Reflection of Indian mentality in the Fakeer of Jungheera

Name: Sonal Baraiya.

Roll No.: 34.

Sub: Indian Writing in English – Pre Independence.

Topic: Reflection of Indian Mentality in the Fakeer of Jungheera.

                                                   

                                        In the Fakeer of Jungheera, Derozio dexterously mixes the tantric, Hindu mythological, Islamic and Christian traditions to create a composite whole that corresponds to the elegiac European tradition of the nineteenth century and the syncretistic Sufi tradition of the fifteenth century. Derozio’s marginalized Anglo-Indian background was ideally suited to the hybrid and impure tradition of the tantric tale. The world of magic, resurrection and immorality that the tantric tradition provides was more suited to the Fakeer- Nuleeni’s tragic tale than the purist and idealized versions of Hindu, Christian or Islamic thought. Derozio confessed that he found the tale quite fascinating when he first heard it from a student of Hindu college and realized that it would fit perfectly with the Jungheera story of inter-religious blighted love tale that he was narrating. Probably because of the impurity and Hybridity of the poem many literary historians have rejected it from inclusion in the Indian literary canon. As the lie goes, if Monarch Vikram relic steady in his effect for his queen he can resurrect her and erstwhile solon both can reach felicity unitedly. The dauntless fortitude and spirit that the queen exemplifies by qualifying through the horrible or deals in the necropolis slip to his success, provides a fitting close to the sad end of the Islamist in the aggregation of his loved Nuleeni. If the tale of the Baital is honorable then

                                    ‘‘the treated out eloquence’’

Of Nuleeni can again be resurrected in the accumulation of the Islamist if she can overtake finished the horrors and temptations of account. Nevertheless those are unstated assumptions, a line of the mass environs of the tarradiddle that forces the order to reflect upon the antepenultimate verbalizer broods over the tragic environment divesting us of all emotions, merely reflecting on a thoroughfare, which may presently be resolute finished a dues ex machine.

                                        The open – ended picture makes the elergyman emit on a quieted engendered by a purging. The poem can be indicate as story of emancipation of equenched Asian women and an indictment of the grownup Asiatic gild in the nineteenth century. The light and bonnie Nuleeni refuses to die on the funeral pyre of her spouse and escapes with the thief Mohammedan to his cave in Jungheera to a being of impermissible bang though afraid by tough sociable repercussions. She believes that her lover’s courageousness and her unfailing Jazz leave finally make them victorious. Her blonde and glorious present brightens the glooming inter- personal surround of the poem and mitigates the steep mettlesome rebellion of the weaker faith draws the attention to the inequality of the sexes and the mixer unease rampant in Magadha order of the dimension. The poem has a grievous coach in the use of gregarious themes in literate texts endorsing a syncretistic practice quite popular in ordinal century Bengal.

                                                The proponent of The Saint poem is a robber Mohammedan or a mendicant, who belongs to both anonymous Islamist camp, times the protagonist, the widow Nuleeni, comes from a speed caste Magadha Religionist tribe. Derozio’s uses religion imagery, specified as heaven and angels hurry sound active, and juxtaposes it against the religionist tradition of sati, Muhammedan prayers and Buddhism tale of Aristocrat Vikramajit and Baital to create a stylish, idiom condition. Though the tantric tale seems to be a prolonged excursus within a sad tale of a destroyed Hindu – Muslim object thing, it nonetheless places the tragedy in an unprocessed practice after having unloved all the new dominant churchlike forms.

                                       Sati – Pratha

The Social Malaise of Sati:

     

                                                    At the ancient time there are many rules and regulations in which one of the most famous is ‘Sati’. ‘Sati – pratha’ is the most means high influence on Indian mentality. In that time women situations, conditions are very pathetic. That is also describe in ‘The Fakeer of Jungheera’ very well by Henry Derozio.

