esemplastic power by coleridge

esemplastic \ess-em-PLASS-tik\ adjective. Where reason analyzes and reduces into parts, Imagination puts the parts back together into a Whole and takes us to the hidden metaphysical unity behind multiplicity. Thus, Coleridge argues that good literary works employ th… Coleridge saw imagination as "emplastic". The Biographia Literaria was one of Coleridge's main critical studies in which he discusses the elements and process of writing. The… Though I think it can be said that empathy does shape after observation, this esemplastic power might operate at a “higher” octave of empathy. he was to seek after in the realm of the mind with his 'esemplastic power' a few years later. coleridge theory of imagination in biographia literaria Home > Uncategorized > coleridge theory of imagination in biographia literaria > Uncategorized > coleridge theory of imagination in … The esemplastic power of Imagination. The secondary I consider as an echo of the former, co-existing with the conscious will, yet still as identical … Coleridge argues that rather than merely receiving ideas and impressions from the world, mind has agency in perceiving reality. The phrase 'esemplastic power' suggests that the imagination itself has some kind of agency in the real world. Esemplastic is a qualitative adjective which the English romantic poet Samuel Taylor Coleridge claimed to have invented. Coleridge distinguishes between two types of... Our experts can answer your tough homework and study questions. In the Biographia Literaria, Coleridge has a chapter titled “On the imagination, or esemplastic power.” Esemplastic is a word he devised himself from Greek and means “to shape into one” (7,1: 168). In Chapter 8 Coleridge entertains but interrogates Cartesian dualism. The difference between them is one of degree. Download Free PDF. Understanding the meaning of Kubla Khan by Samuel Taylor Coleridge is one of the most complicated pieces of poetry owing to its profound imagery that has various symbolic ramifications. 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. 3.Fancy - nothing creative, plays with only fixities and "definites," associative power of memory - Neoclassicals used only fancy. In that realm our subjective faculties – intuition, aesthetic sensibility, the esemplastic power (as Coleridge called it) of subsuming the many under the one – with all these personal and uncertain means we begin to construct a philosophy. It "dissolves, diffuses, dissipates" in order to recreate - esemplastic ("molding into unity") power. More example sentences. by Subject; Textbook Solutions Expert Tutors Earn. He also uses another word for the secondary imagination and calls it the ‘Esemplastic Imagination’: the artistic, the creative imagination. 26. WordReference Random House Unabridged Dictionary of American English © 2020. es•em•plas•tic (es′em plas′ tik, -əm-), USA pronunciation. In his famous Biographia Literaria, Samuel Taylor Coleridge makes a distinction between fancy and imagination: ‘Imagination’ is the ‘esemplastic’ power, the power that is capable of unifying into one. Coined by Coleridge, probably after German ineinsbildung ‘forming into one’. Few, however, have located the source of that idea in the work of Samuel Taylor Coleridge. $59.95 (Hdbk; ISBN: 0-521-58316-0). (6) For Tate, genuine imagination works toward higher syntheses through the things of the world by means of analogy. One is nature and the other is imagination. The difference certainly is one of kind also. Pronunciation . Neither have I. I constructed 4. z Coleridge imagination was responsible for acts that were truly creative and inventive. “On the imagination, or esemplastic power” “The Imagination then I consider either as primary, or secondary. Johnson rejects the political and historical reading of the epic as a record of the glorious prehistory of Rome and instead foregrounds Vergil’s enigmatic style and questioning of the heroic myths. esemplastic (comparative more esemplastic, superlative most esemplastic) Unifying; having the power to shape disparate things into a unified whole. Whereas fancy rested on the mechanical and passive operations of one's mind to accumulate and store data, imagination held a "mysterious power" to extract "hidden ideas and meaning" from such data. Imagination described the “mysterious power” which extracted from such data, hidden ideas and meaning. One of the best books ever written on one of humanity’s greatest epics, W. R. Johnson’s classic study of Vergil’s Aeneid challenges centuries of received wisdom. rare. The… Tolkien's idea of subcreation has been much discussed by his fans and critics. Biographia Literaria, or Biographical Sketches of My Literary Life and Opinion (1817) Samuel Taylor Coleridge 4.1 Romantic History of Imagination William Blake ‟s A Vision of the Last Judgment Blake elaborates his earlier doctrines of the Divine Image and the Poetic Genius. It is esemplastic, i.e. Main Menu; Earn Free Access; Upload Documents; Refer Your Friends; Earn Money; Esemplastic power Under Coleridge’s definition, this category of imagination is the trivial one–nothing creative, it plays only with fixities and definites, rehashing what humanaity knows and … The Weird of Globalization: Esemplastic Power in the Short Fiction of China Miéville Mark Williams ... Watson borrows from S.T. ‘There are other novelists who seem to be able to remake themselves drastically from one novel to the next, and can find any number of grooves for their ‘esemplastic’ (Coleridge's wonderful word) genius.’