This presentation deals with chapter 14 of 'Biographia Literaria' written by Samuel Taylor Coleridge. It deals with his famous defence of Wordsworth's poetic creed, difference between prose and poem; and more importantly, difference between poem and poetry
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
Matthew Arnold (24 December 1822 – 15 April 1888) was an English poet and cultural critic who worked as an inspector of schools. He was the son of Thomas Arnold, the famed headmaster of Rugby School, and brother to both Tom Arnold, literary professor, and William Delafield Arnold, novelist and colonial administrator.
During this time Arnold wrote the bulk of his most famous critical works, Essays in Criticism (1865) and Culture and Anarchy (1869), in which he sets forth ideas that greatly reflect the predominant values of the Victorian era.
The concept of imagination in biographia literariaDayamani Surya
Samuel Taylor Coleridge in his Biographia Literature considered that the mind can be divided into two faculties called as imagination and fancy.
Imagination is further divided into two types namely Primary Imagination and Secondary Imagination.
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
Matthew Arnold (24 December 1822 – 15 April 1888) was an English poet and cultural critic who worked as an inspector of schools. He was the son of Thomas Arnold, the famed headmaster of Rugby School, and brother to both Tom Arnold, literary professor, and William Delafield Arnold, novelist and colonial administrator.
During this time Arnold wrote the bulk of his most famous critical works, Essays in Criticism (1865) and Culture and Anarchy (1869), in which he sets forth ideas that greatly reflect the predominant values of the Victorian era.
The concept of imagination in biographia literariaDayamani Surya
Samuel Taylor Coleridge in his Biographia Literature considered that the mind can be divided into two faculties called as imagination and fancy.
Imagination is further divided into two types namely Primary Imagination and Secondary Imagination.
An Apology for Poetry[7] (also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage. from wikipidea
The Preface to the Lyrical Ballads is an essay, composed by William Wordsworth, for the second edition of the poetry collection Lyrical Ballads, and then greatly expanded in the third edition of 1802. It has come to be seen as a de facto manifesto of the Romantic movement.
biography of s.t coleridge
introduction to biographia literaria
synopsis of chap 14
critical analysis
literary devices
objections and defence
fancy and imagination
primary and secondary imagination
Willing suspension of disbelief by samuel taylor coleridgeDayamani Surya
Willing suspension of disbelief is a term coined by Samuel Taylor Coleridge. It would mean suspend one's critical faculties and believe the unbelievable; sacrifice of realism and logic for the sake of judgement.
This Presentation is part of my M.A Study Paper about "Criticism and Indian aesthetic". Here my presentation is about Practical Criticism by I.A Richard.
An Apology for Poetry was written by the Elizabethan writer Philip Sidney in his defence of poetry from the accusation that was made by Stephen Gosson in his work "School of Abuse".
My Presentations on Overview of Culture and Anarchy written by Mathew Arnold.Culture and anarchy is a notorious philosophical work written by the celebrated Victorian poet and critic Mathew Arnold. This essay was first published in ‘Cornhill Magazine’ during 1867’-68.
Plato's Objection to Poetry and Aristotle's DefenceDilip Barad
This presentation deals with Greek philosopher Plato's objections to poetry and Aristotle's clarification on the confusion created by Plato. It is said that Plato confused study of morals/ethics with that of aesthetics. Aristotle removed this confusion.
An Apology for Poetry[7] (also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage. from wikipidea
The Preface to the Lyrical Ballads is an essay, composed by William Wordsworth, for the second edition of the poetry collection Lyrical Ballads, and then greatly expanded in the third edition of 1802. It has come to be seen as a de facto manifesto of the Romantic movement.
biography of s.t coleridge
introduction to biographia literaria
synopsis of chap 14
critical analysis
literary devices
objections and defence
fancy and imagination
primary and secondary imagination
Willing suspension of disbelief by samuel taylor coleridgeDayamani Surya
Willing suspension of disbelief is a term coined by Samuel Taylor Coleridge. It would mean suspend one's critical faculties and believe the unbelievable; sacrifice of realism and logic for the sake of judgement.
This Presentation is part of my M.A Study Paper about "Criticism and Indian aesthetic". Here my presentation is about Practical Criticism by I.A Richard.
An Apology for Poetry was written by the Elizabethan writer Philip Sidney in his defence of poetry from the accusation that was made by Stephen Gosson in his work "School of Abuse".
