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As you'll all remember, in the movie the Joker donned a nurse's outfit which continues to be a mainstay at more or less every university fancy dress party even today , worn rather conspicuously by the supervillain to infiltrate the hospital.

While many of you will have seen the 'Dent' badge stuck to his white and red dress, did you know Ledger added a personal touch to the tag as a tribute to his daughter?

As Screen Rant pointed out : "Just above the 'Dent' political sticker, the nurse nametag reads: 'Matilda', the name of Ledger's then-infant daughter.

His daughter Matilda - who is now 11 and lives with her mum and Ledger's ex-wife Michelle Williams - was just a toddler old at the time of filming.

So while the Joker's nurse is a character who torments Harvey Dent in the film, IRL Ledger used the outfit to give a shout out to his little girl - another reason to add to the long of why Ledger was a true Hollywood diamond and will be greatly missed.

While it's tragic Matilda did not get to grow up with her dad in her life, we have no doubt she cherishes this small yet significant nod symbolising Ledger's eternal love for her.

When he left university, he took on the role of co-editor for the Salfordian and worked as freelancer for the likes of BBC Sport.

These critics were hostile to Coleridge due to a difference of political views, and due to a puff piece written by Byron about the Christabel publication.

Hazlitt said that the poem "comes to no conclusion" and that "from an excess of capacity, [Coleridge] does little or nothing" with his material.

The poem was not disliked as strongly as Christabel , [91] and one reviewer expressed regret that the poem was incomplete.

These early reviews generally accepted Coleridge's story of composing the poem in a dream, but dismissed its relevance, and observed that many others have had similar experiences.

More positive appraisals of the poem began to emerge when Coleridge's contemporaries evaluated his body of work overall. In October , Leigh Hunt wrote a piece on Coleridge as part of his "Sketches of the Living Poets" series which singled out Kubla Khan as one of Coleridge's best works: Every lover of books, scholar or not Justly is it thought that to be able to present such images as these to the mind, is to realise the world they speak of.

We could repeat such verses as the following down a green glade, a whole summer's morning. An review of Coleridge's Poetical Works similarly praised for its "melodious versification," describing it as "perfect music.

These three later assessments of Kubla Khan responded more positively to Coleridge's description of composing the poem in a dream, as an additional facet of the poetry.

Victorian critics praised the poem and some examined aspects of the poem's background. John Sheppard, in his analysis of dreams titled On Dreams , lamented Coleridge's drug use as getting in the way of his poetry but argued: "It is probable, since he writes of having taken an 'anodyne,' that the 'vision in a dream' arose under some excitement of that same narcotic; but this does not destroy, even as to his particular case, the evidence for a wonderfully inventive action of the mind in sleep; for, whatever were the exciting cause, the fact remains the same".

Hall Caine, in survey of the original critical response to Christabel and "Kubla Khan", praised the poem and declared: "It must surely be allowed that the adverse criticism on 'Christabel' and 'Kubla Khan' which is here quoted is outside all tolerant treatment, whether of raillery or of banter.

It is difficult to attribute such false verdict to pure and absolute ignorance. Even when we make all due allowance for the prejudices of critics whose only possible enthusiasm went out to 'the pointed and fine propriety of Poe,' we can hardly believe that the exquisite art which is among the most valued on our possessions could encounter so much garrulous abuse without the criminal intervention of personal malignancy.

Traill writes: 'As to the wild dream-poem 'Kubla Khan,' it is hardly more than a psychological curiosity, and only that perhaps in respect of the completeness of its metrical form.

Critics at the end of the 19th century favoured the poem and placed it as one of Coleridge's best works. When discussing Christabel , Rime of the Ancient Mariner and "Kubla Khan", an anonymous reviewer in the October The Church Quarterly Review claimed, "In these poems Coleridge achieves a mastery of language and rhythm which is nowhere else conspicuously evident in him.

The earliest pieces hold no promise of these marvels. They come from what is oldest in Coleridge's nature, his uninvited and irrepressible intuition, magical and rare, vivid beyond common sight of common things, sweet beyond sound of things heard.

In these it will be said there is both a world of nature new created, and a dramatic method and interest.

It is enough for the purpose of the analysis if it be granted that nowhere else in Coleridge's work, except in these and less noticeably in a few other instances, do these high characteristics occur.

The s contained analysis of the poem that emphasised the poem's power. But the amazing modus operandi of his genius, in the fresh light which I hope I have to offer, becomes the very abstract and brief chronicle of the procedure of the creative faculty itself.

And with it ends, for all save Coleridge, the dream. And over it is cast the glamour, enhanced beyond all reckoning in the dream, of the remote in time and space — that visionary presence of a vague and gorgeous and mysterious Past which brooded, as Coleridge read, above the inscrutable Nile, and domed pavilions in Cashmere, and the vanished stateliness of Xanadu.

That is something more impalpable by far, into which entered who can tell what tracelesss, shadowy recollections The poem is steeped in the wonder of all Coleridge's enchanted voyagings.

In 'Kubla Khan' the linked and interweaving images irresponsibly and gloriously stream, like the pulsing, fluctuating banners of the North.

