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Critical analysis of kubla khan by coleridge
Samuel coleridge imagination
Romance, romanticism, and the powers of imagination samuel coleridge
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Recommended: Critical analysis of kubla khan by coleridge
Samuel Taylor Coleridge once said that his dreams became the substance of his life. Nowhere is this more evident than in his poem “Kubla Khan.” Written just before the dawn of the 19th century, “Kubla Khan” was originally considered to be the simple ramblings of automatic and nonsensical writing, it is now viewed as one of the most famous poems from the Romantic Period of Literature (Hill). One of the most widely accepted opinions of the poem defines it as a comparison between two forms of paradise; a comparison that is achieved through the incredibly vivid language and the surrealistic ambiance that is created via the tone and form. Coleridge fabricates a fantastic world that eerily dances in a hypnagogic manner just like the visionary dream to which Coleridge accredits the poem.
Before understanding a created piece, one must understand its creator. Therefore, in order for the reader to fully appreciate and comprehend “Kubla Khan,” he or she must first be aware of Coleridge’s lifestyle and philosophy at the time that he wrote the poem. Although Coleridge attended college at the University of Cambridge in England, he did not graduate. Before receiving his degree, Coleridge dropped out of school to help found a utopian society in the Pennsylvanian wilderness with fellow poet, Robert Southey ("Samuel Taylor Coleridge- Biography."). The utopian society was intended to be a “Pantisocracy.” Pantisocracy is the idea of an equal government by and for all people. Although the utopian project fails to become a reality, Coleridge maintains a friendship with Robert Southey and is left with an appreciation of nature and a desire for a perfect paradise ("Samuel Taylor Coleridge- Biography."). This philosophical mindset lays the foundation...
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...of his works and the power with which he imbued both his poems and his prose, he would surely qualify as a profound philosopher as well.
Works Cited
Brett, R. L. "Samuel Taylor Coleridge." British Writers IV. Ed. Ian Scott-Kilvert. New York City: Charles Scribner's Sons, 1981. 46-8. Print.
"Explanation: 'Kubla Khan.'" Gale - Free Resources. Cengage Learning, 1997. Web. 26 Feb. 2012. .
Hill, John Spencer. "A Coleridge Companion." Rev. of Kuble Khan, by Samuel Taylor Coleridge. A Coleridge Companion. University of Georgia, 5 May 1996. Web. 26 Feb. 2012. .
“Samuel Taylor Coleridge - Biography.” The EGS Library. The European Graduate School, 1997. Web. 26 Feb. 2012. .
Weatherford, J. McIver. Genghis Khan and the making of the modern world. New York: Crown, 2004.
Dr. Steven Zucker, Dr. Beth Harris “Cole’s The Oxbow” Khan Academy. Accessed 11/21/13 from [http://smarthistory.khanacademy.org/romanticism-us-cole.html]
G. Ed. The Norton Anthology of English Literature: The Romantic Period. New York: Norton, 2000. Barth, Robert J. Romanticism and transcendence: Wordsworth, Coleridge, and the Religious Imagination. Columbia: University of Missouri Press, 2003.
Coleridge paints the picture of a kingdom, Xanadu, and the surrounding scenery is described with a heavenly, dreamlike vividness that can only result from smoking a little too much opium. This kingdom has a “pleasure dome” that was created by Kubla Kahn. The paradise-like kingdom consists of ten miles of “fertile ground” and is surrounded by walls that are securely “girdled” around the property. The gardens are “blossoming with many an incense baring tree” and are watered by a wandering stream. There is a river, and it gives life to Kubla Kahn’s creations and runs “through caverns measureless to man.”
