...special skill, a kind of elvish craft" (140). Coleridge's Secondary Imagination also creates a new world: "[I]t dissolves, diffuses, dissipates, in order to...re-create or where this process is rendered impossible. . . . [I]t struggles to idealize and to unify. It is essentially vital" (167). Perhaps Tolkien's main...

...degree, and in the mode of 1ts operation. It dissolves, diffuses, dissipares, in order to recreare; or where this process is rendered impossible, yet still, at all events it struggles to ideali2e and to unify. It is essentially vital, even as all objects (as objects) are essentially fixed...

...degree and the mode of its operation. It dissolves, diffuses, dissipates, in order to recreate. ... It is essentially vital, even as all objects (as objects) are essentially fixed and dated." Coleridge's theories have spawned a huge literature. I have found the following works particularly...

...primary in the kind of its agency, and differing only in degree, and in the mode of its operation. It dissolves, diffuses, dissipates, in order to recreate;...objects (as objects) are essentially fixed and dead. Fancy, on the contrary, has no other counters to play with but fixities and defmites. The fancy is...

...primary in the kind of its agency, and differing only in degree, and in the mode of its Operation. It dissolves. diffuses, dissipates, in order to re-create;...objects (as objects) are essentially fixed and dead. FANCY, on the contrary, has no other counters to play with, but fixities and definites. The Fancy is...

...primary in the kind of its agency, and differing only in degree, and in the mode of its operation. It dissolves, diffuses, dissipates, in order to re-create;...objects (as objects) are essentially fixed and dead. 305 Emerson, „Gnothi Seauton". VI, 52-57. 306 Vgl. Wellek, History of Modern Criticism. Vol. 2. S....

...primary in the kind of its agency, and differing only in degree. and in the mode of its operation.* It dissolves, diffuses, dissipates, in order to re-create...essentially vital, even as all objects (as objects) are essen tially fixed and dead.f FANCY, on the contrary, has no other counters to play with but fixities...

...co-existing with the conscious will, yet still as identical with the primary in the kind of its agency [...]. It dissolves, diffuses, dissipates, in order to re-create,...yet still at all events it struggles to idealize and unify.22 In the later twentieth century the relation between historical and poetic discourse has been...

...co-existing with the conscious will, yet still as identical with the primary in the kind of its agency [...]. It dissolves, diffuses, dissipates, in order to re-create,...or where this process is rendered impossible, yet stiü at all events it struggles to idealize and unify. :1 In the later twentieth century the relation...

...notably in his concept of the secondary Imagination, which "struggles to idealize and to unify" and which is essentially "vital, even as all objects (as objects) are essentially fixed and dead" (Coleridge, Biographia 452, emphasis in original). Coleridge's Romantic idea finds itself at the heart...