                                                  Instead of belaboring upon the misery of slavery, Derozio embarked upon a mission of resolving some of the inherent evils of Hindu society especially – ‘the practice of widow burning’.

                                                 In 1829 when William Bentinck abolished sati Derozio wrote a poem entitled ‘‘On the Abolition of Satee’’ in praise of Regulation xvii extolling the merits of the decree:

     ‘‘Bentinck, be thine the everlasting mead! The heart’s full homage still is virtue’s claim, and ’tis good man’s ever honored deed. Which gives an immortality to fame: that glory lights upon the wastes of war: Nations unborn shall vererate thy name, A triumph than the conqueror’s mightier far, Thy memory shall be blessed as is the morning star.’’

               In the Fakeer of Jungheera, Chorus of women who are suggest her to become a ‘sati’. When she become a sati rather you can say that when she died she going in heaven. That is indicates under the stanzas,

  ‘‘Such is the boon that to her shall be given; Myriads of ages for her are in store; she shall enjoy all the blessings of heaven, Till heaven, and its blessing themselves are no more.’’

‘‘Happy! Thrice happy thus early to leave, Earth and its sorrows, for heaven and its bliss! Who that hath known it at parting would grieve, Quitting a world so disastrous at this?’’

And they are also believed in that when someone being a sati who is going in heaven because it is good deeds for her and wherein she meet her husband, that is also indicates in one stanza;

Happy! thrice happy! Thy lord shall there meet thee, twined round his heart shalt thou ever remain; Happy! Bright angels are longing to greet thee, tuned are their harp strings, and ready their strain.’’

 This stanza indicates that when she died, she meet her husband. But how are known that when she died she meet her husband in heaven or not. The fact is, that so far from any display of enthusiastic affection, a suttee, is a spectacle of misery, exciting in the spectator a melancholy reflection upon the tyranny of superstition and priest – craft. The poor creatures who suffer from this inhuman rite, have but little notion of the heaven and the million years of uninterrupted happiness to which their spiritual guides tell them to look forward. The choice of immediate death, or a protracted existence, where to be only must contend their desire, is all that is offered to them; and who under such circumstances would hesitate about the preference? The most degrading and humiliating household offices must be performed by a Hindu Widow; she is not allowed more food than will suffice to keep her alive; she must sleep upon the bare carth; and suffer indignities from the youngest members of her family; these are only a few of her sufferings. The philanthropic views of some individuals are directed to the abolition of Widow – burning; but they should first ensure the comfort of these unhappy women in their widowhood – otherwise, instead of conferring a boon upon them, existence will be to many a drudge, and a load.

         Derozio approvingly quotes a writer from the ‘‘Indian Magazine’’ and endorses the latter’s opinion that sati constitutes the most barbaric and degrading aspect of Indian Society which can be overcome through education and intellectual development. Nonetheless with all his self – assurance and animosity for con – cremation, Derozio seems somewhat bewildered by cases of willful self – immolation. During the nineteenth century many upper caste Hindu women willfully committed sati mistakenly believing in the veracity of the Hindu ritual, as if mesmerized into an abominable act through a long process of socialization.

    Thrilled by the regulation Derozio felt that the ‘‘widow’s wail’’ was over at last and the ‘‘flames from impious pyres’’ have been forever extinguished though its ‘‘dismal’’ history would continue to haunt us. He believed that now sati declared illegal women would enjoy freedom and ‘‘social bliss’’ in a new India. The poem was dramatically signed in capital letters – INDIA – could be construed as a sign of the emerging identity of a new India that Derozio envisaged.

  The issue of sati was not just a social phenomenon. Natural causes and hygienic practice also aggravated the malaise. It must however be remembered that the increase in the number of sati was also related to a large extent to the spread of cholera epidemics in the nineteenth century that originated along the banks of the Ganges River and spread to other parts of the world reaching through the middle East and Europe up to the united states. Though there were many reasons for the increase of incidents of sati in Bengal the death rate of married Bengali males was a significant factor.