And their pageant is as aimless as it is magnificent There is, then Eliot attacked the reputation of "Kubla Khan" and sparked a dispute within literary criticism with his analysis of the poem in his essay "Origin and Uses of Poetry" from The Use of Poetry and the Use of Criticism : "The way in which poetry is written is not, so far as our knowledge of these obscure matters as yet extends, any clue to its value The faith in mystical inspiration is responsible for the exaggerated repute of "Kubla Khan".

The imagery of that fragment, certainly, whatever its origins in Coleridge's reading, sank to the depths of Coleridge's feeling, was saturated, transformed there A single verse is not poetry unless it is a one-verse poem; and even the finest line draws its life from its context.

Organization is necessary as well as 'inspiration'. The re-creation of word and image which happens fitfully in the poetry of such a poet as Coleridge happens almost incessantly with Shakespeare.

Yet, though generally speaking intentions in poetry are nothing save as 'realized', we are unable to ignore the poem, despite Mr Eliot's strictures on its 'exaggerated repute'.

While the feeling persists that there is something there which is profoundly important, the challenge to elucidate it proves irresistible.

Eliot's objection to the exaggerated repute of the surrealist "Kubla Khan" is not unjustified. Moreover, the customary criticism of Coleridge as a cerebral poet would seem to be borne out by those poems such as This Lime-tree Bower my Prison or The Pains of Sleep , which tend more towards a direct statement than an imaginative presentation of personal dilemma.

During the s and s, critics focused on the technique of the poem and how it relates to the meaning. In , G. Knight claimed that "Kubla Khan" "needs no defence.

It has a barbaric and oriental magnificence that asserts itself with a happy power and authenticity too often absent from visionary poems set within the Christian tradition.

The combination of energy and control in the rhythm and sound is so great" and that Coleridge's words "convey so fully the sense of inexhaustible energy, now falling now rising, but persisting through its own pulse".

When discussing the quality of the poem, she wrote, "I sometimes think we overwork Coleridge's idea of 'the balance or reconciliation of opposite or discordant qualities.

Yet, the 'reconciliation' does not quite occur either. It is in fact avoided. What we have instead is the very spirit of 'oscillation' itself. In creating this effect, form and matter are intricately woven.

The irregular and inexact rhymes and varied lengths of the lines play some part. More important is the musical effect in which a smooth, rather swift forward movement is emphasized by the relation of grammatical structure to line and rhyme, yet is impeded and thrown back upon itself even from the beginning".

I question whether this effect was all deliberately through [ sic? It is possibly half-inherent in his subject What remains is the spirit of 'oscillation,' perfectly poeticized, and possibly ironically commemorative of the author.

Critics of the s focused on the reputation of the poem and how it compared to Coleridge's other poems. In , Virginia Radley considered Wordsworth and his sister as an important influence to Coleridge writing a great poem: "Almost daily social intercourse with this remarkable brother and sister seemed to provide the catalyst to greatness, for it is during this period that Coleridge conceived his greatest poems, 'Christabel,' 'The Rime of the Ancient Mariner,' and 'Kubla Khan,' poems so distinctive and so different from his others that many generations of readers know Coleridge solely through them.

These three, 'The Ancient Mariner,' 'Christabel,' and 'Kubla Khan,' produced an aura which defies definition, but which might be properly be called one of 'natural magic.

The opposites within it are diverse and effectively so. In tone, the poem juxtaposes quiet with noise Action presents its contrasts also These seemingly antithetical images combine to demonstrate the proximity of the known and the unknown worlds, the two worlds of Understanding and Imagination.

In evaluating Coleridge's poetry, it can readily be seen and accepted that for the poems of high imagination his reputation is eternally made.

In the same year as Radley, George Watson argued that "The case of 'Kubla Khan' is perhaps the strangest of all — a poem that stands high even in English poetry as a work of ordered perfection is offered by the poet himself, nearly twenty years after its composition, as a fragment.

Anyone can accept that a writer's head should be full of projects he will never fulfil, and most writers are cautious enough not to set them down; Coleridge, rashly, did set them down, so that his very fertility has survived as evidence of infertility.

The contrasts between the two halves of the poem So bold, indeed, that Coleridge for once was able to dispense with any language out of the past.

It was his own poem, a manifesto. To read it now, with the hindsight of another age, is to feel premonitions of the critical achievement to come But the poem is in advance, not just of these, but in all probability of any critical statement that survives.

It may be that it stands close to the moment of discovery itself. If we restrict ourselves to what is 'given', appealing to the poem as a 'whole', we shall fail probably to resolves its various cruxes.

Hence, there is a temptation to look for 'external' influences The trouble with all these approaches is that they tend finally to lead away from the poem itself.

The unusually heavy stresses and abrupt masculine rhymes impose a slow and sonorous weightiness upon the movement of the iambic octosyllabics which is quite in contrast, say, to the light fast metre of the final stanza where speed of movement matches buoyancy of tone.

Criticism during the s and s emphasised the importance of the Preface while praising the work. Norman Fruman, in , argued: "To discuss 'Kubla Khan' as one might any other great poem would be an exercise in futility.

For a century and a half its status has been unique, a masterpiece sui generis , embodying interpretive problems wholly its own It would not be excessive to say that no small part of the extraordinary fame of 'Kubla Khan' inheres in its alleged marvellous conception.

