 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
 | Antonio D. Tillis - 2005 - 148 pagina’s
...Biograf>hia) into "primary" and "secondary." Coleridge there emphasizes that the secondary Imagination is "essentially vital, even as all objects (as objects) are essentially fixed and dead" (BL, 1:304). Imagination, though grounded in the supernatural, is not supposed to be in any way hostile... | |
 | Christopher Upham Murray Smith, Robert Arnott - 2005 - 452 pagina’s
...in turn 'it dissolves, diffuses, dissipates, in order to re-create'. The secondary imagination too is 'essentially vital, even as all objects (as objects) are essentially fixed and dead'; ibid., p. 296. Wordsworth is less Kantian. According to him, the creative mind and the active universe... | |
 | Colin Jager - 2007 - 304 pagina’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;...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... | |
 | Larry Chang - 2006 - 826 pagina’s
...the finite mind of the eternal act of creation in the infinite I AM. The secondary imagination ... dissolves, diffuses, dissipates, in order to recreate;...all events it struggles to idealize and to unify. — Samuel Taylor Coleridge, 1772-1834 — Biographia Literaria, 1817 The mind can make Substance,... | |
 | Jennifer Davis Michael - 2006 - 252 pagina’s
...actually visible to the eye, certainly fits Coleridge's definition of the secondary imagination, which "dissolves, diffuses, dissipates, in order to re-create;...still, at all events, it struggles to idealize and to unify."35 The real "problem" with the description of Golgonooza is not that it lacks grist for the... | |
 | Benjamin Wiker, Jonathan Witt - 2006 - 256 pagina’s
...description of the imagination, particularly that of the imagination of genius — a creative force that "dissolves, diffuses, dissipates, in order to re-create;...still at all events it struggles to idealize and to unify."6 Coleridge felt that Shakespeare possessed such imagination to the highest degree. He might... | |
 | Jill Line - 2006 - 196 pagina’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;...impossible, yet still at all events it struggles to idealise and to unify. It is essentially vital, even as all objects (as objects) are essentially fixed... | |
 | Michael O'Neill, Mark Sandy - 2006 - 362 pagina’s
...degree, and in the mode of its operation. It dissolves, diffuses, dissipates, in order to re-create ... It is essentially vital, even as all objects (as objects) are essentially fixed and dead.19 To that extrication of the vital and creative activity of mind, conceived in analogy with the... | |
 | Lee Oser - 2007 - 206 pagina’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;...objects (as objects) are essentially fixed and dead. Fancy, on the other hand, has no other counters to play with, but fixities and definites. The fancy... | |
 | Robert Butterworth - 2007 - 228 pagina’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;...to idealize and to unify. It is essentially vital . . . Fancy, on the contrary, has no other counters to play with, but fixities and definites. The fancy... | |
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