Changes

==Style==

==Style==

The poem according to Coleridge's account, is a fragment of what it should have been, amounting to what he was able to jot down from memory: 54 lines.<ref>Sisman 2006 p. 195</ref> Originally, his dream included between 200 and 300 lines, but he was only able to compose the first 30 before he was interrupted. The second stanza is not necessarily part of the original dream and refers to the dream in the past tense.<ref>Perkins 2010 pp. 43-44</ref> The rhythm of the poem, like its themes and images, is different from other poems Coleridge wrote during the time, and it is organised in a structure similar to 18th-century odes. The poem relies on many sound-based techniques, including cognate variation and chiasmus .<ref>Mays 2001 pp. 509-512</ref> In particular, the poem emphasises the use of the "æ" sound and similar modifications to the standard "a" sound to make the poem sound Asian. Its rhyme scheme found in the first seven lines is repeated in the first seven lines of the second stanza. There is a heavy use of assonance, the reuse of vowel sounds, and a reliance on alliteration, repetition of the first sound of a word, within the poem including the first line: "In Xanadu did Kubla Khan". The stressed sounds, "Xan", "du", "Ku", "Khan", contain assonance in their use of the sounds a-u-u-a, have two rhyming syllables with "Xan" and "Khan", and employ alliteration with the name "Kubla Khan" and the reuse of "d" sounds in "Xanadu" and "did". To pull the line together, the "i" sound of "In" is repeated in "did". Later lines do not contain the same amount of symmetry but do rely on assonance and rhymes throughout. The only word that has no true connection to another word is "dome" except in its use of a "d" sound. Though the lines are interconnected, the rhyme scheme and line lengths are irregular.<ref>Schneider 1967 pp. 88-91</ref>

The poem according to Coleridge's account, is a fragment of what it should have been, amounting to what he was able to jot down from memory: 54 lines.<ref>Sisman 2006 p. 195</ref> Originally, his dream included between 200 and 300 lines, but he was only able to compose the first 30 before he was interrupted. The second stanza is not necessarily part of the original dream and refers to the dream in the past tense.<ref>Perkins 2010 pp. 43-44</ref> The rhythm of the poem, like its themes and images, is different from other poems Coleridge wrote during the time, and it is organised in a structure similar to 18th century odes. The poem relies on many sound-based techniques, including cognate variation and chiasmus .<ref>Mays 2001 pp. 509-512</ref> In particular, the poem emphasises the use of the "æ" sound and similar modifications to the standard "a" sound to make the poem sound Asian. Its rhyme scheme found in the first seven lines is repeated in the first seven lines of the second stanza. There is a heavy use of assonance, the reuse of vowel sounds, and a reliance on alliteration, repetition of the first sound of a word, within the poem including the first line: "In Xanadu did Kubla Khan". The stressed sounds, "Xan", "du", "Ku", "Khan", contain assonance in their use of the sounds a-u-u-a, have two rhyming syllables with "Xan" and "Khan", and employ alliteration with the name "Kubla Khan" and the reuse of "d" sounds in "Xanadu" and "did". To pull the line together, the "i" sound of "In" is repeated in "did". Later lines do not contain the same amount of symmetry but do rely on assonance and rhymes throughout. The only word that has no true connection to another word is "dome" except in its use of a "d" sound. Though the lines are interconnected, the rhyme scheme and line lengths are irregular.<ref>Schneider 1967 pp. 88-91</ref>

The first lines of the poem follow iambic tetrameter with the initial stanza relying on heavy stresses. The lines of the second stanza incorporate lighter stresses to increase the speed of the meter to separate them from the hammer-like rhythm of the previous lines.<ref name="Yarlott p. 129">Yarlott 1967 p. 129</ref> There also is strong a break following line 36 in the poem that provides for a second stanza, and there is a transition in narration from a third person narration about Kubla Khan into the poet discussing his role as a poet.<ref>Mays 2001 pp. 509-510, 514</ref> Without the Preface, the two stanzas form two different poems that have some relationship to each other but lack unity.<ref>Perkins 2010 pp. 42-43</ref> This is not to say they would be two different poems, since the technique of having separate parts that respond to another is used in the genre of the odal hymn, used in the poetry of other Romantic poets including John Keats or Percy Bysshe Shelley .<ref>Bate 1968 p. 78</ref> However, the odal hymn as used by others has a stronger unity among its parts, and Coleridge believed in writing poetry that was unified organically.<ref>Singh 1994 p. 48}}</ref> It is possible that Coleridge was displeased by the lack of unity in the poem and added a note about the structure to the Preface to explain his thoughts.<ref>Roe 2001 p.265}}</ref> In terms of genre, the poem is a dream poem and related to works describing visions common to the Romantic poets. ''Kubla Khan'' is also related to the genre of fragmentary poetry, with internal images reinforcing the idea of fragmentation that is found within the form of the poem.<ref>Perkins 2010 pp. 42, 45-47</ref> The poem's self-proclaimed fragmentary nature combined with Coleridge's warning about the poem in the preface turns ''Kubla Khan'' into an "anti-poem", a work that lacks structure, order, and leaves the reader confused instead of enlightened.<ref>Fulford 2002 p. 54</ref> However, the poem has little relation to the other fragmentary poems Coleridge wrote.<ref>Bate 1968 p. 76</ref>

The first lines of the poem follow iambic tetrameter with the initial stanza relying on heavy stresses. The lines of the second stanza incorporate lighter stresses to increase the speed of the meter to separate them from the hammer-like rhythm of the previous lines.<ref name="Yarlott p. 129">Yarlott 1967 p. 129</ref> There also is strong a break following line 36 in the poem that provides for a second stanza, and there is a transition in narration from a third person narration about Kubla Khan into the poet discussing his role as a poet.<ref>Mays 2001 pp. 509-510, 514</ref> Without the Preface, the two stanzas form two different poems that have some relationship to each other but lack unity.<ref>Perkins 2010 pp. 42-43</ref> This is not to say they would be two different poems, since the technique of having separate parts that respond to another is used in the genre of the odal hymn, used in the poetry of other Romantic poets including John Keats or Percy Bysshe Shelley .<ref>Bate 1968 p. 78</ref> However, the odal hymn as used by others has a stronger unity among its parts, and Coleridge believed in writing poetry that was unified organically.<ref>Singh 1994 p. 48}}</ref> It is possible that Coleridge was displeased by the lack of unity in the poem and added a note about the structure to the Preface to explain his thoughts.<ref>Roe 2001 p.265}}</ref> In terms of genre, the poem is a dream poem and related to works describing visions common to the Romantic poets. ''Kubla Khan'' is also related to the genre of fragmentary poetry, with internal images reinforcing the idea of fragmentation that is found within the form of the poem.<ref>Perkins 2010 pp. 42, 45-47</ref> The poem's self-proclaimed fragmentary nature combined with Coleridge's warning about the poem in the preface turns ''Kubla Khan'' into an "anti-poem", a work that lacks structure, order, and leaves the reader confused instead of enlightened.<ref>Fulford 2002 p. 54</ref> However, the poem has little relation to the other fragmentary poems Coleridge wrote.<ref>Bate 1968 p. 76</ref>