Its Preface is world-famous and has been used in many studies of the creative process as a signal instance in which a poem has come to us directly from the unconscious.

In , Kathleen Wheeler contrasts the Crewe Manuscript note with the Preface: "Contrasting this relatively factual, literal, and dry account of the circumstances surrounding the birth of the poem with the actual published preface, one illustrates what the latter is not: it is not a literal, dry, factual account of this sort, but a highly literary piece of composition, providing the verse with a certain mystique.

During the s, critics continued to praise the poem with many critics placing emphasis on what the Preface adds to the poem. David Perkins, in , argued that "Coleridge's introductory note to "Kubla Khan" weaves together two myths with potent imaginative appeal.

The myth of the lost poem tells how an inspired work was mysteriously given to the poet and dispelled irrecoverably. Like the letter from the fictional 'friend' in the Biographia , it brilliantly suggests how a compressed fragment came to represent a much larger and even more mysterious act of creation.

In , J. Mays pointed out that "Coleridge's claim to be a great poet lies in the continued pursuit of the consequences of 'The Ancient Mariner,' 'Christabel' and 'Kubla Khan' on several levels.

Maybe it is not a poem at all. Hazlitt called it 'a musical composition' Though literary detectives have uncovered some of its sources, its remains difficult to say what the poem is about.

Opium was for him what wandering and moral tale-telling became for the Mariner — the personal shape of repetition compulsion.

The lust for paradise in 'Kubla Khan,' Geraldine's lust for Christabel — these are manifestations of Coleridge's revisionary daemonization of Milton, these are Coleridge's countersublime.

Poetic genius, the genial spirit itself, Coleridge must see as daemonic when it is his own rather than when it is Milton's. From Wikipedia, the free encyclopedia.

Poem by Samuel Taylor Coleridge. For the Mongol leader and emperor, see Kublai Khan. I remember the other's coming away from him, highly struck with his poem, and saying how wonderfully he talked.

This was the impression of everyone who heard him. I fear lest it should be discovered by the lantern of typography and clear reducing to letters, no better than nonsense or no sense.

There is at this place a very fine marble Palace, the rooms of which are all gilt and painted with figures of men and beasts and birds, and with a variety of trees and flowers, all executed with such exquisite art that you regard them with delight and astonishment.

Round this Palace a wall is built, inclosing a compass of 16 miles, and inside the Park there are fountains and rivers and brooks, and beautiful meadows, with all kinds of wild animals excluding such as are of ferocious nature , which the Emperor has procured and placed there to supply food for his gerfalcons and hawks, which he keeps there in mew.

It is gilt all over, and most elaborately finished inside. It is stayed on gilt and lackered columns, on each of which is a dragon all gilt, the tail of which is attached to the column whilst the head supports the architrave, and the claws likewise are stretched out right and left to support the architrave.

The roof, like the rest, is formed of canes, covered with a varnish so strong and excellent that no amount of rain will rot them.

These canes are a good 3 palms in girth, and from 10 to 15 paces in length. They are cut across at each knot, and then the pieces are split so as to form from each two hollow tiles, and with these the house is roofed; only every such tile of cane has to be nailed down to prevent the wind from lifting it.

In short, the whole Palace is built of these canes, which I may mention serve also for a great variety of other useful purposes.

The construction of the Palace is so devised that it can be taken down and put up again with great celerity; and it can all be taken to pieces and removed whithersoever the Emperor may command.

When erected, it is braced against mishaps from the wind by more than cords of silk. The Lord abides at this Park of his, dwelling sometimes in the Marble Palace and sometimes in the Cane Palace for three months of the year, to wit, June, July, and August; preferring this residence because it is by no means hot; in fact it is a very cool place.

When the 28th day of the Moon of August arrives he takes his departure, and the Cane Palace is taken to pieces.

Poetry Foundation. Retrieved 13 September The British Library. Coleridge: Early Visions, — New York: Pantheon, British Library.

Archived from the original on 17 June Retrieved 25 January Reproduced in The Complete Poems , ed. William Keach, Penguin Books, Somerset Rural Renaissance.

Archived from the original on 23 November Retrieved 2 July The Church Quarterly Review. Vol 37 October — January London: Spottiswoode, Anonymous.

Westminster Review. Vol 67 January, April. Philadelphia: Leonard Scott, Ashton, Rosemary. The Life of Samuel Taylor Coleridge.

Oxford: Blackwell, Barth, J. Romanticism and Transcendence. Columbia: University of Missouri Press, Bate, Walter Jackson. New York: Macmillan, Beer, John.

Coleridge the Visionary. New York: Collier, Bloom, Harold. Harold Bloom. New York: Infobase, The Visionary Company.

Ithaca: Cornell University Press, Burke, Kenneth. New York: Chelsea House, Caine, T. Cobwebs of Criticism. London: Elliot Stock, Coleridge, Samuel Taylor London: John Murray.

Coleridge, Ernest Hartley ed. The Poems of Samuel Taylor Coleridge. Oxford University Press. Doughty, Oswald. Perturbed Spirit.

London: Associated University Presses, Eliot, T. Selected Prose of T. New York: Farrar, Straus and Giroux, Fruman, Norman.

Coleridge, the Damaged Archangel. New York: George Braziller, Fulford, Tim. Lucy Newlyn. Cambridge: Cambridge University Press, Furst, Lilian.

