Coleridge and the Relation in-between Poet and Critic Essay -- Theoris

Introduction Is it possible, fruitful, or confusing to view Coleridges aesthetic ideas as fragments (parts) toward the report card of a kind of larger theoretical poem (whole)? In other words, can one use Coleridges art noviceism to exposition upon his practice as a theorist? Are his aesthetic ideas relevant to his practice as a critic of the practice of poetic composition? Is it possible that some leverage could be obtained by torquing Coleridges theoretical statements or so poetry in particular and art in general to rendering on his own compositional practice as a critic? Quite simply, is Coleridges theory true to the ideals of his critical practice? The caveat here is that it is precisely my intention to answer these questions indirectly. The idea is to use these problems as the hub of a wheel of a widening set of questions whose fragmentary sections, like the spokes of the out of date coach wheel, radiate outward from a central ambiguity ( contented 472). The rule is guided by Adornos thoughts on the subject of the essay itself, which he suggests incorporates the anti-systematic pulsing into its own way of proceeding and introduces concepts unceremoniously, immediately, just as it receives them. They are do more precise only through with(predicate) their relationship to one other (12). Though the argument appears to be circular it would be more precise to say that it circulates, and thus reflects upon a process of reciprocal exchanges. One mightiness say of Coleridge that his intuition unfolds over thinking, rather than under-standing. The presentational aspect of the exploit of art works form. Form is never static, it is always forming and being organize (forma informans-- shaping form). Imagination takes on, spreads out and ove... ... the problem between the poles of activity and passiveness through the intermediate faculty of the imagination. Perhaps it is obvious to state that this nuances the bank note between immediate and me diate. Somehow the poem is then the aesthetic purpose of mediation in which immediate intuition is made manifest through the intermediate faculty of the imagination.Works citedAdorno, Notes to Literature. vol. I. New York Columbia UP, 1991. Benjamin, Walter. The Origin of German Tragic Drama. London New Left Books, 1977. Coleridge, Samuel Taylor. Biographia Literaria. London Everyman, 1991. On the Principles of Genial Criticism. Critical possibility Since Plato. Ed. Hazard Adams. New York Harcourt Brace Jovanovich, 1992. 471-76. The Statesmans Manual. Critical Theory Since Plato. Ed. Hazard Adams. New York Harcourt Brace Jovanovich, 1992. 476.