Coleridge and the Relation in-between Poet and Critic

Introduction considers Coleridge's aesthetics as a fragment (part) of the composition of a larger theoretical poet (whole), whether it is possible, productive or confusing. In other words, College's art criticism can be used to comment on his practice as a theorist. Whether his aesthetic concept applies to his practice as a critic of poetry practice. Is it possible to gain some leverage by distorting Coleridge's theoretical account of poetry and general art and evaluating his own composition as a critic?

Because his generation wore a cultural critic's cloak, CS can trace to S.T. Coleridge (1772-1834), poets, critics and philosophers. Callridge came across William Wordsworth in 1795, the poets built deep friendships, they visited Germany from 1798 to 1999 (Coleridge became interested in German philosophy and criticism) , They cooperated. A lyrical song (1789), this poem collection shows the beginning of the romantic movement of British poetry. Coleridge wrote an emotional poem like "Ancient Sailor R" and "Kubla Khan", he shared interests in political philosophy in Biographia Literaria (1817) for many years, and introduced Kant there. Thanks to British philosopher Fichte for reflection philosophy on the distinction between understanding and reason, Reflection Aid (1825), and a series of views on various social and cultural topics Anima Poetae (1895).

Samuel Taylor Coleridge (1772-1834) was a member of the British romantic poet and "Lake Poet". Coleridge 's famous poem includes ancient sailors Rime, Christabel and Kubla Khan. Coleridge helped England bring German idealistic concepts. (An important part of romanticism) Camille Saint-Saëns (1835 - 1921) French composer, conductor and pianist. The famous works include the 2nd piano concerto (1868), the 1st cello concerto (1872), the Danse Macabre (1874), the opera "Samson and Delilah" (1877), the 3rd violin concerto (1880) And so on. ) And "Animal carnival" (1887)