between a poem, which deals with subjects through structured language, and poetry, which deals with objects and can arouse shock through secondary imagination.
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The document discusses different theories of poetry from classical philosophers like Plato and Aristotle and poets like Wordsworth. It traces concepts of poetry from its banishment by Plato as morally corrupting to Aristotle's view of it as using fictional examples to purify emotions. Wordsworth's definition of poetry as the "spontaneous overflow of powerful feelings" is also examined, along with his view of the poetic process. The document concludes that Wordsworth redefined poetry by going back to its origins while building on concepts from Coleridge and classical philosophers.
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This document summarizes Samuel Taylor Coleridge's views on poetry and criticism from his work Biographia Literaria. It outlines Coleridge's distinction between a poem, which deals with subjects through language and form, and poetry, which engages the philosopher mind and evokes deeper feelings in readers. The document also notes that for Coleridge, poetry is a broader category than just poems, as it can be an activity in other creative works. It concludes that Coleridge aimed to establish principles of writing rather than rules for criticism.
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The document discusses various theories and definitions of what art is. It examines perspectives from Aristotle, Plato, and psychological theories regarding art's imitation of reality or divine inspiration. Art is defined subjectively but also as a representation of reality or an expression of beauty. Theories also consider art's functions in religion, morality, and communication through symbolic meaning. Art is classified based on subjects like portraits, narratives, and symbols, and styles that disclose partial or hidden meanings.
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This summary provides an overview of key ideas from Percy Bysshe Shelley's "A Defense of Poetry" and excerpts from John Keats' letters on literary criticism:
1) Shelley argues that poetry is the expression of imagination and is innate to human beings. A poet apprehends the true, beautiful, and good in nature and perception, and expresses it through imaginative language.
2) Keats discusses the concept of "negative capability," where a poet is able to embrace uncertainties and ambiguities without providing direct answers. He also writes about "sublime egotism," where a poet expresses themselves through their work.
3) The documents examine ideas around what defines a poet,
Biographia Literaria coleridge.
This document provides biographical information about Samuel Taylor Coleridge and summarizes some of his views on literary theory and criticism. It includes Coleridge's name, paper details, contact information, and introduces that Biographia Literaria contains 24 chapters of Coleridge's critical work. It then discusses Coleridge's views on the nature and functions of poetry, and two conditions of poetry: fidelity to nature and novelty through imagination. The document also provides biographical details about Coleridge's early life and education.
Psychoanalytic analysis
This presentation analyzes Sylvia Plath's poem "The Arrival of the Bee Box" using psychoanalytic and stylistic approaches. It discusses how the poem depicts Plath as mentally disturbed and suffering from a split personality. The bee box represents Plath's troubled mind, which is locked away and filled with dark, swarming thoughts that terrify her. Through imagery of darkness and repetition of "dark" and "black", the poem conveys the intensity of Plath's negative feelings. The analysis finds that Plath used the poem to explore her darkest unconscious thoughts and inner demons through her poetic art.
Matthew Arnold "Preface to a Poem" by Jehan Al-Mahmoud, PNU
Matthew Arnold was a Victorian poet and critic known as the "critic's critic" who championed great poetry and literary criticism. He founded the sociological school of criticism and introduced scientific objectivity to criticism through his "touchstone method" of comparison and analysis. Arnold influenced new critics like T.S. Eliot and influenced the shift from a Romantic to objective approach to poetry through his emphasis on tradition and comparing works to classical standards. His methods and views shaped modern literary criticism.
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The document discusses Samuel Taylor Coleridge and William Wordsworth, two prominent Romantic poets. While they collaborated on works like Lyrical Ballads, Coleridge's poetic style and views differed from Wordsworth's in important ways. Coleridge relied more heavily on imagination than experiences for inspiration and incorporated religion differently. Their friendship was strained by these differences and Coleridge's opium addiction, though they made major contributions to pioneering the Romantic movement in English poetry.
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This document summarizes and analyzes an article about distinguishing visual art from visual culture. It makes three key points:
1) Traditional concepts of "fine art" are problematic as they reflect Western patriarchal values, but visual art can still be distinguished from other imagery based on its intrinsic aesthetic significance and comparative relations to other works.
2) An analysis of Gauguin's painting "Manao Tupapapau" shows how focusing only on the historical context can distort a work's meaning, which is better understood through its complex pictorial strategies compared to other works.
3) For a visual image to transcend mere utility and have intrinsic significance, it must articulate pictorial space through assimil
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This document contains information about an MA student named Solanki Alpa H. studying at M.K.Bhavnagar University. It discusses Samuel Taylor Coleridge's 1815-17 work Biographia Literaria, which contains his critical views on the nature and function of poetry. The document also provides details about Coleridge, including that he was born in 1772 in England and was a poet, literary critic, and philosopher known for works like The Rime of the Ancient Mariner and Kubla Khan.
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International Journal of Humanities and Social Science Invention (IJHSSI) is an international journal intended for professionals and researchers in all fields of Humanities and Social Science. IJHSSI publishes research articles and reviews within the whole field Humanities and Social Science, new teaching methods, assessment, validation and the impact of new technologies and it will continue to provide information on the latest trends and developments in this ever-expanding subject. The publications of papers are selected through double peer reviewed to ensure originality, relevance, and readability. The articles published in our journal can be accessed online.