Romanticism in Perspective. New York: St Martin's Press, Holmes, Richard. Coleridge: Darker Reflections, — House, Humphry. London: R. Hart-Davis, Jackson, J R de J.

Coleridge: The Critical Heritage. Coleridge: The Critical Heritage — New York: Routledge, Knight, G.

Oxford: Oxford University Press, Lang, Andrew. Littell's Living Age. Boston: Littell and Co. Lowes, John.

The Road to Xanadu. Boston: Houghton Mifflin, Mays, J. Princeton: Princeton University Press, McFarland, Thomas. Robert Barth and John Mahoney.

Milton, John Verity, A. Arthur Wilson ed. Paradise lost. Cambridge University Press. Peart, Neil. Perkins, David.

Radley, Virginia. Samuel Taylor Coleridge. New York: Twayne, Rauber, D. Vol 30 The Self As Mind.

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Often regarded as Heath Ledger's best performance with his Oscar-winning turn as the Joker, it was also sadly his last, as the actor died during the editing stage of the film.

May he rest in peace. The story itself sees the menacing joker emerge from his mysterious past to wreak havoc and chaos on the people of Gotham, sparking the cape-wearing Dark Knight played to perfection by Christian Bale to return and fight injustice.

To mark The Dark Knight's tenth anniversary and to commemorate Ledger's legacy and his talents as a performer, we're turning our attention to the defining "looks" of Ledger's Joker.

As you'll all remember, in the movie the Joker donned a nurse's outfit which continues to be a mainstay at more or less every university fancy dress party even today , worn rather conspicuously by the supervillain to infiltrate the hospital.

While many of you will have seen the 'Dent' badge stuck to his white and red dress, did you know Ledger added a personal touch to the tag as a tribute to his daughter?

As Screen Rant pointed out : "Just above the 'Dent' political sticker, the nurse nametag reads: 'Matilda', the name of Ledger's then-infant daughter.

Mount Amara also appears in Milton's Paradise Lost :. In fact the Blue Nile is very far from the other three rivers mentioned in Genesis —14, but this belief led to the connection in 18th and 19th century English literature between Mount Amara and Paradise.

Charles Lamb provided Coleridge on 15 April with a copy of his "A Vision of Repentance", a poem that discussed a dream containing imagery similar to those in "Kubla Khan".

The poem could have provided Coleridge with the idea of a dream poem that discusses fountains, sacredness, and even a woman singing a sorrowful song.

Opium itself has also been seen as a "source" for many of the poem's features, such as its disorganized action. These features are similar to writing by other contemporary opium eaters and writers, such as Thomas de Quincey and Charles Pierre Baudelaire.

Coleridge may also have been influenced by the surrounding of Culbone Combe and its hills, gulleys, and other features including the "mystical" and "sacred" locations in the region.

Other geographic influences include the river, which has been tied to Alpheus in Greece and is similar to the Nile.

The caves have been compared to those in Kashmir. The poem is different in style and form from other poems composed by Coleridge.

While incomplete and subtitled a "fragment", its language is highly stylised with a strong emphasis on sound devices that change between the poem's original two stanzas.

The poem according to Coleridge's account, is a fragment of what it should have been, amounting to what he was able to jot down from memory: 54 lines.

The second stanza is not necessarily part of the original dream and refers to the dream in the past tense. The poem relies on many sound-based techniques, including cognate variation and chiasmus.

Its rhyme scheme found in the first seven lines is repeated in the first seven lines of the second stanza. There is a heavy use of assonance , the reuse of vowel sounds, and a reliance on alliteration, repetition of the first sound of a word, within the poem including the first line: "In Xanadu did Kubla Khan".

The stressed sounds, "Xan", "du", "Ku", "Khan", contain assonance in their use of the sounds a-u-u-a, have two rhyming syllables with "Xan" and "Khan", and employ alliteration with the name "Kubla Khan" and the reuse of "d" sounds in "Xanadu" and "did".

To pull the line together, the "i" sound of "In" is repeated in "did". Later lines do not contain the same amount of symmetry but do rely on assonance and rhymes throughout.

The only word that has no true connection to another word is "dome" except in its use of a "d" sound. Though the lines are interconnected, the rhyme scheme and line lengths are irregular.

The first lines of the poem follow iambic tetrameter with the initial stanza relying on heavy stresses. The lines of the second stanza incorporate lighter stresses to increase the speed of the meter to separate them from the hammer-like rhythm of the previous lines.

Kubla Khan is also related to the genre of fragmentary poetry, with internal images reinforcing the idea of fragmentation that is found within the form of the poem.

Although the land is one of man-made "pleasure", there is a natural, "sacred" river that runs past it. The lines describing the river have a markedly different rhythm from the rest of the passage.

The finite properties of the constructed walls of Xanadu are contrasted with the infinite properties of the natural caves through which the river runs.

The poem expands on the gothic hints of the first stanza as the narrator explores the dark chasm in the midst of Xanadu's gardens, and describes the surrounding area as both "savage" and "holy".

Yarlott interprets this chasm as symbolic of the poet struggling with decadence that ignores nature. Fountains are often symbolic of the inception of life, and in this case may represent forceful creativity.

