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Noetic: Kubla Khan by Samuel Taylor Coleridge (Analysis by Huntington Lyman)

They stand the test of time and paint beautiful pictures in the readers minds. I'm really into Aurora Leigh right now. It's my new Pride and Prejudice. Aug 12, Keith rated it liked it. I know little about Barrett, her works, or her ideas. So I was surprised by the length of this book — pages of verse in double columns. She did a lot more writing than I was aware of. But she died at the age Which is my current age as I write this. These works usually represent their worst instincts and poetry.

Her husband, I should disclose, I find an unmusical bore, in unoriginal thinker, and an abomination to the English language. Barrett did two translations of the play — the first published anonymously in , and a revision published in This volume includes the version. Glancing briefly at the opening scene of both versions, I think I like the better. Although I recommend the version, the translation a good read.

Christabel & Kubla Khan: A Vision in a Dream

Barrett uses some archaic words and Victorian flourishes. But I like the use of rhyme in the choruses — it is cleverly subtle. This is definitely poetry — a bit stiff and old fashioned even by standards, but it sings in spots. Of course, by she had met Robert Browning and one would never call his poetry fluid and supple. While it seeks spiritual redemption, it loses its artistic soul. Lucifer is the only character that breathes any life into the work. And he sadly appears rarely. Many find a feminist theme in it, though I think you have to look pretty hard.

I guess Barrett makes a case for women as artists. But what you need to know is that this is a philosophical poetic drama. And the question is whether you enjoy dramatic discussions of the intricacies of Christian belief, because the work lacks dynamic, breathing characters. The topic has no interest for me.

The poem made her an instant hero in Italy, but it was poorly received abroad, where commentators felt female poets should stick to love sonnets and eschew politics. I read the first half and really liked it. It was Browning's view of what happened to Adam and Eve after the fall in poetry.

I loved it.

The Complete Poetical Works by Elizabeth Barrett Browning

It definitely was slow and long to read, but I appreciated her view of what may have happened. I didn't read the second half because it is poetry of Greek literature. I would like to read more Greek literature but at this point I am pretty ignorant of it and didn't understand the poetry. Maybe one day I'll go back to the second half of this book. Mar 24, Laura rated it liked it Shelves: schoolbooks. I was surprised by how much I enjoyed the Sonnets - beautiful, heartbreaking, and very touching. Aurora Leigh was less enjoyable, but still very pretty.

I'm happy to report that I like EBB! Shelves: a-massive-swelling-by-cintra-wilson. I laughed so hard I cried.

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And everything in the book about the grotesque face of celebrity worship has rung more true with each passing year. Jun 15, Michael Falotico rated it it was amazing. May 16, Lynda rated it really liked it. Some of her works were great and that is why I give it 4 stars, but there are quite a few that left me baffled. As well, Hazlitt alters the line "Are lean and old and foul of Hue" in the Stoddart manuscript to " Hideous, deformed, and pale of hue.

The exposure of Geraldine on both fronts does not sit well with Coleridge. Following the release of "Christabel" in , Coleridge's editorial management of the poem corroborates Hazlitt's insinuation that he is trying to silence "something disgusting. Both words denote proximity—a relative nearness. So the "with" of becomes "by" in , and the shift gestures at Coleridge's attempt to physically separate Geraldine and Christabel as they share the same bed. But Coleridge questions the configuration—whether the two women should even be in the same bed at all. In a dedication copy of the edition to David Hinves, Coleridge strikes out the line "And she is to sleep by Christabel.

Coleridge only adds to the list—and must Geraldine sleep by Christabel? Coleridge's further revisions of the line answers the question: he is uncertain. In the Hinves copy, Coleridge deletes his own emendation, striking the line out—" And must she sleep by Christabel? Nor does he return to the line "And she is to sleep by [or, with] Christabel" in editions after Even there, it is suppressed: Coleridge deleted the line in dedication copies to James Gillman, Joseph Green, Ludwig Tieck, and to an anonymous recipient of Ramsgate.

Unlike the Hinves dedication copy, in these copies Coleridge deletes the line and replaces it with the line "O shield her!


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Shield sweet Christabel! But Coleridge's efforts—as the parodists demonstrate—come too late: the edition provided ample sexual fodder, and Coleridge's revisions are not lastingly committed to print until the , , and Poetical Works. Following Coleridge's death in , the Coleridge family inherited the post of protecting "Christabel" from those who would reveal the poem as a homo- and hetero- sexual work.


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  • In their various editorial and creative endeavours, successive generations of the Coleridge family undertake a project that can be described through reference to Geraldine's spell in Part I:. In the case of "Christabel," members of the Coleridge family stand as lords of the poem's utterance—a poem they see as supernatural and moral, not as sexual. Coleridge's son-in-law Henry Nelson Coleridge, for example, has a guiding editorial hand in the Poetical Works. Moreover, he champions and defends Coleridge's genius and the originality of "Christabel" in a Quarterly review of the Poetical Works , and in his edition of Coleridge's Table Talk The Coleridge family editors are matched by family poets.

    Christabel's "lover that's far away" has returned, and, we are left to conjecture, will expose Geraldine, marry Christabel, and restore a heterosexual, Christian order to Langdale Hall. The following is a selective list of "Christabel" parodies and continuations, Items are listed by date of first publication, followed by reissues and reprints.

    In the case of parodies, the many works that only parody the metre of "Christabel" are not noted. V [pseud. Anna Jane Vardill Niven].

    On Coleridge as Translator of Faustus: From the German of Goethe

    London: J. Morgan O'Doherty [pseud. William Frederick Deacon]. Duncombe, By the Author of Christabel. London: W. Rpt in. Lillian and Other Poems. New York: Redfield, Nicholas Michell. London: William Kidd. Joseph Rodman Drake. New York: G. Thomas Ingoldsby [pseud. Richard Harris Barham. Sucklethumbkin's Story. The Execution.


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