Thursday, 2 November 2017

Prose writers of Elizabethan Age with special reference to Francis Bacon




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                        > Topic: Prose writers of Elizabethan Age with special reference to Francis Bacon
                        > Paper no.1 Renaissance Literature
                        > Name: Abulhasan H. Aabedi
                        > Roll no: 01
                        > Class: Semester 01
                        > Enrollment no.:2069108420180001
                       > Email Id: abediabul@gmail.com
                        > Batch: 2017~19
                        > Submitted to Department of English MK Bhavnagar University.

Introduction: Although the Elizabethan age is called The Golden Age of English poetry and drama, it should also be regarded as a glorious age of English prose, for English prose was set on the track of  The Elizabethan age is called The Golden Age of English poetry and drama, it should also be regarded as a glorious age of English prose, for English prose was set on the track of glory by such great prose writers as Bacon, Richard Hokker, sir Philip Sidney, sir Walter Raleigh, John Fox, Camden, knox and Thomas North with Sir Philip Sidney on the forefront. almost all Elizabethan prose is the nearness of their prose to poetry. It is colourful, blazing, rhythmic, indirect, prolix, and convoluted. The Renaissance spirit of humanism, liberalism and romanticism found full play in the growth and development of English prose in the Elizabethan Age                  
 We should note that at the outest, the Elizabethan prose turned to translation of foreign books, especially the Italian Novella and short romantic stories so on.

Prose writers of Elizabethan:

Richard Hooker:
 In strong contrast with Bacon is Richard Hooker, one of the greatest prose writers of the Elizabethan Age. One must read the story of his life, an obscure and lovely life animated by a great spirit as told by Izaak Walton, to appreciate the full force of his contrast. His one great work is “The Laws of Ecclesiastical Polity”, a theological and argumentative book; but  entirely apart from its subject, it will be read whenever men desire to hear the power and stateliness of the English Language.

Sidney and Raleigh:
                                  Among the prose writers of this wonderful literary age there are many others that deserve passing noticed, though they fall far below the standard of Bacon and Hooker. Sir Philip Sidney, who has already been considered as a poet, is quite as well known by his prose works, ‘Arcadia’, a pastoral romance, and the ‘Defense of poesic’, one of the earliest literary essay. Sidney represents whole romantic tendency while Sir Waltor Raleigh represents its adventurous spirit and activity. He was the poet, scholar and adventurer. Raleigh prime works are the ‘ Discovery of guiana’ and the ‘History of the world’ written to occupy his prison hours. It is interesting chiefly for its style, which is simple and dignified, and for the flashes of wit and poetry that into the fantastic combination of miracles, traditions, hearsay, and state records which he called history.

John Fox:
                Fox will be remembered always for his famous ‘Book of Martyrs’. Foxe had been driven out of England by the Marian persecution, and in a wandering but diligent life on the continent he conceived the idea of writing a history of the persecutions of the church from earliest days to his own. To return from England he translated ‘book of martyrs’ which is earlier named is  ‘Act and Monuments’. It is strongest in its record of humble men, like Rowland Taylor and Thomas Hawkes, whose sublime heroism, but for this narrative, would have been lost amid the great names and the great events that fill the Elizabethan Age.

Camden and Knox:
                               Two historians, William Camden and John Knox, stand out prominently among the numerous historical writers of the age, Comden’s “Britannia” is monumental work, which marks the beginning of true antiquarian research in the field of history; and his “Annals of Queen Elizabeth is worthy of a far higher place than thus far been given it. John Knox, the reformer, in his “History of the Reformation in Scotland, has some very vivid portraits of his helper enemies. Such scenes make one wish that more of his time had been given to literary work, rather than to the disputes and troubles of his own Scotch Kirk.

Hakluyt and Purchas:
                                   Two editors of this age have made for themselves and enviable place in English literature. They are Richard Hakluyt and Samuel Purchas. First Hakluyt translate ‘ De Soto’s travels in America’. To further the second he made himself familiar with books of voyages in all foreign language and with the brief reports of exploration of his own countrymen. His, ‘principal Navigations’, ‘Voyages’, and ‘Discoveries of the English Nation’. This all book of travels has so well expressed the spirit and energy of the English race, or better deserves a place in the literature. Samuel Purchas first famous book, ‘Purchas’, ‘His Pilgrimage’, Appeared in 1613. So, both in accuracy and literary finish, there is still plenty to make one glad that the book was written and that he can now comfortably follow Purchas on his “Pilgrimage’.


Thomas North:
                         Among the translators of the Elizabethan Age Sir Thomas North is most deserving of noticed because of his version of ‘Plutarch’s Lives’ from which Shakespeare took the characters and many of the incidents for three great Roman plays. North’ translation, to which we owe so many heroic models in the Literature, was probably made not from Plutarch but from Amyot’s excellent French translation. Nevertheless he reproduces the spirit of the original, and  notwithstanding the modern and more accurate translation, he remains the most inspiring interpreter of the biographer whom Emerson calls “the historian of heroism”.

