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 composition of a kind of larger theoretical poem (whole)? In otherwise words, can one use Coleridges art criticism to comment upon his practice as a theorist? Are his aesthetic ideas applicable 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 about poetry in ill-tempered and art in general to comment on his own compositional practice as a critic? Quite simply, is Coleridges theory true to the ideals of his slender 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 fragmental sections, like the spokes of the old coach wheel, radiate outward from a central ambiguity (Genial 472). The method is guided by Ador nos thoughts on the subject of the es recount itself, which he suggests incorporates the anti-systematic impulse into its own way of proceeding and introduces concepts unceremoniously, immediately, just as it receives them. They are made more precise only through their relationship to one other (12). Though the argument appears to be circular it would be more accurate to say that it circulates, and thus reflects upon a process of reciprocal exchanges. One might say of Coleridge that his intuition unfolds over thinking, rather than under-standing. The presentational aspect of the work of art works form. Form is never static, it is always forming and being formed (forma informans-- shaping form). imagery takes on, spreads out and ove... ... the problem between the poles of activity and passivity through the intermediate faculty of the imagination. Perhaps it is obvious to state that this nuances the distinction between immediate and mediate. somehow the poem is then the aesthe tic object of mediation in which immediate intuition is made manifest through the intermediate faculty of the imagination.Works citedAdorno, Notes to Literature. vol. I. rude(a) 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 Theory Since Plato. Ed. Hazard Adams. New York Harcourt perk Jovanovich, 1992. 471-76. The Statesmans Manual. Critical Theory Since Plato. Ed. Hazard Adams. New York Harcourt Brace Jovanovich, 1992. 476.