In "Kubla Khan," Coleridge describes the creation and destruction of Kubla Khan's palace in the location of Xanadu, which gives the poem a quality. Through the character of Kubla Khan, Coleridge uses the wild image of the Mongols to suggest that Kubla Khan is insane, implying that all creative actions are the acts of men.
The last lines bring the poem to a close. Flashing eyes evoke the image of passionate creativity. By talking about "holy dread," Coleridge suggests that creation is both and demonic.
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In “Kubla Khan” and its prose introduction, Coleridge offers repeated examples
of conscious efforts to gather up the loose ends of history, both globally and personally,
in political and spiritual contexts. “The Pains of Sleep” depicts personal suffering as
inextricably linked with the act of constituting self and others in relationships determined
by the act of representation itself after the manner exemplified in Coleridge’s
philosophical and poetic works. This depiction is especially important in light of the
convergence since Coleridge’s time of views as different as Japanese Buddhism and
Continental philosophy. West or East, philosophy seeks to represent the human subject
as accounting for itself and all things with no residue of prior representation. Coleridge’s
work anticipates this convergence, particularly in the spiritual concerns which dominate
his late works.
Coleridge’s attempt to represent himself in terms of Christian confession while
upholding his account of the human subject leads him to discuss the doctrine of original
sin at length in Aids to Reflection. This engagement broadens the conversation beyond