Caste System:

                          Indian mentality also believed in caste system. In which Brahmins are belongs to upper caste and all are under them. So, in the Fakeer of Jungheera Nuleeni who was belongs to upper caste. She was comes from a Bengali Hindu family.

                            Nuleeni, who was love with Fakeer who was, belongs to another caste, Muslim. Nuleeni’s strong feelings with Fakeer. But because of different caste system, Nuleeni’s parents against with their relationship. So, her parents committed her marriage with rich Brahmin. But at the end Nuleeni escaped with Fakeer, their parents and her caste members also against with both of them, because of social prestige. It is indicates that because of caste system Nuleeni and Fakeer not commit marriage.

        

Formalistic Approach of Hamlet

Name: Sonal Baraiya.

Roll No: 34.

Subject: P.1 – The Renaissance Literature.

Topic: Formalistic Approach of "Hamlet".

                            

What is Formalism?

                            Formalism is a school of literary criticism and literary theory having mainly to do with structural purposes of a particular text. It is the study of a text without taking into account any outside influence. Formalism rejects notions of culture or societal influence, authorship, and content, and instead focuses on modes, genres, discourses, and forms.

                           In Hamlet we seemed various approaches but we focuses only on formalistic approach – 

The Trap Metaphor in Hamlet such as:

1.    The Trap Imagery.

2.    The cosmological Trap.

3.    ‘‘Seeming’’ and ‘‘Being.’’

4.    ‘‘Seeing’’ and ‘‘Knowing.’’

         The formalist perspective is one of the best perspectives to use in the play Hamlet, prince of Denmark. It helps a person find the hidden meaning throughout the play in multiple ways, which allow a person to truly understand the play completely such way is like when Ophelia goes crazy after her father is murdered and Hamlet is sent away. She sings songs to the Queen and king of Denmark that at first glance are just songs. When looked at between the lines; however, the two songs she sings are of her father and Hamlet. The song about Hamlet talks not only about Hamlet but of her secret pregnancy with Hamlet’s child. This is also mentioned before Ophelia goes crazy and polonius, Ophelia’s father is still alive, and Hamlet is just beginning to act crazy. Hamlet mentions  something to polonius about not letting his daughter out because she might be or get pregnant. Such lines and places in the play like this at first seem to be nothing at all. However, if looked at between the lines then another completely different meaning is sent across. The formalist perspective allows people to view the play in this way getting hidden meaning in it while figuring out the plot.

         In Hamlet there are many different types of formalist perspectives but while reading think Shakespeare really focuses on tone in Hamlet. Hamlet states ‘‘he is going to come at him mom with words like daggers’’ and in doing that Hamlet is changing his tone from upset and disappointed to harming and hurtful while talking to his mother. During this scene Hamlet uses great word choice saying how disgusted his is with his mother and uncle for the acts of wrong that they have done. Hamlet is easily able to slip in and out of his role as being known as a crazy man which also adds to Shakespeare’s great use of perspectives.

            The formalist perspective truly gives insight in the true actions occurring in ‘‘Hamlet’’ by William Shakespeare. By Hamlet’s word choice in the first conversation with the king in act – 1 we can clearly see the distain that is already beginning to brew because of his uncle talking power and even more, taking Hamlet’s mother to be his wife.

                                             ‘‘A Little more than kin, and less than kind.’’

In this statement you can see the words shows the deeper meaning of the saying when Hamlet’s says this it is showing us as reader/ listeners that Hamlet really he is not really pleased that they are even family. To him it was bad enough that Claudius was his uncle now when Claudius says,

                                             ‘‘But, now my cousin Hamlet, and my son.’’

It is too much for Hamlet to take and through the formalist we are able to grasp that Hamlet distains this and wishes that he could remove himself from the situation that he has been placed in.

             Through the formalist perspective you can see deeper meaning in ordinary lines, such as this seemingly normal replay in act two; scene two, when he says,

                                                  ‘‘Not so, my loard; I am too much in the sun.’’

