The following fragment is here published at the request of a poet of great and deserved celebrity, and, as far as the author's own opinions are concerned, rather as a psychological curiosity, than on the grounds of any supposedpoeticmerits.
In the summer of the year 1797, the author, then in ill health, had retired to a lonely farmhouse between Porlock and Linton, on the Exmoor confines of Somerset and Devonshire. In consequence of a slight indisposition, an anodyne had been prescribed, from the effects of which he fell asleep in his chair at the moment that he was reading the following sentence, or words of the same substance, inPurchas's Pilgrimage: "Here the Khan Kubla commanded a palace to be built, and a stately garden thereunto. And thus ten miles of fertile ground were inclosed with a wall." The author continued for about three hours in a profound sleep, at least of the external senses, during which time he has the most vivid confidence that he could not have composed less than from two to three hundred lines; if that indeed can be called composition in which all the images rose up before him as things, with a parallel production of the correspondent expressions, without any sensation or consciousness of effort. On awaking he appeared to himself to have a distinct recollection of the whole, and taking his pen, ink, and paper, instantly and eagerly wrote down the lines that are here preserved. At this moment he was unforunately called out by a person on business from Porlock, and detained by him above an hour, and on his return to his room, found, to his no small surprise and mortification, that though he still retained some vague and dim recollection of the general purport of the vision, yet, with the exception of some eight or ten scattered lines and images, all the rest had passed away like the images on the surface of a stream into which a stone has been cast, but, alas! without the after restoration of the latter!
Then all the charm Is broken — all that phantom world so fair Vanishes, and a thousand circlets spread, And each misshape[s] the other. Stay awhile, Poor youth! who scarcely dar'st lift up thine eyes — The stream will soon renew its smoothness, soon The visions will return! And lo, he stays, And soon the fragments dim of lovely forms Come trembling back, unite, and now once more The pool becomes a mirror.
[From Coleridge'sThe Picture; or, the lover's Resolution,lines 91-100]
Yet from the still surviving recollections in his mind, the author has frequently purposed to finish for himself what had been originally, as were, given to him. [I shall sing a sweeter song today]: but the tomorrow is yet to come. As a contrast to this vision, I have annexed a fragment of a very different character, describing with equal fidelity the dream of pain and disease.
Kubla Khan
Or, a vision in a dream. A Fragment.
In Xanadu did Kubla Khan
A stately pleasure-dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
Down to a sunless sea.
So twice five miles of fertile ground
With walls and towers were girdled round;
And there were gardens bright with sinuous rills,
Where blossomed many an incense-bearing tree;
And here were forests ancient as the hills,
Enfolding sunny spots of greenery.
But oh! that deep romantic chasm which slanted
Down the green hill athwart a cedarn cover!
A savage place! as holy and enchanted
As e’er beneath a waning moon was haunted
By woman wailing for her demon-lover!
And from this chasm, with ceaseless turmoil seething,
As if this earth in fast thick pants were breathing,
A mighty fountain momently was forced:
Amid whose swift half-intermitted burst
Huge fragments vaulted like rebounding hail,
Or chaffy grain beneath the thresher’s flail:
And mid these dancing rocks at once and ever
It flung up momently the sacred river.
Five miles meandering with a mazy motion
Through wood and dale the sacred river ran,
Then reached the caverns measureless to man,
And sank in tumult to a lifeless ocean;
And ’mid this tumult Kubla heard from far
Ancestral voices prophesying war!
The shadow of the dome of pleasure
Floated midway on the waves;
Where was heard the mingled measure
From the fountain and the caves.
It was a miracle of rare device,
A sunny pleasure-dome with caves of ice!
A damsel with a dulcimer
In a vision once I saw:
It was an Abyssinian maid
And on her dulcimer she played,
Singing of Mount Abora.
Could I revive within me
Her symphony and song,
To such a deep delight ’twould win me,
That with music loud and long,
I would build that dome in air,
That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread
For he on honey-dew hath fed,
And drunk the milk of Paradise.
