---------------------------------- reputation as a brilliant thinker and

BIOGRAPHIA LITERARIA poet who lacked the discipline to

fully realize his potential. His
friends, Charles Lamb and William
Hazlitt, described him as a
fascinating speaker, full of ideas, but
prone to rambling. Biographia
Literaria feels like a long, engaging
conversation, covering poetry,
drama, philosophy, and psychology.
Despite its lack of structure, the
book is both insightful and
enjoyable. Coleridge’s ideas about
the poetic imagination remain some
of the best ever written, and his
balanced critique of William
Wordsworth’s poetry is still a model
---------------------------------- for literary analysis.
BIOGRAPHIA LITERARIA, OR
BIOGRAPHICAL SKETCHES In the first chapter, Coleridge praises
OF MY LITERARY LIFE AND his teacher, Reverend James Bowyer
OPINIONS BY SAMUEL of Christ’s Hospital, who taught him
TAYLOR COLERIDGE (1817) to think logically and use precise
-------------------------------------------- language in both poetry and prose.
Biographia Literaria is a critical Coleridge also talks about his early
autobiography by Samuel Taylor literary influences, favoring the
Coleridge, published in 1817 in two emotional “pre-Romantic” poems of
volumes. It was originally going to lesser-known writers over the witty,
be called Autobiographia intellectual poems of Alexander
Literaria.Samuel Taylor Coleridge’s Pope and his followers. From a
Biographia Literaria begins as an young age, Coleridge developed
explanation of the major influences strong critical principles, looking for
on his philosophy and writing style. works that became richer with
However, the book doesn’t stick to rereading and used language that
this plan and becomes more of a perfectly expressed their ideas.
loose collection of thoughts. However, he admits that his critical
Coleridge discusses intellectual judgment is better than his creative
ideas, literary criticism, and specific ability, as his early poems didn’t live
works, often changing topics. In the up to his standards.Coleridge also
opening, he describes the book as addresses the harsh criticism poets
“miscellaneous reflections,” which faced during his time. In Chapter 2,
fits its scattered structure.This he reflects on how the public often
wandering style matches Coleridge’s sided with critics, who portrayed
poets as strange or mad. He points —-----------------------------------------
out that great poets like Geoffrey Biographia Literaria was originally
Chaucer, William Shakespeare, meant to be an introduction to a
Edmund Spenser, and John Milton collection of Coleridge’s poems. Its
were actually well-balanced purpose was to explain and defend
individuals. Coleridge believes this his style and approach to poetry.
stereotype comes from frustrated However, the work expanded into a
second-rate writers who seek fame literary autobiography. It includes:
without real talent.Coleridge also —-----------------------------------------
defends himself, Wordsworth, and 1. Details about his education and
Robert Southey, who were often early experiences with writing.
attacked in popular reviews. Critics
accused them of trying to ruin 2. A detailed critique of William
poetry by rejecting the strict Wordsworth’s ideas about poetry,
traditions of the 18th century. as explained in the preface to
Coleridge argues that their goal was Lyrical Ballads (a collection
to free poetry from outdated rules, Coleridge helped create).
and they didn’t deserve the harsh
treatment they received. 3. An explanation of Coleridge’s
—----------------------------------------- own philosophical beliefs.
The book was shaped by several
key influences: The book reflects both his
personal journey and his thoughts
1. William Wordsworth’s ideas on poetry and philosophy.
about poetry, which greatly --------------------------------------------
impacted Coleridge's thoughts.
2. The Kantian concept of
imagination as a creative and
shaping force. Coleridge later
invented the term "esemplastic"
to describe this idea.
3. Post-Kantian thinkers, like F.
W. J. von Schelling, who built on
Kant's ideas.