711 supernatural elements in coleridge
Coleridge refined the supernatural in poetry, making it more subjective and psychological rather than objective and sensational. In works like The Rime of the Ancient Mariner, the supernatural is a subtle, slowly revealed atmosphere rather than sudden shocking events. Coleridge presented the supernatural as a psychic phenomenon experienced through the mind, conveying horror through the reactions it causes rather than directly depicting supernatural sights. He also humanized supernatural incidents and characters to make them more realistic and convincing. Overall, Coleridge revolutionized the use of the supernatural in poetry by presenting it as a subtle, mysterious influence on the mind rather than a source of crude thrills.
Coleridge
This document discusses Samuel Taylor Coleridge's poems "Kubla Khan" and "Dejection: An Ode" in the context of his aesthetic and spiritual idealism and postmodern criticism like Deconstruction. It argues that Coleridge's works demonstrate a "poetics of becoming" through their portrayal of the transforming creative self, rather than poetic or imaginative failure. The document defines key terms and discusses different critical perspectives on Coleridge to support its view that his poems show progress towards ideals through contradiction and irony, rather than total impossibility.
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Main English: PAPER NO. – 15: Literary Theory / Criticism-1:
Romantic poets
The document discusses several British Romantic poets including William Blake, William Wordsworth, and S.T. Coleridge. It provides biographical details and summaries of their works, styles, and themes. Blake was a visionary who emphasized imagination and spirit over rationalism. He criticized Deism and Christianity. Wordsworth found inspiration in nature and everyday rustic life. He believed nature had a spiritual presence that could enlighten man. Coleridge distinguished between primary imagination, which perceives the world, and secondary imagination, which creates through poetic inspiration in a state of ecstasy.
Alisha assinment p3
This document provides a summary of Samuel Taylor Coleridge's Biographia Literaria. It discusses Coleridge's new approach of "appreciative criticism" and how he sought to interpret works of art rather than judge them. It outlines Coleridge's views on the two cardinal points of poetry: fidelity to nature and the power of imagination. Coleridge also distinguishes between poetry and prose, defines what makes a legitimate poem, and discusses the difference between a poem and poetry itself.
paper 3 Literarry theory and criticism
This document summarizes Samuel Taylor Coleridge's views on poetry and criticism from his work Biographia Literaria. It outlines Coleridge's distinction between a poem, which deals with subjects through language and form, and poetry, which engages the philosopher mind and evokes deeper feelings in readers. The document also notes that for Coleridge, poetry is a broader category than just poems, as it can be an activity in other creative works. It concludes that Coleridge aimed to establish principles of writing rather than rules for criticism.
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Paper no.03 Literary Theory and Criticism
- 1. Coleridge's Views on ‘ Imagination ’ Name : Pooja Bhaliya Roll No : 02 Sem : 1 Paper : (3 ) – Literary Theory and Criticism Enroll No : PG 15101002 Email Id : poojabhaliya007@gmail.com Submitted To : Smt. S.B . Gardi Department of English Maharaja Krishnakumarsinhji Bhavnagar University
- 2. Biographia Literaria is a critical work by Coleridge which is contained in 24 chapter Biographia Literaria is the one of the his significant theoretical works. Biographia Literaria is concerned with the form of poetry, the genius of the poet and relationship to philosophy. BIOGRAPHIA LITERARIA
- 3. Coleridge focused mainly an imagination as the key to poetry. He divided into two main components; primary and secondary imagination. His most contribution to Literary Theory, literature and criticism is his ‘POETIC IMAGINATION’ For Coleridge imagination was responsible for acts that were truly creative and inventive. The imagination, on the other hand, was vital and transformative. IMAGINATION
- 6. It acts dependently of human will. It represents the basic agency of human awareness. Primaty imagination is something that is there in every human being because it is the living power of human perception. It is the common faculty of every human being. It enable us to seperate, divide and order in order to make perception possible. And to understand the unity of object. The primary imagination is a spontaneous creation of new ideas and they are expressed perfectly. Primary Imagination
- 7. Living power Prime agent of all human perception Repetition in the finite mind Eternal act of creation in the infinite IAM Primary Imagination
- 8. It acts in dependently of human will. It represents the conscious use of human power. The creative gift possessed by the poet. Secondary imagination is rather symbolic, It produces a form its own. It helps understanding the unity of universal, like good, divinity, truth, moral.. It is more active and conscious in its working. Secondary imagination selects and orders the raw material and reshapes and remodels it into objects of beauty. Secondary Imagination
- 9. Differs in the Degree & Mode of operation Co-exists with the conscious will SECONARY IMAGINATION Echo of the former
- 10. FANCY Coleridge distinguishes secondary imagination, with, fancy. Fancy is the lowes form of imagination because it has no other counters to play with but fixities and definites. Fancy; mechanical, imitative. It constructs images out of new combination conceptions and memories. For Coleridge, fancy is the attribute of poetic genius, but imagination is its soul. Fancy is equated with a mechanical mixture and imagination is equated with a chemical compound. Fancy is a limited or false parallel of Secondary Imagination. The parallel between the creativity of the poet and that of the cosmos makes us think of Schelling, but in Coleridge’s account there is on consciousness on deliberation of the cosmic creativity, so that the word ‘God’ is perhaps more appropriate here.
- 11. Fancy was employed for tasks that were MechanicalPassive The accumulation of fact and documentation
- 12. The role of Imagination in Literature. • It is the very important part of literature. • Imagination Make literature very interesting. • Imagination make any impossible thing to possible. • For an e.g. “Doctor Faustus”, “Gulliver’s Travels”.
- 13. The presence of Imagination in movie.
- 14. Imagination