By Reuven Tsur
This publication endorses Coleridge's assertion: "nothing can completely please which doesn't include in itself reasons why it's so". It conceives 'Kubla Khan' as of a hypnotic poem, within which the "obtrusive rhythms" produce a hypnotic, emotionally heightened reaction, giving fake defense to the "Platonic Censor", in order that our mind's eye is left loose to discover better degrees of uncertainty. Critics illiberal of uncertainty are inclined to account for the poem's influence by way of extraneous history info. The publication contains 3 components utilising diverse learn tools. half One is speculative, and discusses 3 points of a posh aesthetic occasion: the verbal constitution of 'Kubla Khan', validity in interpretation, and the effect of the critic's determination kind on his severe judgements. the opposite components are empirical. half explores reader reaction to gestalt traits of rhyme styles and hypnotic poems in viewpoint of choice type education. half 3 submits 4 recordings of the poem through prime British actors to instrumental research.
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Additional resources for Kubla Khan: Poetic Structure, Hypnotic Quality and Cognitive Style: A Study in Mental, Vocal, and Critical Performance
The more general term can, under a certain interpretation, describe Kubla Khan's building enterprise just as well (what is more, certain critics speak of the creative and destructive energy of the fountain as well). Second, House's more general phrase is an acknowledged quotation from Bodkin (1963: 95), supply ing another instance of her abstract functioning. A similar strategy of self-correction (in a different matter) is followed by Knight (1960: 165): "As Kubla Khan himself, if we bring him within our scheme, he becomes God; or at least one of those 'huge and mighty forms', or other similar intuitions of gigantic mountainous power, in Wordsworth".
In a recent paper on "Kubla Khan" (Benzon, 2003, online) I encountered an illuminating insight based on sharpening strategy, pointing out different aspects of two terms referring to the same referent. Benzon elaborates on a contrast between lines 1-11 and lines 12-30 of "Kubla Khan". ] is pointed up in the contrast between the phrases "sun less sea" and "lifeless ocean". These phrases designate the same object; but the concepts are different. As light and order dominate [the former passage], the body of water is conceptualised in those terms; the sun does not shine on the subterranean sea.
In short, one may assume that whoever chose the spot and whoever built the walls and towers, carried out Kubla's "decree" (unless otherwise indicated). A cause-and-effect relationship may be even suggested by So (the question being whether it refers only to girdled round, or to all the ensuing description). Furthermore, the sublime quality abstracted from the various items is experienced with the immediacy of perception. Kubla Khan vanishes in the background, and only the perceived quality of the landscape pervades the foreground of the poem.