KUBLA KHAN – SAMUEL TAYLOR COLERIDGE KUBLA KHAN – SAMUEL TAYLOR COLERIDGE EXPLANATION:
EXPLANATION: Lin
Lines es 1-21-2
In these lines, Coleridge introduces Kubla Khan, ruler of the Mongol Empire in China during the 13th In these lines, Coleridge introduces Kubla Khan, ruler of the Mongol Empire in China during the 13th century A.D. is !ingdom symboli"ed #ealth and mystery to Europeans e$er since Marco %olo first century A.D. is !ingdom symboli"ed #ealth and mystery to Europeans e$er since Marco %olo first #r
#rotote e ababout out hihis s trtra$a$elels s ththerere& e& ththroroughughouout t ththe e poepoem, m, CoColeleriridgdge e buibuildlds s a a sesensnse e of of ththe e e'e'ototic ic anandd mysterious. (he second line emphasi"es Kubla Khan)s po#er as he orders a fitting palace for himself. It mysterious. (he second line emphasi"es Kubla Khan)s po#er as he orders a fitting palace for himself. It also hints at one of the many contrasts #hich #ill appear in the poem as the #ord, stately, con$eying the also hints at one of the many contrasts #hich #ill appear in the poem as the #ord, stately, con$eying the grandeur and ma*esty of Kubla Khan)s creation, is paired #ith the idea of a pleasure dome, a place of grandeur and ma*esty of Kubla Khan)s creation, is paired #ith the idea of a pleasure dome, a place of lu'ury and leisure. (he opening images of the poem bear stri!ing similarities to the follo#ing +uotation lu'ury and leisure. (he opening images of the poem bear stri!ing similarities to the follo#ing +uotation from %urchas) %ilgri
from %urchas) %ilgrimage, #hich mage, #hich ColerColeridge said idge said he he #as reading immediat#as reading immediately ely beforbefore e he he drifdrifted into ted into hishis deep sleep
deep sleep
In -amdu did Cublai Can builde a stately %alace, encompassing si'teene miles of plaine ground #ith a In -amdu did Cublai Can builde a stately %alace, encompassing si'teene miles of plaine ground #ith a #all, #herein are fertile Meddo#es, pleasant springs, delightful treames, and all sorts of beasts of #all, #herein are fertile Meddo#es, pleasant springs, delightful treames, and all sorts of beasts of chase and game, and in the middest thereof a suptuous house of pleasure.
chase and game, and in the middest thereof a suptuous house of pleasure.
As you loo! through the first eight lines, notice the #ords that Coleridge has borro#ed. It is also As you loo! through the first eight lines, notice the #ords that Coleridge has borro#ed. It is also interesting to notice the changes #hich he made. /or e'ample, -anadu fits the poem)s iambic tetrameter, interesting to notice the changes #hich he made. /or e'ample, -anadu fits the poem)s iambic tetrameter, #here -amdu #ould not.
#here -amdu #ould not. Li
Line ne 33
Khan chooses to build this dome on the site of a sacred ri$er, #hich Coleridge calls the Alph. Although Khan chooses to build this dome on the site of a sacred ri$er, #hich Coleridge calls the Alph. Although no ri$er #ith this name e'ists, the name itself suggests or has the connotation of a beginning. (his is no ri$er #ith this name e'ists, the name itself suggests or has the connotation of a beginning. (his is because
because Alph Alph is is so so similar similar to to Alpha, Alpha, the the first first letter letter of of the the 0ree! 0ree! alphabet, alphabet, #hich #hich has has as as an an alternatealternate meaning, beginning. Coleridge, li!e many poets, li!es to e'periment #ith language and in$ent #ords to meaning, beginning. Coleridge, li!e many poets, li!es to e'periment #ith language and in$ent #ords to pro$ide
pro$ide added added guides to guides to meaning. Critics meaning. Critics ha$e ha$e also identified also identified the Alph #ith the Alph #ith such different such different ri$ers as ri$ers as thethe ile, the
ile, the Alpheus ri$er in Alpheus ri$er in 0reece, and 0reece, and the fourth the fourth ri$er to ri$er to flo# out flo# out of the of the 0arden of 0arden of Eden. Eden. ote that ote that thethe #ord ri$er is al#ays accompanied by the ad*ecti$e, sacred. ince ri$ers and #ater are life2gi$ing, the #ord ri$er is al#ays accompanied by the ad*ecti$e, sacred. ince ri$ers and #ater are life2gi$ing, the sacred ri$er may be seen as
sacred ri$er may be seen as a symbol of life.a symbol of life. Lin
Lines es -!-!