At first glance all we see is a slanted comment in self-defense but if you read the words closer in a formalist perspective. You are able to see the message Shakespeare, was trying to convey. This is, that Hamlet understands at least portions of what has happened while the rest of the castle is in the clouds on what has really happened and what Claudius is doing. As you can see the formalist perspective can really help you understanding grow and give you the tools to unlock the mysteries of Shakespeare. Here are some types of formalist perspective:

1.    The Trap Imagery:

                                  ‘‘My stronger guilt defeats my strong intent; and like a man to double business bound, I stand in pause where I shall first being, and both neglect.’’

                                   The words are not those of Hamlet. They are spoken by Claudius, as he tries to pray for forgiveness, even as he knows that he cannot give up those things for which he murdered his brother – his crown, his fulfilled ambition, and his wife. But the words may easily have been Hamlet’s, for he too is by ‘‘double business bound’’. Indeed, much of the play centers on doubleness. In that doubleness lies the essence of what we mean by ‘‘dialectic’’ here – a confrontation of polarities. A consequence of that doubleness for many of the characters is that they are apparently caught in a trap a key metaphor in the play – or, in another image, 

                                ‘‘Hoist with own petard.’’

Let us examine that metaphor of the trap, for it leads clearly to our seeing how dialectic provides form in Hamlet. Several time in the play, but in varying images, we find allusions to different kinds of entanglement. Polonius injudiciously uses the metaphor to warn Ophelia away from Hamlet’s

                     ‘‘holy vows of heaven,’’

vows that he says are

                        ‘‘springs to catch woodcocks.’’

More significant is Hamlet’s deliberate misnaming of ‘The Murder of Gonzago’; he calls it ‘‘The Mousetrap’’ because it is, as he says elsewhere, ‘‘the thing wherein I’ll catch the conscience of the king.’’ Claudius feels that he is trapped and speak that ‘‘O limmed soul, that, struggling to be free, / Art more engaged Hamlet, in the hands of plotters, finds himself ‘‘thus be – netted round with villainies’’ and one for whom Claudius has thrown out his angle for my proper life. The dying Laertes echoes his father’s metaphor when he tells Osric that he is as a wood to mine own springe. Here we have a pattern of trap images – springs, lime, nets, mousetraps, and angles or hooks Now traps are usually for animals, but we are dealing with human beings, people who are trapped in their own dilemmas, in their own questions, in the very questioning of the universe.

2.    The Cosmological Trap:

                                          The first scene of act -1 to realize that it is a disturbed world, that a sense of mystery and deep anxiety preoccupies the soldiers of the watch. The ghost has appeared already and is expected to appear again. The guards instinctively assume that the apparition of the former king has more than passing import; and, in their troubled questions to Horatio about the mysterious preparations for war, the guards show how closely they regard the connection between the unnatural appearance of the dead king and the welfare of the state. The guards have no answers for the mystery, their uncertainty, or their premonitions; their quandary is mirrored in abundant questions and minimal answers – a rhetorical phenomenon that recurs throughout the play, even in the soliloquies of Hamlet; in other words an instance of dialectic. The sense of cosmic implication in the special situation of Denmark emerges strongly in the exchange between Hamlet and his friends Rosencrantz and Guildenstern. Much earlier, before his encounter with the ghost, Hamlet expressed his, extreme pessimism at man’s having to endure earthly existence with in nature’s unwholesome realm.

                                         ‘‘How weary, stale, flat and unprofitable seem to me all the uses of this world! fie on’t, ah, fie, ‘tis an unweeded garden that grows to seed. Things rank and gross in nature possess it merely.’’