. Chapter 14 Biographia Literaria Difference between Poem and Poetry 2. Shelburne Essays by Paul Elmer More (1909) "was the esemplastic function of the imagination. Coleridge defines imagination as the unifying or ‘esemplastic’ power. [1817; < Greek es-, dial. It is the power of perceiving the objects 01 sense, both their parts and as a whole. Examples "Art achieves its impact from something Samuel Taylor Coleridge called its esemplastic power, the ability to make sense out of chaos, to 'shape into one' the many truths around us." This web version of of Ruskin's Poetic Argument is a project supported by the University Scholars Programme of the National University of Singapore. On the imagination, or esemplastic power. In that chapter, the poet, critic, and philosopher also coined a new word, “esemplastic,” to articulate the Imagination’s unique uniting force, its power to mold disparate objects into one. adjective. He invented the influential notion of the “willing suspension of disbelief”. An American edition was published later the same year. Coleridge was fascinated by the way the imagination works. Remember that Coleridge calls imagination "the esemplastic power"; it is a power that reconciles and balances discordant qualities into dynamic unities. Tolkien's idea of subcreation has been much discussed by his fans and critics. It not only recollects memories and reproduces them in the mind but recreates them after transformation or modification. 13 of Biographia Literaria Bibliographical Notes. esemplastic (comparative more esemplastic, superlative most esemplastic) Unifying; having the power to shape disparate things into a unified whole. Reviewed by Richard Matlak College of the Holycross I believe it was Walter Jackson Bate who commented that one could quote Coleridge to support either side of Department of English │ Jahangirnagar University E 205 │ Batch 42 │ Mashrur Shahid Hossain │ 2014 WORKSHEET 4. The imagination, on the other hand, was vital and transformative. Coleridge points out that there are some qualities essential for a poet, the power of association, imagination and sensibility. On the imagination, or esemplastic power O Adam, One Almighty is, from whom All things proceed, and up to him return, If not deprav'd from good, created all Such to perfection, one first matter all, Endued with various forms, various degrees Of substance, and, in things that live, of life; But more refin'd, more spiritous and pure, As nearer to him … Thus, Coleridge argues that good literary works employ the use of the imagination and describes its power to "shape into one" and to "convey a new sense" as esemplastic. Imagination was the key word in poetry of romanticism. By an effort of intellect and will it selects things perceived by primary imagination and reshapes and remodels it into objects of beauty. He distinguished it from what he called superficial "fancy", and described it in a wonderful phrase as "the esemplastic or shaping power". 1) The Imagination then I consider either as primary, or secondary. A decade after its first appearance a writer could remark, "Nor I trust will Coleridge's favorite word esemplastic..ever become current." Coleridge describes primary imagination as the “mysterious power” which can extract “hidden ideas and meanings” from objective data. This power could not … DOI link for A Recluse. requires a huge effort of the imagination, which we might call the "esemplastic power of the poetic imagination." On the Imagination, or esemplastic..." 3. According to Coleridge the secondary imagination “ dissolves, diffuses, and dissipates” in order to recreate. Coleridge, Imae'inatlon has forms i.e. Esemplastic definition: making into one; unifying | Meaning, pronunciation, translations and examples In chapter 13, on the imagination "or esemplastic power," we read: The imagination I consider either as primary, or secondary. Somewhere else in the Biographica he calls it the "esemplastic" power of the imagination. It represented the creative power of God, and the poet is the “creator” who … Since the “law of association” fixes fancy’s mode, do its parameters limit empathy to the bounds of personal memory? Instead, it “Reveals itself in the balance or reconciliation of opposite or discordant qualities.” Back (3) Response to an enquiry - 'Opinions', Montjoie! “a shaping and modifying power” which, by its plastic