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Reason
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is the enumeration of quantities already known; [...] is to imagination as the in-strument to the agent [...] may be considered as mind contemplating the
relations borne by one thought to another.. [is the] principle of analysis [...]
considering thoughts [...] as the
algebraical representations which conduct to certain general results. SHELLEY,
A DEFENCE OF POETRY (1821), VII, 109-110
_________________________
Note: Anyone’s
mind could perform ‘operations’ that would help him/her ‘understand’ what a rose is or generally looks like (a flower unlike a
tulip, violet, etc., with thorns, etc.)
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imagination
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[may be considered] as mind acting upon [..] thoughts [however produced] so as to colour them with ist own light,
and composing from them, as from elements, other thoughts, each containing
within itself the principle of ist own integrity...
SHELLEY, A DEFENCE OF POETRY
(1821), VII, 109-110
has no reference to images that are merely a faithful copy, existing
in the mind, of absent external objects; but is a word of higher import, denoting
operations of the mind upon these objects, and processes of creation or of
composition...
WORDSWORTH, PREFACE TO ‘LYRICAL
BALLADS’
[Primary imagination is]
the living Power and prime Agent of all human Perception... [Secondary
imagination is] an echo of the former,
co-existing with the conscious will, [...] identical with the primary in the kind of its agency, and differing
only in degree, and in the mode of its operation. It dissolves, diffuses,
dissipates, in order to recreate;
COLERIDGE, BIOGRAPHIA LITERARIA,
CHAPTER 13, I, 202
is spiritual sensation. W. BLAKE, in a letter from 1799,
in the following context:
And I know that this world is a world of imagination and vision. [...] As a man is, so he sees.[...] Why
is the bible more entertaining and instructive than any other book? Is it not
because [it is] addressed to the
imagination, which is spiritual sensation,[and only] mediately to the understanding or reason?
[is] the IMAGE-making and synthesizing power of the human mind; the source
of creative thinking.
MORNER/RAUSCH, DICTIONARY OF LITERARY TERMS
________________________________
Note: The rose as someone individually sees, smells, feels it, or
imagines doing so.
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fancy
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has no other counters to play with, but fixities and definites [...]
is no other than a mode of Memory emancipated from the order of time
and space [...] must receive all its materials ready made
from the law of association.
COLERIDGE, BIOGRAPHIA LITERARIA,
CHAPTER 13, I, 202
depends upon the rapidity and profusion with which she scatters her
thoughts and images; trusting that their number, and the felicity with which
they are linked together, will make amends for the want of individual
value...
WORDSWORTH, PREFACE TO ‘LYRICAL
BALLADS’
[is] an aspect of IMAGINATION that often involves wishful thinking or whim.
MORNER/RAUSCH, NTC`s DICTIONARY OF
LITERARY TERMS
__________________________________
Note: In this sense you could ‘fancy’ getting a bunch of
100 red roses without imagining what they would look, smell, feel like.
Note: that
in the times before (and after) ‘the Romantics’ the terms imagination and fancy (syn.
‘fantasy’) were used, or have been used, respectively, without any or with only little difference in
meaning.
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romantic
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belonging to or suggesting ROMANCE , [i.e. in this context] a story of love, adventure, strange happenings,
etc., often set in a distant time or place, whose events are happier or
grander or more exciting than those of real life
fanciful [cf.
imaginative !], not practical, (too
much) liking for dreams of love marked by ROMANTICISM
LANGENSCHEIDT-LONGMAN, DICT. OF
CONTEMPORARY ENGLISH
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romanticise
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[...] make (an event) sound more
ROMANTIC 1 by adding
interesting or exciting details. LANGENSCHEIDT-LONGMAN, DICT. OF CONTEMP. ENGLISH
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Romanticism
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[is] a Movement in art and LITERATURE in the 18th and 19th centuries in
revolt against the NEOCLASSICISM of the previous centuries.
[is] literature depicting emotional matter in an imaginative form.
[SCHLEGEL; according to LUCAS, there are 11, 396 definitions of romanticism]
MORNER/RAUSCH, NTC`s DICTIONARY OF
LITERARY TERMS
[is] the quality of admiring feeling rather than thought, and wild beauty
rather than things made by man. LANGENSCHEIDT-L., DICT. OF CONT. ENGLISH
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poetry
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[is] LITERATURE in its most intense, most imaginative, and most rhythmic
forms.
[It is] written in lines of arbitrary lengths instead of in paragraphs.
MORNER/RAUSCH, NTC`s DICTIONARY OF
LITERARY TERMS
may be defined to be ‘the expression of the imagination’ [...] is not like reasoning, a power to be exerted according to the
determination of the will...
SHELLEY, A DEFENCE OF POETRY
(1821), VII, 109, 135
[as represented in the ‘Lyrical
Ballads’ means] fitting to metrical
arrangement a selection of the real language of men in a state of vivid sensation [...]
[produces pleasure] which the mind derives from the perception
of similitude [i.e. identity or similarity of sounds or metrical
patterns] in dissimilitude [the
‘normal’ flow of words].
[as a process] is the spontaneous overflow of powerful
feelings: it takes its origin from emotion recollected in tranquillity...