Francis Bacon:
                        There was another great scholar who contributed a great deal to the enrichment of English prose. He was Francis Bacon (1561-1626). He was the first to introduce in English the literary genre, known as the Essay, innovated by the French philosopher Montaigne. Bacon was both a scholar and a creative genius with a unique style of his own. Bacon was the first to introduce the intellectual, impersonal, reflective essays in a style which is inimitable. Brevity is the soul of Bacon’s essay. The words chosen by him are crisp and pithy. His sentences though small, speak volumes. It may be said that the Elizabethan intellectual prose finds its culmination in Bacon.

            “Cowards die hundred time before their death”
                                                                             ~ Francis Bacon
             “Fear of death is more dangerous than death”
                                                                                ~ Francis Bacon

                      Bacon is known as the father of English essay also the greatest prose writer of Elizabethan Era. Now Bacon withdrew permanently from public life, and devoted his splendid ability to literary and scientific work. He completed the Essay, experimented largely, wrote history, scientific, articles and one scientific novel, and made additions to his ‘Instauratio Magna’ the great philosophical work which was never finished.

Bacon’s masterpiece work:
·         The Advancement of Learning
·         The Novum Organum
·         Instauratio Magna
·         The Great Institution of True Philosophy
·         The New Atlantis

                      ‘The Instauratio Magna’ was the most ambitious, though it is not the best known of bacon’s work. For the insight it gives us into the author’s mind, we note here a brief outline of his subject. It was divided into six parts
1.       Partitiones  Scientiarum – This was to be a classification and summary of all humen knowledge.

2.       Novum Orgnum- Is the use of reason and experiment instead of the old Aristotelian logic.

3.       Historia Naturalis et Experimentalis- the study of all phenomena of nature. Of four parts of  this work which he completed, one of them at least the Sylva Sylvarum, is decidedly at variance with his own idea of fact of experiment.

4.       Scale Intellectus or Ladder of the mind-  is the rational application of the Organum to all problems.

5.       Prodromi(Anticipation)- Is a list of discoveries that men shall make when the  have applied Bacon’s method of study and experiments.

6.       Philosphia Secunda- Which was to be a record of practical results of the new philosophy when the succeeding ages should have applied it faithfully.
      
“We may, said Bacon, “make no despicable beginnings…for upon. The destinies of the human race must complete the work… for upon this will depend not only a speculative good but all the fortunes of mankind and all their power”.
                      There is the unconscious expression of one of the great minds of the world. Bacon was like one of the architects of the middle ages.

The Essay:
                    Francis Bacon is considered the father of English essay. His famous Essay is the one work which will interest all students of literature. His Instauratio was in latin, written mostly by paid helpers from short English abstracts. He regarded Latin as the only Language worthy of a great work; but the world neglected his Latin to seize upon English, marvelous English, terse, pithy, packed with thought, in age that used endless circumlocution. The fist ten essays published in 1597 then he gave more charm and great thought in second addition of the essays in 1612 which are covering wide variety of subjects suggested by the life of men around him.
                  Concerning the best of these essays there are as many opinions as there are readers, and what one gets out of them depends largely upon his owns thought and intelligence. In this respect they are like that nature to which Bacon directed men’s thought. The whole volume may be read through in an evening; but after one has read them a dozen times he still finds as many places to pause and reflect as the first reading. If one must choose out of such a storehouse, we would suggest “Studies”, “Goodness”, “Riches”, “Atheism”, “Unity in Religion”, “Adversity”, “friendship” and “great place” as an introduction to Bacon’s worldly-wise philosophy.

                   Other works of Bacon are interesting as a revelation of the Elizabethan mind, rather than because of any literary value. ‘The new Atlantis’ is a kind of scientific novel describing another Utopia as seen by Bacon. The inhabitants of Atlantis have banished Philosophy and applied Bacon’s method of investigating nature, using the result to better their own condition. ‘De sapientia veternum’ is a fanciful attempt to show the deep meaning underlying ancient myth. ‘ The History of Henry Vll’ is a calm, dispassionate and remarkably accurate history, which makes us regret that Bacon did not do more historical work. Beside these are metrical version of certain Psalm- which is valuable in view of the controversy anent Shakespeare’s plays, for showing Bacon’s utter inability to write poetry and a large number of letters and state papers showing the range and power of his intellect.

Conclusion:
                         To conclude, we can say that Francis Bacon was the prominent prose writer of the Elizabethan Age, and also considered as a father of essays in English literature of the world. Although Bacon was for the greater part of his life a busy man of affairs, one can’t read his work without becoming conscious of two things, a perennial freshness which the world insists upon in all literature that is to endure and an intellectual power which marks him as one of the great minds of the world.


