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Table of contents
This was the impression of everyone who heard him. A contract was drawn up on 12 April for 80 pounds. However, not everyone was happy with the idea of the poem's being published, as Coleridge's wife, who was not with him, wrote to Thomas Poole , "Oh! The collection of poems was published 25 May , [25] and Coleridge included "A Fragment" as a subtitle to the 54 line version of the poem to defend against criticism of the poem's incomplete nature. A Fragment". In some later anthologies of Coleridge's poetry, the Preface is dropped along with the subtitle denoting its fragmentary and dream nature.
Sometimes, the Preface is included in modern editions but lacks both the first and final paragraphs.
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The poem is different in style and form from other poems composed by Coleridge. While incomplete and subtitled a "fragment", its language is highly stylised with a strong emphasis on sound devices that change between the poem's original two stanzas. The first stanza of the poem describes Khan's pleasure dome built alongside a sacred river fed by a powerful fountain.
The second stanza of the poem is the narrator's response to the power and effects of an Abyssinian maid's song, which enraptures him but leaves him unable to act on her inspiration unless he could hear her once again. Together, they form a comparison of creative power that does not work with nature and creative power that is harmonious with nature. The poem according to Coleridge's account, is a fragment of what it should have been, amounting to what he was able to jot down from memory: 54 lines.
The second stanza is not necessarily part of the original dream and refers to the dream in the past tense. The poem relies on many sound-based techniques, including cognate variation and chiasmus. Its rhyme scheme found in the first seven lines is repeated in the first seven lines of the second stanza. There is a heavy use of assonance , the reuse of vowel sounds, and a reliance on alliteration, repetition of the first sound of a word, within the poem including the first line: "In Xanadu did Kubla Khan".
The stressed sounds, "Xan", "du", "Ku", "Khan", contain assonance in their use of the sounds a-u-u-a, have two rhyming syllables with "Xan" and "Khan", and employ alliteration with the name "Kubla Khan" and the reuse of "d" sounds in "Xanadu" and "did". To pull the line together, the "i" sound of "In" is repeated in "did".
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Later lines do not contain the same amount of symmetry but do rely on assonance and rhymes throughout. The only word that has no true connection to another word is "dome" except in its use of a "d" sound. Though the lines are interconnected, the rhyme scheme and line lengths are irregular.
The first lines of the poem follow iambic tetrameter with the initial stanza relying on heavy stresses. The lines of the second stanza incorporate lighter stresses to increase the speed of the meter to separate them from the hammer-like rhythm of the previous lines. Kubla Khan is also related to the genre of fragmentary poetry, with internal images reinforcing the idea of fragmentation that is found within the form of the poem.
The Preface of Kubla Khan began by explaining that it was printed [28] "at the request of a poet of great and deserved celebrity, and as far as the author's own opinions are concerned, rather as a psychological curiosity, than on the ground of any supposed poetic merits". After reading from Purchas's book, [45] "The Author continued for about three hours in a profound sleep, at least of the external senses, during which time he had the most vivid confidence, that he could not have composed less than from two or three hundred lines 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.
Instead, the effects of the opium, as described, are intended to suggest that he was not used to its effects. There are some problems with Coleridge's account, especially the claim to have a copy of Purchas with him. It was a rare book, unlikely to be at a "lonely farmhouse", nor would an individual carry it on a journey; the folio was heavy and almost pages in size.
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The passage continues with a famous account of an interruption: [50] "At this moment he was unfortunately called out by a person on business from Porlock, and detained by him above an hour, and on his return to his room, found, to his no small surprise and mortification, that though he still retained some vague and dim recollection of the general purpose of the vision, yet, with the exception of some eight or ten scattered lines and images, all the rest had passed away like the images on the surface of a stream into which a stone has been cast, but, alas!
As a symbol within the preface, the person represents the obligations of the real world crashing down upon the creative world or other factors that kept Coleridge from finishing his poetry.
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The claim to produce poetry after dreaming of it became popular after "Kubla Khan" was published. Rauber claimed that the man was "necessary to create the illusion of the cut short rather than the stopped". The Preface to the poem suggests that the poem was not supposed to be printed, that it was a fragmentary work that he was unable to complete, and that the work itself was provided to him through involuntary inspiration.
When the Preface is dropped, the poem seems to compare the act of poetry with the might of Kubla Khan instead of the loss of inspiration causing the work to have a more complex depiction of the poetic power. Taken together, the Preface could connect with the first half of the poem to suggest that the poem is from the view of a dreaming narrator, [55] or it could connect with the second half of the poem to show how a reader is to interpret the lines by connecting himself with the persona in a negative manner.
