If one is able to understand the hidden symbols and meanings within the poem, it becomes clear that Coleridge's " Kubloa Khan" does not simply describe a pleasure dome, it is also a prolonged metaphore for the process of creativity.... without any sensation or consciousness of effort." As spontaneous and as much a product of the unconscious or dreaming world as the poem might seem on first reading, however, it is also a finely structured, well wrought device that suggests the careful manipulation by the conscious mind....
[tags: Coleridge Kubla Khan Essays] - Careful Manipulation in Coleridge's Kubla Khan In his preface to "Kubla Khan," Samuel Taylor Coleridge makes the claim that his poem is a virtual recording of something given to him in a drug-induced reverie, "if that indeed can be called composition in which all the images rose up before him as things . [tags: Coleridge Kubla Khan Essays] - “Kubla Khan” by Samuel Taylor Coleridge “Kubla Khan” by Samuel Taylor Coleridge is a poem about the creative powers of the poetic mind.
Through the use of vivid imagery Coleridge reproduces a paradise-like vision of the landscape and kingdom created by Kubla Khan.
Coleridge read and admired the work throughout his life, saying that he 'should not wonder [if] Andrew had thought more on the subject of Dreams than any other of our Psychologists'. The short answer is, to begin with, an extraordinary piece of architecture, ‘A stately pleasure-dome’ (l. We learn no more about the character of this strange family curse, if that is what it is; but the mention is enough to cast some doubt on the survival of the pleasure-dome, a magnificent creation which now feels perhaps somewhat over-shadowed by the unruly splendour of the sublime scenery that surrounds it.
2), which was built in the Mongolian summer capital by one of the great Emperors of ancient Tartary, Kubla, the grandson of Genghis Khan; but Coleridge’s interest does not seem especially drawn by the cruel despotism that would probably have been his reader’s first association. The energy of the scene is superbly conveyed through breathless, on-running sentences, and the verse comes to a close with a vivid sense of that energy’s potential for destruction: ‘And ’mid this tumult Kubla heard from far / Ancestral voices prophesying war! At this point Coleridge pulls off one of the great surprises of the poem: having set before us two antithetical territories of the imagination, he now finds a way of blending them together, as though a fuller kind of creativity should partake of both. The opposing ingredients of the poem are brought together in ‘a miracle of rare device’ (‘device’ meaning ‘devising’, ‘inventing’): this act of artistry feels like it surpasses even what the mighty Khan had managed in the first verse (l. Many years later Coleridge would describe how the imagination reveals ‘itself in the balance or reconciliation of opposite or discordant qualities’ But then the poem makes its second surprising turn: when it felt like it had done its dialectical business, miraculously synthesising opposites into reconciliation, it changes tack with an almost comic abruptness, introducing the ‘I’ of the poet for the first time. Like the poem at large, this is as much a lovely piece of word music as it is a gesture to a real geography; but it carries meaning too: Mount Amara was one of the candidates for the site of Paradise that Milton mentions in (Book 4, l.