Yarlott argues that the war represents the penalty for seeking pleasure, or simply the confrontation of the present by the past.

The vision of the sites, including the dome, the cavern, and the fountain, are similar to an apocalyptic vision. Together, the natural and man-made structures form a miracle of nature as they represent the mixing of opposites together, the essence of creativity.

Harold Bloom suggests that this passage reveals the narrator's desire to rival Khan's ability to create with his own.

The subsequent passage refers to unnamed witnesses who may also hear this, and thereby share in the narrator's vision of a replicated, ethereal, Xanadu.

Harold Bloom suggests that the power of the poetic imagination, stronger than nature or art, fills the narrator and grants him the ability to share this vision with others through his poetry.

The narrator would thereby be elevated to an awesome, almost mythical status, as one who has experienced an Edenic paradise available only to those who have similarly mastered these creative powers.

One theory says that "Kubla Khan" is about poetry and the two sections discuss two types of poems. The poem celebrates creativity and how the poet is able to experience a connection to the universe through inspiration.

As a poet, Coleridge places himself in an uncertain position as either master over his creative powers or a slave to it. The poet is separated from the rest of humanity after he is exposed to the power to create and is able to witness visions of truth.

This separation causes a combative relationship between the poet and the audience as the poet seeks to control his listener through a mesmerising technique.

The Preface then allows for Coleridge to leave the poem as a fragment, which represents the inability for the imagination to provide complete images or truly reflect reality.

The poem would not be about the act of creation but a fragmentary view revealing how the act works: how the poet crafts language and how it relates to himself.

Through use of the imagination, the poem is able to discuss issues surrounding tyranny, war, and contrasts that exist within paradise. The poet, in Coleridge's system, is able to move from the world of understanding, where men normally are, and enter into the world of the imagination through poetry.

When the narrator describes the "ancestral voices prophesying war", the idea is part of the world of understanding, or the real world. As a whole, the poem is connected to Coleridge's belief in a secondary Imagination that can lead a poet into a world of imagination, and the poem is both a description of that world and a description of how the poet enters the world.

The water imagery is also related to the divine and nature, and the poet is able to tap into nature in a way Kubla Khan cannot to harness its power.

Towards the end of , Coleridge was fascinated with the idea of a river and it was used in multiple poems including "Kubla Khan" and "The Brook".

In his Biographia Literaria , he explained, "I sought for a subject, that should give equal room and freedom for description, incident, and impassioned reflections on men, nature, and society, yet supply in itself a natural connection to the parts and unity to the whole.

Such a subject I conceived myself to have found in a stream, traced from its source in the hills among the yellow-red moss and conical glass-shaped tufts of bent, to the first break or fall, where its drops become audible, and it begins to form a channel".

Additionally, many of the images are connected to a broad use of Ash Farm and the Quantocks in Coleridge's poetry, and the mystical settings of both Osorio and "Kubla Khan" are based on his idealised version of the region.

However, the styles are very different as one is heavily structured and rhymed while the other tries to mimic conversational speech. What they do have in common is that they use scenery based on the same location, including repeated uses of dells, rocks, ferns, and a waterfall found in the Somerset region.

When considering all of The Picture and not just the excerpt, Coleridge describes how inspiration is similar to a stream and that if an object is thrown into it the vision is interrupted.

The Tatars ruled by Kubla Khan were seen in the tradition Coleridge worked from as a violent, barbaric people and were used in that way when Coleridge compared others to Tatars.

They were seen as worshippers of the sun, but uncivilised and connected to either the Cain or Ham line of outcasts. However, Coleridge describes Khan in a peaceful light and as a man of genius.

He seeks to show his might but does so by building his own version of paradise. The description and the tradition provide a contrast between the daemonic and genius within the poem, and Khan is a ruler who is unable to recreate Eden.

Though the imagery can be dark, there is little moral concern as the ideas are mixed with creative energies.

Nature, in the poem is not a force of redemption but one of destruction, and the paradise references reinforce what Khan cannot attain.

Although the Tatars are barbarians from China, they are connected to ideas within the Judaeo Christian tradition, including the idea of Original Sin and Eden.

The place was described in negative terms and seen as an inferior representation of paradise, and Coleridge's ethical system did not connect pleasure with joy or the divine.

The river, Alph, replaces the one from Eden that granted immortality [ citation needed ] and it disappears into a sunless sea that lacks life.

The image is further connected to the Biblical, post-Edenic stories in that a mythological story attributes the violent children of Ham becoming the Tatars, and that Tartarus, derived from the location, became a synonym for hell.

Coleridge believed that the Tatars were violent, and that their culture was opposite to the civilised Chinese. The land is similar to the false paradise of Mount Amara in Paradise Lost , especially the Abyssinian maid's song about Mount Abora that is able to mesmerise the poet.

In the manuscript copy, the location was named both Amora and Amara, and the location of both is the same. In post-Milton accounts, the kingdom is linked with the worship of the sun, and his name is seen to be one that reveals the Khan as a priest.

This is reinforced by the connection of the river Alph with the Alpheus, a river that in Greece was connected to the worship of the sun.

As followers of the sun, the Tatar are connected to a tradition that describes Cain as founding a city of sun worshippers and that people in Asia would build gardens in remembrance of the lost Eden.

