“The theory of imagination”, as Masao Okamoto observes, “which was coming to have a very important role in the literary criticism in England, came to maturity towards the end of the eighteenth century, and was consummated in the criticism of S.T. Coleridge.” Under the influence of his father, John Coleridge who was well-versed in Greek, Latin and Hebrew, Samuel read many books from his childhood and in his early teens he was called by Lamb, a “logician, metaphysician, Bard!” According to Lamb, Coleridge was heard reading such books as Iamblicus and Plotinus out loud in the corridor of Christ Hospital.
Table of Contents
- Das 1
- Das 2
- Das 3
- Das 4
- Das 5
Objectives and Key Themes
This text explores the concept of imagination as defined by S.T. Coleridge, examining his distinction between "imagination" and "fancy." It delves into the origins and development of his theory, tracing its influences from classical thinkers to contemporary philosophers. The text analyzes Coleridge's ideas within the context of his broader literary and philosophical concerns.
- Coleridge's theory of imagination
- Distinction between primary and secondary imagination
- The role of "fancy" in creative processes
- Influence of classical thinkers on Coleridge's ideas
- The impact of imagination on art and literature
Chapter Summaries
- Das 1: This chapter introduces the topic of Coleridge's theory of imagination, placing it within the context of eighteenth-century literary criticism. It explores the influences that shaped his understanding of the concept, particularly those from classical philosophy and contemporary thinkers like John Locke and Addison. The chapter lays out the historical context for Coleridge's distinction between "fancy" and "imagination."
- Das 2: This chapter delves deeper into Coleridge's division of imagination into primary and secondary. It explores his view of primary imagination as a fundamental mental faculty, responsible for our perception of the world. The chapter also examines the role of secondary imagination in creative processes, highlighting its ability to transform and unify experiences.
- Das 3: The focus of this chapter shifts to Coleridge's concept of "fancy." It contrasts "fancy" with "imagination," emphasizing the difference between a mechanical juxtaposition of ideas and the transformative power of imagination. The chapter explores how "fancy" functions in the realm of aesthetics and how it differs from the creative potential of imagination.
- Das 4: This chapter analyzes the distinction between imagination and fancy in greater detail, exploring the historical evolution of the terms and the unique perspectives of Coleridge and Wordsworth. It draws parallels between the distinction and the difference between a mechanical mixture and a chemical compound, illustrating how imagination operates through a process of fusion and unification, while fancy merely combines elements without changing their essence.
Keywords
The text focuses on the key concepts of imagination, fancy, primary imagination, secondary imagination, creative process, literary criticism, philosophy, and the influence of classical thinkers on Coleridge's ideas. It examines Coleridge's unique contribution to the understanding of imagination and its role in art and literature.
- Citar trabajo
- Cute Suzzi (Autor), 2019, In "Biographia Literaria", Coleridge comments that the difference between ‘Fancy’ and ‘Imagination’ is the same as the difference between a mechanical mixture and a chemical mixture, Múnich, GRIN Verlag, https://www.grin.com/document/494510