Some Critical Comments on Kubla Khan
Harold Bloom
Internally, Kubla Khan is no fragment but a vision of creation and destruction, each complete. It is not quite a “poem about the act of poetic creation,” for it contains that theme as one element in a more varied unity, just as Yeats’s "Byzantium" does. Kubla had not sought the balance or reconciliation of opposites that Coleridge and Blake alike saw as the mark of the creative imagination, but momentarily his dome and the bursting fountain together do present a vision of such a balance; the landscape becomes a poem, and the imagination has its manifestation. The triumphal chant that follows is Coleridge’s assertion that he as poet can build a finer dome and a more abiding paradise than Kubla’s, and one that would have both convex heat and concave ice without the necessity of earthquake. Coleridge’s music would be “loud and long”; Kubla’s is momentary.
David Perkins
on the relationship between the introductory note and the main text of Kubla Khan
Complex parallels and contrasts link the introductory note and the poem. There is a sharp difference in scene and tone. The introductory note is realistic, everyday, faintly humorous, and prose, while the poem is romantic, exotic, sublime, and verse. The action of the one is located in contemporary England, between Porlock and Linton, while the other is in ancient China. But they have a similar theme: the character and power (or weakness) of the poet. In the introductory note the poet is a drugged dreamer; his momentary inspiration is dismissed as a psychological anomaly. He takes “pen, ink, and paper” to record his lines, and his poem dissolves when the ordinary world intrudes. In the concluding lines of the poem, however, the poet is an awful figure of supernatural inspiration. His poetry is voiced, spoken rather than written, and imposes itself on the ordinary world, for in the conclusion of the poem the man from Porlock is represented by the poet’s auditors (“all”), who are compelled to hear the poet and see his vision. Nevertheless, both the poet of the introductory note and the one of the concluding lines of the poem have lost their inspiration; the difference between them is that the modest, rueful writer of the introductory note scarcely hopes to recover it, while the speaker of the poem imagines himself as possibly doing so and creates a sublime image of himself as poet. We might be tempted to say that the introductory note and the concluding paragraph ironize one another, so that in neither can the representation of the poet’s character and relation to the world be read with naïve faith.
The following fragment is here published at the request of a poet of great and deserved celebrity, and, as far as the author's own opinions are concerned, rather as a psychological curiosity, than on the grounds of any supposedpoeticmerits.
In the summer of the year 1797, the author, then in ill health, had retired to a lonely farmhouse between Porlock and Linton, on the Exmoor confines of Somerset and Devonshire. In consequence of a slight indisposition, an anodyne had been prescribed, from the effects of which he fell asleep in his chair at the moment that he was reading the following sentence, or words of the same substance, inPurchas's Pilgrimage: "Here the Khan Kubla commanded a palace to be built, and a stately garden thereunto. And thus ten miles of fertile ground were inclosed with a wall." The author continued for about three hours in a profound sleep, at least of the external senses, during which time he has the most vivid confidence that he could not have composed less than from two to three hundred lines; if that indeed can be called composition in which all the images rose up before him as things, with a parallel production of the correspondent expressions, without any sensation or consciousness of effort. On awaking he appeared to himself to have a distinct recollection of the whole, and taking his pen, ink, and paper, instantly and eagerly wrote down the lines that are here preserved. At this moment he was unforunately called out by a person on business from Porlock, and detained by him above an hour, and on his return to his room, found, to his no small surprise and mortification, that though he still retained some vague and dim recollection of the general purport of the vision, yet, with the exception of some eight or ten scattered lines and images, all the rest had passed away like the images on the surface of a stream into which a stone has been cast, but, alas! without the after restoration of the latter!
Then all the charm Is broken — all that phantom world so fair Vanishes, and a thousand circlets spread, And each misshape[s] the other. Stay awhile, Poor youth! who scarcely dar'st lift up thine eyes — The stream will soon renew its smoothness, soon The visions will return! And lo, he stays, And soon the fragments dim of lovely forms Come trembling back, unite, and now once more The pool becomes a mirror.
