Transhumanism and Technological Sublime: Bhaya and Karuna in Mary Shelley’s Frankesntein

Transhumanism and Technological Sublime: Bhaya and Karuna in Mary Shelley’s Frankesntein

Abstract: This paper aims to study transhumanism and technological sublime in Mary Shelley’s gothic novel Frankenstein to explore the implications of Bhaya and Karuna rasa in the novel. I am interested in knowing how the creation of labrotaric male human being creates the horrors of robotic advancement in Artificial Intelligence. For this, I will be using rasa interpretations. Especially, I will draw upon ancient notion of Sanskrit Rasa. Thus, this study will answer the implications of technological transhumant creature in the novel from the perspective of classical Indian Rasa theory.

Keywords: rasa, bhaya, karuna, transhuman, supercreautre, technology

            Transhumanism is a futuristic philosophy which celebrates the potential of advanced technologies to augment human functioning to unprecedented degrees, ushering in a new phase of ‘posthuman’ evolution. Mary Shelley’s creature presents the threat of Artificial Intelligence.  Victor Frankenstein is a scientist who comes to develop an early seventeenth century AI who can copy others, learn from reading, a threat to surviving human beings. Philip Ball writes, “Frankenstein is a warning about a hubristic, overarching science that unleashes forces it cannot control (The Atlantic).” Frankenstein’s fear presents the failure to set the control over self-created AIs and robots that could turn their wrath on their very creators.

Shelley takes some pains to show that the real problem is not what Victor Frankenstein made, but how he reacted it. “Now that I had finished,” he says, “the beauty of the dream vanished, and breathless horror, and disgust filled my heart” (27). He rejects the hideous wretch he has created, but nothing about that seems inevitable. What would have happened if Victor had instead lived up to his responsibilities by choosing to nurture his creature? The bhaya arisen in Victor’s heart fills the bhaya in readers as well. The emotional rasa of bhaya terrorizes the readers about the unprecedented catastrophes of AIs and technologies. The society’s response to that new creature was disapproving. It would be shunned by the society because of its extraordinary visage. Thus, now we come to read Frankenstein from social prejudice and our perceptions of nature and natural. On the other side, it creates karuna among readers when we find poor creature living unsuccessful and lonely life. With Victor’s refusal to create a co-partner for his creature, our pity arises towards the creature. The self-living creature is in desperate need of someone similar to him who would give his existence an essence. But since, Victor fears the self-invention of such more creatures who could be catastrophic to human beings lead the creature more towards a pathetic life.

            To condemn Victor for violating “Mother Nature” with his “unnatural being” seems plan disturbing in the present. Certainly it bears out complain of British biologist J.B.S. Haldane in 1924, “There is no great invention from fire to flying, which has not been hailed as an insult to some god. But if every physical and chemical invention is a blasphemy, every biological invention is a perversion” (quoted in Ball). Modern scientific developments involve a complex and case-specific chain of events, and incur a delicate balance of pros and cons showing a lack of foresight to creature’s future and his role, Victor dejustifies the creature. He perceives the creature only as the inception of some evil chaos bestowed upon future humanity. Thus, the self-verified reason transforms the creature into a new superhuman.

Elaine Graham writes that Digital technologies create new personal and social worlds. Cybernetics devices are incorporated into the body as prostheses or implants. The twenty-first century body no longer ends at the skin (2). Victor’s creature is assemblage of fleshes from different human corps. May be that corps were so vile because of pre-technological consciousness of Shelley. Shelley came to make this creature a scene of horror that of course is the result of early innovation which was still unsophisticated. Victor narrates:

I collected bones from charnel houses, and disturbed with profane fingers, the tremendous secrets of human frame. In a solitary chamber, or rather cell, at the top of the house, and separated from all the other apartments by a gallery and staircase, I kept my workshop of filthy creation. (26)

Victor’s laboratory room looks like gloomy bed of the dissecting room and the slaughter-house.