A second contrast is introduced #ith these lines. After the ri$er lea$es the area #here Kubla Khan A second contrast is introduced #ith these lines. After the ri$er lea$es the area #here Kubla Khan creates his !ingdom, it flo#s beyond man)s reach into a series of underground ca$erns. Measureless to creates his !ingdom, it flo#s beyond man)s reach into a series of underground ca$erns. Measureless to man con$eys not only ca$erns that man
man con$eys not only ca$erns that man cannot physcannot physicallically map, y map, but areas that are beyond the but areas that are beyond the reach of reach of his full comprehension. (he ri$er has as its ultimate destination, the sunless sea, a place #ithout light his full comprehension. (he ri$er has as its ultimate destination, the sunless sea, a place #ithout light and life, therefore a complete con
and life, therefore a complete contrast to the earlier impression of the ri$er.trast to the earlier impression of the ri$er. Lin
Lines es "-#"-#
In these lines, Coleridge returns to the construction of Khan)s !ingdom. (en miles of land, #hich are In these lines, Coleridge returns to the construction of Khan)s !ingdom. (en miles of land, #hich are e'ceptionally rich, are enclosed behind a #all #ith to#ers to protect it. (he pleasure dome is not a e'ceptionally rich, are enclosed behind a #all #ith to#ers to protect it. (he pleasure dome is not a public sight, a$ailable to anyone
public sight, a$ailable to anyone #ho #ishes to $isit. It is a pri$ate #ho #ishes to $isit. It is a pri$ate domain. (his ma!es it +uite differentdomain. (his ma!es it +uite different from the poet)s creation #hich #ill be discussed later in
from the poet)s creation #hich #ill be discussed later in the poem.the poem. Li
Linenes $s $-11-11
ere another contrast is introduced. (he gardens, planted or culti$ated areas designed by humans, fill ere another contrast is introduced. (he gardens, planted or culti$ated areas designed by humans, fill part
part of of the the area area #ith #ith brightly brightly colored colored flo#ers aflo#ers and nd s#eet s#eet smelling smelling trees, trees, #atered #atered by by numerous numerous #inding#inding broo!s #hich branch
broo!s #hich branch off from the sacred off from the sacred ri$er. (hese gardens are set among ri$er. (hese gardens are set among ancient forests, #hich hancient forests, #hich ha$ea$e been there as long as the land
been there as long as the land itself. (he ri$er and forests pro$ide an ageless bac!drop for Khan)s dream.itself. (he ri$er and forests pro$ide an ageless bac!drop for Khan)s dream. Although Coleridge notes the differences bet#een Khan)s planned estate and nature)s realm, both seem Although Coleridge notes the differences bet#een Khan)s planned estate and nature)s realm, both seem to e'ist in a harmonious balance. (he !ingdom described in lines 4211 is created using an e$ocati$e to e'ist in a harmonious balance. (he !ingdom described in lines 4211 is created using an e$ocati$e series of images of an earthly paradise, perhaps e$en a type of Eden.
series of images of an earthly paradise, perhaps e$en a type of Eden. Lin
Lines 1es 12-12-133
5ine 16 begins by signaling ne# and e$en greater contrasts #hich the follo#ing lines #ill de$elop as 5ine 16 begins by signaling ne# and e$en greater contrasts #hich the follo#ing lines #ill de$elop as they describe the deep crac! in the earth hidden under the gro$e of cedar trees.
they describe the deep crac! in the earth hidden under the gro$e of cedar trees. Li
Line ne 11
%C7(82D5/7E02IC76994
(his is no artificial or man2made place. It is unreached by culti$ation and ci$ili"ation, a magic and e$en blessed spot that e'ists outside of man)s understanding. (he calm and balance of lines : through 11 are missing in this primiti$e, #ild place. ;hen holy and enchanted are *oined together in this description, they con$ey a sense of the pagan and the supernatural.