In the tradition Coleridge relies on, the Tatar worship the sun because it reminds them of paradise, and they build gardens because they want to recreate paradise.

Kubla Khan is of the line of Cain and fallen, but he wants to overcome that state and rediscover paradise by creating an enclosed garden.

The dome, in Thomas Maurice's description, in The History of Hindostan of the tradition, was related to nature worship as it reflects the shape of the universe.

Coleridge, when composing the poem, believed in a connection between nature and the divine but believed that the only dome that should serve as the top of a temple was the sky.

He thought that a dome was an attempt to hide from the ideal and escape into a private creation, and Kubla Khan's dome is a flaw that keeps him from truly connecting to nature.

Maurice's History of Hindostan also describes aspects of Kashmir that were copied by Coleridge in preparation for hymns he intended to write.

The work, and others based on it, describe a temple with a dome. The use of dome instead of house or palace could represent the most artificial of constructs and reinforce the idea that the builder was separated from nature.

However, Coleridge did believe that a dome could be positive if it was connected to religion, but the Khan's dome was one of immoral pleasure and a purposeless life dominated by sensuality and pleasure.

The narrator introduces a character he once dreamed about, an Abyssinian maid who sings of another land. She is a figure of imaginary power within the poem who can inspire within the narrator his own ability to craft poetry.

The connection between Lewti and the Abyssinian maid makes it possible that the maid was intended as a disguised version of Mary Evans , who appears as a love interest since Coleridge's poem The Sigh.

Evans, in the poems, appears as an object of sexual desire and a source of inspiration. The figure is related to Heliodorus 's work Aethiopian History , with its description of "a young Lady, sitting upon a Rock, of so rare and perfect a Beauty, as one would have taken her for a Goddess, and though her present misery opprest her with extreamest grief, yet in the greatness of her afflection, they might easily perceive the greatness of her Courage: A Laurel crown'd her Head, and a Quiver in a Scarf hanged at her back".

She is similar to John Keats's Indian woman in Endymion who is revealed to be the moon goddess, but in "Kubla Khan" she is also related to the sun and the sun as an image of divine truth.

In addition to real-life counterparts of the Abyssinian maid, Milton's Paradise Lost describes Abyssinian kings keeping their children guarded at Mount Amara and a false paradise, which is echoed in "Kubla Khan".

The reception of Kubla Khan has changed substantially over time. Initial reactions to the poem were lukewarm, despite praise from notable figures like Lord Byron and Walter Scott.

The work went through multiple editions, but the poem, as with his others published in and , had poor sales. Initial reviewers saw some aesthetic appeal in the poem, but considered it unremarkable overall.

As critics began to consider Coleridge's body of work as whole, however, Kubla Khan was increasingly singled out for praise.

Positive evaluation of the poem in the nineteenth and early twentieth centuries treated it as a purely aesthetic object, to be appreciated for its evocative sensory experience.

Literary reviews at the time of the collection's first publication generally dismissed it. These critics were hostile to Coleridge due to a difference of political views, and due to a puff piece written by Byron about the Christabel publication.

Hazlitt said that the poem "comes to no conclusion" and that "from an excess of capacity, [Coleridge] does little or nothing" with his material.

The poem was not disliked as strongly as Christabel , [91] and one reviewer expressed regret that the poem was incomplete.

These early reviews generally accepted Coleridge's story of composing the poem in a dream, but dismissed its relevance, and observed that many others have had similar experiences.

More positive appraisals of the poem began to emerge when Coleridge's contemporaries evaluated his body of work overall. In October , Leigh Hunt wrote a piece on Coleridge as part of his "Sketches of the Living Poets" series which singled out Kubla Khan as one of Coleridge's best works: Every lover of books, scholar or not Justly is it thought that to be able to present such images as these to the mind, is to realise the world they speak of.

We could repeat such verses as the following down a green glade, a whole summer's morning. An review of Coleridge's Poetical Works similarly praised for its "melodious versification," describing it as "perfect music.

These three later assessments of Kubla Khan responded more positively to Coleridge's description of composing the poem in a dream, as an additional facet of the poetry.

Victorian critics praised the poem and some examined aspects of the poem's background. John Sheppard, in his analysis of dreams titled On Dreams , lamented Coleridge's drug use as getting in the way of his poetry but argued: "It is probable, since he writes of having taken an 'anodyne,' that the 'vision in a dream' arose under some excitement of that same narcotic; but this does not destroy, even as to his particular case, the evidence for a wonderfully inventive action of the mind in sleep; for, whatever were the exciting cause, the fact remains the same".

Hall Caine, in survey of the original critical response to Christabel and "Kubla Khan", praised the poem and declared: "It must surely be allowed that the adverse criticism on 'Christabel' and 'Kubla Khan' which is here quoted is outside all tolerant treatment, whether of raillery or of banter.

It is difficult to attribute such false verdict to pure and absolute ignorance. Even when we make all due allowance for the prejudices of critics whose only possible enthusiasm went out to 'the pointed and fine propriety of Poe,' we can hardly believe that the exquisite art which is among the most valued on our possessions could encounter so much garrulous abuse without the criminal intervention of personal malignancy.

Traill writes: 'As to the wild dream-poem 'Kubla Khan,' it is hardly more than a psychological curiosity, and only that perhaps in respect of the completeness of its metrical form.

