Coleridge – Biographia Literaria Chapter 14 & 17 | Summary, Key Ideas, Analysis

Coleridge – Biographia Literaria (Chapter XIV & Chapter XVII)

Samuel Taylor Coleridge’s Biographia Literaria (1817) is a foundational work of English Romantic literary criticism. Among its chapters, Chapter XIV and Chapter XVII are especially important for their ideas on:

• the purpose and nature of poetry
• the difference between imagination and fancy
• the role of the poet
• the theory of poetic diction (response to Wordsworth)

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CHAPTER XIV – Coleridge’s Theory of Poetry

This chapter responds to Wordsworth’s ideas in the Preface to the Lyrical Ballads. Coleridge agrees with some points but disagrees with others, offering his own definition of poetry.

1. Purpose of Lyrical Ballads

Coleridge explains that he and Wordsworth divided their poetic task:

• Wordsworth would write poems about ordinary life in ordinary language.
• Coleridge would write about the supernatural but present it as believable.

Together, they wanted to make the reader “willing to suspend disbelief.”

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2. Definition of Poetry

Coleridge defines poetry as:

“the best words in the best order.”

He says poetry must unite:

• pleasure
• emotion
• imagination
• truth

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3. Poem vs. Poetry

Coleridge makes an important distinction:

• Poetry is the activity of imagination and feeling.
• Poem is the final written product.

A poem must have unity of effect and internal harmony.

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4. Criticism of Wordsworth’s Poetic Diction

Coleridge disagrees with Wordsworth’s claim that poetry should use the language of “common men.” According to Coleridge:

• rustics do NOT have superior language
• poetry requires a refined, imaginative language
• poetic language is naturally different from ordinary speech

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CHAPTER XVII – Imagination & Fancy

Chapter XVII contains Coleridge’s most influential contribution: the distinction between Primary Imagination, Secondary Imagination, and Fancy.

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1. Primary Imagination

The Primary Imagination is:

• the basic human power of perception
• a living power, creative force
• the mind’s ability to shape the world

Coleridge calls it:

“The repetition in the finite mind of the eternal act of creation in the infinite I AM.”

It is universal—every human being has it.

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2. Secondary Imagination

Secondary imagination is:

• the creative power of artists and poets
• shapes and transforms reality consciously
• combines thoughts, feelings and images
• creates new meaning

It dissolves and re-creates—turning raw experience into art.

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3. Fancy

Fancy is the lowest faculty. It:

• is mechanical
• re-arranges images without creating anything new
• is memory + arrangement

Poets who rely on fancy lack emotional depth and true creativity.

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Differences at a Glance

Faculty	Nature	Function
Primary Imagination	Universal, unconscious	Basic perception; shapes reality
Secondary Imagination	Conscious, artistic	Transforms and creates new meaning
Fancy	Mechanical, superficial	Re-orders images; not creative

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Critical Points

• Imagination is the heart of poetry.
• Secondary imagination is the poet’s highest power.
• Fancy is inferior and uncreative.
• Poetry is not mere imitation; it is a creative act.
• Coleridge modifies Wordsworth’s theory of poetic language.

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Overall Critical Significance

• First major psychological explanation of artistic creation.
• Bridges Romanticism and philosophical idealism.
• Corrects and expands Wordsworth’s ideas.
• Introduces modern concepts of perception, creativity, and expression.
• Forms the foundation of Romantic aesthetics.

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Quick Revision Table

Aspect	Details
Author	S.T. Coleridge
Work	Biographia Literaria (1817)
Chapter XIV Focus	Nature of poetry, poetic diction, criticism of Wordsworth
Chapter XVII Focus	Primary imagination, secondary imagination, fancy
Key Statement	Poetry = best words in the best order
Imagination	Creative, spiritual, transforming
Fancy	Mechanical and superficial

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