Lines 1!-1"
Coleridge uses a simile to sho# the distance of this site from Khan)s imposing gardens. (he #aning moon describes that period as the moon decreases from full, so less and less of it is $isible. (hus, this mysterious chasm is compared to a spot haunted, by a #oman crying in anguish, as the moon)s light diminishes, for her demon lo$er. Any relationship bet#een a human and the supernatural #ould be impossible in balanced garden of Khan. It could only e'ist in the passionate uphea$al of the chasm. Lines 1#-1%
(his mysterious chasm is pictured in constant turbulence, $ery different from the garden)s calm. ymbolist critics point out se'ual and birth imagery in these lines. (he language ma!es it easy to picture the earth in labor, gi$ing birth to the fountain.
Lines 2&-22
(he po#er of the fountain #hich pours forth the ri$er is apparent as huge boulders are tossed up #ith the #ater. (#o similes are used to illustrate this force. In the first, the huge boulders are compared to hail. (he second ma!es them seem e$en lighter. A thresher is a person or machine #ho separates the useful, hea$ier part of a !ernel of grain from its lighter, useless shell or chaff. ;hen the grain is hit #ith a flail, the !ernel drops do#n immediately into a container& the chaff is blo#n a#ay by the #ind.
Lines 23-2$
(he ne't lines re$eal all the contradictions in the ri$er)s path. Along #ith the boulders, the ri$er emerges. (he pre$ious similes describing the boulders both use images in$ol$ing stri!ing hail hits the earth& the thresher hits the grain. (he mood of lines 16266 is of turmoil and uphea$al. After the roc!s lea$e the chasm, they are described again, using a gentler metaphor, as dancing roc!s. (his phrase is also an e'ample of personification, #here inanimate ob*ects are gi$en human characteristics. After its tumultuous beginning, the ri$er slo#ly ta!es a #andering path through the gardens. (he poet uses alliteration in line t#enty2fi$e to add a slo#, humming sound, #ith miles, meandering, ma"y and motion. (he repetition of lines 32< in 6426: slo#s the pace as #ell.
Lines 2%-3&
Although Khan)s gardens initially seem a place of peace and balance, Khan himself hears a different message coming from the distant rumbles of the chasm and the ca$e. (he tumult of the ri$er issues a #arning that human creations are not permanent. (he $oices of his ancestors pro$ide testimony to the fact that the greatest creations of the #orld e$entually come to ruin. (hus, too, the elegant dome is threatened #ith the destruction of #ar.
Lines 31-3
(he $arious contrasts Coleridge has described in the poem so far come together in these lines. (he poem returns to that part of this earthly paradise #hich Kubla Khan has constructed, the pleasure2dome& ho#e$er, in these lines, it is not seen directly, merely as a shado#. o# the contrasting element, the turmoil of the fountain and the message of the ca$erns, seems to o$ershado# the dome)s image, #arning that man)s creation is transitory& nature endures.
Lines 3!-3"
In these lines, Coleridge ends the first part of the poem, describing Kubla Khan and his #orld. (he meter returns to iambic pentameter here, gi$ing the lines a slo#er, measured +uality. (his meter helps to emphasi"e the mood or regret and loss in these lines as they summari"e Kubla Khan)s creati$e achie$ement. e harmoni"ed opposing forces, sun and ice, in his miraculous dome, #hich has since $anished #ithout trace.
Lines 3#-3$
(he poet himself becomes the sub*ect as the poem mo$es from Kubla Khan)s physical creation to the poet)s $ision as he recounts seeing a young girl playing a stringed musical instrument in a dream. (he
poem shifts from third person to the first person, I. ote that the meter also changes again, and becomes e$en more regular as the poem returns to the light, upbeat tempo of iambic tetrameter throughout much of this stan"a.
