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Critical analysis of the poem kubla khan
Critical analysis of coleridge's kubla khan
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Samuel Taylor Coleridge’s poem “Kubla Khan” is a masterpiece of ambiguity; from its inception to its meaning. “Kubla Khan” is a poem of abundant literary devices; most notably these devices include metaphors, allusions, internal rhyme, anthropomorphism, simile, alliteration, and perhaps most of all structure. But the devices that Coleridge used to create “Kubla Khan” is at the very least what makes this poem provocative; Coleridge’s opium induced vision and utopian ideals combined with his literary genius form a subjective yet imaginative dreamscape of a pleasure-dome in Xanadu ruled by “Kubla Khan”.
Before delving into an analysis of “Kubla Khan”, a brief history of Samuel Taylor Coleridge’s life and ideals will prove beneficial into understanding the scope of “Kubla Khan”’s significance. Coleridge went to Cambridge University between 1792 and 1794, leaving with no degree; afterwards traveling to America where he made a commitment to construct a utopian colony (Daniel 674). Coleridge’s utopian ideal is reflected from the beginning in “Kubla Khan”; the poem starts by introducing the reader to the title character Kubla Khan and the land in which he rules, Xanadu, in which his ‘pleasure-dome’ lies. The pleasure-dome can serve as a metaphor to the utopian society that Coleridge wished to create in America but failed; he did however marry one of the prospective utopians due to similar ideals no doubt. Around 1795 Coleridge befriended William Wordsworth who, along with Coleridge, was another one of the great Romantic poets; it is said if Wordsworth was a pillar to Romanticism, then Coleridge was an important structural support. Even though both Wordsworth and Coleridge shared an idealization of nature and a stress on human joy, C...
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...ne 53. Coleridge’s use of anthropomorphism, simile, and alliteration in “Kubla Khan” are perhaps not as significant as the allusions were to the overall meaning but nevertheless supplement the tone and rhythm of the poem.
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Weatherford, J. McIver. Genghis Khan and the making of the modern world. New York: Crown, 2004.
Hartog, Leo de. Genghis Khan: Conqueror Of The World. London: Taurisparke Paperbacks, 2004. eBook Collection (EBSCOhost). Web. 22 Feb. 2014.
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Kahn, P. (2005). Secret History of the Mongols: The Origin of Chingis Khan. USA: Cheng & Tsui
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The world is changing and evolving at an astounding rate. Within the last one hundred years, the Western community has seen advances in technology and medicine that has improved the lifestyles and longevity of almost every individual. Within the last two hundred years, we have seen two World Wars, and countless disputes over false borders created by colonialists, slavery, and every horrid form of human suffering imaginable! Human lifestyles and cultures are changing every minute. While our grandparents and ancestors were growing-up, do you think that they ever imagined the world we live in today? What is to come is almost inconceivable to us now. In this world, the only thing we can be sure of is that everything will change. With all of these transformations happening, it is a wonder that a great poet may write words over one hundred years ago, that are still relevant in today’s modern world. It is also remarkable that their written words can tell us more about our present, than they did about our past. Is it just an illusion that our world is evolving, or do these great poets have the power to see into the future? In this brief essay, I will investigate the immortal characteristics of poetry written between 1794 and 1919. And, I will show that these classical poems can actually hold more relevance today, than they did in the year they were written. Along the way, we will pay close attention to the style of the poetry, and the strength of words and symbols used to intensify the poets’ revelations.
Wordsworth is raised in a simple country side and he views his childhood as a time when his relationship with nature was at its greatest; he revisits his childhood memories to relieve his feelings and encourage his imagination. Even if he grew up within nature, he didn’t really appreciate it until he became an adult. He is pantheistic; belief that nature is divine, a God. Since he has religious aspect of nature, he believes that nature is everything and that it makes a person better. His tone in the poem is reproachful and more intense. His poem purpose is to tell the readers and his loved ones that if he feels some kind of way about nature, then we should have the same feeling toward it as well. On the other side, Coleridge is raised in rural city such as London and expresses his idea that, as a child, he felt connected to nature when looking above the sky and seeing the stars. Unlike Wordsworth who felt freedom of mind, Coleridge felt locked up in the city. Since he did not have any experience with nature, he did not get the opportunity to appreciate nature until he became an adult. In Coleridge’s poem “Frost at Midnight,” readers see how the pain of alienation from nature has toughened Coleridge’s hope that his child enjoy a peaceful nature. Instead of looking at the connection between childhood and nature as
Magnuson, Paul. "The Gang: Coleridge, the Hutchinsons & The Wordsworths in 1802." Criticism 4(2001):451. eLibrary. Web. 11 Mar. 2014.
...ubla Khan, the imagination is more of a physical, creative force, with more raw power than finesse. With it, works such as a pleasure-dome full of physical paradoxes can be inspired, created, and described, far better than with the words of a critic alone “A sunny pleasure-dome with caves of ice!”. The Rime of the Ancient Mariner has it that the imagination is more of an intangible force, subtle yet with as much power as the imagination in Kubla Khan. It connects the huge array of creatures on the Earth together, and without the imagination, they would, die in the end, one by one.
Weatherford, J. McIver. Genghis Khan and the Making of the Modern World. New York: Crown, 2004. Print.
Although both “Kubla Khan,” by Samuel Coleridge and “Ode on Grecian Urn,” by John Keats are poems originating from the poets’ inspiration from historical figure, the two poems convey different messages through their respective metaphors. While Coleridge emphasizes on the process of creating a Romantic poem, Keats expresses his opinion about art by carefully examining the details of the Grecian urn.
Through alliteration and imagery, Coleridge turns the words of the poem into a system of symbols that become unfixed to the reader. Coleridge uses alliteration throughout the poem, in which the reader “hovers” between imagination and reality. As the reader moves through the poem, they feel as if they are traveling along a river, “five miles meandering with a mazy motion” (25). The words become a symbol of a slow moving river and as the reader travels along the river, they are also traveling through each stanza. This creates a scene that the viewer can turn words into symbols while in reality they are just reading text. Coleridge is also able to illustrate a suspension of the mind through imagery; done so by producing images that are unfixed to the r...
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.
Coleridge’s ‘Khubla Khan’ expresses the Romantics unified vision of the imperfections of man’s creations which the imagination can transcendence to find meaning in human life. Coleridge’s own Biographia Literaria exemplifies his deep belief in “The primary imagination”, the spontaneous and unconscious imagination, which he held as “the living power and prime agent of all human perception”. This is established in the poem through the iambic tetrameter as it evokes a rhythmic chant that is suggestive of the imaginative vision which takes shape. The opening image of, “a stately pleasure-dome decree”, is evocative of an idyllic creation built by man, affirmed by the imagery of a lush landscape in, “gardens bright…sunny spots of greenery”, contained by mans “walls and towers”.