WORDSWORTH,
PREFACE ‘L.B.’
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Lyrical
Ballads
subjects
principles
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[most representative collection of
‘Romantic Poetry’, in which
COLERIDGE’S] endeavours should be
directed to persons and characters supernatural or at least romantic [in
the sense of romantic 1]; yet so as to
transfer from our inward nature a human interest and a semblance of truth
sufficient to procure for these shadows of imagination that willing suspense of disbelief for the
moment, which constitutes poetic faith.. Mr WORDSWORTH ... was to ... give
the charm of novelty to things of every day... COLERIDGE, BIOGRAPHIA LITERARIA, CHAPTER 14
[WORDSWORTH’s] principal object [...] was to choose incidents and situations
from common life and to relate them [...] in a selection of language really used by men; and, at the same time,
to throw over them a certain colouring of magination, whereby ordinary things
should be presented to the mind in an unusual way; and, further, and above
all, to make these incidents and situations interesting by tracing in them [...]
the primary laws of our nature [...]
Low and rustic life was generally chosen, [a] because in that condition,the essential
passions of the heart find a better soil in which they can attain their maturity, are less under restraint, and speak
a plainer and more emphatic
language;
[b] because in that condition of life our elementary feelings coexist in
a state of greater simplicity, [...],
[c] because the manners of rural
life germinate from those elementary feelings; [...] are more easily comprehended; and are more durable; and lastly, [d] because in that condition the passions of men are incorporated with
the beautiful and permanent forms of nature.
WORDSWORTH, PREFACE TO ‘LYRICAL
BALLADS’
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lyric
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(concerning) a short personal poem
focusing on feelings and thoughts
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ballad
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form of (dramatic) narrative
poetry presenting a single dramatic episode
folk
ballads (often passed on orally)
literary
(art) ballads (composed for print)
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atmosphere
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prevailing emotional attitude
towards the subject (mood) and/or the
reader (tone)
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image
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term used in a text or (mental)
representation in the reader’s mind, referring to something perceptible
through the senses (sight, hearing, smell, taste,touch).
___________________________
E.g.: gardens
bright ... incense-bearing trees (involved here: sight and smell)
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metaphor
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(element of ) figurative language
implying an analogy (identity or similarity of qualities) between dissimilar
objects/persons.
______________________________
E.g.: England’s Rose (ELTON JOHN in his tribute to
Princess Diana; rose with its literal
meaning is the ‘vehicle’ used
to imply a non-literal meaning, The Princess is the ‘tenor’ that the relevant semantic properties of the ‘vehicle’ are
ascribed to.)
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simile
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(element of ) figurative language
expressing an anology (identity etc. of qualities) between dissimilar
objects, explicitly stating the comparison (as, like, etc.)
______________________________
E.g.: ... you lived your life like a candle in the wind (s.a.; the Princess Diana’s life
was as unsteady etc. as the light of a candle flickering in the wind.)
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symbol
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(element of ) figurative language presenting
a (set of) word(s) that signifies an object or event which itself signifies
something else
______________________________
E.g.: the
Cross (term signifies ‘real’ object
which itself stands for Christianity etc.)
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scansion
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analysis of the metrical pattern
(meter) of a poem or parts of the poem
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meter
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rhythmic pattern determined by the type and number of feet per
line; one of the aspects that create ‘similitude in dissimilitude’
(WORDSWORTH, see poetry).
The basic unit of rhythmic
measurement is the (metrical) foot consisting of
unaccented (-) and/or accented (/)
syllables.
The most common types are:
iamb (- /) and
anapa(e)st (- - /), each a so-called ‘rising
meter’.
trochee (/
-) and
dactyl (/ - - ), each termed as ‘falling meter’.
The number of feet or accented syllables in a line produces the line patterns
dimeter, trimeter, tetrameter, (‘heroic’) pentameter, hexameter,
heptameter
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rhyme
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(partial) congruity of sound in
order to create harmony or ‘similitude in dis-similitude’ (WORDSWORTH; see
poetry). Distinctions can be made by
1. extent:
masculine rhyme: 1
syllable: bright / night)
feminine rhyme: 2
syllables: ending / bending)
2. position:
internal rhyme
end rhyme: rhyme pairs aabb, cross rhyme abab,
embracing rhyme abba, tail rhyme aa-bccb
3. quality:
true
(‘exact’) rhyme (bright / night)
identical rhyme; use of same word or homonym
(too /
too , to / two)
slant
(‘half’,‘approximate’) rhyme; further distinctions:
assonance:
repetition of vowel sounds: rage
- made
consonance:
repetition of consonant sounds before / after differing vowel sounds: red / rod
alliteration:
repetition of consonant sounds at the beginning of or within successive words:
mazy motion, life’s fever
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stanza
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(strophe): section or division of
a poem, grouping or pattern of lines:
couplet , tercet, quatrain, cinquain, sestet, rhyme royal, octave,
Spenserian stanza
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ballad stanza
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typographical convention of the ballad
prevailing rhyme pattern: a - b - c - b
most typical metrical pattern: 4 - 3 - 4 - 3 stresses
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