Lines 3%-1
Coleridge again in$ents or adapts names to con*ure a sense of mystery or the e'otic. (he maid in the $ision, li!e Kubla Khan, is from a foreign place. Abyssinia is another name for Ethiopia. Mount Abora, li!e Alph, is a name that Coleridge created. o#e$er, se$eral critics note its similarity to Mount Amara in Milton)s %aradise 5ost. (he reader is not gi$en any details of the $ision& no images are pro$ided. (he reader may assume that Mount Abora is similar to Khan)s paradise only because the poet says that it creates such deep delight.
Lines 2-!
(his phrasing of these lines is unusual. Could is used as a conditional $erb here, and the entire sentence becomes a speculation. If the poet can reco$er the dream, he #ill create a $ision of %aradise& the beauty
of the $ision #ill transform the poet and enable him to use the music of his poetry to build #ith #ords #hat Kubla Khan had built in his !ingdom. (he poem lea$es unans#ered #hether or not the poet #ill be able to capture that dream.
Lines "-$
ere, the poet describes the po#er of successful poetic $ision& not only can he rene# his $ision, but he has the po#er to con$ey it to all #ho hear or #ho read his #ords. (his ser$es as a contrast to the Khan)s pleasure2dome, bound by #alls, and not meant for all to use.
Lines %-!2
All those around the poet are #ary of him because he is caught up in a !ind of enchantment or madness during his $ision. is eyes glitter in a fren"y of creati$ity. (his creati$ity, li!e that of the sacred ri$er, comes from tumult. e is $ie#ed #ith holy dread because he has dra#n his $ision from a place similar to the chasm described earlier, a place sacred and enchanted, pagan yet blessed. (he idea of the poet being possessed by his $ision is not ne# #ith Coleridge. (he 0ree!s belie$ed that creati$ity #as often
a type of momentary madness. Lines !3-!
oney2de# refers to the s#eet honey2li!e substance that certain flo#ers, such as honeysuc!le, produce in the summer. Another #ord for this li+uid is nectar, !no#n as the food of the gods. ;ith his #ords, the poet, #hen he achie$es his dream, can combine the chasm and the gardens, and taste %aradise.
=ource Exploring Poetry, 0ale, 1>>?.@ ANNOTATIONS
1. Xanadu Kubla KhanBs legendary capital in China. Marco %olo has gi$en a detailed description of Kubla KhanBs court and its grandeur. (he passage in Purchas His Pilgrimage to #hich Coleridge refers is as follo#s In -amdu did Cublai Can build a stately %alace, encompassing si'teene miles of plaine ground #ith a #all, #herein are fertile Meddo#es, pleasant prings, delightful treames, and all sorts of beasts of chase and game, and in the middest thereof a sumptuous house of pleasure.
6. stately splendid, grand.
3. pleasure-dome a lu'ury palace. ere domeB is used to mean a magnificent structure #ith the usual architectural features li!es domes, arches, pillars,etc.
F. decree order Gto be builtH.
<. Alph, the sacred river Alpheus, a ri$er in 0reece, pursued the nymph, Arethusa, and di$ed underground and belo# the sea until it re2emerged in a fountain. (he Alph is also a legendary ri$er #ith features similar to the ri$er ile in Africa. (he Egyptians considered the ile sacred, so perhaps this is #hy Coleridge refers to the Alph as a sacred ri$er.
4. caverns deep ca$es.
?. measureless to man too deep for man to be able to measure. %C7(82D5/7E02IC76994 %age 3 of :
:. sunless sea an underground sea or a subterranean la!e. >. ran through…sea description of the ri$er.
19. twice five miles ten miles.
11. girdled round enclosed by #alls and to#ers. 16. sinuous rills #inding streams.
13. blossomed flo#ered.
1F. incense-bearing s#eet2smelling 1<. enfolding 2 enclosing
14. sunny spots of greenery among the trees are clearings #ith plants gro#ing and #hich are lit by the sunlight.
1?. oh an e'clamation of #onder and surprise.