[From Coleridge'sThe Picture; or, the lover's Resolution,lines 91-100]
Yet from the still surviving recollections in his mind, the author has frequently purposed to finish for himself what had been originally, as were, given to him. [I shall sing a sweeter song today]: but the tomorrow is yet to come. As a contrast to this vision, I have annexed a fragment of a very different character, describing with equal fidelity the dream of pain and disease.
Kubla Khan
Or, a vision in a dream. A Fragment.
In Xanadu did Kubla Khan
A stately pleasure-dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
Down to a sunless sea.
So twice five miles of fertile ground
With walls and towers were girdled round;
And there were gardens bright with sinuous rills,
Where blossomed many an incense-bearing tree;
And here were forests ancient as the hills,
Enfolding sunny spots of greenery.
But oh! that deep romantic chasm which slanted
Down the green hill athwart a cedarn cover!
A savage place! as holy and enchanted
As e’er beneath a waning moon was haunted
By woman wailing for her demon-lover!
And from this chasm, with ceaseless turmoil seething,
As if this earth in fast thick pants were breathing,
A mighty fountain momently was forced:
Amid whose swift half-intermitted burst
Huge fragments vaulted like rebounding hail,
Or chaffy grain beneath the thresher’s flail:
And mid these dancing rocks at once and ever
It flung up momently the sacred river.
Five miles meandering with a mazy motion
Through wood and dale the sacred river ran,
Then reached the caverns measureless to man,
And sank in tumult to a lifeless ocean;
And ’mid this tumult Kubla heard from far
Ancestral voices prophesying war!
The shadow of the dome of pleasure
Floated midway on the waves;
Where was heard the mingled measure
From the fountain and the caves.
It was a miracle of rare device,
A sunny pleasure-dome with caves of ice!
A damsel with a dulcimer
In a vision once I saw:
It was an Abyssinian maid
And on her dulcimer she played,
Singing of Mount Abora.
Could I revive within me
Her symphony and song,
To such a deep delight ’twould win me,
That with music loud and long,
I would build that dome in air,
That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread
For he on honey-dew hath fed,
And drunk the milk of Paradise.
Some Critical Comments on Kubla Khan
Harold Bloom
Internally, Kubla Khan is no fragment but a vision of creation and destruction, each complete. It is not quite a “poem about the act of poetic creation,” for it contains that theme as one element in a more varied unity, just as Yeats’s "Byzantium" does. Kubla had not sought the balance or reconciliation of opposites that Coleridge and Blake alike saw as the mark of the creative imagination, but momentarily his dome and the bursting fountain together do present a vision of such a balance; the landscape becomes a poem, and the imagination has its manifestation. The triumphal chant that follows is Coleridge’s assertion that he as poet can build a finer dome and a more abiding paradise than Kubla’s, and one that would have both convex heat and concave ice without the necessity of earthquake. Coleridge’s music would be “loud and long”; Kubla’s is momentary.
David Perkins
on the relationship between the introductory note and the main text of Kubla Khan
Complex parallels and contrasts link the introductory note and the poem. There is a sharp difference in scene and tone. The introductory note is realistic, everyday, faintly humorous, and prose, while the poem is romantic, exotic, sublime, and verse. The action of the one is located in contemporary England, between Porlock and Linton, while the other is in ancient China. But they have a similar theme: the character and power (or weakness) of the poet. In the introductory note the poet is a drugged dreamer; his momentary inspiration is dismissed as a psychological anomaly. He takes “pen, ink, and paper” to record his lines, and his poem dissolves when the ordinary world intrudes. In the concluding lines of the poem, however, the poet is an awful figure of supernatural inspiration. His poetry is voiced, spoken rather than written, and imposes itself on the ordinary world, for in the conclusion of the poem the man from Porlock is represented by the poet’s auditors (“all”), who are compelled to hear the poet and see his vision. Nevertheless, both the poet of the introductory note and the one of the concluding lines of the poem have lost their inspiration; the difference between them is that the modest, rueful writer of the introductory note scarcely hopes to recover it, while the speaker of the poem imagines himself as possibly doing so and creates a sublime image of himself as poet. We might be tempted to say that the introductory note and the concluding paragraph ironize one another, so that in neither can the representation of the poet’s character and relation to the world be read with naïve faith.
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