4. Earlier philosophers from the
empiricist school, such as David —-----------------------------------------
Hartley and the Associationist OVERVIEW:
psychology, which focused on how —-----------------------------------------
ideas and memories are linked. Biographia Literaria, published in
These influences helped Coleridge 1817 by Romantic poet Samuel
develop his ideas about Taylor Coleridge, is a mix of
imagination, creativity, and the autobiography, philosophy, and
nature of poetry. literary criticism. In this book,
Coleridge reflects on his literary mind and body) and, influenced by
career, shares personal anecdotes, philosopher Immanuel Kant,
and explores ideas he calls develops his famous theory of
“transcendental philosophy.” The Imagination. He calls this the
work is both an influential piece of “esemplastic power,” which refers to
literary criticism and a historical the human ability to unify different
document, touching on his views perceptions into a single meaningful
about events like the French reality. He contrasts this creative
Revolution and the American force of Imagination with “Fancy,”
Declaration of Independence. which he sees as a less powerful,
Coleridge uses philosophical ideas more mechanical process of
from the 19th century to challenge association.After reflecting on his
the theories of his close friend early literary successes and
William Wordsworth, Britain’s poet struggles, Coleridge introduces his
laureate at the time, and to argue that “transcendental philosophy” in
poetry is central to understanding Chapter 12. He lays out 10 main
reality.The book begins with ideas, expands on his theory of
Coleridge’s memories of his Imagination, and returns to
education at Christ’s Hospital Wordsworth’s Lyrical Ballads. In
grammar school, where he discusses Chapter 14, he defines “poem” and
how contemporary writers “poetry,” explaining how his
influenced young minds. He also aesthetic views differ from
reflects on the nature of genius and Wordsworth’s. He analyzes poems
the state of literary criticism in his by Shakespeare and compares the
time. This leads to a detailed literature of the 16th century with
discussion of Wordsworth’s preface that of his own time.
to Lyrical Ballads, a collection of
poems they worked on together. In Chapter 17, Coleridge critiques
Coleridge praises Wordsworth’s Wordsworth’s focus on using “rustic
talent but also examines ideas about language” in poetry, arguing that
taste, aesthetics, and mental poetry is inherently artificial and
associations. that true poetic genius comes from
consciousness and imagination, not
In Chapters 5 to 7, Coleridge simplicity. Despite his criticisms,
critiques David Hartley’s theory of Coleridge praises Wordsworth as the
associational psychology, which greatest poet of their era, noting his
suggests that the mind passively ability to combine natural imagery
receives ideas and impressions from with deep spiritual meaning.
the world. Coleridge disagrees, Coleridge forms his own aesthetic
arguing that the mind actively theory, emphasizing the supernatural
shapes reality. In Chapter 8, he and the role of Imagination,
questions Cartesian dualism (the contrasting Wordsworth’s focus on
idea of a strict separation between the natural world.
 criticism, and thoughts on
While Wordsworth aimed to unite imagination and poetic genius.
prose and poetry, Coleridge argues Originally intended as a preface to
they are distinct, with poetry defined his poetry collection Sybylline
by its metrical structure. He Leaves and as a response to William
critiques some of Wordsworth’s Wordsworth’s Preface to the 1815
attempts but acknowledges his Poems, the book grew into
potential to create profound something much larger and more
philosophical poetry. In a chapter ambitious. This expansion led to a
titled Satyrane’s Letters, Coleridge loose, patchwork structure, as
recounts his travels in Germany, Coleridge added new sections and
describing his journey along the reorganized older material. He
Elbe River and his encounters with dictated much of it to his friend John
German intellectuals.The book Morgan during a challenging time in
concludes with a discussion of his life when he was battling opium
foreign drama and a summary of addiction and depression.
Coleridge’s theories. He ends with a --------------------------------------------
personal reflection, entrusting his The book’s structure is uneven
readers to God and suggesting that because Coleridge kept changing his
this work might serve as the focus. He first aimed to introduce
conclusion of both his personal and his poetry but then shifted to
literary life. discussing the poetic imagination,
-------------------------------------------- and finally to exploring the history
of modern philosophy. This resulted
in a mix of topics, moods, and
styles. The first chapters (1–4 and
14–22) focus on personal and
literary reflections, while the middle
chapters (5–13) delve into
philosophy. To make things more
complicated, printing errors forced
Coleridge to add extra material, such
as Satyrane’s Letters and the
Critique on Bertram, at the last
minute.
