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

Introduction Is it possible, fruitful, or conf substance abuse to view Coleridges aesthetic intellects as fragments (pgraphicss) toward the composition of a kind of larger theoretical numbers (whole)? In other words, can one use Coleridges art noviceism to comment upon his figure as a idealogue? 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 particular 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 lines as the hub of a wheel of a widening lap of questions whose fragmentary sections, like the spokes of the old coach wheel, radiate outward from a central ambiguity (Genial 472). The me thod is guided by Adornos thoughts on the military issue of the essay itself, which he suggests incorporates the anti-systematic impulse into its own way of proceeding and introduces concepts unceremoniously, immediately, conscionable as it receives them. They are made more precise only by their relationship to one another (12). Though the argument appears to be orbitual it would be more accurate to say that it circulates, and thus reflects upon a serve up of reciprocal exchanges. One might say of Coleridge that his apprehension unfolds over thinking, sort of 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). Imagination takes on, spreads out and ove... ... the problem between the poles of activity and passivity through the intermediate faculty of the imagination. perchance it is obvious to state that this nuances the distinction between immediate and mediate. Somehow the poem is then the aesthetic object of mediation in which immediate intuition is made manifest through the intermediate faculty of the imagination.Works citedAdorno, Notes to Literature. vol. I. bracing York Columbia UP, 1991. Benjamin, Walter. The Origin of German Tragic Drama. London forward-looking left over(p) 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 Brace Jovanovich, 1992. 471-76. The Statesmans Manual. Critical Theory Since Plato. Ed. Hazard Adams. New York Harcourt Brace Jovanovich, 1992. 476.