Samuel Taylor Coleridge's theory of poetry is expounded in his work "Biographia Literaria," which he published in 1817. This text serves as both an autobiography and a critical treatise, where Coleridge discusses his thoughts on poetry and the nature of artistic creation. Coleridge's theory of poetry is complex and multifaceted, encompassing various aspects such as imagination, the unity of opposites, and the concept of secondary imagination.
One central idea in Coleridge's theory of poetry is the role of the imagination. He distinguishes between the primary and secondary imagination. The primary imagination, according to Coleridge, is the faculty that allows humans to perceive and create images. It is essentially the power of sensory perception and the ability to form mental images based on those perceptions. The secondary imagination, on the other hand, involves the poetic or creative process. It is the faculty that transforms and recombines these images to produce new and imaginative works of art, particularly poetry.
Coleridge emphasizes the importance of the secondary imagination in the creation of poetry. He argues that true poetry arises from a synthesis of the primary and secondary imagination. It involves the artist's ability to unify disparate elements into a harmonious whole. Coleridge believes that the best poetry transcends the mere imitation of reality and instead creates a heightened, imaginative version of truth.
Another key element in Coleridge's theory is the concept of the "esemplastic" imagination, which refers to the power to shape or mold diverse elements into a unified whole. This concept is closely related to his idea of the unity of opposites. Coleridge suggests that a great poem achieves unity by reconciling seemingly contradictory elements. The poet, through the esemplastic imagination, brings together disparate ideas, emotions, and images to create a cohesive and harmonious work.
Coleridge also introduces the notion of the "organic form" of poetry. He argues that a poem should possess an internal coherence and unity akin to that found in living organisms. Instead of being a mere collection of disjointed parts, a poem should exhibit an organic structure where each element contributes to the overall meaning and impact of the work. This organic form arises from the poet's ability to integrate diverse materials into a unified and meaningful whole.
Moreover, Coleridge discusses the idea of the "imagination of power" versus the "imagination of fancy." The imagination of power involves the deep, creative faculty that engages with the profound and universal aspects of human experience. In contrast, the imagination of fancy deals with superficial and whimsical aspects. Coleridge values the imagination of power more highly, emphasizing its capacity to delve into the profound truths of existence.
In conclusion, Coleridge's theory of poetry, as articulated in "Biographia Literaria," revolves around the concepts of primary and secondary imagination, the esemplastic imagination, the unity of opposites, and the organic form of poetry. He sees the poet as a creative force that transforms reality through the synthesis of diverse elements into a harmonious whole. Coleridge's ideas have had a significant influence on subsequent generations of poets and critics, shaping the understanding of the poetic process and the role of imagination in artistic creation.