China and the West

Coleridge, Samuel Taylor. Kubla Khan : or, A vision in a dream [ID D26519].
Coleridge schreibt im Vorwort :
''The following fragment is here published at the request of a poet of great and deserved celebrity [George Gordon Byron], and, as far as the Author's own opinions are concerned, rather as a psychological curiosity, than on the ground of any supposed poetic merits. In the summer of the year 1797, 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. In consequence of a slight indisposition, an anodyne had been prescribed, from the effects of which he fell asleep in his chair at the moment that he was reading the following sentence, or words of the same substance, in Purchas's Pilgrimage: "Here the Khan Kubla commanded a palace to be built, and a stately garden thereunto. And thus ten miles of fertile ground were inclosed with a wall.'' The Author continued for about three hours in a profound sleep, at least of the external senses, during which time he has the most vivid confidence, that he could not have composed less than from two to three hundred lines ; if that indeed can be called composition in which all the images rose up before him as things, with a parallel production of the correspondent expressions, without any sensation or consciousness of effort. On awakening he appeared to himself to have a distinct recollection of the whole, and taking his pen, ink, and paper, instantly and eagerly wrote down the lines that are here preserved. At this moment he was unfortunately called out by a person on business from Porlock, and detained by him above an hour, and on his return to his room, found, to his no small surprise and mortification, that though he still retained some vague and dim recollection of the general purport of the vision, yet, with the exception of some eight or ten scattered lines and images, all the rest had passed away like the images on the surface of a stream into which a stone has been cast, but, alas ! without the after restoration of the latter !
Then all the charm
Is broken - all that phantom-world so fair
Vanishes, and a thousand circlets spread,
And each mis-shape the other. Stay awile,
Poor youth ! who scarcely dar'st lift up thine eyes –
The stream will soon renew its smoothness, soon
The visions will return ! And lo, he stays,
And soon the fragments dim of lovely forms
Come trembling back, unite, and now once more
The pool becomes a mirror.
Yet from the still surviving recollections in his mind, the Author has frequently purposed to finish for himself what had been originally, as it were, given to him. : but the to-morrow is yet to come. As a contrast to this vision, I have annexed a fragment of a very different character, describing with equal fidelity the dream of pain and disease. ''

Kubla Khan
In Xanadu did Kubla Khan
A stately pleasure-dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
Down to a sunless sea.
So twice five miles of fertile ground
With walls and towers were girdled round:
And there were gardens bright with sinuous rills,
Where blossomed many an incense-bearing tree;
And here were forests ancient as the hills,
Enfolding sunny spots of greenery.

But oh! that deep romantic chasm which slanted
Down the green hill athwart a cedarn cover!
A savage place! as holy and enchanted
As e’er beneath a waning moon was haunted
By woman wailing for her demon-lover!
And from this chasm, with ceaseless turmoil seething,
As if this earth in fast thick pants were breathing,
A mighty fountain momently was forced:
Amid whose swift half-intermitted burst
Huge fragments vaulted like rebounding hail,
Or chaffy grain beneath the thresher’s flail:
And ’mid these dancing rocks at once and ever
It flung up momently the sacred river.
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:
And ’mid this tumult Kubla heard from far
Ancestral voices prophesying war!

The shadow of the dome of pleasure
Floated midway on the waves;
Where was heard the mingled measure
From the fountain and the caves.
It was a miracle of rare device,
A sunny pleasure-dome with caves of ice!

A damsel with a dulcimer
In a vision once I saw:
It was an Abyssinian maid,
And on her dulcimer she played,
Singing of Mount Abora.
Could I revive within me
Her symphony and song,
To such a deep delight ’twould win me,
That with music loud and long,
I would build that dome in air,
That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread,
For he on honey-dew hath fed,
And drunk the milk of Paradise.

In 1934, a copy of the poem known as the Crewe Manuscript was discovered and it contained a note about the origin of 'Kubla Khan' : ''This fragment with a good deal more, not recoverable, composed, in a sort of Reverie brought on by two grains of Opium taken to check a dysentry, at a Farm House between Prolock & Linton, a quarter of a mile from Culbone Church, in the fall of the year, 1797.''

Sekundärliteratur
Tao Zhijian : This poem belongs to that group generally considered his mystic and demonic compositions. In addition to its unique plac in the development of the Romantic imagination, the poem has a side yet rarely touched upon : it also participates in the reinvention, with its dreamy mystification, of the Paradisial/demonic far Eastern land called China. It describes the actual historical event of the Khan's building of 'Shandu' in 1256, in a location about three hundred kilometres to thre north of today's Beijing. At the first glance, it roughly matched the Cihai's description of the Mongol secondary capital with its 'city walls, palaces and houses'. However, a second look suggests otherwise. It was normal for Chinese cities to have their walls, and capitals their palaces, and this one may well be another political fortress of the Khan's oppressive rule.
If the 'palace' in the source already consists of some distortion, then the pleasure dome in Coleridge's dream can only be, at best, twice removed from reality, though reality was perhaps the last thing Coleridge would bother himself about. In the poem, China, or if only an wpitome of it, is thus forcefully romanticized.
As poetry, this is certainly forceful composition - it sends a bucket of cold water down the spine. But these contrasts, exotic and outlandish, are so hauntingly hyperbolized that they can only be about something out of the orinary and the normal. The maximized opposites found in the poem effect an estrangement of the exotic Eastern land, reminiscent of the contrasting images drawn before Coleridge's day.
The poem, and its exoticism, are not just a 'psychological curiosity' as Coleridge claims, nor is the appearance of the poem at this particular juncture in history an accident. In the poem is embodied the 'spirit of the age'. 'Kubla Khan' is taken as a poem that heralded the romantic period of English poetry. The Khan's romanticized pleasure dome and the mystified Oriental state are used as a foil leading up to Coleridge's vision of romanticism, a product of a domestic literary and iedological movement. China was not used for China's sake. Additionally, in the application of the mythic construct of the Orient, the Khan's pleasure dome is mixed with other exotic scenes. The vision of China as shown in Coleridge's poem was, as the author admits, 'composed in a sort of reverie brought on by two grains of opium'. The phantasmagorical image of China, even in such a seemingly nonpolitical piece of work, is not an isolated phenomenon. For what is dreamed and composed of an 'Oriental' land not only tells what was possible to be dreamed of it, but the mythic language which gave it its form of existence speaks of what was possible to be associated with that distant land, in the historical geo-political conjuncture that was Britain at the turn of the nineteenth century.
Coleridge's composition of mystery and demonism had its own political and ideological background. It belonged on the one hand to the age of revolutionary fervor and the Romantic spirit in England, and on the other to the tradition whereby the Orient became a mythic construct.