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Introduction Is it feasible, fruitful, or perplexing to view Coleridge's aesthetic ideas as fragments (parts) toward the makeup of a sort of larger theoretical poem (whole)? In other words, can one use Coleridge's art criticism to remark upon his clinic as a theorist? Are his aesthetic ideas applicable to his practice as a critic of the practice of poetic composition? Might it be possible that a leverage could be obtained by torquing Coleridge's theoretical claims regarding poetry particularly and art in general to remark on his own compositional practice for a critic? Quite simply, is Coleridge's concept true to the ideals of the critical practice? The caveat here is that it is precisely my intention to answer those questions indirectly. The concept is to use these issues as the hub of a wheel of a widening set of questions whose fragmentary sections, like the spokes of the "old coach wheel," radiate out from a central ambiguity (Genial 472). The method is guided by Adorno's thoughts on the topic of the composition itself, which he indicates "integrates the anti-systematic urge into its way of moving and introduces concepts unceremoniously, 'immediately,' just because it receives them. They are made more exact only through their relationship to one another" (12). Although the debate is apparently round it would be more precise to state that it circulates, and consequently reflects upon a process of reciprocal exchanges. An individual could say of Coleridge that his instinct unfolds over believing, instead of under-standing. The presentational feature of the job of art works form. Form is never static, it's constantly forming and being shaped ("forma informans" - shaping kind). Imagination happens, spreads out and ove...