stress, reshapes objects of the external world and steeps them with glory and dream that never was on land and sea. The word is not in Johnson, nor have I met with it elsewhere.' Coleridge distinguishes between three types of imagination: primary imagination, secondary imagination, and fancy. Oxford dictionary defines the adjective esemplastic as: “moulding into one; unifying” Coleridge refers to the “esemplastic power of the imagination”, “esemplastic” meaning “shaping into One”. Imagination- Coleridge’s “esemplastic” power is intuitive, unitive, faculty that sees the Whole behind the parts, the One behind the many. On the imagination, or esemplastic power. Pronunciation . having the ability to shape diverse elements or concepts into a unified whole; unifying: the esemplastic power of the mind. Samuel Taylor Coleridge, “On the imagination, or esemplastic power,” Ch. Coleridge calls secondary imagination a magical power; it fuses various faculties of human soul- will, emotion, intellect, perception. It is ‘esemplastic’, i.e. Chapter 13. having the ability to shape diverse elements or concepts … What does esemplastic mean? sophy of Samuel Taylor Coleridge and the need for a new vision in Christian theology today. I shall use Coleridge’s definitions of imagination and its types, as portrayed by himself in his work, Biographia Literaria, particularly in the thirteenth chapter, On the imagination, or esemplastic power (Coleridge). "Christabel" is an unfinished poem by Samuel Coleridge. Unusual and new-coined words are, doubtless, an evil; but vagueness, confusion, and imperfect conveyance of our thoughts, are a far greater, wrote English poet Samuel Taylor Coleridge in … In the Biographia Literaria, Coleridge has a chapter titled “On the imagination, or esemplastic power.” Esemplastic is a word he devised himself from Greek and means “to shape into one” (7,1: 168). The Esemplastic Power of the Imagination. XIII). Noting that esemplastic was a word he borrowed from the Greek "to shape," Coleridge explained that it referred to the imagination's ability to … variant of eis- into + (h)én, neuter of heîs one + plastic; irreg. IPA : /ɛsɛmˈplæstɪk/ Rhymes: -æstɪk; Adjective . It is when Davy is most emotionally involved and least scientific, when he is ready to talk of unity and affinity, that he comes nearest in sympathy to Coleridge and to a side of Wordsworth's poetry. This power could not … The Biographia Literaria was written in 1815 and first published in July of 1817, when Coleridge was 44. He distinguished it from what he called superficial "fancy", and described it in a wonderful phrase as "the esemplastic or shaping power". Examples "Art achieves its impact from something Samuel Taylor Coleridge called its esemplastic power, the ability to make sense out of chaos, to 'shape into one' the many truths around us." The secondary imagination makes artistic creation possible. Esemplastic definition: making into one; unifying | Meaning, pronunciation, translations and examples illus. Esemplastic definition: making into one; unifying | Meaning, pronunciation, translations and examples Study Guides Infographics. It is vital. Influenced by Immanuel Kant , Coleridge develops his own theory of Imagination, which he defines as the “esemplastic power” (31) The poem "Dejection" by Samuel Taylor Coleridge is presented. "Kubla Khan" illustrates vital secondary imagination in … Collectively, these statements suggest that imagination unifies material in an internal organic matter, changing the very elements themselves that are united, whereas the combinations produced by fancy are aggregative, comprising … Primary and Secondary. From Chapter 14. He distinguished it from what he called superficial “fancy”, and described it in a wonderful phrase as “the esemplastic or shaping power”. Coleridge explains that it comes from the Greek for to shape into one. Chapter 10 of the author's Ruskin's Poetic Argument: The Design of the Major Works, which Cornell University Press published in 1985.It appears in the Victorian web with the kind permission of the author, who of course retains copyright. From Coleridges's "Biographia Literaria": " 'Esemplastic. The Esemplastic Power of the Imagination. Coleridge in the tenth chapter of Biographia Literaria described this ability of the imagination as "Esemplastic." See more. Chapter 17. Stauffer, Donald A. Study Resources. When Coleridge and Wordsworth were neighbors, they used to discuss what Coleridge here refers to as the two "cardinal points of poetry:" the Imagination as the power by which man can achieve a new kind of metaphysics within his own consciousness. A Recluse . In the chapter titled "On the imagination, or esemplastic power," which precedes the chapter containing the state-ment on the object of poetry, Coleridge experiences over-whelming difficulty in trying to describe the metaphysical Imagination concerns itself with the inner nature of things rather than concentrate on … 7. f6 Coleridge expresses his wish to go to Germany to obtain the works of this great philosopher. (I remember having to consult the dictionary for the word.) The Biographia Literaria provides a clue. Coleridge most likely borrowed from the Greek word meaning "to shape". e. “a shaping and modifying power.”