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Works Cited

<http://www.literaturewise.in/mdl/mod/page/view.php?id=130>.

"The History of English LIterature." W.J.Long. n.d.



                   


Sri Aurobindo's view on Education


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·           Name: Abulhasan H. Aabedi             
·          Roll no: 01
·          Topic: Aurobindo's view on Education
·           Paper no.4: Indian Writing In English
·           Class: Semester 01
·           Enrollment no.:2069108420180001
·           Batch: 2017~19
·           Submitted to Department of English MK Bhavnagar University.


·         Sri Aurobindo's views on Education

·         Introduction:

Philosopher Aurobindo (1872-1950) can be viewed as a 20th century renaissance person. Born in Kolkata, India, Aurobindo was educated at Cambridge University. He was an intellectual who intensely analyzed human and social evolution.Aurobindo Ghosh was an Idealistic to the core. His Idealistic philosophy of life was based upon Vedantic philosophy of Upanishad. He maintains that the kind of education, we need in our country, is an education “proper to the Indian soul and need and temperament and culture that we are in quest of, not indeed something faithful merely to the past, but to the developing soul of India, to her future need, to the greatness of her coming-self creation, to her eternal spirit.”

Sri Aurobindo’s (1956) concept of ‘education’ is not only acquiring information, but “the acquiring of various kinds of information’’, he points out, “is only one and not the chief of the means and necessities of education: its central aim is the building of the powers of the human mind and spirit”.

Sri Aurobindo: "Education which will offer the tools whereby one can live for the  divine, for the country, for oneself and for others and this must be the ideal of every school which calls itself national".

·        Meaning:

 The word "Education" has been derived from the Latin term "Educatum" which means the act of teaching or training. A group of educationists say that it has come from another Latin word "Educare" which means "to bring up" or "to raise".

      “The Education is that which does not merely give us information but makes our life in harmony with all existence.”
                                                       ~ Rabindranath Tagor


·        SRI AUROBIONDO’S VIEWS ON EDUCATION :-

                 
                                Sir aurobindo always laid great stress on education. He himself had the best education while in Cambridge, and between 1897 and 1906, was a professor in the Bengal National College. So he knew the question in depth. And he had hopes in the young. He trusted that youth can give their good contribution in rebuilding the nation. Sir Auribindo never tired of calling for what he termed “ a national education”. He gave his brief definition for it. :-
                                    The education which starting with the past and making full use of the present builds up a great nation. Whoever wishes to cut off the nation from its past is no friend of our national growth. Whoever fails to take advantages of the present is losing us the battle of life. We must therefore save for India all that she has stored up of knowledge, character and noble thought in her immemorial past. We must acquire for her best knowledge that Europe can give her and assimilate it to her own peculiar type of national temperament. We must introduce the best methods of teaching humanity has developed, whether modern or ancient. And all these we must harmonise into a system which will be impregnated with the spirit of self-reliance so as to build up men and not machines.

                                       Sir aurobbindo had little love for British education in India, which he called a ‘‘  mercenary and soulless education,” and for its debilitating influence on the “ the innate possibilities” of the Indian brain. In India, he said “ the students generally have great capacities, but the system of education represses and destroys these capacities.” As in every field, he wanted India to crave out her own path courageously:

The greatest knowledge and the greatest riches man can possess are India’s by inheritance; she has that for all mankind is waiting but the full soul rich with the inheritance of the past, the widening gains of the present, and the large potentiality of the future, can come only by a system of National Education. It can not come by any extension or imitation of the system of the existing universities with its radically false principles, its vicious and mechanical methods, its dead-alive routine tradition and its narrow and sightless spirit. Only a new spirit and a new body born from the heart of the Nation and full of the light and hope of it’s resurgence can create it. 

                                           Young Indians are increasingly deprived from their rightful heritage, cut off from their deeper roots. He have often found himself in the curious position of explaining to some of them the symbolic meaning of an   ancient Indian myth, for instance or worse, of having to narrate the myth it self. Again, a French or English child will be given at least some semblance of cultural identity, whatever its worth; but here, in this country which not long ago had the most living culture in the world, a child is given no nourishing food only some insipid, unappetizing hodgepodge, cooked in the west and pickled in India. This means that in the name of some irrational principles, India as an entity is throwing away some precious treasures.  As Sri Aurobindo put it :
Ancient India’s culture, attacked by European modernism, overpowered in the material field, betrayed by the indifference of her children, may perish for ever along with the soul of the nation that holds it in its keeping.
             Young Indians are increasingly deprived from their deeper roots. He have often found

·        Concept of Spiritual Education :-

‘‘Man can not rest permanently until he reaches some highest
   good.’’
‘‘ To fulfil god in life is man’s manhood. ’’  - Sri Aurobindo

                           A true spiritual education has to teach the students to recognize this relationship of spirit and matter, so that one neither looks down upon matter and all the problems the material life presents, nor shuns spirituality as a less on in escapism.
   
