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1. Kubla Khan Analysis Essay
Samuel Coleridge's poem Kubla Khan is a supremely beautiful example of the Romantic belief
regarding creative thought and the creative process. It is a whimsical peek at the nature of the
unconsicious and at the art of inspiration and holding on to imagination that has captivated many for
its musical and lyrical nature. Although deemed largely unfinished and incomplete by some scholars
and by the author himself, Kubla Khan has held its ground as a literary masterpiece of its time for its
impeccable structure, vivid imagery, unquestionable style, and most of all, the lasting impression of
both confusion and awe it leaves on its audience. Kubla Khan's queer, almost
stream–of–consciousness style is best understood when illuminated by the...show more content...
The poem begins with an enchanting description of Khan's pleasure–dome. Coleridge fashions
Xanadu out of many vivid, luxurious images, and with the repetition of sounds. Each line in the
opening sentence of Kubla Khan (lines 1–5) contains an alliteration, for example "Kubla Khan",
"dome decree", "river,ran", making the poem seem almost to be chant–like and precise. The first
stanza, primarily written in iambic tetrameter, has a meter that is similar to the timed, even beating
of drums, providing the reader with a sense of whimsy and mysticism to follow its theme. But
slowly as the poem progresses, the meter becomes very inconsistent– sporatically jumping from
measured to disjointed in the second stanza. This most likely represents the slow engulfment of the
writer from his immediate reading of Pilgramage, the source of the first lines, to his vision, with the
break occuring in line five's "drop" (Down to a sunless sea)–– an afterthought that does not adhere to
the strict meter of the first four lines (Duglin 2003). As the writer drifts into his slumber his visions
become increasingly violent, his mind wanders in a true drug–induced fashion further and further
away from Xanadu. From the previously serene, dream–like representation of the conscious in stanza
one is transformed the chaotic,
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