1:. romantic it arouses feelings of a#e, mystery and strangeness. 1>. chasm a deep opening in the earth, a gorge
69. slanted down sloped do#n. 61. athwart 2 across
66. cedarn cover a cluster of cedar trees. Cedar is an e$ergreen tree.
63. A savage place a place of such #ild scenery that it #ould fill us #ith fear and dread.
6F. as holy and enchanted the #ords suggest that the place is sacred as #ell as magical, that is, a supernatural place.
6<. e!er for all time in future
64. waning moon a moon that is gro#ing smaller 6?. haunted $isited again and again
6:. wailing crying #ith long moaning sounds
6>. demon-lover this is a reference to an eastern legend #here a #oman, after falling in lo$e, disco$ered that her lo$er #as a demon or a supernatural being. (hereafter, she !ept on loo!ing for him in all sorts of enchanted places.
39. ceaseless turmoil seething from #ithin the gorge comes a ne$er2ending agitation.
31. this earth…breathing it seemed as if the earth #as breathing hard, as one does after $igorous e'ertion.
36. momently at short inter$als.
33. forced pushed strongly out of the earth.
3F. Amid whose half-intermitted burst in the middle of these bursts from the fountain that came +uic!ly after inter$als.
3<. huge fragments large pieces of roc! 34. vaulted shot up high into the air.
3?. rebounding hail these pieces of roc! loo!ed li!e hail that bounces after hitting the earth because of the sheer force of its impact.
3:. chaffy grain…flail a flail is a club2li!e handled de$ice used to separate grain from the stal!s, #hich are called chaff. (he process is !no#n as threshing and the person #ho carries it out is called the thresher. As the flail stri!es the corn, the grains are thro#n up#ards #ith the force of the blo#, then fall do#n again.
3>. dancing roc"s this is a reference to the roc!s being flung up from #ithin the earth. F9. at once and ever once during the ne$er2ending process.
F1. #t flung…river this is ho# the ri$er emerged. F6. meandering #inding.
F3. ma$y motion a mo$ement that #as so #inding that it seemed to be mo$ing through a ma"e. FF. dale 2 $alley
F<. tumult in a state of noisy agitation.
F4. a lifeless ocean reference to the sunless seaB.
F?. %ubla…war in the midst of the roaring sounds of the ri$er, Kubla heard the $oices of his ancestors #arning him that #ar #as imminent.
F:. floated midway on the waves the shado# of Kubla KhanBs palace fell on the #a$es of the underground sea and seemed to float on the #aters.
F>. mingled measure mi'ed noise.
<9. &here was…caves the sounds of the gushing fountain and from the noisy ri$er mingled together and could be heard at the place #here the shado# of the pleasure palace fell.
<1. #t was a miracle of rare device it #as a mar$ellous #or! of human s!ill.
<6. A sunny…ice it #as a remar!able combining of a sunlit palace amid icy ca$es. <3. damsel young girl.
<F. dulcimer an old type of stringed instrument that #as played by stri!ing the strings #ith t#o small hammers held in the hand.
<<. #n a vision the poet once sa# a girl #ith a dulcimer in a dream or hallucination. <4. #t was an Abyssinian maid the girl #as from Abyssinia or Ethiopia.
<?. 'ount Abora an imaginary name. It could ha$e a connection to the legend of Mount Amara, a hill in the plains of Ethiopia, that %urchas mentioned in his account. Incidentally, Kubla Khan had no connection #ith Ethiopia in any #ay. (he reference to anything eastern #as considered romantic by Europeans.
<:. (ould # revive within me if the poet could recreate inside himself.
<>. symphony and song the song the girl sang accompanied by the music on her dulcimer. 49. )o such a deep…win me it #ould bring him such immense pleasure.
41. All who heard e$eryone #ho heard the song and music as recreated by the poet.
46. should see them there #ould be able to see the $ision of the palace and the ca$es as created by the poet.
43. All should cry *eware *eware the music and the images #ould cause such a#e and fear in the audience that they #ould #arn others to be careful of the poetBs shining eyes and long flo#ing hair.
