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This document summarizes S.T. Coleridge's views on imagination and the poetic process. It distinguishes between primary imagination, which imposes order on sensory impressions, and secondary imagination, which shapes and modifies those impressions. Fancy combines perceptions mechanically, while imagination fuses and unifies through chemical compound. The poetic process involves observation, contemplation, reviving emotion through memory interrogation, and conveying that emotion to others through composition. A poem is an organic whole where form follows content and meter/rhyme provide poetic pleasure through mutual support between parts.
This document summarizes S.T. Coleridge's views on imagination and the poetic process. It distinguishes between primary imagination, which imposes order on sensory impressions, and secondary imagination, which shapes and modifies those impressions. Fancy combines perceptions mechanically, while imagination fuses and unifies through chemical compound. The poetic process involves observation, contemplation, reviving emotion through memory interrogation, and conveying that emotion to others through composition. A poem is an organic whole where form follows content and meter/rhyme provide poetic pleasure through mutual support between parts.
This document summarizes S.T. Coleridge's views on imagination and the poetic process. It distinguishes between primary imagination, which imposes order on sensory impressions, and secondary imagination, which shapes and modifies those impressions. Fancy combines perceptions mechanically, while imagination fuses and unifies through chemical compound. The poetic process involves observation, contemplation, reviving emotion through memory interrogation, and conveying that emotion to others through composition. A poem is an organic whole where form follows content and meter/rhyme provide poetic pleasure through mutual support between parts.
Coleridge Primary imagination: the power of receiving impressions of the external world through senses.
It is an unavoidable act of the mind which imposes some
sort of order on the impressions got through senses, and then reduces them to shape and size and makes possible a clear and coherent perception of the outside world. S. T. Coleridge cont’d Secondary imagination: The power of shaping and modifying the power of receiving impressions of the external world through senses. S. T. Coleridge cont’d Fancy Fancy not a creative power, only combines what it perceives into beautiful shapes, not fuse and unify like imagination, Fancy, mechanical mixture Imagination, chemical compound, an act of creation, a mixture merely a bringing together of a number of separate elements, S. T. Coleridge cont’d Poetic production process: 1. observation; Object, character, incident, setting up powerful emotions in the mind of the poet 2. Recollection or contemplation of that emotion in tranquility; time and solitude purifies and selects the emotions and universalizes it 3. The interrogation of memory by the poet sets up or revives the emotion in the mind itself. It is very much like the first emotion but purged of all superficialities and constitutes a state of enjoyment. 4. Composition: the poet must convey that “ overbalance of pleasure”, or the “state of enjoyment” to others. S. T. Coleridge cont’d Poem, organic whole: Poem’s form is determined by its content and meter and rhyme are essential to the poetic pleasure we get from the poem. In a legitimate poem the parts mutually support and explain each other, all in their proportion harmonizing with and supporting the purpose and known influence of metrical arrangement. Willing suspension of disbelief: To believe in the moment of reading a poem in what is essentially incredible and improbable, treatment of poetry sends the judgment of the reader to sleep , our consciousness is in voluntary suspension , helps us enjoy what in our consciousness we would condemn as incredible. Kubla Khan the wild, unknowable power of nature - a major theme in this poem The first stanza of the poem describes Khan's pleasure dome built alongside a sacred river fed by a powerful fountain. The second stanza of the poem is the narrator's response to the power and effects of an Abyssinian maid's song, which enraptures him but leaves him unable to act on her inspiration unless he could hear her once again. Together, they form a comparison of creative power that does not work with nature and creative power that is harmonious with nature.
Shakespeare, With Introductory Matter on Poetry, The Drama, and The Stage (Unabridged): Coleridge's Essays and Lectures on Shakespeare and Other Old Poets and Dramatists