-------------------------------------------- --------------------------------------------
Samuel Taylor Coleridge’s While Biographia Literaria resists
Biographia Literaria is a complex fitting into traditional genres, it also
work that defies easy categorization. helped create a new one:
Written between April and autobiography. Like other Romantic
September 1815 and published in works such as Rousseau’s
1817, it blends personal reflections, Confessions, De Quincey’s
philosophy, theology, literary Confessions of an English Opium
Eater, and Wordsworth’s The ambitious goals of both Biographia
Prelude, it explores the author’s Literaria and Logosophia reflect
inner life. However, Coleridge was Coleridge’s struggle to synthesize
cautious about focusing too much on centuries of thought into a new,
himself. In the opening chapter, he unified system. Ultimately,
explains that his personal story is Biographia Literaria shows both the
only a starting point for discussing brilliance and the challenges of this
broader ideas about politics, undertaking.
religion, philosophy, and literature. -------------------------------------------
He wanted his introspection to serve In Biographia Literaria, Coleridge
a larger purpose, not to indulge in challenges the dominant ideas of his
self-centered storytelling. time and introduces his own
-------------------------------------------- philosophy of art. He critiques the
The book’s mix of personal and empirical tradition of thinkers like
philosophical elements echoes John Locke, David Hume, and
Wordsworth’s The Prelude. Both David Hartley, which argued that
works emerged from the deep knowledge comes only from sensory
literary relationship between the two experience. Instead, Coleridge
poets, who collaborated on Lyrical builds a new philosophy influenced
Ballads (1798). Coleridge admired by scripture, Neoplatonism, and
Wordsworth’s combination of poetic German transcendentalism,
and philosophical depth and particularly the ideas of Immanuel
believed that great poetry required Kant, Friedrich Schiller, and F. W. J.
profound philosophical von Schelling.
understanding. This belief shaped --------------------------------------------
Coleridge’s attempt to create a In Chapters 5–8, Coleridge attacks
unified system of thought in materialism (the belief that
Biographia, connecting art, everything is made of matter) and
philosophy, and religion. Hartley’s associationist psychology,
-------------------------------------------- which claims that ideas are formed
Coleridge also envisioned through connections in the brain.
Biographia Literaria as a stepping Drawing from Kant, Coleridge
stone to a grander philosophical argues that these theories confuse
work, the Logosophia. This the physical conditions of
unfinished project aimed to develop knowledge with its deeper essence.
a "total and undivided philosophy" --------------------------------------------
that would merge philosophy and In Chapters 9–13, he shifts to
religion into one cohesive system. building his own "constructive
However, the sheer ambition of this philosophy," blending Neoplatonic
idea made it impossible to complete. mysticism with German
The fragments of Logosophia have transcendentalism. Coleridge
since been published as part of proposes that ultimate reality is
Coleridge’s Opus Maximum. The grasped through intuition and that
knowing and being are deeply
connected. Chapter 12 concludes
with ten philosophical theses, which
prepare for his discussion of the
creative power of the imagination in
Chapter 13.
--------------------------------------------

However, there is a noticeable break

between these two chapters. Instead
of continuing his argument logically, --------------------------------------------
Coleridge includes a "letter from a 1. Primary Imagination:
friend" (likely written by himself), --------------------------------------------
suggesting that defining the For Coleridge, the Primary
imagination is too ambitious for this Imagination is a universal, divine,
work. Despite this interruption, and creative force that exists in
Coleridge proceeds to define every human being. It is not merely
imagination in a brief but highly a mental activity but an inherent
influential passage. power that mirrors God’s act of
creation. Coleridge believes that this
Coleridge distinguishes between creative power connects the
Imagination and Fancy. Fancy, he perceiver (the subject) with the
says, is a passive, mechanical external world (the object), making
faculty that rearranges images and it possible to experience and
ideas from experience. By contrast, understand reality. In other words,
Imagination is an active, creative Primary Imagination is the
force. It shapes and transforms fundamental ability that allows us to
reality, both psychologically and comprehend the world around us.