My Presentations on Overview of Culture and Anarchy written by Mathew Arnold.Culture and anarchy is a notorious philosophical work written by the celebrated Victorian poet and critic Mathew Arnold. This essay was first published in ‘Cornhill Magazine’ during 1867’-68.
Plato's Objection to Poetry and Aristotle's DefenceDilip Barad
This presentation deals with Greek philosopher Plato's objections to poetry and Aristotle's clarification on the confusion created by Plato. It is said that Plato confused study of morals/ethics with that of aesthetics. Aristotle removed this confusion.
Universal Human Laws in The Waste Land (T.S. Eliot)Dilip Barad
Functionalism explains human society as a whole in terms of the function of its constituent elements; namely norms, customs, traditions, and institutions.
A functionalist reading of myths might extract the universal human laws.
This presentation attempts to identify some Universal Human Laws in T.S. Eliot's modern epic 'The Waste Land'
Autobiographical Elements in T.S. Eliot's The Waste LandDilip Barad
This presentations attempts to explore the autobiographical elements in 'The Waste Land' - the poem by T.S. Eliot - the high priest of the theory of depersonalization.
Teaching Ideas: Teaching English Literature with the help of technologyDilip Barad
Teaching Ideas: This is a part of series of small presentations on how various forms of Information and Communication Technology can be helpful to the teachers of English Literature in effective teaching
Teaching Poetry with the help of Google Image Search
REPORT on OUTREACH PROGRAMME: FEB – MARCH 2017Dilip Barad
The Department of English (MKBU) has carried out three activities as outreach programme during the said time. This report presents brief overview of the activities carried out under the banner of this programme. It also presents the outcome of outreach activities with feedback from stakeholders.
In our secular age literary critics tend to deny that literary texts reveal 'truth' in a religious sense even though great authors like Milton and Robert Browning saw themselves as divine messengers. Even poets such as Shelley imbued their works with a spiritual quality in defiance of tendencies to regard poetry as outmoded and alien to progressive and rationalit thought. Perhaps it is time to rise to poetry's defence as Shelley did.
it includes
objections and defence
Review of each paragraph
essence and existence
prose and poetry
meter
effects of meter
principles of writing
coleridge as a critic
Cleanth Brooks - The Language of ParadoxDilip Barad
This presentation is based on Cleanth Brooks's essay "The Language of Paradox,", wherein Cleanth Brooks emphasizes how the language of poetry is different from that of the sciences, claiming that he is interested in our seeing that the paradoxes spring from the very nature of the poet's language: “it is a language in which the connotations play as great a part as the denotations. And I do not mean that the connotations are important as supplying some sort of frill or trimming, something external to the real matter in hand. I mean that the poet does not use a notation at all--as a scientist may properly be said to do so. The poet, within limits, has to make up his language as he goes.”
We are going to take a closer look at the history of the term "metaphysical poetry" and some examples of this curious and enigmatic school of early modern poetry in this post. Extensive similes and metaphors, extended poetic conceits and paradoxes, informal speech, and an interest in examining the interaction between the physical and spiritual world (and between the big and the small) are all common characteristics of metaphysical poetry, which we will discuss in this brief introduction.
Abraham Cowley (pronounced Cooley) was born in London, the posthumous son of a wealthy London stationer. He was educated at Westminster School and at Trinity College, Cambridge, where he took his BA in 1639, was made fellow in 1640, and became MA in 1643. Cowley published his first volume of verse, Poetical Blossoms (1633), when he was 15. The collection consisted of five poems, one of which Cowley had written at age 10. He wrote a pastoral drama and a Latin comedy, Naufragium Ioculare (1638), when he was but 20.
A certain prejudice sometimes alleges that allegories are outmoded metaphorical devices but as one literary scholar has note a traveller may be a symbol of a pilgrim or seeker of truth and a mountain may be a symbol of the soul's aspiration but once the traveller has set foot towards a mountain an allegory arises irrespective of the author's intentions as subconscious forces in the mind flow into the process of poetic creation.
Memorabilia 2024 | Department of English | MKBUDilip Barad
Memorabilia 2024 captures the essence of creativity and academic exploration within the Department of English at MKBU. This anthology showcases a diverse range of creative works and insightful reports, each reflecting the passion and dedication of our students. From compelling short stories and evocative poetry to thought-provoking essays and in-depth research papers, this publication celebrates the intellectual curiosity and talent nurtured within our academic community. Through engaging narratives and meticulous analysis, the students of the Department of English at MKBU demonstrate their commitment to excellence and their contributions to the fields of literature, language, and critical inquiry. Memorabilia 2024 serves as a testament to the vibrant scholarly environment and the profound impact of our students' endeavors on the broader academic landscape.
