Another way of putting this might be to say that even the creative poetic imagination is ultimately rooted in our actual perceptions of the world: it cannot simply create from nothing, or from the insubstantiality of its own dreams. Unlike the primary imagination, then, fancy is not merely a perceptual agent; rather, it is a creative power but operates at a lower level of creativity than the secondary or poetic imagination, which has the power to dissolve perceptions entirely and create new combinations. In a sense, then, Coleridge is returning to an earlier and broader notion of reason, one that he elaborates, however, in post-Kantian terms. Coleridge’s views of imagination, and specifically of poetic imagination, are elaborated in his Biographia Literaria (1817), published shortly after his Lay Sermons. Nonetheless, while the poet for Coleridge is a kind of genius, set apart from other men, he insists that the reader’s engagement should be with the poetry itself, not with the poet. Coleridge acknowledges that poetry is formed from the same elements as prose; the difference lies in the different combination of these elements and the difference of purpose (BL, II, 11). Coleridge also blends his famous writing style with his own poetic style. His poetry suits reading, and even singing aloud. Whereas, for Kant, the ultimate ground and enabling principle of experience was the transcendental ego that stood aloof from and organized particular experiences, Coleridge sees this transcendental ground not in ourselves but in the Word of God; for him, reason itself is equated with divine scripture, and thereby made transcendental; in other words, reason is not, as for the Enlightenment thinkers, a faculty that operates directly on the data derived from experience; rather, it precedes, enables, and defines the very possibility of experience. Collection universallibrary Contributor Osmania University Language English. Now this is RELIGION, which is the EXECUTIVE of our nature, and on this account the name of highest dignity, and the symbol of sovereignty” (LS, 59, 64). Secure he views his harvests rise; For knowledge to arise, then, the dualism of subjective and objective, inherent in modern philosophy since Descartes, must be overcome. His poetry has song-like qualities. Rather, both men appealed to what they called universal principles that would comprehend past, present, and future. Coleridge and his wife Sara lived close to Wordsworth and his sister Dorothy from 1796; in 1800 they all moved to the Lake District, which proved to be a rich source of poetic inspiration. Coleridge, an English poet, philosopher, literary critic, and founder of the Romantic movement, suggested that the concept of organic form meant that a poem or literary piece was shaped… In the first place, Coleridge attempted to redeem the notion of reason from its reductive and abstract status as bequeathed by the Enlightenment. Wordsworth revolts against the poetic diction of eighteenth century. Hence all nature is an expression of the selfconscious will or intelligence of God: “We begin with the I KNOW MYSELF, in order to end with the absolute I AM. And, like these other thinkers, he rejected what he took to be Kant’s explanation of the noumenon (BL, I, 155). Hence, just as imagination combines sense with understanding, so reason, placed at a higher vantage point, unites the knowledge derived from all three of these. What is perhaps most interesting about Coleridge’s perspective is the way he presents “eternal” and vital scripture as opposed to modern “mechanical” or “dead” philosophies in terms of the faculties of the human mind. Poet, philosopher, critic. Wordsworth revolts against the poetic diction of eighteenth century. Shortly after his explicit disillusionment with French revolutionary principles and practice, he also questioned his own unorthodox Unitarian views, and by 1805 he had made positive overtures toward trinitarianism. In the fourth chapter of the Biographia, Coleridge makes his famous suggestion that fancy and imagination, contrary to widespread belief, are “two distinct and widely different faculties”: they are not “two names with one meaning, or . . ‘Concept of Poetry – Wordsworth & Coleridge.’ 2. From Bowyer he would learn that “Poetry, even that of the loftiest and, seemingly, that of the wildest odes, had a logic of its own, as severe as that of science.” His major work was Biographia Literaria. Such an insistence contributes to a conception of poetry as autonomous, and will be repeated by the twentieth-century formalists and New Critics. Coleridge retorts that, Over many domains of great significance in the history of literary autobiography, theory... 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