                          A Spiritual education would prepare the student to face life armed with a greater faith and face with an outlook which is integral. His recognition of the problems of life will not depend entirely on their appearances. He will be able to grow spirituality through tracking.
  
                               Sri Aurobindo has been widely acclaimed as a modern seer and a Vedic scholar. He had headed the first National College of Education of Calcutta and had written extensively on the subject of education. His approach to ‘Integral education’ is in itself a unique concept. Education of the body, mind and spirit are each expounded in his writings on education, but their integration is even more significant. He has also dwelt on the social and psychological aspects of education. His thought has been put to practice at Sri Aurobindo Ashram’s educational programmes, The Auroville and several other schools of the country.

"The first principle of teaching is that nothing can be taught". This statement of Sri Aurobindo condenses a whole lot of theories of education and a new form of pedagogy closer to integral approach to education. It puts learning above teaching. It makes learning a self-starting, self propelling process. It redefines the role of the teacher from a mere possessor of information to a facilitator and a guide for the learner. I am not aware of any other profound statement in teaching which has such a permanent validity.''  - Shri Aurobindo       

·        Integral education for the growth of the soul:-

                                            Originally a poet and a politician, not a philosopher, Shri Aurobindo engaged himself for forty-five years out of his seventy-eight years in the practice of Yoga, and developed a philosophy of complete affirmation, affirming the reality of the world from the ultimate standpoint and the meaningfulness of socio-political action from the spiritual standpoint

                                          He was sovereignly aware of the significance of variations in the concept of man, his life and destiny, of the nation and of humanity and the life of human race, which get reflected in the respective philosophies of education, and developed his scheme of integral education rooted in ‘the developing soul of India, to her future need, to the greatness of her coming self creation, to her eternal spirit according to Shri Aurobindo, has seen always in man the individual a soul, a portion of the Divinity enwrapped in mind and body, a conscious manifestation in Nature of the universal self and spirit. In his educational philosophy, Shri Aurobindo upheld the basic but commonly forgotten principle that ‘it is the spirit, the living and vital issue that we have to do with, and there the question is not between modernism and antiquity, but between an imported civilization and the greater possibilities of the Indian mind and nature,not between the present and the past, but between the present and the future’. In devising a true and living education, three things according to Sri Aurobindo the man, the individual in his commonness and his uniqueness, the nation or people and universal humanity should be taken into account.

·         Curriculum Transaction:

Aurobindo prescribed free environment for the child to develop all his latent faculties to the maximum and suggested all those subjects and activities should possess elements of creativity and educational expression. He wished to infuse a new life and spirit into each subject and activity through which the development of super human being could becomes possible. He laid down the following principle for curriculum-

Curriculum should be in such a way which child find as interesting.
It should include those entire subjects which promote mental and spiritual development.
It should motivate children towards the attainment of knowledge of the whole world.
It should contain creativity of life and constructive capacities
Aurobindo describes curriculum for different stages of education–
Mother tongue, English, French, literature, national history, art, painting, general science, social studies and arithmetic should be taught at primary stage.
Mother tongue, English, French, literature, arithmetic, art, chemistry, physics, botany, physiology, health education, social studies at secondary stage.
Indian and western philosophy, history of civilization, English literature, French, sociology, psychology, history, chemistry, physics, botany at university level.
Art, painting, photography, sculptural, drawing, type, cottage-industries, mechanical and electrical engineering, nursing etc at vocational level

·        Teacher-Taught Relationship:

Aurobindo enunciates certain sound principles of good teaching, which have to be kept in mind when actually engaged in the process of learning. According to Sri Aurobindo, the first principle of true teaching is “that nothing can be taught.” He explains that the knowledge is already dormant within the child and for this reason. The teacher is not an instructor or task-master; “he is a helper and a guide.” The role of the teacher “is to suggest and not to impose”. He does not actually train the pupil’s mind, he only shows him how to perfect the instruments of knowledge and helps him and encourages him in the process. He does not impart knowledge to him; he shows him how to acquire knowledge for himself. He does not call forth the knowledge that is within; he only shows him where it lies and how it can be habituated to rise to the surface.