The poet of the Preface is a dreamer who must write and the poet of the poem is a vocal individual, but both are poets who lose inspiration. Only the poet of the poem feels that he can recover the vision, and the Preface, like a Coleridge poem that is quoted in it, The Picture , states that visions are unrecoverable. The poem begins with a fanciful description of Kublai Khan's capital Xanadu , which Coleridge places near the river Alph, which passes through caverns before reaching a dark or dead sea.
Although the land is one of man-made "pleasure", there is a natural, "sacred" river that runs past it.
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The lines describing the river have a markedly different rhythm from the rest of the passage: [35]. The land is constructed as a paradisical garden, but like Eden after Man's fall, Xanadu is isolated by walls. The finite properties of the constructed walls of Xanadu are contrasted with the infinite properties of the natural caves through which the river runs. So twice five miles of fertile ground With walls and towers were girdled round: And there were gardens bright with sinuous rills, Where blossomed many an incense-bearing tree; And here were forests ancient as the hills, Enfolding sunny spots of greenery.
The poem expands on the gothic hints of the first stanza as the narrator explores the dark chasm in the midst of Xanadu's gardens, and describes the surrounding area as both "savage" and "holy". Yarlott interprets this chasm as symbolic of the poet struggling with decadence that ignores nature. But oh! A savage place! From the dark chasm a fountain violently erupts, then forms the meandering river Alph, which runs to the sea described in the first stanza. Fountains are often symbolic of the inception of life, and in this case may represent forceful creativity.
And from this chasm, with ceaseless turmoil seething, As if this earth in fast thick pants were breathing, A mighty fountain momently was forced: Amid whose swift half-intermitted burst Huge fragments vaulted like rebounding hail, Or chaffy grain beneath the thresher's flail: And 'mid these dancing rocks at once and ever It flung up momently the sacred river.
Five miles meandering with a mazy motion Through wood and dale the sacred river ran, Then reached the caverns measureless to man, And sank in tumult to a lifeless ocean: [58]. Kubla Khan hears voices of the dead, and refers to a vague "war" that appears to be unreferenced elsewhere in the poem.
Yarlott argues that the war represents the penalty for seeking pleasure, or simply the confrontation of the present by the past: [61]. And 'mid this tumult Kubla heard from far Ancestral voices prophesying war! Though the exterior of Xanadu is presented in images of darkness, and in context of the dead sea, we are reminded of the "miracle" and "pleasure" of Kubla Khan's creation.
The vision of the sites, including the dome, the cavern, and the fountain, are similar to an apocalyptic vision.
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Together, the natural and man-made structures form a miracle of nature as they represent the mixing of opposites together, the essence of creativity: [62]. The shadow of the dome of pleasure Floated midway on the waves; Where was heard the mingled measure From the fountain and the caves. It was a miracle of rare device, A sunny pleasure-dome with caves of ice!
The narrator turns prophetic, referring to a vision of an unidentified "Abyssinian maid" who sings of "Mount Abora". Harold Bloom suggests that this passage reveals the narrator's desire to rival Khan's ability to create with his own. Could I revive within me Her symphony and song, To such a deep delight 'twould win me, That with music loud and long, I would build that dome in air, That sunny dome!
The subsequent passage refers to unnamed witnesses who may also hear this, and thereby share in the narrator's vision of a replicated, ethereal, Xanadu. Harold Bloom suggests that the power of the poetic imagination, stronger than nature or art, fills the narrator and grants him the ability to share this vision with others through his poetry.
The narrator would thereby be elevated to an awesome, almost mythical status, as one who has experienced an Edenic paradise available only to those who have similarly mastered these creative powers: [64]. And all who heard should see them there, And all should cry, Beware! His flashing eyes, his floating hair! Weave a circle round him thrice, And close your eyes with holy dread, For he on honey-dew hath fed, And drunk the milk of Paradise. One theory says that "Kubla Khan" is about poetry and the two sections discuss two types of poems.
The poem celebrates creativity and how the poet is able to experience a connection to the universe through inspiration. As a poet, Coleridge places himself in an uncertain position as either master over his creative powers or a slave to it. The poet is separated from the rest of humanity after he is exposed to the power to create and is able to witness visions of truth. This separation causes a combative relationship between the poet and the audience as the poet seeks to control his listener through a mesmerising technique.
The Preface then allows for Coleridge to leave the poem as a fragment, which represents the inability for the imagination to provide complete images or truly reflect reality. The poem would not be about the act of creation but a fragmentary view revealing how the act works: how the poet crafts language and how it relates to himself. Through use of the imagination, the poem is able to discuss issues surrounding tyranny, war, and contrasts that exist within paradise.
The poet, in Coleridge's system, is able to move from the world of understanding, where men normally are, and enter into the world of the imagination through poetry.
When the narrator describes the "ancestral voices prophesying war", the idea is part of the world of understanding, or the real world. As a whole, the poem is connected to Coleridge's belief in a secondary Imagination that can lead a poet into a world of imagination, and the poem is both a description of that world and a description of how the poet enters the world.