MAE601-eL7 ,

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2 M.A.English Literary Criticism and Critical Approaches- I Course Code: MAE 601 Semester: First e-Lesson: 5 SLM Unit: 7 www.cuidol.in Unit-7 (MAE601) https://www.google.com/search?q=Greek+theatre All right are reserved with CU-IDOL

Samuel Taylor Coleridge OBJECTIVES 33 Student will be introduced to S.T.Coleridge’s INTRODUCTION Biography In this unit the student will be able to Student will be introduced to S.T.Coleridge as a understand S.T.Coleridge as a poet & critic critic Student will be able to understand S.T. Student will be introduced to S.T.Coleridge’s Coleridge’s criticism in his Biographia Biographia Literaria Literaria www.cuidol.in Unit-7 (MAE601) Student will also be able to understand joint venture of S.T. Coleridge & Wordsworth INSTITUTE OF DAIlSlTAriNgChEt aArNeDreOsNeLrvINeEd LwEiAthRNCIUN-GIDOL

TOPICS TO BE COVERED 4 S.T. Coleridge : Biography S.T. Coleridge : Biographia Literaria www.cuidol.in Unit-7 (MAE601) All right are reserved with CU-IDOL

S.T.COLERIDGE 5 Samuel Taylor Coleridge, (born October 21, 1772, Ottery St. Mary, Devonshire, England—died July 25, 1834, Highgate, near London), English lyrical poet, critic, and philosopher. His Lyrical Ballads, written with William Wordsworth, heralded the English Romantic movement, and his Biographia Literaria (1817) is the most significant work of general literary criticism produced in the English Romantic period. www.cuidol.in Unit-7 (MAE601) Samuel Taylor Coleridge Biographia ... player.fAmll right are reserved with CU-IDOL

S.T.COLERIDGE 6 Samuel Samuel Taylor Coleridge is the premier poet- critic of modern English tradition, distinguished for the scope and influence of his thinking about literature as much as for his innovative verse. Active in the wake of the French Revolution as a dissenting pamphleteer and lay preacher, he inspired a brilliant generation of writers and attracted the patronage of progressive men of the rising middle class . As William Wordsworth’s collaborator and constant companion in the formative period of their careers as poets, Coleridge participated in the sea change in English verse associated with Lyrical Ballads (1798). www.cuidol.in Unit-7 (MAE601) All right are reserved with CU-IDOL

BIOGRAPHIA LITERARIA 7 www.cuidol.in Samuel Taylor Coleridge Biographia ... All right are reserved with CU-IDOL player.fm Unit-7 (MAE601)

BIOGRAPHIA LITERARIA 8 In early March 1815, deciding what manuscripts, even older ones, might be fit for the press, Coleridge proposed to friends and publishers the project that would become Biographia Literaria. He had no intention of producing a two-volume work, let alone a classic of humane letters fusing literary criticism, both deeply theoretical and brilliantly practical, with autobiography, philosophy, religion and poetry. Yet, for the final result, what Arthur Symons claimed in 1906 remains true: 'The Biographia Literaria is the greatest book of criticism in English, and one of the most annoying books in any language' (BL 1906, introd., x-xi). www.cuidol.in Unit-7 (MAE601) Samuel Taylor Coleridge Biographia ... stitoral.yolasite.com All right are reserved with CU-IDOL

BIOGRAPHIA LITERARIA 9 George Saintsbury, who wrote about literary criticism more comprehensively than anyone until René Wellek, stated simply: 'So, then, there abide these three, Aristotle, Longinus, and Coleridge.' Saintsbury avowed that if all literature professors were made redundant, and the proceeds used to furnish 'every one who goes up to the University with a copy of the Biographia Literaria, I should decline to . . . be heard against this revolution, though I should plead for the addition of the Poetics and of Longinus' (History of Criticism iii, 230-1).l www.cuidol.in Unit-7 (MAE601) All right are reserved with CU-IDOL

BIOGRAPHIA LITERARIA—CHAPTER IV 10 Fancy and Imagination are two distinct and widely- different faculties. They come from, respectively, the Greek phantasia and the Latin imaginatio. In the popular usage of these English words, their meanings have, in recent times, come to be almost synonymous. But they should not be, for their root words were not too similar. www.cuidol.in Unit-7 (MAE601) All right are reserved with CU-IDOL

BIOGRAPHIA LITERARIA—CHAPTER IV 11 The character and privilege of Genius, and one of the marks that distinguish genius from talents: the prime merit of genius: to \"represent familiar objects as to awaken in the minds of others a kindred feeling concerning them and a freshness of sensation.“ \"Genius produces the strongest impressions of novelty while it rescues the most admitted truths from the impotence caused by the very circumstance of their universal admission.\" www.cuidol.in Unit-7 (MAE601) All right are reserved with CU-IDOL

