The composite reference point of Coleridge's seminal work is contained in 24 sections of the Biographia Literaria (1815–17). In this basic disquisition, Coleridge deals with the act of feedback, as well as its hypothesis. In his down-to-earth way of handling feedback, let's take a look at Coleridge the writer; while in the hypothetical exchange, Coleridge the logician took center stage. In chapter XIV of the Biographia Literaria Coleridge's view of the nature and function of poetry is discussed in philosophical terms. The poet in Coleridge talks about the distinction between poetry and prose, the function of poetry and the immediate function of poetry, while the philosopher analyzes the difference between poetry and poetry. He was the first English writer to insist that every work of art is, by its very nature, an organic whole. At first the supposition, which from Horace onwards had caused such a stir in criticism, that the purpose of poetry is to educate is discarded; or, as a less extreme form of heresy had put it, to make men morally better. In chapter fourteen, Coleridge talks about how he and Wordsworth decided that a series of poems can be composed of two types. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay. The first would be supernatural and the second would have a theme chosen from ordinary life. This is what led them to the idea of ​​"lyrical ballads". Coleridge was the one who focused on the supernatural, while Wordsworth focused on the ordinary or ordinary. Coleridge talks about how his poems were not as successful as Wordsworth's. In the first edition, Wordsworth published 19 of the 23 poems. Coleridge said that his poems made ballads not flow well. Coleridge also talks in this chapter about what poetry is. He says "What is poetry? For it is a distinction resulting from the poetic genius itself, which supports and modifies the images, thoughts and emotions of the poet's mind." Coleridge speaks of what the poet is in ideal perfection. He says that an ideal poet would put the whole soul of a man into activity. He also says that the ideal poet "diffuses a tone and spirit of unity which blends and merges thanks to that synthetic and magical power which is the imagination." Poetry according to Coleridge had two cardinal points in it, about which Wordsworth and Coleridge often conversed. From. With his views on these two cardinal points, Coleridge began this chapter. These cardinal points were, first, to adhere faithfully to the truth of nature to arouse the sympathy of the reader, and, second, to modify the colors of the imagination by giving the interest of novelty. According to Coleridge it was decided that the poems written by Wordsworth would concentrate on the first point of the compass while the other would apparently be dealt with by him. The treatment and subject of the first type of poem that Coleridge cites should be: "The sudden fascination, that accidents of light and shadow, that the light of the moon or sunset spread over a known and familiar landscape, seem to represent the practicability of combining both. These are the poetry of nature.” The characters and episodes of such poems were to be taken from ordinary life situations, such as would be found in any city and its region, those in which there is a caring and sentimental psyche that takes care of them or that sees them when they present them. The incidents and agents in the second type of verse were to have supernatural contents. To quote Coleridge, this type of poetry was to have “the excellence it aimed at was to affect the affections through the dramatic.truth of such emotions as they would naturally accompany such situations, assuming them to be real. And real in this sense they have been for every human being who, from any source of illusion, at any time believed himself to be a supernatural agency." Thus, with the help of imagination, the poet will supernaturally treat the natural, and the reader will understand it with "willing suspension of disbelief." In defense of Wordsworth's poetic creed: Coleridge, although he disagreed with Wordsworth's views on poetic diction, vindicated his poetic creed in chapter 14 of the Biographia Literaria. Coleridge writes in defense of the violent attacker of the "language of real life" adopted by Wordsworth in the lyrical ballads. There has been strong criticism against Wordsworth's views expressed even in the Preface. Coleridge writes in his defense: “If Mr. Wordsworth's poems had been those foolish and childish things, as they were long described; if they had really distinguished themselves from the compositions of other poets simply by the meanness of language and the senselessness of thought; if they really contained nothing more than what is found in parodies and their pretended imitations; they must have sunk immediately, dead weight, into the quagmire of oblivion, and have dragged the preface with them.” He wrote that the "maelstrom of criticism" swirling around these poems and the Preface would drag them into oblivion. But this did not happen. Instead, to quote Coleridge, “year after year the number of Mr. Wordsworth's admirers increased. They too were not to be found among the lower classes of the reading public, but mostly among young men of marked ability and meditative minds, and their admiration (inflamed perhaps to some extent by opposition) was distinguished by its intensity, I could almost say, by his religious fervor”. Therefore, Coleridge gives full credit to the genius of Wordsworth. This does not mean that he agreed with Wordsworth on all points. Thus, we can say that Coleridge is frank enough to point out that some of Wordsworth's views were wrong in principle and contradictory, not only in some parts of the Preface but also with respect to the poet's own practice in many of his poems. The difference between poetry and poetry is not given in clear terms. John Shawcross (in Biographia Literaria with Aesthetical Essays - 1907 Ed.) also writes that "this distinction between 'poetry' and 'poetry' is not clear, and instead of defining poetry he proceeds to describe a poet, and the poet proceeds to enumerate the characteristics of the imagination." This is because "poetry" for Coleridge is an activity of the poet's mind, and a poem is simply one of the forms of his expression, a verbal expression of that activity, and poetic activity is fundamentally an act of the imagination . David Daiches further writes in A Critical History of English Literature: “The employment of the secondary imagination is a poetic activity, and we can understand why Coleridge Islet moves from the discussion of a poem to the discussion of the poet's activity when we realize that for him the poet belongs to the greatest company of those distinguished by the activity of his imagination. "By virtue of his imagination, which is a synthetic and magical power, he harmonizes and combines various elements and thus spreads a tone and spirit of unity over the whole, manifested most clearly in the balance or conciliation of opposing or discordant qualities. , such as sameness, difference, the general, the concrete, the idea, the image, the individual, the representative, the feeling of newness and freshness, with old and familiar objects, a state of emotion more than usual , with more order than usual, judgment with enthusiasm, and while this imagination mixes and harmonizes the natural and the artificial, the, 92(5), 928-940.