    As he speaks these lines Hamlet apparently has no idea of the truth of his father’s death but is dismayed over his mother’s hasty marriage to the new king. He has discovered a seeming paradox in the nature of existence; the fair, in nature and humanity, inevitably submits to the dominion of the foul. His obsession with the paradox focuses his attention on Denmark as the model nature and human frailty. Thus a pattern of increasing parallels between Denmark and the cosmos and between man and nature develops. Question and answer dialogue and soliloquy, become a verbal unity of repeated words and phrases, looking forward to larger thematic assertion and backward to earlier adumbration.

   The play constitutes a vast poem in which speculation about nature, human nature, the health of the state, and human destiny intensifies into a passionate dialectic. Mystery, riddle, enigma, and metaphysical question complicate the dialogue. Particularly in his Hamlet confronts questions that have obsessed protagonists from Sophocles’ Oedipus to Tom Stoppard’s Rosencrantz and Guildenstern. What begins with the relatively simple questions of the soldiers of the watch in act – 1 is magnified and complicated as the play moves on. Increasingly tenuous and rarefied probes of the maddening gulf between reality and appearance proliferate. Moreover, the contrast between what the simple man cheerfully accepts at face value and what the thoughtful man is driven to question calls into doubt every surface of utterance, act, or thing. In the world of Hamlet the cosmic implications of myriad distinctions between ‘‘seem’’ and ‘‘be’’ confront us at every hand.

3.    ‘‘Seeing’’ and ‘‘knowing’’:

                                            The design of the play can be perceived in part in the elaborate play upon the words ‘‘see’’ and ‘‘know’’ and their cognates. Whereas the deity  can be understood as ‘‘Looking before and after,’’ the player king points out to his queen that there is a hiatus between what people intend and what they do: ‘‘Our thoughts are ours, their ends none of our own.’’ Forced by Hamlet to  consider the difference between her two husbands, Gertrude cries out in anguish   against having to see into her own motivations:

                                                   ‘‘O Hamlet, speak no more. Thou turn'st mine eyes into my very soul, and there I see such black and grained spots as will not leave their tinct.’’

   But she does not see the ghost of her former husband, nor can she see the metaphysical implications of Hamlet’s reason in madness. The blind eye sockets of Yorick’s skull once saw their quota of experience, but most people in Denmark are quite content with the surface appearances of life and refuse even to consider the ends to which mortality brings everyone. The intricate weaving's of images of sight thus become a kind of tragic algebra for the plight of a man who seemed to find his way without his eyes’’ and who found himself at last ‘‘yet unknowing world.’’ The contest between human aspiration and natural order in which Hamlet finds himself is all too unequal: idealism turns out to be a poor match for the prison wall of either Denmark or the grave.      

          

Coleridge-ch-1 - Biographia Literaria

Name: Sonal Baraiya.

Roll No.: 34.

Sub: Paper. No-3-Literary Theory & Criticism

Topic: Biographia Literaria Ch.14: Coleridge

                           

               Samuel Taylor Coleridge was born on 1772 in Devonshire, and was the youngest of the thirteen children of the Vicar of Ottery St Mary. As a child he was unusually precocious:

                                ‘‘I never thought as a child,’’

he says,

                           ‘‘never had the language of a child,’’

that are we see in his ‘‘Biographia Literaria.’’ In  the 1817, when he had shaken himself free from opium, he published –

                           ‘‘Biographia Literaria,’’ and

                             Sibylline Leaves.’’

                                                  Biographia Literaria is his most valuable prose work. It pretends to record his literary upbringing. Biographia Literaria in establishing Coleridge as the greatest of English critics. Coleridge’s critical work is contained in 24 chapters of Biographia Literaria (1815 – 17). In this critical disquisition, Coleridge concerns himself not only with the practice of criticize but also, with its theory.

                                         

                                                When we see his practical approach to criticism, Coleridge the poet but whereas in theoretical discussion, Coleridge the philosopher came to the center stage. In philosophical terms, Coleridge’s view on nature and function of poetry is discussed. The poet within Coleridge discusses the difference between poetry and prose, and the immediate function of poetry whereas the philosopher discusses the difference between poetry and poem. S. T. Coleridge was the first English writer to insist that every work of art is, by its very nature, an organic whole.