BIOGRAPHIA LITERARIA—CHAPTER XIII 12 Chapter thirteen, which features relatively clear definitions of Fancy and Imagination as Coleridge means them, is NOT specified as required reading on the Reading List for these exams! An error, or not?? Anyhow, I feel it is important to understand the other chapters that ARE on the list, and to understand Coleridge's thinking, so here goes. www.cuidol.in Unit-7 (MAE601) All right are reserved with CU-IDOL

BIOGRAPHIA LITERARIA—CHAPTER XIII 13 IMAGINATION: PRIMARY IMAGINATION. This is the \"living power and prime agent of all human PERCEPTION.“ SECONDARY IMAGINATION: This is an echo of the 1ary imagination; it differs from the 1ary imagination in DEGREE and in the MODE of operation. More specifically, it dissolves, diffuses, dissipates, in order to RECREATE--or, if that is impossible, to idealize and identify. I take that to mean, the functions of memory and mental interpretation of sensory data into meaning within the mind. Coleridge says that the secondary imagination is \"essentially VITAL\" even as all objects, as objects, are essentially fixed and dead. I take that to mean that the secondary imagination is pliable and malleable on the voluntary (conscious) or subconscious level, as in dreaming. . www.cuidol.in Unit-7 (MAE601) All right are reserved with CU-IDOL

BIOGRAPHIA LITERARIA—CHAPTER XIII 14 INTERPRETATION OF THE SENSES: . \"FANCY is a mode of MEMORY emancipated from the order of time and space-- blended with and modified by that empirical phenomenon of the will.....CHOICE. This seems to be what I usually mean by imagination: to use the mind's \"eye/ear. . .etc.\" to simulate another sensation of something that might be absent, or nonexistent. All materials are ready-made from the Law of Association. So Coleridge seems to be saying that one can use FANCY as a kind of power to create memory-mosaics or collages, rearranging what we've experienced into a new combination or shape to suit our \"fancy\" (in the common usage). IMAGINATION : is an \"esemplastic power\"--Norton says that that phrase is Coleridge's coinage, and is built from root words, to mean that imagination has the power to MOLD INTO UNITY. www.cuidol.in Unit-7 (MAE601) All right are reserved with CU-IDOL

BIOGRAPHIA LITERARIA—CHAPTER IV 15 When Coleridge and Wordsworth were neighbors. , they used to discuss what Coleridge here refers to as the two \"cardinal points of poetry:“ 1. The power of exciting the reader's sympathy. . .by a faithful adherence to the truth of nature. 2. The power of giving the interest of novelty by the modifying colors of imagination. (but this seems like, by C's terminology, Fancy is the one who can modify colors, not imagination.) For example, the sudden charm which accidents of light and shade. . . . ...you get the idea. Such chance effects are \"the poetry of Nature.\" www.cuidol.in Unit-7 (MAE601) All right are reserved with CU-IDOL

BIOGRAPHIA LITERARIA—CHAPTER IV 16 THE ORIGIN OF \"LYRICAL BALLADS“ . Wordsworth and Coleridge suggested (C. doesn't recall (hah) which of them did the suggesting) a series of poems that would be of two sorts: 1. Incidents and agents to be, in part, at least, supernatural: excellence aimed at was to invest the affections by the dramatical truth of such emotions as would naturally accompany such situations, assuming them real. These were the ones that Coleridge contributed, such as \"The Rime of the Ancient Mariner\" and \"Christabel.“ 2. Subjects chosen from ordinary life--characters and incidents such as will be found in every village. . .where there is a meditative and feeling mind to seek after them. These were the sort composed for the book by Wordsworth. The excellence aimed at here was to imbue the charm of novelty to things of every day: to excite a feeling analogous to the supernaturea, by \"awakening the mind's attention from the LETHARGY OF CUSTOM and directing it to the loveliness and the wonders of the world around us, an inexhaustible treasure.\" www.cuidol.in Unit-7 (MAE601) All right are reserved with CU-IDOL

BIOGRAPHIA LITER. ARIA—CHAPTER IV 17 When first published, Lyrical Ballads featured 19 poems by Mr. Wordsworth, and only 4 by Coleridge. C. says that his offerings seemed to be \"an interpolation of heterogeneous matter.\" Also, two or three (only) in LB were written in Wordsworth's \"own character, in the impassioned, LOFTY, and sustained diction which is characteristic of his genius.\" To me, this statement appears to mean that Coleridge feels that the \"rustic\" poems didn't showcase Wordsworth's genius. www.cuidol.in Unit-7 (MAE601) All right are reserved with CU-IDOL

