KUBLA KHAN - AN ANALYSIS1 KUBLA KHAN - AN ANALYSIS Name of the Student Name of the University Author Note The poem “Kubla Khan; or, A Vision in a Dream: A Fragment” was composed by the celebrated poet of the Romantic era, Samuel Taylor Coleridge. The poem was reportedly completed in the year 1797 however, the poem was published in the year 1816. The author opines that the poem was composed when the poet was under the influence of opium. The poet is reported to have composed the poem in discussion, “Kubla Khan; or, A Vision in a Dream: A Fragment”, while being under the haze of opium. The following essay deals with the analysis of the poem on the light of several constituents that are related to the composition of the poem. The speaker of “Kubla Khan; or, A Vision in a Dream: A Fragment”, is unknown to the reader. The speaker of the poem is observed to be retelling the readers of the journey of Kubla Khan to Xanadu. There are discrepancies in the views that are shared by the scholars regarding the speaker as well as the setting of the poem. Some scholars believe that the poem is all about the great Mongolian emperor, Kubla Khan, who had his summer palace at a beautiful place named Xanadu (Longenbach). The scholars, however, agree on the fact that the speaker of the poem is an unnamed individual. The speaker of the poem serves the purpose of the describing the localities wherein the palace is located. In the first section of the poem, the speaker attempts to describe the grand palace that is present in Xanadu. The speaker of the poem describes the grandeur and the lavish nature of the palace all through the first part of the poem. The speaker
KUBLA KHAN - AN ANALYSIS2 proceeds to describe the melodious voice of an Abyssinian maid who had been singing near the palace and describes the vision in the closing section of the poem. The poem consists of four major stanzas divided into two sections. The poem is known to be a fragmented poem. The first three stanzas deal with the summer palace of Kubla Khan and the grandeur of the place. This section aims at the description of the palace and the beauty of the area wherein the palace is situated. The poet in this section is observed to have been offering his readers with a vivid description of the palace, the surroundings of the palace, the interiors of the palace. The poet even offers a description of the Abyssinian maid who has been observed to be singing about “Mount Abora” (Longenbach). The second part consists of the vivid description of the vision that was dreamt of by the poet. The poem is written in the rhythmic iambic tetrameter. This pattern is also known as the form of the poem. The iambic form of poem composition refers to the fact that the poem is composed majorly of bi-syllabic units. The stress of the words lies majorly on the second syllable. The poem follows alternative rhyme schemes. The first stanza of the poem follows the rhyme scheme, abaabccddede. The rhyme scheme of the second stanza changes to the expansion into the tetrameter and follows the abaabccddffgghiihjj rhyme scheme. The tetrameter finds usage in the third stanza as well. The tetrameter in the third stanza is observed to have tightened and the rhyme scheme followed is ababcc. The fourth stanza of the poem is observed to have been continuing with the pattern of the third stanza and the rhyme scheme followed in this section is the abccbdedefgfffghhg pattern of rhyme. The poem is composed in blank verse. The poet uses certain areas of alliteration within the poem like “measureless to man” (line 4), “sunless sea” (line 5), “five miles of fertile” (line 6). The poet uses certain areas of assonance within the poem like “twice five” (line 6), “there were” (line 8), “chaffy grain” (line 22). The
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