In other words, the simile much more concrete and memorable compared to the green hillside it is likely to describe. The lack of ‘realism’ in the poem becomes even more noticeable through the use of this sort of strange dialect: the use of language is more essential than conveying something ‘real’ like a hill.
If this kind of were not luxurious enough, Coleridge piles yet another image on top of this one that requires the reader to imagine in terms of ‘as if’: “A mighty water fountain momently was forced: / Amid in whose swift half-intermitted burst/Huge broken phrases vaulted like rebounding hail, / or perhaps chaffy grain beneath the thresher’s flail. inches Again, the image of the fountain is actually less striking compared to the simile, the grain staying threshed plus the fierce originate.
Images heaps on top of pictures, similes upon similes towards the point that by the time someone arrives in Kubla’s structure, he or she has forgotten the original basis for the quest. The use of images are intentionally extravagant, to suggest the exotic nature of the setting, and also to give a dream-like, confused texture to the poem. Coleridge even uses the word “mazy” to describe the road of the water, the path the reader is taking to the pleasure-dome.
Eventually, arsenic intoxication Kubla intrudes into the poet’s description. But the image of Kubla is not in the instant present, nevertheless of a ruler listening to sounds from the past: “And ‘mid this tumult Kubla been told by far / Ancestral voices prophesying war! ” The dome is said to float along the ocean, and the the case significance the dream-like, fragmentary quality in the words therefore comes to the forefront. The poet, after his stacks of radical language, similes and metaphors, admits that it can be all ideal. “A young lady with a dulcimer / in a vision once I saw. inch None of such figures happen to be real, they all are of the poet’s fantasy – that is why the similes regarding the lake, the water fountain, and the palace itself are more intense that what they are apparently describing. This can be a poem about terminology, not regarding reality, however, reality of any dream.
At the conclusion, Coleridge generally seems to reveal the ‘real’ basis for the composition: to revive within just himself the extreme world of Kubla and the woman, a dream which was lost. “Could I revive within me/Her symphony and song, inches he creates. “I would build that dome in air, as well as That sunny dome! those caves of ice! inch says Coleridge – which can be exactly what this individual has done during the period of the composition: ‘built’ Kubla’s palace in words. And then, he asks the reader not to open his / her eyes and discover life clearly, but to close them: “lose your eyes with o dread, / for he on honey-dew hath fed, / and drunk the milk of Paradise. inch Kubla’s paradise is only available in dreams, with closed eye –