The (Lost) Vision and the Preface to “Kubla Khan”
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As can be seen in its mutations and mutilations, Samuel Taylor Coleridge’s Preface to “Kubla Khan”—a remarkable paratext in itself—has long been subject to editorial inconsistencies. It is my contention that the absence of an editorial consensus on the Preface originates from the restless power of Coleridge’s imagination operating both inside and outside of the poem “proper.” The Preface not only defines the status of the poem “proper” as a Romantic fragment, but represents a series of efforts to remedy or make up for the lost vision which he posits as complete. To advertise “Kubla Khan” loudly as a fragement is to conjure up the vanished vision; the loss of the dream vision described in the Preface repeats itself in the poem “proper,” which eventually blurs the conventional boundary between text and paratext. The poet’s drive toward a unified whole leads him to “rewrite” the text and paratext of “Kubla Khan,” producing a literary document that goes beyond or destabilizes its own textual boundaries.
Abstract
As can be seen in its mutations and mutilations, Samuel Taylor Coleridge’s Preface to “Kubla Khan”—a remarkable paratext in itself—has long been subject to editorial inconsistencies. It is my contention that the absence of an editorial consensus on the Preface originates from the restless power of Coleridge’s imagination operating both inside and outside of the poem “proper.” The Preface not only defines the status of the poem “proper” as a Romantic fragment, but represents a series of efforts to remedy or make up for the lost vision which he posits as complete. To advertise “Kubla Khan” loudly as a fragement is to conjure up the vanished vision; the loss of the dream vision described in the Preface repeats itself in the poem “proper,” which eventually blurs the conventional boundary between text and paratext. The poet’s drive toward a unified whole leads him to “rewrite” the text and paratext of “Kubla Khan,” producing a literary document that goes beyond or destabilizes its own textual boundaries.
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