Perhaps the series of dreams has no end, or perhaps the last one who dreams will have the key. Yet from the still surviving recollections in his mind, the Author has frequently purposed to finish for himself what had been originally, as it were, given to him: but the to-morrow is yet to come. The true meaning of nature will always be just out of reach for man. The woman may also refer to , the Greek personification of memory and mother of the , referring directly to Coleridge's claimed struggle to compose this poem from memory of a dream. It was a highly romantic place and wore a mysterious aspect.
His flashing eyes, his floating hair! In the first stanza, it is the creativity of Kubla Khan. And lo, he stays, And soon the fragments dim of lovely forms Come trembling back, unite, and now once more The pool becomes a mirror. She was singing of her native land Abyssinia and Mount Abora. A damsel with a dulcimer In a vision once I saw: It was an Abyssinian maid, And on her dulcimer she played, Singing of Mount Abora. GradeSaver, 31 May 2011 Web.
Maurice's History of Hindostan also describes aspects of Kashmir that were copied by Coleridge in preparation for hymns he intended to write. Coleridge's two hundred lines were all of equal merit with the following which he has preserved, we are ready to admit that he has reason to be grieved at their loss. What remains is the spirit of 'oscillation,' perfectly poeticized, and possibly ironically commemorative of the author. In the last stanza of the poem, the narrator longs to revive a song about Mount Abora that he once heard a woman play on a dulcimer. Through the use of vivid imagery Coleridge reproduces a paradise-like vision of the landscape and kingdom created by Kubla Khan. Yarlott interprets this chasm as symbolic of the poet struggling with decadence that ignores nature.
They would then weave a circle thrice around him i. On Awaking he appeared to himself to have a distinct recollection of the whole, and taking his pen, ink, and paper, instantly and eagerly wrote down the lines that are here preserved. However, Coleridge did believe that a dome could be positive if it was connected to religion, but the Khan's dome was one of immoral pleasure and a purposeless life dominated by sensuality and pleasure. In these lines from the poem Kubla Khan, the poet Samuel Tayler Coleridge narrates how Kubla Khan ordered a stately pleasure house to be built and what was subsequently done to get it built. Hazlitt called it 'a musical composition'. It is as wild and holy i. The top of the building was warm because it was open to sun while the low-lying chambers were kept cool by ice which never melted.
Licensed under Creative Commons, courtesy. In this particular poem, Coleridge seems to explore the depths of dreams and creates landscapes that could not exist in reality. Structure There are three parts in the poem of varying lengths and meters such as, the first four lines are in iambic tetrameter, line ten is in iambic pentameter, and line forty-three is in an iambic trimester. And over it is cast the glamour, enhanced beyond all reckoning in the dream, of the remote in time and space — that visionary presence of a vague and gorgeous and mysterious Past which brooded, as Coleridge read, above the inscrutable Nile, and domed pavilions in Cashmere, and the vanished stateliness of Xanadu. For example, consider the following passage: But oh! In the manuscript copy, the location was named both Amora and Amara, and the location of both is the same.
It is in fact avoided. In creating this effect, form and matter are intricately woven. Then all the charm Is broken--all that phantom-world so fair Vanishes, and a thousand circlets spread, And each mis-shape the other. Background Kubla Khan is a visionary poem that according to the poet was composed in his opium-induced dream. Critical Analysis The Themes The Conflicting Nature of Things A striking contradiction between light and dark is apparent from the very beginning.
This was the impression of everyone who heard him. Diction and Tone Since the poem is an outcome of a dream, the diction and tone keep on changing. In order to save themselves from the effect of his charm they would shut their eyes. According to the directions of his Astrologers or Magicians, he on the eight and twentieth day of August aforesaid, spendeth and poureth forth with his owne hands the milke of these Mares in the aire, and on the earth, to give drink to the spirits and Idols which they worship, that they may preserve the men, women, beasts, birds, corne, and other things growing on the earth. The claim to produce poetry after dreaming of it became popular after Kubla Khan was published. Thus, nature and manmade architecture, both assume unrealistic stature with the skillful fusion of supernaturalism.
Nature, in the poem is not a force of redemption but one of destruction, and the paradise references reinforce what Khan cannot attain. The finite property of the constructed walls of Xanadu are contrasted with the infinite properties of the natural caves through which the river runs. Upon his return, Coleridge attempted to finish writing down his poem, but was sadly unable to recall the remainder Coleridge 156. He has has a degree in English literature from Delhi University, and Mass Communication from Bhartiya Vidhya Bhavan, Delhi. Literary Devices The Supernatural Element In Kubla Khan, Coleridge makes an extensive use of supernaturalism to vividly depict his mysterious sojourn into unimaginable territories.