·         School:

Sri Aurobindo’s philosophy of education aims at modifying the school curricula, maximizing the learning modalities, helping the child to achieve his potentiality at his own pace and level and devote his time to discover himself. This kind of schooling is seen as an anti-thesis of an imposed uniformity of prescribed courses and teaching which the traditional schools purport to do and can be linked to what was taught in schools under the colonial rule. The type of schooling visualised by Sri Aurobindo is seen as aiming to bridge the gap between the child’s life at school and that at home.
In contrast to the educational ideas of Sri Aurobindo , the present day education system in India is purely an instruction-of-information enterprise, supported by a subject-time-bound curriculum, which neither relates to the needs or abilities of the learner nor takes into consideration the way children learn successfully. Instead of being child-oriented it is subject-oriented. The schools focus on competition with others, mastery of subject matter for getting better marks or grades than on learning in cooperation with and from one another for personal growth and for welfare of others.
This is not exclusive to Indian phenomenon, rather all over the world education is largely reductionist, materialist, ego enforcing, and devoid of the joys of the spirit. It is in this context that there is a need to examine initiatives which are rooted in Indian tradition, seek alternatives in curriculum teaching and learning for measuring success, involve children in the process of learning and focus on learning from the another and not from an authoritative pedagogue.

·        Discipline:

Children should be provided with a free environment so that they are able to gain more and more knowledge by their own efforts. According to him any retrained and imposed environment stunt the growth and natural development. Aurobindo propagated the concept of self discipline which was the cure of impressionistic discipline.

·         Aurobindo’s Philosophy in Global Context:

The 20th century saw the birth of a new social phenomenon termed as ‘globalization’. The idea is that the world is evolving into an interconnected social system producing a corresponding higher level of collective consciousness on a planetary scale. Therefore, humankind now has a communal responsibility to facilitate evolutionary movement toward global social integration, the construction of a new social reality and to cultivate planetary collective consciousness. Due to the severity of present day international problems, the grand idea of globalization now holds minimal concern for the majority of educators.
Sri Aurobindo Ghosh strived to philosophically reconcile Western scientific rationalism with Eastern transcendent metaphysics into a holistic narrative of reality. His academic interest was interdisciplinary in scope: political science, education, sociology, psychology and philosophy. He was deeply influenced by Western thought, most significantly, Charles Darwin’s evolutionary theory and French intellectual Henri Bergson’s philosophy of cognitive evolution. The ideas of impending human evolution and global futurism became the foundation of his spiritual philosophy, sociological theories, political ideology and educational thought.
His approach to yoga is an integration of the physical social behavior with the metaphysical level as a holistic system of inner-self meditation and outer-social action: (1) knowing (seeking objective rational knowledge), (2) behavior (cultivating subjective positive social and humanistic mental models), and contemplation (nourishing reflective capitulation to the evolutionary energy of the absolute). His method of Integral Yoga is not a specific physical or psychological procedure of physical postures but it is to consciously surrender to evolutionary energy. This energy causes increasing levels of personal evolution, spiritual awareness, which is necessary for future social evolution.
In 1947, after the emancipation of India, Sri Aurobindo devoted himself entirely, along with his soul mate and social comrade, Mirra Alfassa (“the Mother”), to liberate the whole of humanity socially and spiritually by advancing Integral Yoga and planetary social activism toward human unity and global evolution.
Sri Aurobindo’s vision of evolution as a long slow process of dialectical energy of evolution being the intercourse between spiritual descent into the world and evolutionary ascent of consciousness. Aurobindo’s idea is that evolution is the incarnation of the Divine on earth through descent into the earth nature and thus into the collective embodiment of humankind. Within this framework, Sri Aurobindo asserts that planetary evolution has resulted in distinctive spheres of existence. In this sense, Philosopher Aurobindo (1872-1950) can be viewed as a 20thcentury renaissance person.
·        Conclusion :-
                                             thus, Aurobindo conceived of education as an instrument for the real working of the spirit in the mind and body of the individual and the nation. He thought of education that for the individual will make its one central object the growth of the soul and its powers and possibilities, for the nation will keep first in view the preservation, strengthening and enrichment of the nation—soul and its Dharma (virtue) and raise both into powers of the life and ascending mind and soul of humanity.


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Works Cited

 <http://ddceadipur.org/ebooks/sriaurobindoeducation.pdf>.
<http://schoolofeducators.com/2012/04/aurobindos-vision-on-education/.>.




Coleridge as a Critic




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                        > Topic: Coleridge as a critic

                        > Paper no.3 Literary theory and criticism

                        > Name: Abulhasan H. Aabedi

                        > Roll no: 01

                        > Class: Semester 01

                        > Enrollment no.:2069108420180001

                        > Email Id: abediabul@gmail.com

                        > Batch: 2017~19

                        > Submitted to Department of English MK Bhavnagar University.

