metre, and even without the contradistringuishing objects of a poem. Doubtless this could not be, but that she turnsBodies to spirit by sublimation strange,As fire converts to fire the things it burns,As we our food into our nature change.From their gross matter she abstracts their forms,And draws a kind of quintessence from things,Which to her proper nature she transformsTo bear them light, on her celestial wings.Thus does she, when from individual statesShe doth abstract the universal kinds;Which then re-clothed in divers names and fatesSteal access through our senses to our minds. excited by the attractions of the journey itself. 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. Coleridge thrown his philosophical-critical insights on following issues. boisterously denied, meeting with sentiments of aversion to his undeniable proofs that poetry of the highest kind may exist without To bear them light on her celestial wings. interpolation of heterogeneous matter. 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. Under Wordsworth’s influence, Coleridge’s poetry shifted to a more conversational voice and began to find inspiration in daily life. He diffuses a tone, and spirit of unity, that blends, and (as it were) fuses, each into each, by that synthetic and magical power, to which we have exclusively appropriated the name of imagination. not a peculiar property of poetry. Afterwards, Coleridge lectured and traveled extensively, and, while battling an opium addiction, moved in with physician James Gillman in 1816. But if the definition sought for be that of a legitimate poem, I answer, 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. Sometimes nature combines both …  The written monument of Coleridge’s critical work is contained in 24 chapters of Biographia Literaria (1815–17). By Samuel Taylor Coleridge. in the several months; "Thirty days hath September, The first chapter of Isaiah (indeed a very large proportion of the whole book) is poetry in the most emphatic sense, yet it would be not less irrational than strange to assert, that pleasure, and not truth, was the immediate object of the prophet. Biographia Literaria: Chapter 14 In chapter 14 of Biographia Literaria, S.T. according to their relative worth and dignity. work belongs. Samuel Taylor Coleridge was a English poet writing in the late 18th and early 19th century, often associated with Romanticism. excerpts from Biographia Literaria (SAMUEL TAYLOR COLERIDGE) from CHAPTER 13 [IMAGINATION] On the imagination, or esemplastic power. In this rebuttal, Coleridge considers the elements of a poem—sound and meter, communication, pleasure, and emotional affect—as they function together. The reader should be carried forward, not merely or chiefly by . Had Mr. Wordsworth's poems been the silly, the childish things, which One is nature and the other is imagination. not be so managed in the language of ordinary life as to produce the Biographia Literaria: Chapter 14. Some of it is a response to ideas of poetry advanced by his close friend and collaborator William Wordsworth , first in the 1800 preface to their joint publication Lyrical Ballads and then in the preface to Wordsworth’s Collected Poems (1815). instances has this been more striking, than in disputes concerning the On attempts to shape a work into meter, or consciously add any of these elements to a poem, Coleridge notes, “nothing can permanently please, which does not contain in itself the reason why it is so, and not otherwise.” Emphasizing the harmony of these elements as what sustains a poem, Coleridge describes the reader’s path through such a poem as “like the motion of a serpent . Academic year. Coleridge writes in defense to the violent assailant to the ‘‘Language of real life’’ adopted by Wordsworth in the Lyrical Ballads. This list is generated based on data provided by ... might be fit for the press, Coleridge proposed to friends and publishers the project that would become Biographia Literaria. She doth abstract the universal kinds; uncontroverted. continued controversy. In this critical disquisition, Coleridge concerns himself not only with the practice of criticism, but also, with its theory. . difference of the combination. may be the communication of truths; either of truth absolute and among young men of strong sensibility and meditative minds; and their suspension of disbelief for the moment, which constitutes poetic sufficient to procure for these shadows of imagination that willing Project Gutenberg's Biographia Literaria, by Samuel Taylor Coleridge This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. 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