Name: Muhadsa Tanveer

Registration Number: FA22-BEN-005

Subject: Intro To Poetry And Drama
Submitted To: MR.Yousaf
Date: 26/10/2022
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Question No 1: Coleridge as a poet of

supernatural.
Coleridge's depiction of the supernatural artistically captures the
essence of romanticism. The Ancient Mariner, Kubla Khan, and
Christabel, his three most significant poems, are all works of pure
supernaturalism. Coleridge, a poet of the paranormal, firmly prohibited
crudeness from his writings. He bases his supernatural on the dramatic
truth of human emotions and on a firm foundation. So that no matter
how unlikely the circumstances seem, the truth of human experience is
always violated. He only makes suggestions, leaving it up to his readers
to utilise their imaginations and fill in the gaps. He first gains the belief
of his audience before entering the world of the supernatural readers
with a precise representation of the well-known scenery. He just makes
a suggestion, accurately portraying the well-known scenery for his
audience, and then begins to gradually capitalise on this.
Without a doubt, the
poem has extraordinary and impossible components, including the
mariner's gaze's magnetic force. The terrifying solitude of the distant
seas, the unexpected apparition of a skeleton ship, the spectre-woman
and her deathmate, the crew's resuscitation from the dead, the polar
spirit, etc. Supernaturalism also succeeds in Kubla Khan. When
Coleridge read about underground rivers, pleasure palaces, and other
wonderful things, images that had been stored in his unconscious mind
came to the surface and were promptly and freely portrayed in words.
A fascinating issue to explore is the Supernaturalism in Samuel Taylor
Coleridge's main poems, The Ancient Mariner and Kubla Khan.
Coleridge stands out
conspicuously among the romantic poets of the first half of the 19th
century who dealt with the supernatural vision. In fact, his supernatural
vision could be seen as the foundation stone for his poetry. His greatest
works, such as The Rime of the Ancient Mariner, Christabel, and Kubla
Khan, attest to his ability to portray the mystic world of the
supernatural in a way that is most natural and to produce an
atmosphere that temporarily suspends disbelief.
It has been determined that Coleridge's significance
in the romantic poetry of the early 19th century mostly stems from his
outstanding, effortlessly natural representation of the supernatural.
The mood he creates is surcharged with suspense and strangeness as
his theme embraces the world of mystery. However, his exposition
holds every scepticism in suspense and awakens the curiosity required
for lyrical trust. The technique in which he presents the information
and creates the impact that overrides all logical calculations and
considerations in a mist of mystery and suspense is more essential in
this case than the subject he discusses. Samuel Taylor Coleridge was an
ethereal, yet very sensual human being and his poetry is testimony to
this.
Coleridge is one of the outstanding Romantic Movement writers in
English literature. He thinks in philosophical terms. In any event, his
manner is unambiguous and simple. Supernaturalism is his
specialisation. He describes what is ordinary and past nature while
elaborating on uncommon elements and events. He describes them,
nevertheless, in a way that makes them appear typical and real. Samuel
Taylor Coleridge is distinctive in the sphere of English literature at large
because of supernaturalism. The best example of pure verse—the
result of pure fantasy—is Coleridge's Kubla Khan. It is a rhyme of pure
fancy and enchantment. The Poem is a prime example of Coleridge's
supremacy over potent poetry.
Coleridge makes an atmosphere
of mystery  in Kubla Khan  mainly by depicting the pleasure dome
and the surrounding in which it stood. The poet speaks:

Where Alph, the sacred river, ran

Through caverns measureless to man

Down to a sunless sea.

  

The river Alph is straightforwardly identified with the Greek god

Alpheus, who the waterway god. As per Greek folklore, an agnostic
faith, the god Alpheus had fallen in love with Arethusa the girl of
Nereus and a Hesperides. This again adds to the supernatural
excellence of the rhyme. Coleridge's way of thinking in life was
exceptionally romantic thus virtually the entirety of his poems
epitomizes the romantic thought, particularly "Kubla Khan". This
romantic rhyme utilizes splendid symbolism and illustrations to
differentiate the goals of romantic agnosticism with frequently in
amicable Christianity. The dream of agnosticism is the primary thought
presented in the poem. The powerful reference to "Alph" or Alpheus as
it is historically known. 

Coleridge's essential element of supernaturalism is suggestiveness. The

facts confirm that an exceptionally clear and realistic depiction of the
encompassing of the pleasure-dome is specified in the poem however
the supernatural component is intriguing. Coleridge is a brilliant
craftsman for blending the natural and supernatural with the goal that
the likely and the unrealistic interfuse. Here are lines which for sheer
suggestiveness and riddle are maybe magnificent: 

 A savage place! as holy as enchanted

As e'er beneath a waning moon was haunted By woman
wailing for her demon-lover.
 
Another significant element of Coleridge's conduct of the supernatural
is an elusive mixing of the natural and the supernatural. The powerful
wellsprings being momently constrained from the profound romantic
abyss is certainly devoted with supernatural liveliness however the
comparisons utilized to depict it are recognizable to the point that we
acknowledge the fountain as very characteristic: 
 
 Amid whose swift half-intermitted burst Huge fragments
vaulted like rebounding hail, Or chaffy grain beneath the
thresher's flail
And 'mid these dancing rocks at once and ever It flung up
momently the sacred river.
 

But in spite of the mystery and surprise aroused in the poem, the
whole explanation is psychologically correct because when the
writer is in a state of fury, he is actually like a magician. Out of this
artistic madness come the gems of truth and gorgeousness.
Touches of realism have been added, even to the explanation of
the chasm and the enormous fountain. Coleridge uses
the similes — recovering hail and chaffy grain below the thresher's
flail — which are similar to our lives and most natural. If Kubla Khan
hears prophesies of combat in all the tumultuous sound, it is not
un-realistic. It is real to human experience. After all he was a
courageous soldier.

Coleridge made the supernatural as the region and haunt of his

brilliance and shows the manner to its most creative use. The
supernatural richness of the poem arrives at its top towards the end
where Coleridge depicts an artist secured a creational craze. Idyllically
propelled he turns into a superhuman with glimmering eyes and
skimming hair like Sun God Apollo. In a condition of surprise and dread
individuals watch the mysterious hover round the writer as though
he “on honeydew hath fed and drunk the milk of paradise". Thus we
get that supernatural components spill out of each line of Kubla
Khan which provides it an ethereal allure.