Kubla Khan

Kubla Khan, or a Vision in a Dream. A Fragment. is a famous poem by Samuel Taylor Coleridge, which takes its title from the Mongol and Chinese emperor Kublai Khan of the Yuan dynasty. Coleridge claimed he wrote the poem in the autumn of 1797 at a farmhouse near Exmoor, England, but it may have been composed on one of a number of other visits to the farm. It also may have been revised a number of times before it was first published in 1816.

Coleridge claimed that the poem was inspired by an opium-induced dream (implicit in the poem's subtitle A Vision in a Dream), but that the composition was interrupted by the person from Porlock. Some have speculated that the vivid imagery of the poem stems from a waking hallucination, albeit most likely opium-induced. Additionally a quote from William Bartram is believed to have been a source of the poem. There is widespread speculation on the poem's meaning, some suggesting the author is merely portraying his vision while others insist on a theme or purpose. Others believe it is a poem stressing the beauty of creation.

However, it is important to remember that inspiration for this poem also comes from Marco Polo's description of Shangdu and Kublai Khan from his book Il Milione, which was included in Samuel Purchas' Pilgrimage, Vol. XI, 231. By declaring himself emperor, the historical Kublai aligned himself to the Chinese divine right, the Mandate of Heaven, and therefore gained absolute control over an entire nation. Between warring and distributing the wealth his grandfather Genghis Khan had won, Kublai spent his summers in Xandu (better known now as Shangdu, or Xanadu) and had his subjects build him a home suitable for a son of God. This story is described in the first two lines of the poem, “In Xanadu did Kubla Khan/A stately pleasure-dome decree” (1-2). The end of the third paragraph gives us another close-up view of Kubla. At his home, Kublai had on hand some ten thousand horses, which he used as a means of displaying his power; only he and those to whom he gave explicit permission for committing miscellaneous acts of valour was allowed to drink their milk. Hence the closing image of “the milk of Paradise.” (54)

In his essay "Coleridge's Dream" the fictional essayist and short story author Borges notes that twenty years following the final revision of the poem, a fourteenth-century Persian work called The Compendium of Histories by Rashid al-Din was published in English for the first time. This work included the detail that the inspiration for Kubla Khan's palace was given to him in a dream. Near the end of the essay Borges writes,

The first dream added a palace to reality; the second, which occurred five centuries later, a poem (or the beginning of a poem) suggested by the palace; the similarity of the dreams hints of a plan; the enormous length of time involved reveals a superhuman executor... It is legitimate to suspect that he has not yet achieved his goal... Such facts raise the possibility that this series of dreams and works has not yet ended. The first dreamer was given the vision of the palace, and he built it; the second, who did not know of the other's dream, was given the poem about the palace. If this plan does not fail, someone, on a night centuries removed from us, will dream the same dream, and not suspect that others have dreamed it, and he will give it a form of marble or music. Perhaps this series of dreams has no end, or perhaps the last will be the key... Perhaps an archetype not yet revealed to mankind, an eternal object, is gradually entering the world. (Source: Borges, Selected Non-Fictions)

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In Orson Welles' famous film Citizen Kane, the main character's vast, Byzantine estate is called Xanadu — and was based on real-life newspaper baron William Randolph Hearst's resplendent home (Hearst Castle) at San Simeon, California. The Canadian progressive rock power trio, Rush, wrote and recorded a song called "Xanadu" based on Coleridge's work. The song appears on their 1977 album, A Farewell to Kings, and it offers a much more pessimistic take on the poem's paradisaical vision of immortality. The song "Welcome to the Pleasuredome", the epic title track to the 1984 album by the British dance band Frankie Goes to Hollywood is also inspired by Coleridge's poem and features the opening two lines spoken in recitation. The poem, and its nonexistent second part, also plays a central role in the plot of Douglas Adams' novel Dirk Gently's Holistic Detective Agency as the ramblings of a ghost who accidentally created the human race.