            According to the rasa theory, the aesthetic pleasure in art and literature is derived through the power of suggestion (vynjana). But it also plays important role in providing aesthetic pleasure through horror. The rasa theory distinguishes nine kinds of aesthetic pleasure which are based on corresponding emotional states: peace, anger, love, laughter, grief, wonder, disgust, heroism and horror. The horror rasa is, therefore, as valid in the rasa theory as the comic, the pathetic and the marvelous. Indian aestheticians believe that in a suggestive work of art, “the emotion is brought out by suggestion and resides in and ideal plane as forms or essences of their specific contents or instance in actuality. The ordinary emotion (bhava) is said to be transformed into an extraordinary mood (rasa) which is aesthetic delight embodied in the particular emotions” (Odin 298).

            The emotions are always evoked through suggestion rather than denotation. The traditional rasa scholars give primary emphasis to erotic (Sringara), pathetic (karuna), and serene (santa) rasa while delegating an inferior role to the horror (bhayanaka) rasa. The horror rasa is, however, an important part of Indian literature as is evident from the abundance of demon stories. Victor first noticing the creature is terrified and runs fast to escape the probable attack. “Unable to endure the aspect of the being I had created, I rushed out of the room, and continued  a long time traversing my bed-chamber, unable to compose my mind to sleep” (27). He tries to forget the bhayanaka face of his own invention. He gets disturbed by the wildest dreams. He dreams holding the corpse of his dead mother. He couldn’t sleep in horror. “I started from my sleep with horror; a cold dew covered my forehead, my teeth chattered, and every limb became convulsed” (27). He is afraid of it and describes it as the wretch; the miserable monster which in turn evokes bhaya in readers. The way Victor escapes from his own creation, walking up and down in the greatest agitation, listening attentively, catching and fearing each sound makes his life miserable. He calls it demoniacal corpse.

When readers read the line describing Victor’s reaction to such as artificial creature probably the very first artificial intelligence as ell evokes the suggested meaning of fear. She forgets individual identity, thereby identifying himself with the universalized aesthetic object. Owing to her identification with the aesthetic object, she encounters fear directly, which give rise to horror (bhayanaka) rasa. “Oh! no mortal could support the horror of that countenance.  A mummy again endured with animation could not be as hideous as that wretch” (28). He describes the creature more monstrous than the mummy. For him, such creation has no comparison in term of horror it produces. Thus, “the aesthetic experience at the cathartic level” is not caused by the objective cognition of the dominant emotional state of the protagonist, but it is rather the “self-experience of the self” free from all limitation owing to the spectators identification with the focus of the situation.

Edgar Allan Poe suggests the difference in reaction shown by the two people to the same situation. He believes that an emotional mood of horror is created in order to shock the reader into action. The reader is no longer isolated in his safe world; instead he becomes a participant in the situation (Odin 308). Victor describes the creature, “I had glared on him while unfinished; he was ugly then, but when those muscles and joints were rendered capable of motion, it became a thing as even Dante couldn’t have conceived” (28). He finds the creature much more horrible after the creature is successfully comes to function. It was ugly before it was completely active he believes, but it turned into hideous object after successful trial.

            V.M. Kulkarni writes, “To say that all rasas are pleasurable is against experience. Karuna, raudra, bibhatsa and bhayanaka-these four rasas cause indescribable pain to sahrdayas (sensitive, sympathetic and responsive spectators). They simply shudder when they witness plays depicting these rasas” (283). Such fearful description of the self-invented creature by Victor loads the readers with dark horror of losing his life from malicious development of technology as would be termed by Isaac Asimov. Painful rasas are as sweet to enjoy as the pleasant rasas.

            Tragic events, when represented on the text can never cause pleasure or delight in the hearts of readers or viewers. Shelley explores the pleasurability of horror (bhibhatsa) and terror (bhayanka) through a rather ghastly description of the creature of Victor. But towards the end when the creature reveals the reason behind his brutality, the aestheticised experience of rivery (karuna) comes with a slight twist.

