Coleridge, we would yet ask him whether this extraordinary fragment was not rather the effect of rapid and instant composition after he was awake, than of memory immediately recording that which he dreamt when asleep? John Sheppard, in his analysis of dreams titled On Dreams , lamented Coleridge's drug use as getting in the way of his poetry but argued: It is perfect music. However, not everyone was happy with the idea of the poem's being published, as Coleridge's wife, who was not with him, wrote to Thomas Poole , "Oh! As a poet, Coleridge places himself in an uncertain position as either master over his creative powers or a slave to it.
Nature, in the poem is not a force of redemption but one of destruction, and the paradise references reinforce what Khan cannot attain. Where Alph, the sacred river, ran Through caverns measureless to man Down to a sunless sea. However, Baker writes that "His attack on Wordsworth was not as unfair as some have claimed, and as Browning seems to have feared in later life",  and Robert Wilson Lynd writes, of Browning's views: He described it this way: It should however be recollected, that in sleep the judgment is the first faculty of the mind which ceases to act, therefore, the opinion of the sleeper respecting his performance is not to be trusted, even in his waking moments. We that had loved him so, followed him, honoured him, Lived in his mild and magnificent eye, Learned his great language, caught his clear accents, Made him our pattern to live and to die! In an anonymous review for the July Literary Panorama, the reviewer claimed, "'Kubla Khan' is merely a few stanzas which owe their origin to a circumstance by no means uncommon to persons of a poetical imagination The Abyssinian maid is derived from many figures in Coleridge's life, including women who Coleridge admired in some way: The claim to produce poetry after dreaming of it became popular after "Kubla Khan" was published. 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: For example, Coleridge changed the size and description of the garden: How all our copper had gone for his service! Just for a handful of silver he left us, Just for a ribbon  to stick in his coat— Found the one gift of which fortune bereft us, Lost all the others she lets us devote; They, with the gold to give, doled him out silver, So much was theirs who so little allowed: The finite properties of the constructed walls of Xanadu are contrasted with the infinite properties of the natural caves through which the river runs. In the summer of the year , the Author, then in ill health, had retired to a lonely farm house between Porlock and Linton, on the Exmoor confines of Somerset and Devonshire. It is stayed on gilt and lackered columns, on each of which is a dragon all gilt, the tail of which is attached to the column whilst the head supports the architrave, and the claws likewise are stretched out right and left to support the architrave. Different approaches to the poem—personal idiosyncratic approaches and those informed by historical context or metrical structure—are discussed as an introduction to "cognitive poetics". These were both times he was in the area, and, by , Coleridge was able to read Robert Southey 's Thalaba the Destroyer, a work which also drew on Purchas's work. Coleridge may also have been influenced by the surrounding of Culbone Combe and its hills, gulleys, and other features including the "mystical" and "sacred" locations in the region. He did believe, however, that Wordsworth was a turncoat, a renegade—a poet who began as the champion of liberty and ended as its enemy. It is possible that the poem was recited to his friends during this time and was kept for private use instead of publication. They are cut across at each knot, and then the pieces are split so as to form from each two hollow tiles, and with these the house is roofed; only every such tile of cane has to be nailed down to prevent the wind from lifting it. The first stanza of the poem describes Khan's pleasure dome built alongside a sacred river fed by a powerful fountain. Though the lines are interconnected, the rhyme scheme and line lengths are irregular. As followers of the sun, the Tatar are connected to a tradition that describes Cain as founding a city of sun worshippers and that people in Asia would build gardens in remembrance of the lost Eden. While incomplete and subtitled a "fragment", its language is highly stylised with a strong emphasis on sound devices that change between the poem's original two stanzas.
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