Kubla Khan

Kubla Khan

The poem begins with a fanciful description of Kublai Khan's capital Xanadu, which Coleridge places near the river Alph, which passes through caverns before reaching a dark or dead sea. 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:[29] 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. (lines 1–5)
The land is constructed as a paradisical garden, but like Eden after Man's fall, Xanadu is isolated by walls. The finite properties of the constructed walls of Xanadu are contrasted with the infinite properties of the natural caves through which the river runs. So twice five miles of fertile ground With walls and towers were girdled round: And here 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. (lines 6–11)
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.[52] It may also represent the dark side of the soul, the dehumanizing effect of power and dominion. 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! (lines 12–16)
From the dark chasm a fountain violently erupts, then forms the meandering river Alph, which runs to the sea described in the first stanza. Fountains are often symbolic of the inception of life, and in this case may represent forceful creativity.[53] Since this fountain ends in death, it may also simply represent the life span of a human, from violent birth to a sinking end. 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: (lines 17–28)
Kubla Khan hears voices of the dead, and refers to a vague "war" that appears to be unreferenced elsewhere in the poem. Yarlott argues that the war represents the penalty for seeking pleasure, or simply the confrontation of the present by the past:[54] And 'mid this tumult Kubla heard from far Ancestral voices prophesying war! (lines 29–30)
Though the exterior of Xanadu is presented in images of darkness, and in context of the dead sea, we are reminded of the "miracle" and "pleasure" of Kubla Khan's creation. 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:[55] 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! (lines 31–36)
The narrator turns prophetic, referring to a vision of an unidentified "Abyssinian maid" who sings of "Mount Abora". Harold Bloom suggests that this passage reveals the narrator's desire to rival Khan's ability to create with his own.[56] The woman may also refer to Mnemosyne, the Greek personification of memory and mother of the muses, referring directly to Coleridge's claimed struggle to compose this poem from memory of a dream. 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! (lines 37–47)
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:[57] 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. (lines 48–54)