As the culmination of the long repudiation of [David] Hartley’s thought, Coleridge famously opposes this Imagination (later divided into Primary and Secondary) to the “Fancy,” which “has no other counters to play with, but fixities and definites.” The Fancy indeed merely plays with the “counters” that have been given it by the memory; “it must receive all its materials ready made from the law of association.” If we were reliant only on the Fancy, we would indeed be Hartleian beings, shuffling our fixed and defined impressions like cardboard coins; but as beings made in the image of God, Coleridge says, we can do more: “The primary IMAGINATION I hold to be the living Power and prime Agent of all human Perception, and as a repetition in the finite mind of the eternal act of creation in the infinite I AM.”
The importance of this distinction is evident from Coleridge’s redeployment of it in other terms elsewhere in the Biographia: “Could a rule be given from without, poetry would cease to be poetry, and sink into a mechanical art. It would be μóρφωσις [morphosis], not ποíησις [poiesis]” — shaping, not making. Roberts, whose background in classics serves him very well as an annotator of Coleridge, points out that “when Coleridge uses [morphosis] in the Biographia he has in mind the New Testament use of the word as ‘semblance’ or ‘outward appearance’, which the King James version translates as ‘form’” — mere form, as it were, mere appearance. And it may be also that Coleridge is thinking of the New Testament uses of poiesis and its near relations as well: for instance, when Paul writes of human beings (Eph. 2:10) as poiesis theou — “God’s workmanship”; God’s poem.
(Not incidentally, Adam's blog is called Morphosis.) I’ve just discovered in my Great Pynchon Re-Read that the word “Morphosis” is used five times in Mason & Dixon, though not, it seems, in Coleridge's sense of the term. Here's the best example:
If you look at the OED entry for the word here's what you see:
Of course, the only real way to get this sort of freedom and safety—to escape the hassles of earthly life—is to die. And what I think we see in these advertisements is an appeal to a desire to be dead that is evidently felt by many people. These ads are addressed to the perfect consumers: the self-consumers, who have found nothing of interest here on earth, nothing to so, and are impatient to be shed of earthly concerns.