This booklet is documented record of various activities carried out during academic year 2022-23 by the students of the Department of English, Maharaja Krishnakumarsinhji Bhavnagar University, Bhavnagar, Gujarat.
Modern Theories of Criticism: An OverviewDilip Barad
Modern Theories of Criticism: An Overview
[Note: This presentation and video recording are of Prof. Dilip Barad's session in the Refresher Course for College / University teachers. The Refresher Course was organised by UGC-HRDC, University of Mumbai.]
Modern Literary Theory and Criticism refers to the examination and interpretation of literature using various theoretical frameworks that emerged in the 20th century. This approach encompasses diverse schools of thought such as Marxist, Feminist, Psychoanalytic, and Deconstructionist theory that offer a critical lens to analyze literary texts and reveal their deeper meanings and societal impact. The purpose of this introduction is to provide a comprehensive overview of the key concepts, influential figures, and historical developments in Modern Literary Theory and Criticism, highlighting its significance and impact in the field of literary studies.
Research Publication | Guidelines for the BeginnersDilip Barad
This presentation was made for the Postgraduate students of DAV College, Chandigarh. It is on the Research Publication. It deals with guidelines for the beginners.
Genre Study | Political Satire | Absalom and AchitophelDilip Barad
This presentation deal with Absalom and Achitophel as political satire. In the prologue, "To the Reader", Dryden states that "the true end of satire is the amendment of vices by correction".
Thematic Study of Absalom and Achitophel - John DrydenDilip Barad
The following themes are discussed in this presentation:
1. Politics, Allegory, and Satire
2. God, Religion, and the Divine Right of Kings
3. Power and Ambition
4. The Erosion of the Value and Power of Poetry
The Past, the Present and the Future of Dissecting Literary Texts: From Mora...Dilip Barad
This presentation was made in the Refresher Course in English on the theme of Pleasure of Dissecting the Text: The Poetics of Literary Theories and Criticism in English organised by UGC HRDC - Madurai Kamraj University, Tamilnadu
Two Ways to Look at Life | The Only StoryDilip Barad
There were two ways of looking at life; or two extremes of viewpoint, anyway, with a continuum between them.
One proposed that every human action necessarily carried with it the obliteration of every other action which might have been performed instead; life therefore consisted of a succession of small and large choices, expressions of free will, so that the individual was like the captain of some paddle steamer chugging down the mighty Mississippi of life.
The other proposed that it was all inevitability, that pre-history ruled, that a human life was no more than a bump on a log which was itself being propelled down the mighty Mississippi, tugged and bullied, smacked and wheedled, by currents and eddies and hazards over which no control was possible.
Theme of Love - Passion and Suffering - The Only Story - Julian BarnesDilip Barad
Passion – the Latin root of this words – suffering
Love = Passion + Suffering
Jacques Lacan – The Subject of Desire – Love-object
Love in ‘The Only Story’
How to Split Bills in the Odoo 17 POS ModuleCeline George
Bills have a main role in point of sale procedure. It will help to track sales, handling payments and giving receipts to customers. Bill splitting also has an important role in POS. For example, If some friends come together for dinner and if they want to divide the bill then it is possible by POS bill splitting. This slide will show how to split bills in odoo 17 POS.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
How to Create Map Views in the Odoo 17 ERPCeline George
The map views are useful for providing a geographical representation of data. They allow users to visualize and analyze the data in a more intuitive manner.
The Indian economy is classified into different sectors to simplify the analysis and understanding of economic activities. For Class 10, it's essential to grasp the sectors of the Indian economy, understand their characteristics, and recognize their importance. This guide will provide detailed notes on the Sectors of the Indian Economy Class 10, using specific long-tail keywords to enhance comprehension.
