“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
1. 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. Elaborate.
Objectives and Topics
The primary objective of this work is to analyze and elaborate on S.T. Coleridge's philosophical distinction between 'Fancy' and 'Imagination'. The study examines the origins of Coleridge's theories, their divergence from earlier associationist thought, and his unique categorization of these mental faculties as distinct in kind rather than degree.
- Exploration of the intellectual origins and influences on Coleridge's theory of imagination.
- Detailed analysis of the distinction between primary and secondary imagination.
- Examination of the definition and role of 'Fancy' in Coleridge's critical framework.
- Comparative analysis between Coleridge’s theoretical approach and that of William Wordsworth.
- Evaluation of the significance of Coleridge's distinction as a unique contribution to literary theory.
Excerpt from the Book
The difference between imagination and fancy, according to Coleridge, is one of kind rather than degree.
During the seventeenth century, the terms ‘imagination’ and ‘fancy’ had almost been used in a synonymous sense. The eighteenth century accorded a superior sense first to on term and then to the other, but finally, by the end of the century imagination came to be firmly established as the superior term. It was Wordsworth’s reading of a poem in manuscript that aroused Coleridge’s interest in the problem of imagination and fancy. The poem had a deep impact upon him. Pondering over the reasons for this, he concludes that “fancy and imagination were two distinct and widely different faculties instead of being, according to the general belief, either two names, with one meaning, or at furthest, the lower and higher degree of our and the same power”. As illustration, he asserts that “Milton had a highly imaginative, Cowley a very fanciful mind.”
Imagination and fancy, however, differs in kind. Fancy is not a creative power at all. It only combines what is perceives into beautiful shapes, but like the imagination it does not fuse and unify. The difference between the two is the same as the difference between a mechanical mixture and a chemical compound. In a mechanical mixture a number of ingredients are brought together. They are mixed up, but they do not lose their individual properties. In a chemical compound, the different ingredients combine to form something new. The different ingredients no longer exist as separate identities. They lose their respective properties and fuse together to create something new and entirely different. A compound is an act of creation; while a mixture is merely a bringing together of a number of separate elements.
Summary of Chapters
1. 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. Elaborate.: This chapter introduces the central theoretical problem posed by Coleridge, tracing the intellectual influences of figures like Plotinus and the historical context of the Romantic awakening that shaped his views on the mind's faculties.
Keywords
Coleridge, Fancy, Imagination, Primary Imagination, Secondary Imagination, Mechanical Mixture, Chemical Compound, Romanticism, Perception, Literary Theory, Wordsworth, Associationism, Creative Power, Aesthetics, Mind Faculties.
Frequently Asked Questions
What is the fundamental subject of this work?
The work explores S.T. Coleridge's critical and philosophical distinction between the faculties of 'Fancy' and 'Imagination', specifically addressing his assertion that they differ in kind rather than degree.
What are the central thematic fields covered?
The central themes include the nature of human perception, the creative process, the historical development of Romantic literary criticism, and the philosophical categorization of cognitive faculties.
What is the primary research question?
The research seeks to elaborate on why and how Coleridge differentiates between the mechanical nature of 'Fancy' and the transformative, creative nature of 'Imagination'.
Which scientific or critical methods are applied?
The text utilizes a qualitative, comparative analytical method, drawing upon historical literature reviews, biographical context, and textual analysis of Coleridge's *Biographia Literaria* and other critical essays.
What is the core focus of the main body?
The main body focuses on defining the primary and secondary imagination, evaluating the passive role of 'Fancy', and contrasting these concepts with those of contemporary poets like Wordsworth.
Which keywords characterize this work?
The primary keywords are Coleridge, Fancy, Imagination, Creative Power, Perception, and Romanticism.
How does Coleridge compare 'Fancy' and 'Imagination' to chemical processes?
Coleridge uses the analogy of a mechanical mixture versus a chemical compound: Fancy is like a mixture where elements remain separate, whereas Imagination acts like a compound, fusing elements into something new and unified.
In what way does Coleridge’s approach differ from Wordsworth’s?
While Wordsworth primarily focused on the practical application of imagination in poetry, Coleridge was interested in the formal theory of imagination, distinguishing clearly between primary and secondary levels, a distinction not made by Wordsworth.
What is the role of the 'Primary Imagination' according to the text?
The primary imagination is described as the 'living Power and prime Agent of all human Perception,' acting as a repetition in the finite mind of the eternal act of creation.
Why is 'Fancy' considered a form of memory?
Fancy is viewed as a mode of memory because it works with 'fixities and definites,' accumulating facts and rearranging them without the transformative or creative fusion characteristic of the Imagination.
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- 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
