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The Biographia Literaria is a critical autobiography by Samuel Taylor Coleridge, published in 1817 in two volumes.Its working title was 'Autobiographia Literaria'. The formative influences on the work were William Wordsworth's theory of poetry, the Kantian view of imagination as a shaping power (for which Coleridge later coined the neologism "esemplastic"), various post-Kantian writers ...
The cover of Biographia Literaria.. Esemplastic is a qualitative adjective which the English romantic poet Samuel Taylor Coleridge claimed to have invented. Despite its etymology from the Ancient Greek word πλάσσω for "to shape", the term was modeled on Schelling's philosophical term Ineinsbildung – the interweaving of opposites – and implies the process of an object being moulded ...
For Coleridge, there is an innate, primitive or 'primary' imagination that configures invisibly sense-experience into perception, but a rational perception, that is, one raised into consciousness and awareness and then rationally presentable, requires a higher level, what he termed 'secondary imagination', which is able to connect with the ...
Samuel Taylor Coleridge, a philosopher and poet known for his influence on English literature, coined the turn-of-phrase and elaborated upon it.. Suspension of disbelief is the avoidance—often described as willing—of critical thinking and logic in understanding something that is unreal or impossible in reality, such as something in a work of speculative fiction, in order to believe it for ...
Samuel Taylor Coleridge (/ ˈ k oʊ l ə r ɪ dʒ / KOH-lə-rij; [1]) (21 October 1772 – 25 July 1834) was an English poet, literary critic, philosopher, and theologian who was a founder of the Romantic Movement in England and a member of the Lake Poets with his friend William Wordsworth.
The power of the imagination is an important component to this theme. The poem celebrates creativity and how the poet is able to experience a connection to the universe through inspiration. As a poet, Coleridge places himself in an uncertain position as either master over his creative powers or a slave to it. [69]
For Coleridge, the creative capacity of the imagination, the "prime agent of all human perception," was the key to connecting to the essence of things outside of ourselves and overcoming the apparent split between self and object occasioned by man's self-consciousness.
Samuel Taylor Coleridge, an English philosopher, made a distinction between imagination expressing realities of an imaginal realm above our mundane personal existence and "fancy", or fantasy, which represents the creativity of the artistic soul. For him, "imagination is the condition for cognitive (conscious?) participation in a sacramental ...