For more information, visit-www.vavaclasses.com
Students, digital devices and success - Andreas Schleicher - 27 May 2024..pptxEduSkills OECD
Andreas Schleicher presents at the OECD webinar ‘Digital devices in schools: detrimental distraction or secret to success?’ on 27 May 2024. The presentation was based on findings from PISA 2022 results and the webinar helped launch the PISA in Focus ‘Managing screen time: How to protect and equip students against distraction’ https://www.oecd-ilibrary.org/education/managing-screen-time_7c225af4-en and the OECD Education Policy Perspective ‘Students, digital devices and success’ can be found here - https://oe.cd/il/5yV
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Ethnobotany and Ethnopharmacology:
Ethnobotany in herbal drug evaluation,
Impact of Ethnobotany in traditional medicine,
New development in herbals,
Bio-prospecting tools for drug discovery,
Role of Ethnopharmacology in drug evaluation,
Reverse Pharmacology.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
2. The written monument of Coleridge’s critical work is contained
in 24 chapters of Biographia Literaria (1815–17). In this critical
disquisition, Coleridge concerns himself not only with the
practice of criticism, but also, with its theory. In his practical
approach to criticism, we get the glimpse of Coleridge the poet;
whereas in theoretical discussion, Coleridge the philosopher
came to the centre stage.
In Chapter XIV of Biographia Literaria, Coleridge’s view on
nature and function of poetry is discussed in philosophical
terms. The poet within Coleridge discusses the difference
between poetry and prose, and the immediate function of
poetry, whereas the philosopher discusses the difference
between poetry and poem. He was the first English writer to
insist that every work of art is, by its very nature, an organic
whole. At the first step, he rules out the assumption, which, from
Horace onwards, had wrought such havoc in criticism, that the
object of poetry is to instruct; or, as a less extreme form of the
heresy had asserted, to make men morally better.
3. Q1. Which two cardinal points of poetry are
discussed by Coleridge in Chapter 14 of
Biographia Literaria?
Q2. “During the first year that Mr. Wordsworth
and I were neighbours, our conversations turned
frequently on the two cardinal points of poetry”.
Explain with reference to Coleridge’s view in Ch.
14 of Biographia Literaria.
4. Two cardinal points of poetry: Coleridge begins this chapter
with his views on two cardinal points of poetry. To him these
cardinal points are (i) the power of exciting the sympathy of
the reader by a faithful adherence to the truth of nature, and
(ii) the power of giving the interest of novelty by modifying
with the colours of imagination. According to him, it was
decided that Wordsworth would write poetry dealing with the
theme of first cardinal point and the other was to be dealt by
him. For the first type of poetry, the treatment and subject
matter should be, to quote Coleridge, “The sudden charm,
which accidents of light and shade, which moon-light or sun-
set diffused over a known and familiar landscape, appeared to
represent the practicability of combining both. These are the
poetry of nature.” In such poems, subjects were to be chosen
from ordinary life; the characters and incidents were to be
such, as will be found in every village and its vicinity, where
there is a meditative and feeling mind to seek after them, or to
notice them, when they present themselves.
5. In the second type of poetry, the incidents and agents
were to be supernatural. In this sort of poetry, to quote
Coleridge, “the excellence aimed at was to consist in
the interesting of the affections by the dramatic truth
of such emotions as would naturally accompany such
situations, supposing them real. And real in this sense
they have been to every human being who, from
whatever source of delusion, has at any time believed
himself under supernatural agency.” Thus with the
help of imagination the natural will be dealt
supernaturally by the poet and the reader will
comprehend it with ‘willing suspension of disbelief’.
6. The Lyrical Ballads consists of poems dealing with
these two cardinal points. Wherein, the endeavour of
Coleridge was to deal with “persons and characters
supernatural”, and that of Wordsworth “was to give the
charm of novelty to things of every day, by awakening
the mind's attention from the lethargy of custom, and
directing it to the loveliness and the wonders of the
world before us.”
7. Q3. What are Coleridge’s views towards
Wordsworth’s poetic creed?
Q4. “Had Mr. Wordsworth's poems been the silly,
the childish things … they must have sunk at once,
a dead weight, into the slough of oblivion, and
have dragged the preface along with them”.
Explain with reference to Coleridge’s view in
Chapter 14 of Biographia Literaria.
8. Coleridge, even though he did not agree with Wordsworth’s views on
poetic diction, vindicated his poetic creed in chapter 14 of Biographia
Literaria. Coleridge writes in defence to the violent assailant to the
‘language of real life’ adopted by Wordsworth in the Lyrical Ballads.
There had been strong criticism against Wordsworth’s views expressed
in Preface also.