4F. &eave++dread they #ould ad$ise others to dra# a circle around him three times and close their eyes fear of the di$ine. (hree #as considered to be a magical number.
4<. or he…Paradise (hey #ould issue this #arning because the poet #ould ha$e imbibed these magical hea$enly foods #hich #ere said to produce di$ine inspiration. oney2de# is the nectar produced by aphis Ga type of insectH in honeysuc!le. (he mil! of %aradise is ambrosia or the food
of the gods.
THE HISTORICAL CHARACTER
%ublai %han in the .ational Palace 'useum, )aipei /credit0 (ourtesy of the .ational Palace 'useum, )aipei, )aiwan, 1epublic of (hina2
Kublai Khan Gborn 161<2died 16>FH #as the grandson of 0enghis Khan #ho con+uered China and established the uan, or Mongol, dynasty. ;hen Kublai #as in his 39s, his brother, the emperor MJng!e, ga$e him the tas! of con+uering and administering ong2dynasty China. 8ecogni"ing the superiority of Chinese thought, he gathered around himself Confucian ad$isers #ho con$inced him of the importance of clemency to#ard the con+uered. In subduing China and establishing himself there, he alienated other Mongol princes& his claim to the title of !han #as also disputed. (hough he could no longer control the steppe aristocracy effecti$ely, he succeeded in reunifying China, subduing first the %C7(82D5/7E02IC76994 %age < of :
north and then the south by 16?>. (o restore China)s prestige, Kublai engaged in #ars on its periphery #ith Myanmar, a$a, apan, and the nations of eastern outheast Asia, suffering some disastrous defeats. At home, he set up a four2tiered society, #ith the Mongols and other Central Asian peoples forming the top t#o tiers, the inhabitants of northern China ran!ing ne't, and those of southern China on the bottom. %osts of importance #ere allotted to foreigners, including Marco %olo. Kublai repaired the 0rand Canal and public granaries and made Luddhism the state religion. Although his reign #as one of great prosperity, his politics #ere pursued less successfully by his follo#ers.
BACKGROUND O' THE POEM
(K)*+, K,n(, #hose complete title is(K)*+, K,n. /0 , isi/n in , D0e, A '0,4en5(, is a famous poem by amuel (aylor Coleridge #hich ta!es its title from the Mongol7Chinese emperor Kublai Khan of the uan dynasty.
Coleridge claimed that it #as #ritten in the autumn of 1?>? at a farmhouse near E'moor . In the summer of the year 1?>?, Coleridge, then in ill health, had retired to a lonely farm2house bet#een %orloc! and 5inton, on the E'moor confines of omerset and De$onshire. In conse+uence of a slight indisposition, an anodyne had been prescribed, from the effects of #hich he fell asleep in his chair at the moment that he #as reading the follo#ing sentence, or #ords of the same substance, in a tra$el account, Purchas His Pilgrimage ere the Khan Kubla commanded a palace to be built, and a stately garden thereunto. And
thus ten miles of fertile ground #ere inclosed #ith a #all.)) e continued for about three hours in a profound sleep, at least of the e'ternal senses, during #hich time he has the most $i$id confidence, that
he could not ha$e composed less than from t#o to three hundred lines& if that indeed can be called composition in #hich all the images rose up before him as things, #ith a parallel production of the correspondent e'pressions, #ithout any sensation or consciousness of effort. Nn a#a!ening he appeared to himself to ha$e a distinct recollection of the #hole, and ta!ing his pen, in!, and paper, instantly and eagerly #rote do#n the lines that are here preser$ed. At this moment he #as unfortunately called out by a person on business from %orloc!, and detained by him abo$e an hour, and on his return to his room, found, to his no small surprise and mortification, that though he still retained some $ague and dim recollection of the general purport of the $ision, yet, #ith the e'ception of some eight or ten scattered lines and images, all the rest had passed a#ay li!e the images on the surface of a stream into #hich a stone has been cast, but, alasO #ithout the after restoration of the latter.
