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The role of imagination in Coleridge's poetry
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Poetic Inspiration in Kubla Khan and Rime of the Ancient Mariner
An examination of the characters that Coleridge presents in "The Rime of the Ancient Mariner" and "Kubla Khan" and the situations in which they find themselves reveals interesting aspects of Coleridge's own character that are both similar to and different from the characters named in the titles of these poems. In particular, an examination of these characters with an eye toward Coleridge's conception of poetic inspiration and success can be fruitful.
In "Kubla Khan," Coleridge depicts a powerful character who "did ... a stately pleasure dome decree" ("Kubla Khan" lines 1-2). The fact that Kubla Khan is able merely to decree a pleasure-dome and know that his orders will be executed implies that he is a character of both strong will and great creative power. This faith in himself is not misplaced. The Khan decrees that a pleasure-dome be built and his order is immediately executed: "So twice five miles of fertile ground/ With walls and towers were girdled round" (6-7). Some aspects of the landscape and the dome echo the hardness implied by the chieftain's single-minded determination: the fountain "with ceaseless turmoil seething," the "dancing rocks" that are tossed into the air by the fountain, the "ancestral voices prophesying war," and the fact that the sacred river itself is "flung up momently" by the fountain (18, 23, 30, 24). As the Khan's creation, the dome can reasonably be expected to contain clues to his character, and the characterization of the Khan harmonizes well with these clues about his character given by the pleasure dome: the image of a Mongol chief is one associated with danger, war, and a large amount of strength.
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... of a broken and essentially conciliatory force. When seen in these terms, it seems that the mariner may be the image with which Coleridge most closely identified himself, but both are symbols of his creative process.
References
The Bible. Authorized (King James) Translation.
Coleridge, Samuel Taylor. "Kubla Khan" in Samuel Taylor Coleridge: A Critical Edition of the Major Works. Ed. H J. Jackson. Oxford: Oxford University Press, 1985.
Coleridge, Samuel Taylor. "The Rime of the Ancyent Marinere, in Seven Parts" (1798 text) in Romanticism: An Anthology, Second Edition. Ed. Duncan Wu. Oxford: Blackwell Publishers Ltd., 1998.
Coleridge, Samuel Taylor. "The Rime of the Ancient Mariner. In Seven Parts" (1817 text) in Samuel Taylor Coleridge: A Critical Edition of the Major Works. Ed. H J. Jackson. Oxford: Oxford University Press, 1985.
In “The Rime of the Ancient Mariner” by Coleridge, The Ancient Mariner is telling his story to a bypassing guest at the wedding, and he is describing the experience of being alone at sea surrounded by only water and his dead crewmates. Coleridge creates dramatic suspense and mystery in this passage through the uses of repetition, simile and imagery.
'Love the Lord your God with all your heart and with all your soul and
life was a ransom, his death was a payment for our sins. As man sinned
Coleridge, Samuel Taylor. Christabel ; Kubla Khan, a Vision ; The Pains of Sleep. London: Printed for J. Murray by W. Bulmer and, 1816. Print.
Magnuson, Paul. "The Gang: Coleridge, the Hutchinsons & The Wordsworths in 1802." Criticism 4(2001):451. eLibrary. Web. 11 Mar. 2014.
Coleridge, Samuel Taylor. "The Rime of the Ancient Mariner (text of 1834)." Poetry Foundation. Poetry
A significant theme in Samuel Coleridge's "Rime of the Ancient Mariner," is Christianity, which is portrayed through the Mariner’s epic journey. This text is set between the physical world and the metaphysical (spiritual world), similar to religious teachings found in the Bible. With the use of vivid descriptions and strong language in this ballad, moral lessons appear that connect both man and God in order to discover an innate bond and understanding. Though this tale is overwhelmingly bizarre and dark, the moral lessons taught are in line with central aspects of both the romantic period and the Christian religion. In Coleridge's ballad, "Rime of the Ancient Mariner," many Christian ideals are represented throughout the treacherous journey of the Mariner, such as sin, forgiveness, and prayer.
However, in the two works by Coleridge, the imagination takes on different roles in each world. In the Ancient Mariner, the imagination is the substance that holds all life together, much like how the millio...
Allen, N. B. A Note on Coleridge's "Kubla Khan”. The John Hopkins University Press. MLN, Vol. 57, No. 2, Feb. 1942, pp. 108-113. http://0-www.jstor.org.library.uark.edu/stable/2911139
Coleridge and the Art of Immanence. Los Angeles: University of California Press, 1994. Wolfson, S. & Manning, P. 2003. The Longman Anthology of English Literature, Vol. 2:
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.
It is believed that “Kubla Khan” was created by Coleridge when he was in a deep sleep that was induced by the use of opiates which were prescribed for dysentery. He fell asleep while reading Purcha’s Pilgrimage about building of Kubla Khan’s palace and garden. When he woke up from experiencing the dream in which he created the poem he began writing it down. He was part way through writing the poem and was interrupted by a person from the nearby town of Porlock. After this interruption he was unable to complete the poem because his access to the dream was lost. The unfinished work was not published for three decades. Much mystery has enshrouded “Kubla Khan” and it’s meaning due to the circumstances of it’s creation. The poem itself is as mystical and interesting as the story behind its creation.
“Xanadu” is a wonderful “Paradise” of fantasy, but Coleridge draws the readers back to reality with the word “I.” He immediately transitions from describing visionary objects to explaining his own poetic challenge. The “pleasure-dome” mirrors the poem and Kubla Khan mirrors Coleridge. The poem ultimately becomes a “vision in a dream,” where the reader recognizes the images that Coleridge recreates through imagination.
21 Feb. 2017. Coleridge, Samuel. “Kubla Khan” The Language of Literature. Ed Arthur N. Applebee,
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.