 I consider as an echo of the former, co-existing with the conscious will, yet still as identical with the 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...  Studies in Philology - Pagina 721926Volledige weergave - Over dit boek
 | Marta Dvořák - 2001 - 288 pagina’s
...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... | |
 | B. J. Gibbons - 2001 - 212 pagina’s
...the poet, differs from the primary imagination 'only in degree and the mode of its operation'. It too 'is essentially vital, even as all objects (as objects) are essentially fixed and dead'.1" Imagination was a fecundating faculty in the world, since without it 'all the products of... | |
 | Bernadette Malinowski - 2002 - 468 pagina’s
...primary in the kind of its agency, and dif fering 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... | |
 | Ian Balfour - 2002 - 372 pagina’s
...the primary in the kind of its agency, and differing only in degree, and the mode of its operation. It dissolves, diffuses, dissipates, in order to re-create;...objects (as objects) are essentially fixed and dead. (VII,1,304) In the readings of the passage offered to date, critics have tended to underscore the creativity... | |
 | Samuel Taylor Coleridge - 2002 - 296 pagina’s
...artist's shaping spirit is presumably what lies beneath the mention of 'struggle' in BL: the imagination 'dissolves, diffuses, dissipates, in order to re-create;...all events it struggles to idealize and to unify' (i. 304). 3i. The entry continues over the page with thoughts about RS's Curse ofKehama. 501 18. 80... | |
 | Jessica R. Feldman - 2002 - 292 pagina’s
...Angloid word. The Secondary Imagination "dissolves, diffuses, dissipates, in order to re-create . . . struggles to idealize and to unify. It is essentially...vital, even as all objects (as objects) are essentially dead and fixed." In contrast to Imagination, Fancy is of the kingdom of death, for it "has no other... | |
 | Owen Barfield - 2002 - 244 pagina’s
...only imagination could Add the gleam, The light that never was on sea or land; for imagination was 'essentially vital, even as all objects (as objects) are essentially fixed and dead'.1 1 Coleridge: Biographia Literaria. 216 Imagination was, in fact, organic; and the application... | |
 | Richard Eldridge - 2003 - 300 pagina’s
...primary in the kind of its agency, and different only in degree, and in the mode of its operation. It dissolves, diffuses, dissipates, in order to recreate;...all objects (as objects) are essentially fixed and dead.69 In characterizing primary imagination as the "prime agent of all human perception," Coleridge... | |
 | John Allison - 2003 - 180 pagina’s
...co-existing with the conscious will, yet still as identical with the primary in the kind of its operation. It dissolves, diffuses, dissipates, in order to recreate;...yet still at all events it struggles to idealize and unify. It is essentially vital, even as all obfects (as objects) are essentially fixed and dead. Fancy,... | |
 | Bruce Haley - 2003 - 322 pagina’s
...means that criticism must employ not merely analysis but imagination, which "struggles to idealize and unify. It is essentially vital, even as all objects (as objects) are essentially fixed and dead" (BL I: 304). The sixth lecture was delivered on Thursday, December 5. The following week and the succeeding... | |
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