                                 

                       Here S. T. Coleridge discussed –

                Two cardinal points of poetry:

Coleridge begins this chapter with his views on two cardinal points of poetry. To him these cardinal points are –

(1)  The power of exciting the sympathy of the reader by a faithful adherence to the truth of nature, and

(2)  The power of giving the interest of novelty by modifying with the colours of imagination.

         According to him, it was decided that Wordsworth would write poetry dealing with the theme of first cardinal points and the other was to be dealt by him. For the first type of poetry, the treatment and subject matter should be, to quote Coleridge,

       ‘‘The sudden charm, which accidents of light and shade, which moon – light or sun – set diffused over a known and familiar landscape, appeared to represent the practicability of combining both. These are the poetry of Nature.’’

            In such poems, subjects were to be chosen from ordinary life and through this poet express his or her point of view very clearly.

            In the second type of poetry, the incidents and agents were to be supernatural. In this sort of poetry to quote Coleridge,

    ‘‘the excellence aimed at was to consist in the interesting of the affections by the dramatic truth of such emotions as would naturally accompany such situation, supposing them real. And real in this sense they have been to every human being who, from whatever source of delusion, has at anytime believed himself under supernatural agency.’’

        Thus with the help of imagination  the natural will be dealt supernaturally by the poet and the reader will comprehend it with – willing suspension of disbelief.’’

                 The Lyrical Ballads consists of poems dealing with these two cardinal points, wherein the endeavour of Coleridge was to deal with – ‘‘persons and characters supernatural,’’ and that of Wordsworth –

             ‘‘was to give the charm of  novelty to things of every day, by awakening the mind’s attention from the lethargy of custom, and directing in to the loveliness and the wonders of the world before us.’’ 
                                  

               Coleridge’s views towards Wordsworth’s poetic creed.

               

        In defense of Wordsworth’s poetic creed: Coleridge, even though he did not agree with Wordsworth’s views on poetic diction, vindicated his poetic creed in chapter 14 of Biographia Literaria. Coleridge writes in defense to the violent assailant to the ‘‘Language of real life’’ adopted by Wordsworth in the Lyrical Ballads. There had been strong criticism against Wordsworth’s views expressed in preface also. Coleridge writes in his defense:

               ‘‘Had Mr. Wordsworth’s poems been the silly, the childish things, which they were for a long time described as being; had they been really distinguished from the compositions of other poets merely by meanness of language and inanity of thought; had they indeed contained nothing more than what is found in the parodies and pretended imitations of them; they must have sunk at once, a dead weight, into the slough of oblivion, and have dragged the preface along with them.’’

     He wrote that the ‘eddy of criticism’ which whirled around these poems and preface would have dragged them in oblivion. But it has not happened. Instead, to quote Coleridge,

                                            ‘‘Year after year increased the number of Mr.Wordsworth’s admirers. They were found too not in the lower classes of the reading public, but chiefly among young men of strong ability and meditative minds; and their admiration was distinguished by its intensity, I might almost say, by its religious fervor.’’

                  

       Thus, Coleridge gives full credit to the genius of Wordsworth.

        Hence, we  may say that, Coleridge is frank enough to point out that some of the views of Wordsworth were wrong in principle and contradictory, not only in parts of the preface but also in the practice of the poet himself in many of his poems.

     Difference between prose and poem – The poem contains the same elements as a prose composition. But the difference is between the   combination of those elements and objects aimed at in both the composition.

POEM – composition in verse.

PROSE – Universal writing.

·       The difference of the object will be the difference of the combination.

·       The object of the poet may simply be to facilitate the memory to recollect certain facts.

·       He would make use of certain artificial arrangement of words with the help of metre.

·       As a result composition will be a poem.

·       Because it is distinguished from composition in prose by metre, or by rhyme.

