A repeating design throughout Coleridge’s poems is the energy of dream and of the fantasy, for example in ‘Dejection’ “Frost at Midnight,” “Christabel,” and “An Ode.” Perhaps the most exceptional world designed by Coleridge can be found in “Kubla Khan.” The famous tale behind the poem is that Coleridge had written the poem following an opium-influenced dream. In this particular poem, Coleridge seems to discover the absolute depths of dream and makes scenery that could not are available actually. The “sunny pleasure-dome with caverns of ice” indicates the dream around the world of Kubla Khan.
Similar to several of Coleridge’s other poems, the speaker’s appreciation of the amazing things of nature is existing in “Kubla Khan.” Yet what is stunning and somewhat different about the expression of natures in this particular poem is the interpretation of the risky and harmful factors of natures. For instance, consider the following passage:
But oh! that deep romantic chasm which slanted
Down the green hill athwart a cedarn cover!
A savage place! as holy and enchanted
As e’er beneath a waning moon was haunted
By woman wailing for her demon-lover!
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 (lines 12-24)
The last stanza of the poem was included later, and is not the product of Coleridge’s opium-dream. In it the narrator wishes to re-create the pleasured-dome of Kubla Khan “in air,” perhaps either in poem, or in a way exceeding the amazing work of Kubla Khan himself. The speaker’s identification melds with that of Kubla Khan, as he envisions himself being verbal of by everyone around, caution one another to “Beware! Beware!/His , his floating hair!” Kubla Khan/the narrator becomes a symbol of superstition, around whom those who would stay secure should “Weave a circle […] thrice” to prevent his energy. Coleridge conflate the near mythic figure of Kubla Khan adjusting the natural world actually, with the symbol of the poet adjusting the globe “in air” through the energy of his terms. In either situation, the innovative figure becomes a resource of awe, wonder, and fear mixed.
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