> COLERIDGE AS A CRITIC:

> Introduction:~
                             Samuel Taylor Coleridge [1772-1834] was a great poet, but he is also a great critic. He is one of the greatest of poet-critics that England has ever produced. He was a genius and when he inspired, and when the mood was upon him, he could create works of the highest order, but he was incapable of sustained and persistent labour.
          Stray’s remarks on literature and literary theory are scattered all over his prose works as, The Friend, Table Talks, Letters, Aids to Reflections, Confessions of an Inquiring spirit, Animal Poteau and Sibylline Leaves. But the bulk of his literary criticism, all that is most worthwhile in it is contained in his
(1)     Biographia Literaria and
(2)     Lectures on Shakespeare and other poets.
                 Activity of the ‘poet’s’ mind, and a ‘poem’ is merely one of the forms of us expression, a verbal expression of that activity, and poetic activity is basically an activity of the imagination. As David Daiches points out. ‘Poetry’ for Coleridge is a wider category than that of “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 “secondary imagination” comes into operation. Whenever the synthesizing the integrating, powers of the secondary imagination is at work, bringing all aspects of a subject into a completion unity, then poetry in this larger sense results.


                Coleridge is one of the greatest of literary critics, and his greatness has been almost universally recognized. He occupies, without doubt, the first place among English literary critics. After eliminating one after another the possible contenders for the title of the greatest critic, Saintsbury concludes:

Coleridge’s Criticism:
→      Themes of poetry:
●       Rustic Language:

            At the second charge on the statement of Wordsworth, Coleridge object that best part of the language is derived from object which the rustic constantly communicates. First, communication with an object indicate reflection on it, and richness of vocabulary arises from such a reflection. Coleridge says that vocabulary of rustic is poor because they can express only barest fact of nature can’t express such a idea, thoughts or universal-law which from reflection on the facts. secondly, Coleridge charge that the best part of the man's language does not simply communicates with nature. but from the education, from the noble ideas, thoughts, words and great mind. So, here Coleridge object that man communicates with nature through his ideas and with the master mind of humanity.

●       Poetic Diction:

          Coleridge, even though he did not agree to Wordsworth's views  on poetic diction, vindicated his poetic creed in chapter 14 of Biographia Literaria. Coleridge writes in defence to the violent to the 'Language of real life' adopted by Wordsworth in the Lyrical Ballads . Wordsworth manifest that the language of poetry is, “a selection of the real language of men or the very language of men, and that there was no any difference between the language of prose and that of poetry”, Coleridge, retorts that, ‘every man’s language’, “varies according to the extent of his knowledge, the activity of his faculties and the depth or quickness of his feelings. “Every man’s language has, first its individual peculiarities, secondly, the properties common to the class to which he belongs, and thirdly, words and phrases of universal use. “No two men of the same class or of different classes speak alike, although both use words and phrases common to them all, because in the one case their natures are different, and in the one case their nature are different, and in the other their classes are different.” This applies as much to the language of rustics to that of townsmen in both cases. The language varies form person to person, class to class, and place to place.

                      According to Coleridge there are two main cardinal points of poetry:
(1)     The power of exciting the sympathy of the reader by a faithful adherence to the truth of nature.
(2)     The power of giving the interest of novelty by the modifying colors of imagination.
          Words worth tried to focus on the charms of novelty to things of everyday directing the human mind to the loveliness and wonders of the world.  According to Coleridge there aretwo types of poetry:

