Kubla Khan

Kubla Khan" is not a poetic fragment resulting from a dream, but a complex and carefully organized work that illustrates Coleridge's poetic principles. Discuss the statement!

"Kubla Khan" is an excellent example. Nineteenth-century critics tended to dismiss it as a rather inconsequential or meaningless triviality. In large part, this was due to Coleridge's own introduction to the poem. When it was first published in 1816, he subtitled it "A Vision in a Dream: A Fragment." Those poets and critics who admired "Kubla Khan," such as Algernon Charles Swinburne and Leigh Hunt, did so for its marvelous melodic quality.

Arthur Symons called "Kubla Khan": "One of the finest examples of lyric poetry. It has just enough meaning to give it bodily existence; otherwise it would be disembodied music." We can see the music of the poem in the following lines:

Where Alph, the sacred river, ran

Through caverns measureless to man

Down to a sunless sea'

The opening lines of "Kubla Khan" immediately thrust us into a strange world where the remarkable is commonplace. Kubla Khan orders a "pleasure-dome" to be built next to a sacred river that erupts from a chasm, flows in "sinuous rills" through gardens, then descends "in tumult" into "caverns measureless to man." Encircling the centrally placed dome, walls and towers inscribe a defining limit around "forests ancient as the hills." These elegant and civilized structures actually enclose a "deep romantic chasm ... A savage place" that spurts life-giving waters to the gardens like a spouting heart or a birthing mother. In other words, despite human artifice, nature vivifies the whole and gives it meaning. So Kubla Khan, the prototypical Romantic artist, in order to create his masterpiece, merely defines a limit with his art around the uncontrollable magic of untrammeled nature and allows it to feed and inform his art work. And this, in fact, was the aesthetic Coleridge and other Romantic poets practiced. For them, poetry, as an "imitation of nature," merely delimits in image and form the divine beauty of raw nature. But in "Kubla Khan," as Coleridge informs us in the preface to the 1816 edition of the poem, the wild nature of the gardens, the fountain "with ceaseless turmoil seething," and "Alph, the sacred river," actually emerge from the poet's dream consciousness. The Romantics believed that, at its core, the self is one with nature. Childhood and dreams fascinated them thematically in their poetry because both, like nature, were simple, raw, and unrestrainable. They recognized that in all of its forms, nature yearns with omnidirected desire. Just like a "woman wailing for her demon-lover," nature is, in William Blake's words, "Energy." And what Blake says in The Marriage of Heaven and Hell of this "Energy" also applies here in "Kubla Khan": "Energy is the only life, and is from the Body; and Reason is the bound or outward circumference of Energy.... Energy is Eternal Delight." The "outward circumference" of the Khan's towers and walls circumscribes the "Eternal Delight" of untamed nature, which is both "holy and enchanted" and certainly beyond human control.

'In a vision once I saw:

It was an Abyssinian maid'

Read as the beginning of a longer poem, Coleridge's poetic "fragment" sets forth a fantastic world, set both in the "mysterious" Orient and in the "magical" Middle Ages. But read as a whole complete unto itself, "Kubla Khan" evokes the fleeting images of a waking dream that speak not in words but in symbols. And although many critics point to the Crewe manuscript version of "Kubla