Careful Manipulation in Coleridges Kubla Khan Essay -- Coleridge Kubl

Careful 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 adept or consciousness of effort. As spontaneous and as such(prenominal) a product of the unconscious or dreaming world as the poem faculty seem on first reading, however, it is also a exquisitely structured, well wrought device that suggests the careful manipulation by the conscious mind. The first verse line paragraph of Coleridges Kubla Khan is the most ornately patterned tell of the poem. Coleridge gives us end-rhymes that are repetitive and yet slightly off Khan is not an film match with man or ran. End-rhymes will be carried passim the poem, nevertheless within these lines, we discover similar sounds, the Xan- and Khan, again the Xan- and a sound of Alp h get picked up again in sacred and cav-, before being compete out, terminally, in ran and man. The intricacy of sounds being repeated and modulated and repeated again creates the poems energy, playful here, and also exceedingly musical and incantatory. The paradise that Kubla Khan creates is a delightful playscape. At first, it seems a bit compulsively arranged, a bit overly luxurious, a bit too Disney. The curved rills adds a slightly heavy 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 inspection and repair 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 hatf ul 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 photoflash eyes, his floating hair) by his gift. The lines become completely implicative in their wild blend of holiness, sensuality, prophecy, and danger. The poet and poem have have become their own miracle of obsolete 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. 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 a s 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 creates is a delightful playscape. At first, i t 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 blend of holiness, sensuality, prophecy, and d anger. 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.