For example, other significant terms, in the more heavily weighed Biographia, such as "Esemplastic
" and "Eisenoplasy" have been referred back in scholarship to phrasal cognates, like Schelling's "In-Eins-Bildung." Coleridge contrives an etymology for "Esemplastic
" from "the Greek words, [phrase omitted] [eis en plattein] i.e.
The invention of plastic has given birth to a celluloid spectacle, whose reveries displace the esemplastic
imagination of the romantics, filling our hollow skulls with an injection-moulded mentality, as pliable and as durable as any blob of polypropylene.
As such, the social being necessarily inhabits the position of the ultimate articulator--an esemplastic
"poet" engaged in the lifetime project of "nest building" and self fashioning by using a radical diversity of discourses, discursive fragments, and social relations as his or her raw materials.
The Paracelsian imagination is thus compared to a magic powerful image, a magnet exerting a unifying force (Coleridge's imagination as esemplastic
magic power), the celestial acting on the terrestrial, the supernatural acting on the natural, the spark igniting the fire:
It is also an ordering power within the self that produces a unity, in line with Coleridge's notion that the imagination is "esemplastic
"--bringing the many into one.
His solution is a reality-producing power of imagination, which he calls 'primary' or 'esemplastic
' since it is a 'shaping' power in the sense that its functioning underpins the topography of the world that we actually live in.
Tate describes "the 'esemplastic
power' of the Primary Imagination," for example, as "a Teutonic angel inhabiting a Cartesian machine named Samuel Taylor Coleridge." (6) For Tate, genuine imagination works toward higher syntheses through the things of the world by means of analogy.
Simile is to metaphor as allegory to symbol and as "fancy," in Samuel Taylor Coleridge's writings, is to "imagination": only the second has the "esemplastic
" (another Coleridgean term) power to create something new.
They use their esemplastic
imagination, understand the problem and visualize novel solutions.
"Incandescence" describes the process that sees Shakespeare's imagination--as Coleridge would have it, his "esemplastic
power"--released "whole and entire" (Woolf 66) from his mind, unimpeded by any personal convictions or agendas, and therefore undivided.
There is no division for Nabokov in the great artist as "art and thought, manner and matter, are inseparable." There is, rather, a Coleridgean esemplastic
shimmer their esemplastic
metaphors in silent explosions of