(1)     Nature Poetry
(2)     Supernatural Poetry

          In which the incidents and people were to be the part of supernatural. Coleridge says that subject of the poem, people and other objects should be chosen from ordinary life. It should be taken from the rustic and the village life. In lyrical: ballads it was written that the persons and characters which are supernatural or at least romantic. Thus our interest should transfer from our inward nature to human interest. According to Coleridge the language of poetry should be the language of real life. A poem contains the same elements as a prose composition. It is distinguished from prose by meter or rhyme. In this sense it is the lowest sense of poem. A particular type of pleasure is derived from the sounds and all compositions that have this charm may be entitled as a poem. A difference of object and content also distinguishes them. The immediate purpose may be the communication of truth either absolute truth as science or facts experienced and recorded as in history. Pleasure and that of the highest and the most permanent kind may result from the allayment of the end. In other words the communication of pleasure may be the immediate purpose and the truth either moral or intellectual ought to be the ultimate and. The communication of pleasure may be the immediate: object of a work not metrically composed. It is quite possible that the highest type of pleasure can be communicated by a novel then can it be called a poem? In this case the final definition is:
          A poem is that species of composition which is opposed to works of science by proposing for its immediate object pleasure not truth, and from all other species. It is discriminated by proposing to itself such delight from the whole, as is compatible with a distinct gratification from each component part.
          As a result the reader should be carried forward by the pleasurable activity of mind excited by the attractions of the journey itself. The reader should be carried forward not merely or chiefly by the mechanical impulse of curiosity or by a restless desire to arrive at the final solution.
          Now Coleridge talks about the pleasure that you derived from the poetry and says that the poet described in ideal perfection brings the whole soul of man into activity.
          Coleridge differs with Wordsworth’s theory based on assumption that his words had been rightly interpreted that the proper diction for poetry in general consists all together in a language taken with due acceptations. According to words worth’s, language should be taken from the mouth of man.
          Coleridge agrees with Wordsworth that in rustic life human soul can prosper fully but he believes that every man is not likely to include by a country life. Coleridge accepts the principle of Aristotle that the poetry is essentially ideal and that it avoids all accidents and feels completely individualistic in rank and characters who represent a class. Coleridge says that a rustic language purified from all provincialism and written as per rules of grammar than there is no difference from rustic and the language of any other learned or refined man. Coleridge says that the literal knowledge of an educated rustic person will provide a very scanty / limited vocabulary. The few things and modes of action requisite for his bodily convenience that alone would be individualized whereas all the rest of nature would be expressed by a small number of confused general terms. The nature of a man’s world, where he is strongly affected by joy, grief of anger, must necessarily depend on the quality of the general truth, conceptions, and images and of the words expressing them which are already stored in the mind of a man. Words worth truly says that poetry always implies passion means all excited state of the feelings and faculty so there is an essential difference between the language of prose and of metrical composition. Thus, Coleridge in the end gives the above statement that there should be difference between the language of prose and poetry.
          At the end of his notes on Shakespeare, he has a passage, full of power and meaning, incidentally, referring to the same, thought: ‘There are three powers.’
(1)     Wit which discovers partial likeness hidden in general diversity.
(2)     Subtlety which discovers the diversity, concealed in general apparent sameness.
(3)     Profundity which discovers an essential unity under all the semblance of difference. Give a subtle man fancy and he is a wit, to a deep man imagination and he is a philosopher.
               Add again pleasurable sensibility in the interesting in morals, the impressive in form, and the harmonious in sound and you have the poet. But combine all, wit subtlety, and fancy, with profundity imagination, and moral and physical susceptibility of all pleasurable and let the object of action be man universal; and we shall have – Orash prophecy! Say, rather we have – a Shakespeare! Let’s come back to our topic that is poet and prose. Pleasure may be the immediate object of a work not metrically composed as it is in novels and romances. Worse than the more super addition of meter, with or without rhyme entitle these to the name of poems? The answer is that we cannot call them poems because in the first place metrical form would not be suitable to its language and content and, secondly, due to its length all parts would not require equal attention and therefore would not equally contribute, to the total pleasure. ‘A poem, defines Coleridge,’
        
          A legitimate poem defines it as , "it must be one, the parts of which mutually support and explain each other; all in their propostion harmonizing with, and supporting the purpose and known influence of metrical arrangement". Therefore, the legitimate poem is a composition in which the rhyme and the metre bear an organic relation to the total work. While reading this sort of poem "the reader should be carried forward, not merely or chiefly by the mechanical impulse of curiosity or by a restless desire to arrive at the final solution; but by the the pleasurable activity of mind excited by the attraction of the journey itself". Here Coleridge assert the importance of the impression created by the harmonious whole of the poem. To him not one or other part but the entire effect, the journey of reading poem should be pleasurable. Thus Coleridge puts an end to the age old controversy whether the end of poem is instruction or delight. Its aim is definitely to give pleasure and further poem has its own distinctive pleasure, pleasure arising from the parts and this pleasure of the parts supports and increases the pleasure of the whole
          “A poem of any length neither can be nor ought to be, all poetry size does not decide the quality. It doesn't determine prose or poem too.”

His Practical Criticism—Father of Impressionistic Criticism:

                      A man of stupendous learning, both in philosophy and literature, ancient as well as modern, and refined sensibility and penetrating intellect, Coleridge was eminently fitted to the task of a critic. His practical criticism consists of his evaluations of Shakespeare and other English dramatists, and of Milton and Wordsworth. Despite the fact there are so many digressions and repetitions, his practical criticism is always illuminating and highly original. It is rich in suggestions of far reaching value and significance, and flashes of insight rarely to be met with in any other critic. His greatness is well brought out, if we keep in mind the state of practical criticism in England before him. The Neo-classic critics judged on the basis of fixed rules, they were either legislative or judicial, or were carried away by their prejudices. Coleridge does not judge on the basis of any rules. He does not pass any judgment, but gives his responses and reactions to a work of art. His criticism is impressionistic-romantic, a new kind of criticism, a criticism which dealt a knockout blow to neo-classic criticism, and has been in vague, more or less, ever since. He could discover new beauties in Shakespeare and could bring about fresh re-valuations of a number of old English masters. Similarly, his criticism of Wordsworth and his theories enable us to judge him and his views in the correct perspective.

Philosophize Literary Criticism

                 In the field of theoretical inquiry, Coleridge was the first to introduce psychology and philosophy into literary criticism. He was interested in the study of the process of poetic creation, the very principles of creative activity, and for his purposes freely drew upon philosophy and psychology. He thus made philosophy the basis of literary inquiry, and thus brought about a union of philosophy, psychology and literary criticism. His literary theories have their bases in philosophy; he imparted to criticism the dignity which belongs to philosophy. He philosophized literary criticism and thus brought about a better and truer understanding of the process of creation and the nature and function of poetry.