Critics at the end of the 19th century favoured the poem and placed it as one of Coleridge's best works.

When discussing Christabel , Rime of the Ancient Mariner and "Kubla Khan", an anonymous reviewer in the October The Church Quarterly Review claimed, "In these poems Coleridge achieves a mastery of language and rhythm which is nowhere else conspicuously evident in him.

The earliest pieces hold no promise of these marvels. They come from what is oldest in Coleridge's nature, his uninvited and irrepressible intuition, magical and rare, vivid beyond common sight of common things, sweet beyond sound of things heard.

In these it will be said there is both a world of nature new created, and a dramatic method and interest.

It is enough for the purpose of the analysis if it be granted that nowhere else in Coleridge's work, except in these and less noticeably in a few other instances, do these high characteristics occur.

The s contained analysis of the poem that emphasised the poem's power. But the amazing modus operandi of his genius, in the fresh light which I hope I have to offer, becomes the very abstract and brief chronicle of the procedure of the creative faculty itself.

And with it ends, for all save Coleridge, the dream. And over it is cast the glamour, enhanced beyond all reckoning in the dream, of the remote in time and space — that visionary presence of a vague and gorgeous and mysterious Past which brooded, as Coleridge read, above the inscrutable Nile, and domed pavilions in Cashmere, and the vanished stateliness of Xanadu.

That is something more impalpable by far, into which entered who can tell what tracelesss, shadowy recollections The poem is steeped in the wonder of all Coleridge's enchanted voyagings.

In 'Kubla Khan' the linked and interweaving images irresponsibly and gloriously stream, like the pulsing, fluctuating banners of the North. And their pageant is as aimless as it is magnificent There is, then Eliot attacked the reputation of "Kubla Khan" and sparked a dispute within literary criticism with his analysis of the poem in his essay "Origin and Uses of Poetry" from The Use of Poetry and the Use of Criticism : "The way in which poetry is written is not, so far as our knowledge of these obscure matters as yet extends, any clue to its value The faith in mystical inspiration is responsible for the exaggerated repute of "Kubla Khan".

The imagery of that fragment, certainly, whatever its origins in Coleridge's reading, sank to the depths of Coleridge's feeling, was saturated, transformed there A single verse is not poetry unless it is a one-verse poem; and even the finest line draws its life from its context.

Organization is necessary as well as 'inspiration'. The re-creation of word and image which happens fitfully in the poetry of such a poet as Coleridge happens almost incessantly with Shakespeare.

Yet, though generally speaking intentions in poetry are nothing save as 'realized', we are unable to ignore the poem, despite Mr Eliot's strictures on its 'exaggerated repute'.

While the feeling persists that there is something there which is profoundly important, the challenge to elucidate it proves irresistible.

Eliot's objection to the exaggerated repute of the surrealist "Kubla Khan" is not unjustified. Moreover, the customary criticism of Coleridge as a cerebral poet would seem to be borne out by those poems such as This Lime-tree Bower my Prison or The Pains of Sleep , which tend more towards a direct statement than an imaginative presentation of personal dilemma.

During the s and s, critics focused on the technique of the poem and how it relates to the meaning. In , G. Knight claimed that "Kubla Khan" "needs no defence.

It has a barbaric and oriental magnificence that asserts itself with a happy power and authenticity too often absent from visionary poems set within the Christian tradition.

The combination of energy and control in the rhythm and sound is so great" and that Coleridge's words "convey so fully the sense of inexhaustible energy, now falling now rising, but persisting through its own pulse".

When discussing the quality of the poem, she wrote, "I sometimes think we overwork Coleridge's idea of 'the balance or reconciliation of opposite or discordant qualities.

Yet, the 'reconciliation' does not quite occur either. It is in fact avoided. What we have instead is the very spirit of 'oscillation' itself.

In creating this effect, form and matter are intricately woven. The irregular and inexact rhymes and varied lengths of the lines play some part.

More important is the musical effect in which a smooth, rather swift forward movement is emphasized by the relation of grammatical structure to line and rhyme, yet is impeded and thrown back upon itself even from the beginning".

I question whether this effect was all deliberately through [ sic? It is possibly half-inherent in his subject What remains is the spirit of 'oscillation,' perfectly poeticized, and possibly ironically commemorative of the author.

Critics of the s focused on the reputation of the poem and how it compared to Coleridge's other poems.

In , Virginia Radley considered Wordsworth and his sister as an important influence to Coleridge writing a great poem: "Almost daily social intercourse with this remarkable brother and sister seemed to provide the catalyst to greatness, for it is during this period that Coleridge conceived his greatest poems, 'Christabel,' 'The Rime of the Ancient Mariner,' and 'Kubla Khan,' poems so distinctive and so different from his others that many generations of readers know Coleridge solely through them.

These three, 'The Ancient Mariner,' 'Christabel,' and 'Kubla Khan,' produced an aura which defies definition, but which might be properly be called one of 'natural magic.

The opposites within it are diverse and effectively so. In tone, the poem juxtaposes quiet with noise Action presents its contrasts also These seemingly antithetical images combine to demonstrate the proximity of the known and the unknown worlds, the two worlds of Understanding and Imagination.

