Samuel Taylor Coleridge makes an important distinction between Fancy and Imagination in his critical work *Biographia Literaria*. His discussion of these two mental faculties is one of the most significant contributions to Romantic literary theory. Coleridge attempts to explain how the human mind creates poetry and artistic expression by differentiating between the mechanical operation of Fancy and the creative, organic power of Imagination. Through this distinction, he establishes a hierarchy of poetic creativity and emphasizes the profound role of imagination in artistic production. Coleridge divides imagination into two forms: the Primary Imagination and the Secondary Imagination. According to him, the Primary Imagination is the fundamental power of human perception. It is the living power and prime agent of all human perception and operates unconsciously in every individual. Through this faculty, the human mind receives and organizes sensory impressions from the external world. Coleridge considers it a repetition in the finite mind of the eternal act of creation in the infinite “I AM.” This means that whenever human beings perceive the world, their minds actively shape and interpret the sensory data rather than passively receiving it. Thus, imagination is not merely a poetic faculty but a universal human capacity involved in the process of perception itself. The Secondary Imagination, according to Coleridge, is an echo of the Primary Imagination but exists with conscious will. While the Primary Imagination is automatic and universal, the Secondary Imagination is the creative faculty of the poet or artist. It