(he poem)s opening lines are often +uoted, and it introduces the name -anadu Gor hangdu, the summer palace of Kublai KhanH
#n Xanadu did %ubla %han A stately pleasure-dome decree0
&here Alph, the sacred river, ran )hrough caverns measureless to man 3own to a sunless sea+
ColeridgeBs claim, that the poem #as inspired by an opium2induced dream Gimplicit in the poem)s subtitle A 4ision in a 3reamH, but that the composition #as interrupted by the person from %orloc! , seems unli!ely, as most opium users ha$e tremendous difficulty recalling dreams #hen opium #as ingested *ust prior to sleeping. (he poem may ha$e been composed on one of a number of other $isits to the farm. It may also ha$e been re$ised a number of times before it #as first published in 1:14.
ome ha$e speculated that the $i$id imagery of the poem stems from a #a!ing hallucination, albeit most li!ely opium2induced. Additionally, a +uote from ;illiam LartramBs )ravels )hrough the (hero"ee (ountry is belie$ed to ha$e been a source of the poem. (here is #idespread speculation on the poem)s meaning, some suggesting the author merely is portraying his $ision #hile others insist on a theme or purpose. Nthers belie$e it is a poem stressing the beauty of creation.
(he poem is perhaps most famous for its closing lines Glines <3<FH, #here Coleridge is li!ely referring to himself attaining paradise through his poem
/or he on honey2de# hath fed, And drun! the mil! of %aradise. CRITICAL APPRECIATION
In the poem %ubla %han by amuel Coleridge, language is used to con$ey images from ColeridgeBs imagination. (his is done #ith the use of $ocabulary, imagery, structure, use of contrasts, rhythm and sound de$ices such as alliteration and assonance.
(he $ocabulary used by Coleridge is of great importance in con$eying the products of his imagination. (he first fi$e lines of %ubla %han sound li!e a chant or incantation, and help suggest the mystery and supernatural themes of the poem. Another important theme of the poem is that o f good $ersus e$il. In the first t#o lines, Coleridge describes the pleasure domeB in -anadu. In -anadu did Kubla Khan a stately pleasure dome decree Kubla Khan did not merely order, but decree that a stately pleasure domeB be built. (his dome is e$idence of ho# unnatural the place of -anadu is, it has a ruler #ho ignores the
unpleasantness that can be found in life.
(he use of certain $ocabulary challenges and teases the imagination into seeing #hat he, Coleridge sa# in his dream. In -anadu, there are not small streams, but sinuous rillsB and #all and to#ers do not enclose the gardens but are girdled roundB. ColeridgeBs use of language and $ocabulary helps to con$ey the e'tent of his imagination.
In %ubla %han, imagery is also important for Coleridge to con$ey his imagination to the reader. (here are images of paradise throughout the poem that are combined #ith references to dar!er, more e$il places. Nn e'ample of this is the demon lo$erB that has be#itched the #oman. ColeridgeBs image of the
dome of pleasureB is mystical, contradicting the restrictions of realism. -anadu is also a sa$age and ancient place #here pure good and pure e$il are much more apparent than in the monotony of e$eryday li$ing. Ly using images, Coleridge con$eys the e'tent of his imagination to readers. (he poet ma!es use of supernatural agencies and situations, but they appear to us as natural. (hus, the atmosphere of strangeness and mystery has been created effecti$ely and s!ilfully in the poem.
(he structure of %ubla %han is really in t#o parts. (he first, #hich contains three stan"as, describes -anadu as if Coleridge is actually there, e'periencing the place first hand. (he second part of the poem is filled #ith longing to be in -anadu, but Coleridge is unable to capture the e'perience again.
(he first stan"a has a definite rhythm and beat and describes the beauty and sacredness of -anadu #ith rich, sensual and e'otic images. (he second stan"a depicts the sa$age and untamed $iolence of life outside of the pleasure dome. (he disorder and primiti$e cycles of nature are mi'ed #ith images of e$il and the threat of #ar is also introduced in the second stan"a. In the third stan"a, the life forces are ent#ined together to pro$e that beauty and danger cannot be separated from each other, despite #hat the ruler Kubla Khan #ants. Kubla Khan may be a self2portrayal by Coleridge #ho belie$es that it is he #ho controls the land of -anadu. A sunny pleasure2dome #ith ca$es of ice the dome itself is a contrast #ith sun and ice, the sun symbolising all things good and the ice symbolising death and destruction.