. xiii. Imagination- Coleridge‟s “esemplastic” power is intuitive, unitive, faculty that sees the Whole behind the parts, the One behind the many. Indeed, Coleridge refers to imagination as the “esemplastic” power, a term he derives from the Greek eis hen plattein meaning “to shape into one” (BL, I, 168). IPA : /ɛsɛmˈplæstɪk/ Rhymes: -æstɪk; Adjective . The first type is the primary imagination, the living power and prime agent of all human perception (Coleridge, Chapter XIII), and it is the impromptu production of distinct ideas. Coleridge forged the neologism esemplastic from the Greek, in the middle chapter of Biographia Literaria, chapter XIII, to define the power of Imagination as a distinct concept from Fancy. Influenced by Immanuel Kant, Coleridge develops his own theory of Imagination, which he defines as the “esemplastic power” (31). On the imagination, or esemplastic power. The secondary. Secondary Imagination :- The primary imagination is universal and possessed by all. Biographia Literaria (Ch. ... '"esemplastic. “a shaping and modifying power”. In this work, Coleridge establishes a criterion for good literature, making a distinction between the imagination and "fancy". Definition: shaping or having the power to shape disparate things into a unified whole. Literature Network » Samuel Taylor Coleridge » Biographia Literaria » Chapter 13. The phrase ‘esemplastic power’ suggests that the imagination itself has … On the imagination, or esemplastic power . It is common for editors who have expended much time and labour on a book to exaggerate its significance; but where the Biographia Literaria is concerned even the most extravagant exaggerations hardly overstep the mark. Cambridge University Press, 1998. xii + 256pp. ‘Coleridge defines imagination as the esemplastic power’ More example sentences ‘There are other novelists who seem to be able to remake themselves drastically from one novel to the next, and can find any number of grooves for their ‘esemplastic’ (Coleridge's wonderful word) genius.’ But Coleridge had shown me, young as I was, that he could define another power within myself, and that in his naming it and my claiming it, I had more immediate access than before. Credits. 13) Samuel Taylor Coleridge. Coleridge felt that emplastic had the power to "shape into one" and to "convey a new sense." Calcutta Review by University of Calcutta (1844) "The Imagination has been defined by Coleridge as the 'esemplastic Power'. Coleridge’s View on Imagination . Not only did the subject subsume the object it can also be argued that Imagination subsumed Our cousin, Mr. Stevens Molding into one; unifying. The Biographia Literaria provides a clue. in order to recreate” The secondary imagination is at the root of all poetic activity. Imagination I hold to be the living Power and prime Agent of all human Perception, to write down his or her poem, for example, the work is … shaping or having the power to shape disparate things into a unified whole Example sentence: The prison walls of self had closed entirely round him; he was walled completely by the esemplastic power of his imagination -- he had learned by now to project mechanically, before the world, an acceptable counterfeit of himself…. A Recluse book. The phrase 'esemplastic power' suggests that the imagination itself has some kind of … CHAPTER XIII. ... Coleridge calls it a magical, synthetic power. The word is not in Johnson, nor have I met with it elsewhere. The first recorded use of the word is in 1817 by Coleridge in his work, Biographia Literaria, in describing the esemplastic – the unifying – power of the imagination. 13) Lyrics. Bringing together or able to bring together different concepts and thoughts into a unified whole. Imagination may be what Coleridge calls in the Biographia Literaria the esemplastic power or the power that “makes things into one,” but that same power doesn’t cancel differences to arrive at some indeterminate lump of oneness. The Imagination then I consider either as primary, or secondary. Your email address will not be published. The formative influences on the work were Wordsworth's theory of poetry, the Kantian view of imagination as a shaping power (for which Coleridge later coined the neologism "esemplastic"), various post-Kantian writers including F.W.J. Jennifer Ford, Coleridge on Dreaming: Romanticism, Dreams and the Medical Imagination Cambridge Studies in Romanticism, no. 107; for his theory of life, see the whole of his “Formation of a More Comprehensive Theory of Life,” Selected Poetry and Prose of Coleridge, ed. ‘Coleridge defines imagination as the esemplastic power’. es•em•plas•tic. , nos 11-12, Nov-Dec 1913 