Abhinavagupta (c.1000) further specified rasa to be a clarification of a spectator’s own latent emotional properties, resulting in a momentary manifestation of an inner brahamasavada-the tasting of ultimate bliss” (Sathaye 362). He suggests that enjoyment of rasa is only the semblance of that bliss. He tries to establish the pleasurability of unpleasurable emotions. For, most Kashmiri critics (Abhinavagupta,Mammata, Dhananja) the otherworldly (alaukika) nature  of rasas guaranteed a transcendent pleasure, no matter what their specific emotional value. Even for those who admitted that rasas produce both pleasure and pain (sukhadukhatma), the unpleasurable rasas served either a satirical function or were carefully subordinated to pleasurable ones.

            According to Bharata, “Spectators who feel joy when there is joy, and who feel sorrow when there is sorrow are known to become depressed when it’s a depressing play” (Sathaye 369). Victor’s gothic description in similar base frightens the readers.  A general pattern thus appears in experience of bibhatsa; first a feeling of disgust or shock, then an exposition of the unpleasurable imagery of the narration itself. Rasa for Abhinavagupta did not constitute a true emotional event, but involved a generalize affective state occurring in the spectator’s mind and extracted from a remembered personal experience of emotion.

Arya Ksemisvara exposes an ambivalence between curiosity and anxiety in how we experience unpleasuarable rasas-though we, as spectators ought to delight at a poet’s skillful description of awful things, there lurks as ever-present danger that these awful things might be real and that they might actually happen to us” (37). Victor’s creature also produces the fear of such artificial creature that can outsmart the whole race of human beings.

The creature and Victor finish their conversation in a hut on the slopes of Montanvert. This important chapter is where the creature confronts his maker. The creature tells Victor, “You must create a female for me with whom I can live in the interchange of those sympathies necessary for my being” (80). Victor refuses and then later relents to the creature’s wishes to whom he calls monster. This scene arouses karuna because we sympathize towards the monster. The monster expresses his pain stricken grief and threatens work to destroy him. But his threatening also comes out as his deep pair over not having companion to share his feelings. So, he again pleads, “My creator, make me happy and do not deny my request” (81). The monster further promises to move away from continental Europe to the wilds of South America.

But Victor’s denial to make a lady companion to the monster arouses two complimentary rasa at the same moment. “I do not refuse it, and no torture shall ever extort a consent from me” (80). We feel angry towards the doctor but the same moment we sympathize and have karuna towards the monster. Karuna rasa becomes more dominant when the monster gives more logical answer requesting for his companion than the doctor for denying his request. He answers, “What I ask of you is reasonable and moderate, I demand a creature of another sex, but as hideous as myself: the gratification is small, but it is all that I can receive, and it shall content me” (81). The monster’s demand is more plausible because he doesn’t demand beautiful companion. He just wants someone like him who could shares his emotions. He just wants to feel the reason of being in the world. He even promises Victor that he would leave the human habitation if only he consents on his request. This reasoning evokes great karuna bhava among the readers because we come to realize how excluded the monster feels in the society.

Victor is perpetually haunted by the sense of malicious monster who has turned his life into a miserable story. Though he promises the monster to make him a companion to avoid his ferocity, he deep down is panicked by the terror borne by himself. He exclaims, “Oh! stars, and clouds, and winds, ye are all about to mock me: if ye really pity me, crush sensation and memory, let me become as nought” (83). Such wild and miserable thoughts arouse the terror resided inside him. He wants to leave everything and flee away from this terror, but he couldn’t because the monster is not only a creature rather a super-creature with high Emotional Intelligence (EI). He would exactly know where Victor goes and what he does. He is capable of keeping surveillance on him all the time. Victor’s idea of fleeing away from him is undoable.

Elizabeth’s farewell bid to Victor also arouses the karuna among us through the sense of anxiety that we feel during their separation when Victor finally starts his journey as he says like two years of exile. Elizabeth weeps and says, “We all depend upon you; and if you are miserable, what must be our feelings?” (86). The miserable condition of Victor makes Elizabeth miserable and this realization of miserability of Elizabeth makes the readers emotions miserable too.