Theory of Imagination—Revolutionized the concept of Imitation

                   His greatest and most original contribution to literary criticism is his theory of imagination. Addison and examined the nature and function of imagination, had Wordsworth, too, had developed his own theory on the subject. But all previous discussions of Imagination look superficial and childish when compared with Coleridge's treatment of the subject. He is the first critic to differentiate between Imagination and Fancy, the first literary critic to distinguish between primary and secondary Imagination. Through his theory of imagination he revolutionized the concept of artistic imitation. Poetic imitation is neither a servile copy of nature, nor is it the creation of something entirely new and different from Nature. Poetry is not imitation, but creation, but it is creation based on the sensations and impressions received from the external world. Such impressions are shaped, ordered, modified, and opposites are reconciled and harmonized, by the imagination of the poet, and in this way poetic creation takes place.

Demonstration of the Organic Wholeness of Poetry

                  Further, as David Daiches points out," the employment of secondary imagination is a poetic activity and we can see why Coleridge is let from a discussion of the poet's activity when we realize that for him the poet belongs to the larger company of those who are distinguished by the activity of their imagination By virtue of his imagination, which is a synthetic and magical power, he harmonize and blend together various elements and 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 sameness with difference, of the general with concrete, the idea with the image, the individual with the representative, the sense of novelty and freshness with old familiar objects, a more than usual state of emotion with more usual order, judgment with enthusiasm. And while this imagination blends and harmonizes the natural and artificial, it subordinates to nature, the manner to the matter and our admiration of the poet to out sympathy with the poetry. This demonstration of the organic wholeness of a poem is one of his major contributions to literary theory.

‘‘Willing Suspension of Disbelief”

                   Similarly, his theory of “Willing suspension of disbelief” marks a significant advance over earlier theories on the subject. His view that during the perusal of a poem or the witnessing of a play, there is neither belief nor disbelief, but a mere suspension of disbelief, is now universally accepted as correct, and the controversy on the subject has been finally set at rest.

His Related Recognition and Influence: Its Causes

                  However, it may be mentioned in the end that as Coleridge’s views are too philosophical, he is a critic not easy to understand. Often it is fragmentary and unsystematic. Victorians, in general, could not appreciate him and his appeal was confined to the few. Says George Watson in this connection, ‘‘Coleridge’s aesthetics could not appeal to a generation of Victorians to whom no system of aesthetics was of much interest. As a descriptive critic, his achievement is brilliant but sporadic, and he offers no single example worthy to be advanced as a model. If his criticism survives, as it vigorously does, it is not by virtue of what it demonstrates but by what it abundantly suggests, for no English critic has so excelled at providing profitable points of departure for twentieth-century critics. Perhaps there is something perverse about a professional pundit who had so little to say that was comprehensible to his own century ; but, a hundred years later, his manuscripts, as they belatedly see print, seem among the richest of our capital assets. They are the relics of a mind passionately in love with free inquiry, concentrated and disciplined in its determination to decipher the secret of poetic discourse.” It is only in the 20th century that his literary criticism has been truly understood and recognition and appreciation have followed. To-day his reputation stands very high, and many go to him for inspiration and illumination. Despite the fragmentary nature of his work, he is now regarded the most original critic of England.

So, then there abide these three – Aristotle, Longinus and Coleridge.
According to Arthur Symons, Coleridge's Biographia Literaria is,
… the greatest book of criticism in English.

Herbert Read concludes Coleridge as:

 … head and shoulders above every other English critic.

              I. A. Richards considers him as the fore-runner “of the modern science of semantics”, and Rene Wellek is of the view that he is a link, “between German Transcendentalism and English Romanticism.”

               In the 20th century Coleridge recognize as a great critic and also today his status very high and critics also following his style of criticism and get inspiration. nevertheless the fractal nature of his work, he is now regarded as the most genuine critic of England.

Conclusion:

          To conclude, we may say in his own words, he endeavored ‘to establish the principles of writing rather than to furnish rules about how to pass judgment on, what had been written by others.’
          Thus, Coleridge is the first English critic who based his literary criticism on philosophical principles. While a critic before him has been content to turn a poem inside out and to discourse on its merits and demerits ; Coleridge busied himself with the basic question of, ‘how it came to be there at all.’ He was more interested in the creative process that made it, what it was, then in the finished product.

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Works Cited 

http://bhatturvi1315.blogspot.in/2013/10/coleridge-as-critic.html.
http://educationcing.blogspot.in/2012/07/assessment-of-coleridge-as-critic.html.
http://www.cssforum.com.pk/css-optional-subjects/group-v/english-literature/383-s-t-coleridge-critic.html.