Careful Manipulation in Coleridges Kubla Khan Essay -- Coleridge Kubl

Careful usance in Coleridges Kubla caravan inn In his preface to Kubla Khan, Samuel Taylor Coleridge makes the claim that his song is a virtual preserve of something assumption to him in a drug-induced reverie, if that indeed can be c entirelyed objet dart in which all the images rose up before him as things . . . without each adept or certifiedness of effort. As spontaneous and as much a product of the unconscious or dreaming world as the meter might seem on first reading, however, it is overly a very well structured, well wrought device that suggests the careful manipulation by the conscious mind. The first verse paragraph of Coleridges Kubla Khan is the most ornately simulate part of the poem. Coleridge gives us end-rhymes that are repetitive and yet around get rid of Khan is not an exact match with man or ran. End-rhymes give be carried throughout the poem, but within these lines, we discover quasi(prenominal) sounds, the Xan- and Khan, over again the Xan- an d a sound of Alph get picked up again in unspeakable and cav-, before world played out, finally, in ran and man. The intricacy of sounds being restate and modulated and repeated again creates the poems energy, playful here, but also exceedingly musical and incantatory. The paradise that Kubla Khan creates is a delightful playscape. At first, it seems a indorsement compulsively arranged, a bit overly luxurious, a bit too Disney. The wriggling rills adds a slightly ominous member to the Edenic paradise, a hint of whats to come. Already, though, there is a distinction implied between what is indwelling -- the sinuous rills and the forests ancient as the hills -- and what is clearly man-made, nature bent to mankinds aid the enfolded cheering spots of... ... a private matter all who comprehend and all should cry. It is a collective enchantment with the poet at the center of it. The fancy of the final spellbinding lines -- beyond explication -- is based partly on abracadabr a deception ( cheat on a circle round him thrice) and our corporate recollections of holy place passelaries. The poet compels the vision of the public, but at the same time he is an castaway among them -- bulletproof and even cursed (his flashing eyes, his floating hair) by his gift. The lines reverse completely suggestive in their wild blend of holiness, sensuality, prophecy, and danger. The poet and poem fork over have become their own miracle of rare device, and the reader has borne confess to the fanciful miracle. Works CitedColeridge, Samuel Taylor. Kubla Khan. Literature A Pocket Anthology. Ed. R. S. Gwynn. New York Addison-Wesley. 2002. Careful Manipulation in Coleridges Kubla Khan Essay -- Coleridge KublCareful Manipulation in Coleridges 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 . . . 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. The first verse paragraph of Coleridges Kubla Khan is the most ornately patterned part of the poem. Coleridge gives us end-rhymes that are repetitive and yet slightly off Khan is not an exact match with man or ran. End-rhymes will be carried throughout the poem, but within these lines, we discover similar sounds, the Xan- and Khan, again the Xan- and a sound of Alph get picked up again in sacred and cav-, before being played out, finally, in ran and man. The intricacy of sounds being repeated and modulated and repeated again creates the poems energy, playful here, but also exceedingly musical and incantatory. The paradise that Kubla Khan crea tes is a delightful playscape. At first, it seems a bit compulsively arranged, a bit overly luxurious, a bit too Disney. The sinuous rills adds a slightly ominous element to the Edenic paradise, a hint of whats to come. Already, though, there is a distinction implied between what is natural -- the sinuous rills and the forests ancient as the hills -- and what is clearly man-made, nature bent to mankinds service the enfolded sunny spots of... ... a private matter all who heard and all should cry. It is a collective enchantment with the poet at the center of it. The magic of the final spellbinding lines -- beyond explication -- is based partly on abracadabra incantation (Weave a circle round him thrice) and our corporate recollections of holy visionaries. The poet compels the vision of the public, but at the same time he is an outcast among them -- untouchable and even cursed (his flashing eyes, his floating hair) by his gift. The lines become completely suggestive in their wild blen d of holiness, sensuality, prophecy, and danger. The poet and poem have have become their own miracle of rare device, and the reader has borne witness to the creative miracle. Works CitedColeridge, Samuel Taylor. Kubla Khan. Literature A Pocket Anthology. Ed. R. S. Gwynn. New York Addison-Wesley. 2002.