BIOGRAPHIA LITERARIA—CHAPTER IV 18 . WORDSWORTH'S STATEMENTS ABOUT THE LANGUAGE OF REAL LIFE In the first and then the second editions (the 2nd having been expanded), the \"Advertisement\" and the \"Preface\" (respectively) seemed that Wordsworth indicated that all poetry should use the language of real life and avoid the \"usual ornaments and extras; the colloquial style of poems in general. Coleridge maintains that he has always disagreed with the meaning that seems to be put forth by that statement, which has been the understanding also of the reading public and which seems not to be the wrong interpretation of the words themselves. [You see how C. is distancing himself from both Wordsworth as a friend (they were not so close now) and from disagreeing directly with Wordsworth himself. Interesting. . .] \"I never concurred; but, on the contrary objected to them as erroneous in principle, and as contradictory (in appearance at least) both to other parts of the same preface and to the author's own practice in the greater number of the poems themselves.\" He calls this statement W's \"poetic creed.\" www.cuidol.in Unit-7 (MAE601) All right are reserved with CU-IDOL

BIOGRAPHIA LITERARIA—CHAPTER IV 19 COLERIDGE'S DEFINITIONS OF HIS SPECIAL MEAN. ING OF POEM, POETRY, AND POET, BUT NOT POVERTY \"A poem contains the same elements as a prose composition; the difference therefore must consist in a different combination of them, in consequence of a different object proposed. According to the difference of the object will be the difffernece of the combination.\" The lowest sense is as a mnemonic, such as \"thirty days hath September. . .\" where it's called a poem only by the virtue of rhyme or meter or both. \". . .a particular pleasure is found in anticipating the recurrence of sounds and quantities, all compositions that have this charm superadded, whatever be their contents, MAY be entitled poems. . . .So much for the superficial FORM. www.cuidol.in Unit-7 (MAE601) All right are reserved with CU-IDOL

MULTIPLE CHOICE QUESTIONS 20 1. When was Biographia Literaria published? c) 1820 a) In 1817 d) 1822 b) 1824 2. When was S.T. Coleridge born? c) 1773 a) 1773 d) 1772 b) 1774 3. Who was S.T. Coleridge? c) He was a critic a) He was a poet d) He was a Romantic poet & Critic b) He was a philosopher 4.What is the similarity between a poem and a prose? a) Their elements are different c) Both contains the same meters b) These are not same d) Both contains the same elements Answers: 1.a) 2. d) 3.d) 4.d) www.cuidol.in Unit-7 (MAE601) All right are reserved with CU-IDOL

SUMMARY 21 S.T. Coleridge was philosopher, poet and religious and political theorist He was born in Devonshire England In 1795 Coleridge met poet William Wordsworth with whom he was to work closely Coleridge and Wordsworth collaborately published Lyrical Ballads in 1798, marking the rise of the British Romantic Movement In 1878 Biographia Literaria, a fusion of autobiography, literary criticism and religious and philosophical theory was published www.cuidol.in Unit-7 (MAE601) All right are reserved with CU-IDOL

FREQUENTLY ASKED QUESTIONS 22 www.cuidol.in FAQs - Frequently Asked Questions ... All right are reserved with CU-IDOL Unit-7 (MAE601)

FREQUENTLY ASKED QUESTIONS 23 1.Q What is the significance of the letter in chapter XIII in Biographia Literaria? 2. Q Biographia Literaria touches a new high watermark in literary criticism. Critically examine. 3. Q In Biographia Literaria, to what extent can Coleridge's view about what distinguishes a poem from poetry be supported? 4. Q Discuss the relative merits and weaknesses of Coleridge's Biographia Literaria. www.cuidol.in Unit-7 (MAE601) FAQs - Frequently Asked Questions ... All right are reserved with CU-IDOL

REFERENCES 24 David Daiches : Critical Approaches to Literature, 2nd ed., Hyderabad: Orient Longman, 2001. M. H. Abrams : A Glossary of Literary Terms, Singapore: Harcourt Asia Pvt. Ltd., 2000. Rene Wellek : A History of Modern Criticism: 1750-1950, Vols. I-IV, London: Jonathan Cape, 1958. M.A.R. Habib : A History of Literary Criticism: From Plato to the Present, Oxford: Blackwell, 2005. Patricia Waugh : Literary Theory & Criticism: An Oxford Guide, Delhi: OUP, 2006. M.S. Nagarajan : English Literary Criticism & Theory: An Introductory History, Hyderabad: Orient Longman, 2006. www.cuidol.in Unit-7 (MAE601) All right are reserved with CU-IDOL

25 THANK YOU www.cuidol.in Unit-7 (MAE601) All right are reserved with CU-IDOL