Hartog, L. D. (2004). Genghis Khan: conqueror of the world (vii ed.). [eBook Collection (EBSCOhost)]. http://dx.doi.org/AN 112269
"Morton, Thomas - Introduction." Literary Criticism (1400-1800). Ed. Thomas J. Schoenberg. Vol. 72. Gale Cengage, 2002. eNotes.com. 2006. 21 Feb, 2011
Coleridge, Samuel Taylor. "The Rime of the Ancient Mariner (text of 1834)." Poetry Foundation. Poetry
with the alliteration of the frst five lines : "Kubla Khan'', ''dome decree'', and ''sunless sea''. Coleridge interlaces short exclamations (''but oh!'', ''a savage place!'') and exageratedly long exclamations (''as holy and enchanted as e'er beneath a waning moon was haunted by a woman wailing for her demon lover!'') reinforces the feeling of flowing which is related to the time ''ticking'' irregularly away, creating a sense of timelessness.
Kubla Khan, however, is predominantly a mosaic of fragments of thoughts and incomplete themes. Most likely, the reader observes that poetic material perpetually escapes Coleridge’s full attention, while the poem simultaneously contains profound gushes of documented creativity. One is led to believe that this continual tension between recorded and unrecorded poetic thought creates the unique narrative sequence and the mysterious, disturbing quality that embodies Coleridge’s story of Kubla Khan.
Mileur, J. 1982. Coleridge and the Art of Immanence. Los Angeles: University of California Press.
Coleridge, Samuel Taylor. Lectures and Notes on Shakspere and Other English Poets. London : George Bell and Sons, 1904. p. 342-368. http://ds.dial.pipex.com/thomas_larque/ham1-col.htm
William Wordsworth and Samuel Taylor Coleridge spearheaded a philosophical writing movement in England in the late 18th and early 19th century. Although Wordsworth and S.T. Coleridge are often considered the fathers of the English Romantic movement, their collective theologies and philosophies were often criticized but rarely taken serious by the pair of writers due to their illustrious prestige as poets. The combined effort in the Lyrical Ballads catapulted their names into the mainstream of writers in 1798 and with this work; they solidified their place in English literature. Although, most people fail to note that the majority of Coleridge's and Wordsworth's work was him simply bending and breaking particular rules of poetry that were in place during his time and in order to fully understand his work, one must fully understand his views of poetry itself.
In two works by Coleridge, The Rime of the Ancient Mariner and Kubla Khan, both works regard the imagination as vitally important. In the Ancient Mariner, the imagination (or rather, the lack of it) condemns the Mariner to a kind of hell, with the fiends of sterility, solitude, and loneliness: “’God save thee, Ancient Mariner, from the fiends that plague thee thus! Why look’st thou so?’ ‘With my crossbow I shot the Albatross’”. In Kubla Khan, the imagination of an external being, the narrator that Coleridge created, the ideal critic, can create a masterpiece that far outstrips the meager piece of work that even the emperor of a huge, rich civilization can produce: “I would build that dome in air, a sunny dome! Those caves of ice! And all who heard should see them there, and all should cry, Beware! Beware!” In Kubla Khan, the imagination can even make people fear an otherwise inconsequential event, sequence, or organism.
In his epic poem The Rime of the Ancient Mariner, Samuel Taylor Coleridge critiques the Gothic convention of the explained supernatural (in particular explanation in the form of divine intervention) through his portrayal of the tension between Christian themes and the sublimity of the archaic both within the poem itself as well as in the external preface and marginal glosses accompanying the poem. I intend to argue that despite the seemingly inherent Christian morality present on the surface of The Rime of the Ancient Mariner, Coleridge subtly draws attention to a pre-Christian subtext, which holds the insignificance of humanity and the unknowability of the universe in high regard. Through his characterization of the Ancient Mariner and his
Coleridge successfully illustrates the qualities of imagination in his poem, Kubla Khan, through the sound of words, the creative content and his ability to create and recreate. Coleridge turns the words of the poem into a system of symbols that are suspended in the reader’s mind. Coleridge uses creative powers to establish the infinite I AM, a quality of the primary imagination. Coleridge mirrors his primary and secondary imagination in the poem by taking apart and recreating images. The qualities of imagination discussed in the poem exist independently but also work together to create an imaginative world. It is important to understand how the poem works to achieve these qualities, but also how the poem works to bring the reader back to reality. The powers and qualities of imagination are present in Kubla Khan and it is through Coleridge’s extraordinary writing that the reader is able to experience an imaginative world, in which we alternate between reality and imagination.