The problem with Victor’s making second creature is the after consequences based on ‘If’ hypotheses. He guesses the wrong consequences of the she-monster. He speculates what if they would loathe each other, what if she would go for another man. Since the doctor knows everybody already loathed his deformity, there is high probability that she would also reject him and we would feel more exasperated than ever. This kindles more karuna towards the unlucky monster. But again the terror pounds him as he notices the monster peeping his secret job from the corner of his laboratory. All of sudden the ghastly grinning of that monster’s lips shatters his all faith on him. He quickly feels being emotionally cheated by the monster’s pathos. When he realizes the monster’s secret surveillance he immediately realizes the some sinister inside him, “As I looked on him, his countenance expressed the utmost extent of malice and treachery” (93) and decides to stop his job re-evoking the monster’s wrath and final warning of terror.  The monster becomes able to threaten him for the final time tickling the supreme sense of bhayanaka in us. He groans, “I go, but remember, I shall be with you on your wedding-night” (94). This burns the rage of vengeance inside Victor. He wants to kill and get hi lost into the ocean, but he couldn’t since the monster is a supercreature.

Now, we feel sympathy even for the doctor as well when we realize the unprecedented forecast of his would be wife’s murder. He clearly remembers Elizabeeth being brutally snatched from him on the very auspicious night of a wedding couple. But the doctor’s work of creating a female monster was nothing beautiful. It was even more disordered and ugly. Perhaps he might have been unsuccessful. The way he describes the torn pieces of the monster as ugly and hideous tells the true nature of his work. He reflects, “I ought not to excite the horror and suspicion of the peasants” (96). He never then gives a single thought to create another fiend like him. But the idea of Victor taking firm resolution leads the readers guess towards worst terrible consequences. Thus, the bhayanaka in its real sense is evoked through the monster’s dreadful warning.

Thus, Shelley’s Frankenstein blends the aesthetic experiences of karuna and bhayanaka through the tug-of-war between the doctor and the monster for confirming their demands ethical by their own justification. Monster’s persistence need of a companion pitifully excites whereas the doctor’s subsequent description of the monster as a gruesome character kindles the bhaya in readers. The subsequent turnover of bhayanaka and karuna continually forces the fluctuation of these two rasas in readers. The bhaya of technological super creature and pity of deserting him alone evinces the bhava of sukhdukhatma inherent in every human being.

 

 

 

 

 

 

 

Works Cited

https://www.theatlantic.com/science/archive/2017/04/franken-science/523560/

Odin, Jaishree. “Suggestiveness: Poe's Writings from the Perspective of Indian ‘Rasa’ Theory.” Comparative Literature Studies, vol. 23, no. 4, 1986, pp. 297–309. JSTOR, www.jstor.org/stable/40246716. Accessed 15 Feb. 2020.

Sathaye, Adheesh. “The Production of Unpleasurable Rasas in the Sanskrit Dramas of Ārya Kṣemīśvara.” Journal of the American Oriental Society, vol. 130, no. 3, 2010, pp. 361–384. JSTOR, www.jstor.org/stable/23044957. Accessed 15 Feb. 2020.

Shelley, Mary. The Project Gutenberg eBook of Frankenstein. Produced by Greg Weeks, Mary Meehan and the Online, Version 1818, Dec 10, 2010. http://www.gutenbe rg.org/files/41445/41445-h/41445-h.htm. 

Ghunghat of Madhesh: A Profusion of Anti-democracy or Caches of Soft Ritual?

Cultural hegemony devises people. It segregates the people from two or more distinct culture. Especially people who come from first class find second class citizens of their own country culturally backward and uncivilized. The caste system in hindu countries like our has typically refortified those class and caste who have been privileged from decades ago. Thus its not surprising for Kathmanduites to find Janakpurian a way backward than them because they live in capital city. Living in sophisticated plaace and thus glorifying oneself is the matter of ego satisfaction on the circumstance of materialism. Materialistic thoughts and movement of people also creates fraction among them. People with privilege of all the necessary and advanced suppliers regard them more advantaged. Thus binary and heterogeneous cultural formation are the results of society’s geographical and cultural practices. Such cultural practices are vague because they don’t have scientific measures to define their parameters.