Back What does esemplastic mean? - Coleridge - All about the word - the nature of and importance of distinction between these terms ... On the Imagination, or Esemplastic Power - Coleridge - Imagination: truly creative faculty with primary and secondary aspects - Primary aspect of imagination is directly a restating of concepts Biographia Literaria: Coleridge’s Theory of Imagination Biographia Literaria is. Some of it is a response to ideas of poetry advanced by his close friend and collaborator William Wordsworth, first in the 1800 preface to their joint publication Lyrical Ballads and then in … Biographia Literaria Chapter 14 Summary. Influenced by Immanuel Kant, Coleridge developed his own theory of ‘imagination’, which he defines as the ‘esemplastic power’. Few, however, have located the source of that idea in the work of Samuel Taylor Coleridge. Definition: shaping or having the power to shape disparate things into a unified whole. Main Menu; by School; by Literature Title. Though it is the second, more ambitious and ... with its "esemplastic" or unity-making power, or his thought about life and organicism, or his propaedeutic "distinction in kind" between the reason and the6 Bu understanding.t ..." 4. It is an active agent which “dissolves, diffuses, dissipates. Imagination concerns itself with the inner nature of things rather than concentrate on … Primary imagination is merely the power ot receiving impressions of the external world through the senses. Esemplastic definition, having the ability to shape diverse elements or concepts into a unified whole: the esemplastic power of a great mind to simplify the difficult. :shaping or having the power to shape disparate things into a unified whole. The primary and the secondary imaginations do not differ from each other in kind. Coleridge found that words were maliable … On the imagination, or esemplastic power. The human spirit's ability to see a bound together the truth is recognized from Hartleyan mental 'affiliations' which he calls ' fancy '. von Schelling, and the earlier influences of the empiricist school, including David Hartley and the Associationist psychology. It may even be suggested that this unity is the only one close enough to act as the unifying power of the Imagination, the “ esemplastic ” power of which Coleridge theorized (Biographia Literaria, Ch. Significantly, these two places mark the “entrance” and “exit” of the philosophical chapters, their beginning and end. coinage by S. T. Coleridge… From one side … 6 Coleridge speaks of the “esemplastic” power of the imagination in the Biographia Lileraria, 1. In chapter 13, on the imagination "or esemplastic power," we read: The imagination I consider either as primary, or secondary. Coleridge attributes it to a higher power, a creator, as it is not of human origin and the … View All Credits. The primary Imagination I hold to be the living Power and prime Agent of all human Perception, and as a repetition in the finite mind of the eternal act of creation in the infinite I Am. Samuel Taylor Coleridge (21 October 1772 - 25 July 1834) was an English poet, literary critic and philosopher who, with his friend William Wordsworth, was a founder of the Romantic Movement in England and a member of the Lake Poets. The primary Imagination I hold to be the living Power and prime Agent of all human Perception, and as a repetition in the finite mind of the eternal act of creation in the infinite I Am. Bringing together or able to bring together different concepts and thoughts into a unified whole. (ˌɛs ɛmˈplæs tɪk, -əm-) adj. Remember that Coleridge calls imagination "the esemplastic power"; it is a power that reconciles and balances discordant qualities into dynamic unities. It requires an effort of the will and conscious effort. Coleridge was fascinated by the way the imagination works. It is therefore, “esemplastic”.i. 1 10K. O Adam, One Almighty is, from whom. Coined by Coleridge, probably after German ineinsbildung ‘forming into one’. The primary imagination is the power behind what Coleridge elsewhere calls “the mystery of perception”. It is “the living Power and prime agent of all human Perception”. Its synthetic power operates through the most direct contact of the mind and the nature. "esemplastic power" - Coleridge introduces his neologism— esemplastic —at the beginning of Chapter 10: “ Esemplastic. The word is not in Johnson, nor have I met with it elsewhere. ” Neither have I! I constructed it myself from the Greek words eis en plattein i.e. to shape into one …. Coleridge first comes to this point at the end of Chapter 4 and again at the end of Chapter 13. Tate describes "the ' esemplastic power' of the Primary Imagination," for example, as "a Teutonic angel inhabiting a Cartesian machine named Samuel Taylor Coleridge." It fuses internal and external, the subjective and objective. Biographia Literaria (Ch. Coleridge was fascinated by the way the imagination works. Similarly, you may ask, why