Coleridge writes in his defence: “Had Mr. Wordsworth's poems been the
silly, the childish things, which they were for a long time described as
being; had they been really distinguished from the compositions of other
poets merely by meanness of language and inanity of thought; had they
indeed contained nothing more than what is found in the parodies and
pretended imitations of them; they must have sunk at once, a dead
weight, into the slough of oblivion, and have dragged the preface along
with them”. He wrote that the ‘eddy of criticism’ which whirled around
these poems and Preface would have dragged them in oblivion.
But it has not happened. Instead, to quote Coleridge, “year after year
increased the number of Mr. Wordsworth's admirers. They were found too
not in the lower classes of the reading public, but chiefly among young
men of strong ability and meditative minds; and their admiration
(inflamed perhaps in some degree by opposition) was distinguished by its
intensity, I might almost say, by its religious fervour.” Thus, Coleridge
gives full credit to the genius of Wordsworth.
9. It does not mean that he agreed with Wordsworth on all the
points.
Coleridge writes: “With many parts of this preface in the
sense attributed to them and which the words undoubtedly
seem to authorize, I never concurred; but on the contrary
objected to them as erroneous in principle, and as
contradictory (in appearance at least) both to other parts of
the same preface, and to the author's own practice in the
greater number of the poems themselves.
Mr. Wordsworth in his recent collection has, I find, degraded
this prefatory disquisition to the end of his second volume, to
be read or not at the reader's choice”.
Hence, we may say that, Coleridge is frank enough to point
out that some of the views of Wordsworth were wrong in
principle and contradictory, not only in parts of the Preface
but also to the practice of the poet himself in many of his
poems.
10. Q5. How does Coleridge distinguish between
Prose and Poem?
Q6. Does the super addition of metre make the
difference between prose and poem?
Q7. Would then the mere super addition of metre,
with or without rhyme, entitle these to the name
of poems? Explain.
Q8. “A poem contains the same elements as a
prose composition”. Elucidate.
Q9. What according to Coleridge is the nature and
function of poem?
11. The poem contains the same elements as a prose
composition. But the difference is between the
combination of those elements and objects aimed at in
both the composition.
According to the difference of the object will be the
difference of the combination. If the object of the poet may
simply be to facilitate the memory to recollect (remember)
certain facts, he would make use of certain artificial
arrangement of words with the help of metre.
As a result composition will be a poem, merely because it is
distinguished from composition in prose by metre, or by
rhyme. In this, the lowest sense, one might attribute the
name of a poem to the well-known enumeration of the days
in the several months;
Thirty days hath September,
April, June, and November
Thus, to Coleridge, mere super addition of meter or rhyme
does not make a poem.
12. He further elucidates his view point by various prose
writings and its immediate purpose and ultimate end.
In scientific and historical composition, the
immediate purpose is to convey the truth (facts). In
the prose works of other kinds (romances and novels),
to give pleasure in the immediate purpose and the
ultimate end may be to give truth. Thus, the
communication of pleasure may be the immediate
object of a work not metrically composed.
13. Now the question is “Would then the mere super
addition of metre, with or without rhyme, entitle these
to the name of poems?”
To this Coleridge replies that if metre is super added
the other parts of the composition also must
harmonise with it. In order to deserve the name poem
each part of the composition, including metre, rhyme,
diction and theme must harmonise with the
wholeness of the composition.
Metre should not be added to provide merely a
superficial decorative charm. Nothing can
permanently please, which does not contain in
itself the reason why it is so, and not otherwise. If
metre is super added, all other, parts must be
made constant with it. They all must harmonise
with each other.
14. A poem, therefore, may be defined as, that species of
composition, which is opposed to works of science, by
proposing for its immediate object pleasure, not truth;
and from all other species (having this object in
common with it) it is discriminated by proposing to
itself such delight from the whole, as is compatible
with a distinct gratification from each component
part.
15. Thus, according to Coleridge, the poem is distinguished form
prose compositions by its immediate object. The immediate
object of prose is to give truth and that of poem is to please.
He again distinguishes those prose compositions (romance
and novels) from poem whose object is similar to poem i.e. to
please.
He calls this poem a legitimate poem and defines it as, “it
must be one, the parts of which mutually support and
explain each other; all in their proportion harmonizing
with, and supporting the purpose and known influences
of metrical arrangement”.
Therefore, the legitimate poem is a composition in which the
rhyme and the metre bear an organic relation to the total
work. While reading this sort of poem “the reader should be
carried forward, not merely or chiefly by the mechanical
impulse of curiosity or by a restless desire to arrive at the final
solution; but by the pleasurable activity of mind excited by the
attractions of the journey itself”.