No big matter that Kathmandu and Janakpur both are holy cities. Both share common culture of hindu doctrines but the problem with them is class and caste system. Caste system has even become successful to keep one in border of indifference. Another most striking cause is the varied cultural practices that have made Janakpurians far way to catch the status of Bihar’s and Uttar Pradesh identity. Culturally the social dogmas make them for incompatible cultures of hilly and Himalayan region. The practices of marriage, family life and daily life behavioral are much ruled posed. The private life of women in Janakpur has been presented as much ideal and prestigious because they are regularized in strict paternal society. The cultural practices of putting a woman under “Ghunghat” represents not civilized and most prestigious culture for those western loving women of valley.

Civilization and city culture has been able to put us far from each other. We hardly find the person from other culture mere tolerant and as good as us. This is typically much bigger problem in valley because of education and fast pacing internet. Being accustomed with western culture and trying oneself to put on level of westerners by copying their dress style and phony language valley dwellers have been able to marginalize the Madhesh ideology. City dwellers are nothing more than a mannequin dressed and tongued in western discourses. Should we let them construct this identiy or should Madhesh need to change the ideology? The cultural construction of ideology and habitual practices are the reasons that have surely kept Madesh in periphery of cultural progression. S

Janakpur and Kathmandu are the emblems of two culturally distinct orientations. Former is cosmopolitically governed whereas latter remains as historically governed. The cultural ambivalence between them is defining them in their own terms. The right hand of binary opposiotion always functions as the powerful device to subvert the left hand side of the powerful regime. Thus, the distraction of civic culture found in Madhesh culture must be put to access of a bit global and scientific education. Culturally forming binary and oppsiting ideas were there in history and will continue to exist despite persistent activism and call for recognized appearance. The appearance doesn’t seem problem here rather the acquisition of self purity. Confronting the current crisis of cultural binary opposition must thus be challenged and subtracted from the egotistical notion of caste and class superhot by valley dwellers. Resolute and prudent consciousness of city dwellers will help to curtail such detestable ideas for each other.

The Creative Process of Fancy and Imagination in S.T. Coleridge’s Poem “Kubla Khan”

The Creative Process of Fancy and Imagination in S.T. Coleridge’s Poem “Kubla Khan”

"Kubla Khan" is a poem about the creative process. According to the account given in the headnote published with "Kubla Khan" in 1816 should be regarded as a factual account of the poem's origin. Coleridge sensed that he composed a poem in simultaneous response to a vision seen during "a profound sleep.” Therefore, how the poem manifests the concept of poetic creativity of fancy and imagination becomes a researchable issue.

According to the headnote, the poem is exactly what Coleridge set about when he awoke. Having "a distinct recollection of the whole, and taking his pen, ink, and paper, he instantly and eagerly wrote down the lines that are here preserved" (296). Had the act of transferring the "composition" from mind to paper been completed, it would have represented the final but all-important step in the creative process, for externalizing the artist's conception not only gives it a concrete embodiment, but also makes it accessible to others who can then respond to it as the artist responded. Unfortunately, this last step of the creative process was interrupted by "a person on business from Porlock" who detained Coleridge "above an hour," after which he found "that though he still retained some vague and dim recollection of the general purport of the vision, yet, with the exception of some eight or ten scattered lines and images, all the rest had passed away like the images on the surface of a stream into which a stone has been cast.

Critics disagree on just how much of the published poem actually reflects the vision. Some maintain that it is only the first two stanzas, the third stanza having been added later as a postscript explaining why the poem could not be finished in its original form (Schneider 247-48). Still others think Coleridge wrote all fifty-four lines between his waking and the interruption (Stevenson 605). Another possibility, supported I think by the head note, is that the published poem incorporates in the first stanza, which corresponds closely with Purchas His Pilgrimage, the work Coleridge was reading when he fell asleep, the "eight or ten scattered lines and images" committed to paper between Coleridge's waking and the interruption by the man from Porlock.' The rest of the poem as published is most probably the result of later composition.