In evaluating Coleridge's poetry, it can readily be seen and accepted that for the poems of high imagination his reputation is eternally made.

In the same year as Radley, George Watson argued that "The case of 'Kubla Khan' is perhaps the strangest of all — a poem that stands high even in English poetry as a work of ordered perfection is offered by the poet himself, nearly twenty years after its composition, as a fragment.

Anyone can accept that a writer's head should be full of projects he will never fulfil, and most writers are cautious enough not to set them down; Coleridge, rashly, did set them down, so that his very fertility has survived as evidence of infertility.

The contrasts between the two halves of the poem So bold, indeed, that Coleridge for once was able to dispense with any language out of the past.

It was his own poem, a manifesto. To read it now, with the hindsight of another age, is to feel premonitions of the critical achievement to come But the poem is in advance, not just of these, but in all probability of any critical statement that survives.

It may be that it stands close to the moment of discovery itself. If we restrict ourselves to what is 'given', appealing to the poem as a 'whole', we shall fail probably to resolves its various cruxes.

Hence, there is a temptation to look for 'external' influences The trouble with all these approaches is that they tend finally to lead away from the poem itself.

The unusually heavy stresses and abrupt masculine rhymes impose a slow and sonorous weightiness upon the movement of the iambic octosyllabics which is quite in contrast, say, to the light fast metre of the final stanza where speed of movement matches buoyancy of tone.

Criticism during the s and s emphasised the importance of the Preface while praising the work. Norman Fruman, in , argued: "To discuss 'Kubla Khan' as one might any other great poem would be an exercise in futility.

For a century and a half its status has been unique, a masterpiece sui generis , embodying interpretive problems wholly its own It would not be excessive to say that no small part of the extraordinary fame of 'Kubla Khan' inheres in its alleged marvellous conception.

Its Preface is world-famous and has been used in many studies of the creative process as a signal instance in which a poem has come to us directly from the unconscious.

In , Kathleen Wheeler contrasts the Crewe Manuscript note with the Preface: "Contrasting this relatively factual, literal, and dry account of the circumstances surrounding the birth of the poem with the actual published preface, one illustrates what the latter is not: it is not a literal, dry, factual account of this sort, but a highly literary piece of composition, providing the verse with a certain mystique.

During the s, critics continued to praise the poem with many critics placing emphasis on what the Preface adds to the poem.

David Perkins, in , argued that "Coleridge's introductory note to "Kubla Khan" weaves together two myths with potent imaginative appeal.

The myth of the lost poem tells how an inspired work was mysteriously given to the poet and dispelled irrecoverably. Like the letter from the fictional 'friend' in the Biographia , it brilliantly suggests how a compressed fragment came to represent a much larger and even more mysterious act of creation.

In , J. Mays pointed out that "Coleridge's claim to be a great poet lies in the continued pursuit of the consequences of 'The Ancient Mariner,' 'Christabel' and 'Kubla Khan' on several levels.

Maybe it is not a poem at all. Hazlitt called it 'a musical composition' Though literary detectives have uncovered some of its sources, its remains difficult to say what the poem is about.

Opium was for him what wandering and moral tale-telling became for the Mariner — the personal shape of repetition compulsion. The lust for paradise in 'Kubla Khan,' Geraldine's lust for Christabel — these are manifestations of Coleridge's revisionary daemonization of Milton, these are Coleridge's countersublime.

Poetic genius, the genial spirit itself, Coleridge must see as daemonic when it is his own rather than when it is Milton's.

From Wikipedia, the free encyclopedia. Poem by Samuel Taylor Coleridge. For the Mongol leader and emperor, see Kublai Khan.

I remember the other's coming away from him, highly struck with his poem, and saying how wonderfully he talked.

This was the impression of everyone who heard him. I fear lest it should be discovered by the lantern of typography and clear reducing to letters, no better than nonsense or no sense.

There is at this place a very fine marble Palace, the rooms of which are all gilt and painted with figures of men and beasts and birds, and with a variety of trees and flowers, all executed with such exquisite art that you regard them with delight and astonishment.

Round this Palace a wall is built, inclosing a compass of 16 miles, and inside the Park there are fountains and rivers and brooks, and beautiful meadows, with all kinds of wild animals excluding such as are of ferocious nature , which the Emperor has procured and placed there to supply food for his gerfalcons and hawks, which he keeps there in mew.

It is gilt all over, and most elaborately finished inside. It is stayed on gilt and lackered columns, on each of which is a dragon all gilt, the tail of which is attached to the column whilst the head supports the architrave, and the claws likewise are stretched out right and left to support the architrave.

The roof, like the rest, is formed of canes, covered with a varnish so strong and excellent that no amount of rain will rot them. These canes are a good 3 palms in girth, and from 10 to 15 paces in length.

They are cut across at each knot, and then the pieces are split so as to form from each two hollow tiles, and with these the house is roofed; only every such tile of cane has to be nailed down to prevent the wind from lifting it.

In short, the whole Palace is built of these canes, which I may mention serve also for a great variety of other useful purposes.

The construction of the Palace is so devised that it can be taken down and put up again with great celerity; and it can all be taken to pieces and removed whithersoever the Emperor may command.

When erected, it is braced against mishaps from the wind by more than cords of silk.

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