spiritually. He further divides It’s not just passive reception of
Imagination into two types: sensory data; it actively unites our
-------------------------------------------- perceptions with a deeper,
The ideas of Primary Imagination underlying reality, reflecting the
and Secondary Imagination in divine process of creation. This
greater detail: concept is important for Coleridge
because it suggests that humans,
through their imagination, are linked
to a higher, spiritual order, providing
the foundation for all human thought
and understanding. This view aligns
with Coleridge’s idealistic and
somewhat mystical philosophy,
where the mind is not simply a
receiver of information, but an
active participant in shaping its --------------------------------------------
understanding of the world. 3. Imagination vs. Fancy:
-------------------------------------------- --------------------------------------------
2. Secondary Imagination: In Coleridge’s philosophy,
-------------------------------------------- Imagination is a much more
In contrast, Secondary Imagination profound and transformative power
is a more personal and conscious than what he calls Fancy. Fancy,
application of the same creative according to Coleridge, is the lower,
power. While Primary Imagination mechanical part of the mind that
is automatic and universal, merely rearranges or reorganizes
Secondary Imagination is more existing ideas or sensory
controlled and individualized. It is impressions. While Imagination is
the imaginative process that artists, creative, innovative, and unifying,
poets, and thinkers use when they Fancy is passive and plays no role in
take their lived experiences, sensory creating new meaning or
input, and raw material from the understanding. It is a function of the
world and transform them into new, mind that simply reassembles
meaningful creations. This can images, thoughts, and experiences
include works of art, poetry, or any that have already been formed. For
intellectual construct that unifies instance, when we recall a memory
disparate elements into something and simply reconstruct it in the same
new and cohesive. Secondary way, we are using Fancy. Fancy
Imagination allows individuals to does not alter or elevate the
reshape the world around them perception—it just processes what is
according to their inner vision, already there.
turning personal experience into art --------------------------------------------
or profound insight. It is this form of In contrast, Imagination, both
imagination that Coleridge sees as Primary and Secondary, transforms
central to the creative process. The and transcends mere recollection.
artist or poet uses their Secondary Primary Imagination helps to create
Imagination to give new form and our understanding of the world by
meaning to what they perceive, thus connecting us with the divine act of
making it a vital force in the creation creation, while Secondary
of works that transcend simple Imagination is responsible for the
imitation or reproduction of the production of new, unified works
world. that reflect a deeper truth about
-------------------------------------------- reality. Coleridge's distinction
between Imagination and Fancy was
revolutionary because it placed
Imagination at the heart of the
creative process, elevating it from a
mere mental tool to a divine,
creative force that shapes our
experience and understanding of the on poetry and its power.In Chapters
world. 14-16, Coleridge sets the stage for
-------------------------------------------- critiquing Wordsworth’s approach to
Coleridge's theory of Imagination poetry. He acknowledges that
introduces a deeper, more dynamic Lyrical Ballads aimed to make
understanding of human creativity. poetry more connected to nature,
Primary Imagination is a divine, using “the language of real life.”
universal power that connects the However, Coleridge believes that
perceiver with the world and Wordsworth’s view of poetry as
underpins all human understanding. merely replicating everyday
Secondary Imagination, on the other language misrepresents both poetry
hand, is the conscious, creative and language itself. Instead,
ability that allows individuals to Coleridge suggests that poetry
transform their experiences into should transform ordinary language
new, unified forms, like poetry or through the power of Imagination,
art. Fancy, by comparison, is simply creating a new kind of truth that is
the rearrangement of existing ideas not a simple copy of reality but a
or experiences and is seen as a lesser unique, poetic version of it.
mental function. Coleridge's ideas --------------------------------------------
position Imagination as the driving Coleridge contrasts Imitation with
force behind not just art, but also a Copying. Imitation in poetry
deeper understanding of reality involves transforming reality, while
itself, differentiating his views from copying simply reproduces it. He
earlier thinkers who saw argues that poetry should not merely
imagination as merely a passive reflect reality but should reshape it,
function of the mind. much like a work of art that is not a
-------------------------------------------- direct representation but an
Coleridge's Biographia Literaria is a interpretation of the world.He also
complex work that blends critiques Wordsworth’s idea of
philosophy, literary criticism, and poetic language. Coleridge believes
personal reflections. In this text, that poetry's language cannot be
Coleridge connects his philosophical translated or paraphrased into
ideas about Imagination to the simple, everyday speech without
critique of William Wordsworth’s losing its deeper meaning. This is
poetry, particularly the Lyrical part of the unique power of poetry—
Ballads. Coleridge argues that the it expresses truth not in a literal
purpose of poetry is to unify the sense, but through the imaginative
mind and the world, connecting the transformation of ordinary language.