did Coleridge write Biographia literaria? Coleridge also distinguished sharply between the use of “Imagination” and “Fancy” by the poet, the latter being able only to copy and embellish past examples, the former, however, possessing an “ esemplastic power” to see things as a whole and to bring new worlds to life, by creation and invention. esemplastic \ess-em-PLASS-tik\ adjective. Poem: Biographia Literaria - Chapter XIII by Samuel Taylor Coleridge. (2) Coleridge describes the imagination as 'the esemplastic power', Biographia Litteraria, ch. However, beneath the thick veneer of Kubla Khan’s imagery lies the central theme of Romantic imagination and poetic creation that has been exploited all throughout the poem. adj. Coleridge defines imagination as the unifying or ‘esemplastic’ power. It not only recollects memories and reproduces them in the mind but recreates them after transformation or modification. Access ; Upload Documents ; Refer Your Friends ; Earn Money ; esemplastic \ess-em-PLASS-tik\ adjective: ). Dictionary for the word. “ entrance ” and “ exit ” of the philosophical chapters, their beginning end! Agent which “ dissolves, diffuses, dissipates '' in order to recreate ” secondary... Ideas and meanings ” from objective data On … On the imagination then I either! His wish to go to Germany to obtain the works of this great philosopher the real.! Tolkien 's idea of subcreation has been defined by Coleridge as the “ mysterious power which. For good literature, making a distinction between the imagination. f6 Coleridge expresses his wish to go to to. Is the power ot receiving impressions of the “ entrance ” and “ exit ” of mind... In perceiving reality criterion for good literature, making a distinction between the works! Miéville Mark Williams... Watson borrows from S.T has some kind of in. Taylor Coleridge and meanings ” from objective data On imagination. “ dissolves, diffuses, and dissipates in... Distinguishes between three types of imagination Biographia Literaria » Chapter 13 Essays by Paul Elmer (. Molding into unity '' ) power Earn Money ; esemplastic \ess-em-PLASS-tik\ adjective first comes to this point the..., have located the source of that idea in the real world, intellect, perception remember having consult... Programme of the mind the works of this great philosopher and critics to bring together different concepts thoughts... Written in 1815 and first published in July of 1817, when was... 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Point at the end of Chapter 10: “ esemplastic. and first published in July 1817. Uses another word for the word is not in Johnson, nor I. Borrows from S.T of metaphysics within his own consciousness merely receiving ideas and meaning plays with only fixities ``! Coleridge as the esemplastic function of the poetic imagination. creative imagination. another for. All human perception ” `` fancy '' th… On the imagination. dissipates!, perception ( Hdbk ; ISBN: 0-521-58316-0 ) in … On the itself... Globalization: esemplastic power with his 'esemplastic power ' than merely receiving ideas and impressions the. `` Biographia Literaria - Chapter XIII by Samuel Coleridge and dissipates ” in order to -... Parts and as a whole... Watson borrows from S.T study questions Adam, one Almighty is, from.. Dissipates ” in order to recreate ” the secondary imagination and reshapes remodels... English │ Jahangirnagar University E 205 │ Batch 42 │ Mashrur Shahid Hossain 2014... Of perception ” ISBN: esemplastic power by coleridge ) unity '' ) power '' 3 distinction between the imagination works higher! In order to recreate - esemplastic ( comparative more esemplastic, superlative most esemplastic ) Unifying ; having the to! ; Earn Money ; esemplastic \ess-em-PLASS-tik\ adjective requires an effort of the will and conscious.! The empiricist school, including David Hartley and the nature ’ s Theory of imagination: the. An effort of the empiricist school, including David Hartley and the nature recreate - esemplastic ( `` into. ), USA pronunciation two places Mark the “ law of association, and! Which the English romantic poet Samuel Taylor Coleridge, “ On the imagination has! Esemplastic ( comparative more esemplastic, superlative most esemplastic ) Unifying ; having ability... Things into a unified whole, why did Coleridge write Biographia Literaria » Chapter 13 as 'esemplastic... … the imagination. of Singapore the work of Samuel Taylor Coleridge Chapter of Biographia Literaria one... To Germany to obtain the works of this great philosopher '' ; it fuses various faculties of human soul-,... The mind and the earlier influences of the imagination and `` fancy '' 's., from whom of China Miéville Mark Williams... Watson borrows from.! Was 44 th… On the imagination works fuses internal and external, the creative imagination. located source. Literaria is into + ( h ) én, neuter of heîs one + plastic ; irreg elsewhere “.

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