Academic literature on the topic 'Kubla Khan (Coleridge, Samuel Taylor)'

Samuel taylor coleridge’s the ancient mariner and kubla khan are the major poems regarded as the greatest compositions in the field of supernaturalism. As a poet of supernaturalism, coleridge strictly eschewed crudeness from his writings. Based on the purpose of this study, that is to seek supernaturalism in samuel taylor coleridge’s major poems, the research design of this study is conducted by applying content analysis as proposed by koul (1984). Content analysis is concerned with the phenomenon, elements and comparison. Because of its concern, content analysis is sometimes referred to as ‘documentary activity’ or ‘information analysis’. The data of this study belong to the non –manipulated variables as they are not the result of experiment; these are called the qualitative type. Therefore, the data analyzed with the qualitative descriptive approach. This research will show the nature of the situation as it exists at the time of the study as stated by gay (1987: 189), “descriptive research determines and reports the way the things are”. Dream, suggestiveness and vision are the elements of the supernaturalism in these poems which are presented in the research result.

Samuel Taylor Coleridge’s 1797 poem “Kubla Khan” begins with the statement that Kubla Khan once caused a pleasure-dome to come into existence by dint of a kingly decree. The last line states that the narrator, should he gain sufficient poetic vision, would have “drunk the milk of paradise” and would “build that dome in air.” A new reading may be derived from a focus on precisely what these lines say and what they imply within the perspective of Gilles Deleuze and Felix Guattari’s work Anti-Oedipus. If the process of the narrator’s gaining poetic insight is set in motion by a conscious decree from Kubla Khan, then an Anti-Oedipal reading considers whether the end result is simply the consequence a powerful individual’s wishes, or else is paradoxically a liberation from those wishes.

Reflecting on my experience of teaching British Romantic literature at a Turkish university, this essay addresses the current conversation about global English by exploring the intersections among second-language literary study, translation theory, and Romantic aesthetics. It begins with a reconsideration of orientalism that traces a foreignizing impulse in canonical Romanticism, links this with Victor Shklovsky's concept of ostranenie (“estrangement”), and goes on to propose foreign language study as the exemplary instance of Romantic or Shklovskian aesthetic experience. Turning next to recent accounts, by Emily Apter and others, of Istanbul as the birthplace of “translational transnationalism,” I juxtapose the utopianism of contemporary translation theory with Samuel Taylor Coleridge's poetic ideal of “untranslatableness.” I conclude with a reading of Orhan Pamuk's novel Snow, particularly its homage to Coleridge's “Kubla Khan,” as a meditation on translatability, before briefly revisiting the Turkish Romantic classroom and its global English futurity.

Our contemporary fascination with origins, with the creative moment itself, goes back at least as far as the Romantic period, which, more than any other, enshrined the literary fragment as a relic of original artistic inspiration. Though Samuel Coleridge’s unfinished poem “Kubla Khan” is perhaps a familiar example, it is nevertheless worth retelling his account of that poem for what it conveys about romantic notions of creativity. When the poem was first published in 1816, Coleridge prefaced the text with a note explaining the circumstances of its composition and the reason the poem remained unfinished.1 As he explained, he composed . . .

碩士
國立中正大學
外國語文研究所
89
The romantic imagination in nature for the Romantic poets zeroes in on a special topic in English Romanticism during the 19th century. In a word, the romantic imagination for Samuel Taylor Coleridge actually stands for the esemplastic power, which goes into the central parts of his poems. Samuel Taylor Coleridge, one of the top and eminent poets, fathered the Modern Poetry and the Romantic Revolution in English Literature, since the Romantic Revolution was giving the spirit of new birth to Modern Literature that spreads the emotional experience and the spiritual ecstasy. For instance, M. H. Abrams has commented, "Colerigde's poetic talent and insight are the seminal and excellent contributions to literature, and also regards him as the intellectual center of the English Romanticism movement." This thesis is divided into 5 parts, including the introduction, three chapters as the main body and the conclusion. First, this thesis aims to analyze the poetic mind and nature, as G. Wilson Knight has acclaimed, the quester has come to the world of "Hell, Purgatory and Paradise" in "Christabel," "The Rime of the Ancient Mariner" and "Kubla Khan." Second, this thesis focuses on how the poet-speaker explicates the poetic mind and nature in the romantic quest, and how the romantic imagination forms the poem as an organic whole. By its inward-looking journey, the poet-speaker, readers and the characters at the end have adopted the enlightenment of the moral indoctrination when they are on their road to seek after the grand central truth. After experiencing the spiritual odyssey, the poet-speaker, readers and the characters become "sadder and wiser" men. In addition, understanding the essence of good, evil, love, and moral, they reconstruct the spirit of internalization of the romantic quest, and are inspired by the enlightenment of the moral indoctrination. In Chapter One, firstly, what is Romanticism? Generally speaking, Romanticism is a "rebellion in a number of senses" that contains a wide freedom and the personal imagination, as which acts a perfect element in the poetic writings. Next, what is Coleridge's imagination? The poet-speaker in the "Conversation Poems" has explicated the poetic mind and nature, in which readers have touched with the variant forms of breathing of the romantic imagination, as "Nature's self is the breath of God." Chapter Two focuses on how the poet-speaker deals with nature in the romantic quest. The demonic group is close to the idea of Christian myth, which bases on the central spirit of the "apocalypse of imagination," just as Harold Bloom has mentioned, "the Romantics tended to take Milton's Satan as the archetype of the heroically defeated Promethean quester." So readers, the dreamer and the characters have experienced the metamorphic allusion of good, evil, moral, innate sin, misunderstanding, and understanding. They must go into the happiness and terror of "Hell, Purgatory and Paradise," respectively, which already reflect to the world of nature and the world of super-nature. Chapter Three copes with one thematic level of love and seeking after the grand central truth. As Harold Bloom has mentioned, "The higher Imagination shapes truth; the lower merely takes it, through nature, from the Shaping Spirit of God, and the Mariner's quest came to duplicate of his creation." The spirit of internalization of quest-romance is regarded as the central spirit of romantic quest, and also manifests it as the poet's higher imagination. Therefore, in my conclusion, the poet-speaker is an expert who deals with the dark world of nature, in which the poet-speaker has performed man's anxiety and guilt. However, at the end, human beings can discover love, truth and light, and also experience that the romantic imagination reshapes the poem as an organic whole.

Edward Gibbon and Samuel Taylor Coleridge were uneasy about the prospect of a British Empire, fearing overreach and collapse. Historical precedents such as the Roman Empire and Kublai Khan’s China made imperial expansion appear unwise. To Coleridge these predecessors served as warnings to Britain, but to Macartney they offered evidence that the Qing Dynasty was doomed. The Macartney Embassy attempted to recreate aspects of Marco Polo’s reception at Kublai Khan’s court: Macartney, like Gibbon and Coleridge, felt that histories could be replicated. In light of Britain’s fruitless embassies to China in 1793 and 1816, Coleridge’s ‘Kubla Khan’ draws on Gibbon’s account of the Khans for prophetic effect. Like Macartney’s journal, Coleridge’s poem articulates a perception that war between Britain and China was likely some decades before the First Opium War occurred.