natural and supernatural realms --------------------------------------------
through Imagination. This In his critique of Wordsworth,
distinction between the natural Coleridge also compares him to
world and the world shaped by the other poets like Shakespeare and
imagination is central to his views Milton. While Wordsworth excels in
intellectual depth and passion, abstract and philosophical subjects
Coleridge argues that his poetry in his early works, he takes pride in
lacks the dramatic qualities of choosing appropriate topics.He
Shakespeare. He believes that fondly recalls his time at Christ’s
Wordsworth is most effective when Hospital school but criticizes formal
he blends imagination and passion, education for stifling his natural
drawing everything into a unified curiosity. In his poem Frost at
vision through the creative power of Midnight, he reflects on this and
the imagination.Despite its initial suggests that children learn better by
mixed reception, Biographia exploring the world freely rather
Literaria has become one of the most than being confined to classrooms.
important works in English literary --------------------------------------------
criticism. It introduces key ideas, Coleridge also discusses how the
such as the organic unity of art, the mind perceives reality. Initially, he
untranslatability of poetic language, agreed with the philosopher David
and the role of Imagination in Hartley, who believed that all new
creating poetry. These ideas have thoughts come from existing ideas.
influenced various critical Later, Coleridge rejected this view
approaches and continue to be and argued that new ideas emerge
studied today. through interaction with nature. He
—---------------------------------------- believed that the human mind is not
QUICK POINTS: a mechanical system and can
—----------------------------------------- generate original thoughts without
Biographia Literaria by Samuel solely relying on past
Taylor Coleridge, published in 1817, experiences.One of the most famous
is partly autobiographical and parts of Biographia Literaria is
explores his ideas about poetry and Coleridge’s explanation of primary
the development of a poet. imagination, secondary imagination,
Coleridge reflects on how poets and fancy.
grow over time, using their Primary imagination is the basic
preference for compound words as ability to perceive the world
an example of this evolution. He around us.
observes that even great writers like Secondary imagination builds on
Milton and Shakespeare used fewer this, transforming what we
of these complex words as they perceive into something creative
matured.Coleridge mentions that, and new. Coleridge describes it as
even as a young poet, he preferred a process of breaking down and
simple and precise language rather reassembling perceptions to create
than elaborate expressions, without art or original ideas.
sacrificing meaning. This simplicity Fancy, on the other hand, is a less
was inspired by Greek poets. creative function. It rearranges
Though he acknowledges that he existing ideas based on memory
was not fully mature to tackle
and associations but doesn’t NOTE: IMAGES AND TABLE
create anything truly original. PICTURE ARE TAKEN FROM
-------------------------------------------- VARIOUS SOURCES FOR
Coleridge also reflects on the STUDY PURPOSE…..
universe as a spiritual unity. He --------------------------------------------
believes humans can perceive this
unity, but it’s a challenging task.
The mind often gets distracted by
superficial thoughts or associations,
which prevent deeper understanding
and spiritual growth. Coleridge sees
overcoming these distractions as the
key to achieving true knowledge and
enlightenment.

In conclusion, Coleridge's
Biographia Literaria stands as a
foundational work in the history of
literary criticism, blending deep
philosophical insight with practical
criticism of poetry. Through his
exploration of Imagination,
Coleridge challenges conventional
ideas about poetry, distinguishing
between the passive faculty of Fancy
and the active, creative force of
Imagination. His critique of
Wordsworth's approach to poetry
emphasizes the importance of
transformation over mere imitation
and highlights poetry’s power to
unify mind and world. Despite
initial criticisms, Coleridge’s work
has endured, influencing generations
of scholars and shaping the
understanding of poetry,
imagination, and the very nature of
artistic creation. Biographia Literaria
continues to resonate as a crucial
text for those interested in the
intersection of philosophy,
aesthetics, and literature.
--------------------------------------------