(here is a definite change of tone bet#een the third and fourth stan"as. (he fourth stan"a no longer describes -anadu, but ColeridgeBs desire for control o$er his imagination, to be able to re2con*ure up the feelings and ideas of -anadu.
Coleridge, ha$ing drun! the mil! of paradiseB desired and sought after the beautiful image of -anadu and Ptopia, and his final stan"a is his #ay of describing to the reader ho# badly he #ants to go bac! there.
(here are t#o parts to the poem. Loth parts of the poem deal #ith the attempt to create Kubla Khan has built a pleasure dome and Coleridge is trying to use language to recreate the perfection of his dream #ith
#ords. (he t#o parts may initially seem unconnected, but the ideas in both parts of the poem lin! these sections together by sho#ing that e$en the ruler cannot ha$e control o$er the forces of nature, and the #riter o$er his imagination.
(he structuring of the poem plays an important part in this. In %ubla %han, Coleridge uses contrasts in the images he presents to his audience. -anadu is idyllic, but also sa$ageB. Coleridge uses images such as a #aning moon #hich #as haunted by a #oman #ailing for her demon lo$er. (his image of a #oman bound to e$il brings the dar! side of the supposed utopia to light. (he peace and serenity is contrasted by the $iolent disorder of the ri$er and the threat of #ar. (he use of language in the contrasting images helps con$ey to the reader the e'tent of ColeridgeBs imagination. (here are images of t#o #omen in the poem and they are a direct contrast to each other, one representing e$il, and the Abyssinian maid e'otic
and beautiful. et the poem is a good e'ample of appearances being decepti$e. (he pleasure domeB may be beautiful #ith its bright sunnyB gardens and blossoming incense treesB, but it is an enchanted eye of
the storm. (he garden is surrounded by sa$age destruction caused by the ceaseless turmoil seethingB. -anadu is not ruled by #hat Coleridge #ants, but by the ra#, ancient corners of his mind, #hich are continuously struggling in their search for utopia. (he ideal paradise is threatened by the dar!ness and disorder caused by the ri$er Alph. Coleridge describes the ri$er as sacredB on numerous occasions throughout the poem, and to -anadu as holy and enchantedB. (his is yet another contrast, ho# can something holy be enchanted at the same timeQ Coleridge tal!s too of miraclesB but mingled #ith the holiness, Coleridge refers to hell #ith his choice of language to depict #hat is outside the pleasure dome. (he demons described are closely related to #itchcraft and the closing lines of %ubla %han describe pagan rituals that attempt to protect not only the reader, but also Coleridge himself from the forces of e$il and the e'tent of his imagination.
Coleridge #as a deeply religious man and the poem is filled #ith references to god and related ideas. o -anadu perhaps symbolises the fabled 0arden of Eden, it is lo$ely and innocent, surrounded by e$il and the constant threat of destruction. Ancestral $oices prophesying #arB could be li!ened to 0odBs #arning not to go near the tree, as E$e fell for the sna!eBs treacherous charm.
Ly using his #ide $ocabulary to depict images and contrasts, and #ith the help of some literary techni+ues such as imagery and contrasts, Coleridge easily con$eys to the reader the e'tent of his imagination. (he descripti$e +uality of the poem is highly sensuous. (he poem abounds in suggesti$e phrases and lines capable of e$o!ing mystery. (he metre of the poem is light and fast the $erses mo$e from delight and surprise through enthusiasm to ecstasy. (he poem is of course not complete and the action leads no#here. Lut it is a masterly e'hibition of poetic craft, an e'pression of a $ision tinged #ith mystery. %ubla %han is a delightful blend of imagination, emotion, mystery, sensuousness, romantic description, s#eet melody and the e'+uisite use of #ords and phrases.
