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critical analysis of the poem 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.
Works Cited
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Daniel, Kathleen. Elements of Literature, Sixth Course Literature of Britain. Austin, Texas: Harcourt Brace & Company, 1997.
Tiefert, Marjorie. “Samuel Taylor Coleridge.” Poets.org. 2012. Academy of American Poets. Web. 25 Feb 2012.
Koeller, David. “Kublai Khan Rules China.” Thenagain.info. Kris Duncan, Sarah Johnson, Becky Wells. 21 September 1999. The Web Chronology Project. Web. 25 Feb 2012.
Cummings, Michael. “Kubla Khan By Samuel Taylor Coleridge (1772-1834)” cummingsstudyguides.net. 2011. Cummings Study Guides. Web. 25 Feb 2012.
...us 75.1 (Jan. 1991): 150-159. Rpt. in Poetry Criticism. Ed. Lawrence J. Trudeau. Vol. 58. Detroit: Gale, 2005. Literature Resource Center. Web. 25 Feb. 2011.
As delineated in paragraph one, Coleridge’s poetic field is one rampant with erratic thought and ultimate change. The proposed subject of the poem, an eolian harp, is virtually abandoned and replaced with veneration of a God as well as a lover. One would think that such a fickle publication would be kept isolated by its author. Although, Coleridge may have staked importance in showing his adoration for God publicly. Hence,
Beers, G. Kylene, and Lee Odell. "Poetry." Holt Literature & Language Arts. Austin, TX: Holt, Rinehart & Winston, 2003. 413-14. Print.
How and why did the Mongol Empire rise to power? One of historian’s prevalent hypothesis is that of environmental and climate change. In the thirteenth century, temperatures in the Steppe region and in the Russian plains dropped, crops failed, and masses of people were hungry. Under those circumstances, people were driven out of the steppes which were their comfortable homeland, and became nomadic in search of food. They sought with passion to become dominant over and exploit sedentary people (Fernandez-Armesto, 2011, p. 340).
In his poem This Lime-Tree Bower My Prison, Samuel Taylor Coleridge explicates how humans can always find beauty near themselves, even in the least futile of places. Coleridge, a man of twenty five years at the time he wrote this poem, added This Lime-Tree Bower My Prison to his collection of The Conversation Poems (Hill). In the summer of 1797, when he wrote this, he addressed the poem to a friend of his, Charles Lamb, the essayist, and while they departed, Coleridge wrote him this poem in the garden, for he had been hindered from walking by a misfortunate accident earlier in the day. This Lime-Tree Bower My Prison contains three stanzas which hold seventy eight lines.
The two poems “Frost at Midnight” and “This Lime-Tree Bower, My Prison” are Coleridge’s conversation poems. These conversation poems choose the poet’s self to be the starting point towards universe’s exploration and explores the position of the poet in it. The poems are based on a literal event in the life of the poet and his encounter with nature. The poems describe virtuous conduct and the obligation that man has towards God and try to explore any simple appreciation towards nature without being actively selflessness.
It may be discerned from the quotes displayed above that Rushdie, a writer not renowned for suffering fools gladly, accords Kipling some epistemological superiority. Yet when examining images of race and blood in Kipling, the critic turns most frequently to Kim, and I contend that the short stories of Plain Tales from the Hills have been undeservedly neglected in favour of the longer novel. This brief essay examines issues of alterity, going native, empire and blood in Plain Tales from the Hills.
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.
This piece of literary work is one of the few surviving historical literature detailing about the Mongolians existence. The author is not known and even if people date it back to the year 1240, the real date when it was written and the literatures original title is still a debatable matter. Nevertheless, irrespective of these uncertainties, one thing is known to be for sure; the secret history of the Mongols is a piece of literary works that bears a lot of importance in literature and history. It owes its importance to the fact that it serves as a recount of the Mongol Khans genealogy and the times and life of Genghis Khan who founded the state of Mongol. The story tries to unveil the mysteries of great legends that existed in history.
Mileur, J. 1982. Coleridge and the Art of Immanence. Los Angeles: University of California Press.
Coleridge, Samuel Taylor. “Kubla Khan.” The Norton Anthology: English Literature. Ninth Edition. Stephen Greenblatt, eds. New York: W.W. Norton & Company, 2012. 459-462. Print.
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.
“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.
Preminger, Alex and T.V. Brogan eds. The New Princeton Encyclopedia of Poetry and Poetics. Princeton: PUP, 1993.
In “Kubla Khan,” Coleridge expresses his desire to use the inspirations from nature to create his own “Paradise” of poetry (54, p.1634). In the first stanza, Coleridge creates an exotic oriental garden, where the trees, gardens, hills, and the “Alph” river, together present the beauty of Mother Nature (3, p.1633). Here, the poet carefully observes his surroundings, as the nature will serve as the source of inspiration for his poetry. The “pleasure dome” (2, p.1633) in line two has two functions, one representing the creation of human beings on earth, and the other being the foundation of Coleridge’s poetic paradise. As the clash between nature and humans takes place in the second stanza with a “woman wailing for her demon-lover” (16, p.1633) the poet calls upon nature for his inspiration, represented by the powerful activity of nature. The energy of nature is released in forms of “a might fountain” (19, p.1633), “rebounding hail” (21, p.1633), or “dancing rocks” (23, p.1633) and eventually the natural disasters will accompanied by man-made destruction as “Kubla heard from far Ancestral voices prophesying war” (29-30, p.1634)! Coleridge on one hand reinforces that man and nature are inseparable and one the other uses the energy of nature to represent the spontaneous spurring of emotions in the poet’s mind.