·       One might attribute the name of a poem to the well-known enumeration of the days in the several months; Thirty days hath September, April, June, and November,&c.

·       Thus, to Coleridge, mere super addition of meter or rhyme does not make a poem.

·       In scientific and historical composition, the immediate purpose is to convey the truth.

·       In the prose works of other kinds, to give pleasure is the immediate purpose and the ultimate end may be to give truth.

·       Thus, the communication of pleasure may be the immediate object of a work not metrically composed.

Now the question is – would then the mere super addition of metre, with or without rhyme, entitle these to the name of poems? – Then Coleridge gave answered that –

                         ‘‘Metre should not be added to provide merely a superficial decorative charm. Nothing can permanently please, which does not contain in itself the reason why it is so, and not otherwise. If metre is super added, all other, parts must be made constant with it. They all must harmonize with each other.’’

          Thus, according to Coleridge, the poem is distinguished form prose compositions by its immediate object. The immediate object of prose is to give truth and that of poem is to please. He again distinguishes those prose compositions from poem whose object is similar to poem i.e. to please. He calls this poem a legitimate poem and defines it as,

               ‘‘it must be one, the parts of which mutually support and explain each other; all in their proportion harmonizing with, and supporting the purpose and known influence of metrical arrangement.’’

·       According to Coleridge – the journey of reading poem should be pleasurable.

·       Poem has its own distinctive pleasure.

·       Pleasure arising from the parts.

·       This pleasure of the parts supports and increases the pleasure of the whole.

The difference between poem and poetry –

           In that Coleridge quote that poetry is so nearly with the poem. The one is involved in the solution of the other for it is a – ‘‘distinction resulting from the poetic genius itself, which sustains and modifies the images, thoughts, and emotions of the poet’s own mind.’’

John  Shaw cross – writes ‘‘this distinction between ‘poetry’ and ‘poem’ is not clear, and instead of defining poetry he proceeds to describe a poet, and from the poet he characteristics of the imagination.’’

·       ‘Poetry’ for Coleridge is an activity of the poet’s mind.

·       A poem is merely one of the forms of its expression.

·       A verbal expression of that activity.

·       Poetic activity is basically an activity of the imagination.

David Daiches – writes ‘poetry’ for Coleridge is a wider category than a ‘poem’; that is, poetry is a kind of activity which can be engaged in by painters or philosophers or scientists and is not confined to those who employ metrical language, or even to those who employ language of any  kind. Poetry, in this larger sense, brings, ‘ the whole soul of man; into activity, with each faculty playing its proper part according to its ‘relative worth and dignity’.

                           This takes place whenever the synthesizing, the integrating, powers of the secondary imagination are at work bringing all aspects of a subject into a complex unity, then poetry in this larger sense results.

·       Virtue of Coleridge’s imagination, which is a synthetic and magical power.

·       He harmonize and blends together various elements.

·       Thus diffuses a tone and spirit of unity over the whole.

·       It manifests itself most clearly in the balance or reconciliation of opposite or discordant qualities – Such as:

             (A)of sameness, with difference,

             (B) of the general, with the concrete,

(C) the idea, with the image,

(D)    the individual, with the representative,

(E)  the sense of novelty and freshness, with old and familiar objects,

(F)   a more than usual state of emotion, with more than usual order,

(G)       judgment with enthusiasm.

And while this imagination blends and harmonizes the natural and the artificial, it subordinates to nature, the manner to the matter, and our admiration of the poet to our sympathy with the poetry. Doubtless, as Sir John Davies – observes of the soul – ‘‘Doubtless this could not be, but that she turns…

    Finally, Good sense is the Body of poetic genius, fancy its Drapery, Motion its Life, and Imagination the soul that is everywhere, and in each; and forms all into one graceful and intelligent whole.

                                            Thus, Coleridge is the first English critic who based his literary criticism on philosophical principles. He interested in the creative process that made it.