16. Here Coleridge asserts the importance of the
impression created by the harmonious whole of the
poem. To him, not one or other part but the entire
effect, the journey of reading poem should be
pleasurable.
Thus Coleridge puts an end to the age old controversy
whether the end of poem is instruction or delight. Its
aim is definitely to give pleasure, and further poem has
its own distinctive pleasure, pleasure arising from the
parts, and this pleasure of the parts supports and
increases the pleasure of the whole.
17. Q10. How does Coleridge differentiate between
Poem and Poetry?
Q11. “Poetry of the highest kind may exist without
metre and even without the contradistinguishing
objects of a poem.” Explain.
Q12. “A poem of any length neither can be, nor
ought to be, all poetry”. Explain.
Q13. The difference between poem and poetry “is a
distinction resulting from the poetic genius itself,
which sustains and modifies the images,
thoughts, and emotions of the poet's own mind”.
18. In the last section of the chapter 14, Coleridge considers to
distinguish poem from poetry. Coleridge points out that
“poetry of the highest kind may exist without metre and even
without the contradistinguishing objects of a poem”.
He gives example of the writings of Plato, Jeremy Taylor and
Bible. The quality of the prose in this writings is equal to that
of high poetry.
He also asserts that the poem of any length neither can be,
nor ought to be, all poetry. Then the question is what is
poetry? How is it different from poem?
To quote Coleridge: “What is poetry? is so nearly the same
question with, what is a poem? The answer to the one is
involved in the solution of the other. For it is a distinction
resulting from the poetic genius itself, which sustains
and modifies the images, thoughts, and emotions of the
poet's own mind.
19. Thus the difference between poem and poetry is not given
in clear terms. Even John Shawcross (in Biographia
Literaria with Aesthetical Essays – 1907 Ed.) writes “this
distinction between ‘poetry’ and ‘poem’ is not clear, and
instead of defining poetry he proceeds to describe a poet,
and from the poet he proceeds to enumerate the
characteristics of the imagination”.
This is so because ‘poetry’ for Coleridge is an activity of the
poet’s mind, and a poem is merely one of the forms of its
expression, a verbal expression of that activity, and poetic
activity is basically an activity of the imagination.
20. As David Daiches(A Critical History of English
Literature) points out, ‘Poetry’ for Coleridge is a wider
category than a ‘poem’; that is, poetry is a kind of activity
which can be engaged in by painters or philosophers or
scientists and is not confined to those who employ
metrical language, or even to those who employ
language of any kind.
Poetry, in this larger sense, brings, ‘the whole soul of
man; into activity, with each faculty playing its proper
part according to its ‘relative worth and dignity’. This
takes place whenever the synthesizing, the integrating,
powers of the secondary imagination are at work,
bringing all aspects of a subject into a complex unity,
then poetry in this larger sense results.
21. David Daiches further writes in A Critical History of English
Literature, “The employment of the secondary imagination is a
poetic activity, and we can see why Coleridge is let from a
discussion of a poem to a discussion of the poet’s activity when
we realize that for him the poet belongs to the larger company
of those who are distinguished by the activity of their
imagination.”
By virtue of his imagination, which is a synthetic and magical
power, he harmonize and blends together various elements
and thus diffuses a tone and spirit of unity over the whole.
It manifests itself most clearly in the balance or reconciliation
of opposite or discordant qualities – such as (a) of sameness,
with difference, (b) of the general, with the concrete, (c) the
idea, with the image, (d) the individual, with the
representative, (e) the sense of novelty and freshness, with old
and familiar objects, (f) a more than usual state of emotion,
with more than usual order, (g) judgment with enthusiasm.
And while this imagination blends and harmonizes the natural
and the artificial, it subordinates to nature, the manner to the
matter, and our admiration of the poet to our sympathy with
the poetry.
22. To conclude, we may say In his own words, he
endeavored ‘to establish the principles of writing
rather than to furnish rules about how to pass
judgment on what had been written by others’.
Thus, Coleridge is the first English critic who based his
literary criticism on philosophical principles. While
critics before him had been content to turn a poem
inside out and to discourse on its merits and demerits,
Coleridge busied himself with the basic question of
‘how it came to be there at all’. He was more interested
in the creative process that made it, what it was, then
in the finished product.