The landscape described in stanzas one and two of "Kubla Khan" is the usual starting point for any reading of the poem in terms of the creative process. Even if, as I believe, the first stanza basically reflects all that was transcribed of the grand poem conceived during the vision, it nevertheless stands in close relationship with the second stanza, the two forming a unit but differing in focus, as I shall explain later. The relational pattern established in the first two stanzas between the chasm, fountain, river, caverns, and underground sea does suggest the mind and its activities. As Irene Chayes argues, "the landscape with its descending levels would be the mind as structure, and the processes within it, summed up in the flowing of the river, 'meandering with a mazy motion,' the mind as activity" (7). It should be emphasized from the outset that the poem reads "In Xanadu" not "At Xanadu." Thus, everything described in the first two stanzas is "In Xanadu"-the fountain, chasm, river, caverns, sea, as well as Kubla Khan, his garden and his pleasure-dome. If the landscape reflects the mind and its activities, then Xanadu is the symbolic name for the mind.

The basic structural feature of Xanadu is its circularity, defined by the course of Alph, "the sacred river" (line 3). Rising out of the "deep romantic chasm" (1. 12) amid the turbulent but intermittent gushings of a "mighty fountain" (1. 19) which is its source in the upper or  visible region of Xanadu, the river flows "with a mazy motion / Through wood and dale" (11. 25-26) until it reaches "the caverns measureless to man" (1. 27). There it descends "in tumult" (1. 28) into what is called alternately a "sunless sea" (1. 5) or "lifeless ocean" (1. 28), that is, into the lower, hidden region of Xanadu. I call the visible and hidden regions of Xanadu correspond to the conscious and unconscious realms of the mind.

                        Warren Stevenson points out, "the river presumably returns to the fountain via the sunless sea, like a serpent with its tail in its mouth-the ancient symbol of eternity”(609). The structure of the Xanadu landscape is analogous in that it encompasses both light and dark, visible and hidden, conscious and unconscious aspects united through the circular course of the river. As the basic structural pattern of the Xanadu mind-landscape, circular motion allows depiction of the conscious and unconscious, the measured and measureless aspects co-existing in the mind's processes. The perpetual, circular course of the river reflects the unity of the diverse and seemingly opposed elements.

The fountain is a necessary component for creativity in the poem. As the immediate source of the river in the visible or conscious region of  Xanadu, the fountain and the chasm from which it "momently" gushes represent the well-spring through which the unconscious becomes conscious. The fountain-chasm symbolizes the initiating point of conscious thought, depicted as a violent but potentially fertile springing forth from what has been "sunless" and "lifeless," dark and unformed. Because the passage from the unconscious to the conscious is shrouded in mystery, the place where that passage or birth occurs is appropriately "holy and enchanted" (14), like the originating stage of life itself. Irene Chayes claims that the river "corresponds to the secondary imagination" (10) is unconvincing.

Like the fountain, the river is also a necessary condition for creativity in that it presumably fertilizes the ground upon which creation takes place in the poem but the river itself is not a creative power any more than the fountain is. Nevertheless, even as the fountain is "holy and enchanted," the river is properly termed "sacred" because it represents the stream of thought; it is the life of the mind, the unifying first principle of all mental activity, signified by its name, Alph. As indicated earlier, the river flows through the conscious realm of Xanadu from a source ultimately rooted in the unconscious to a terminal point that returns it once again to that dark, mysterious region. In contrast to the fountain-chasm, the "caverns measureless to man" (4) represent the initiating point of the unfathomable unconscious, the "sunless" or "lifeless" underground sea. There, the river is seemingly lost as it becomes undifferentiated in the formless sea but only to well up again through the fountain-chasm, ever new yet ever the same.

            According to Coleridge, the imagination is the mind's "shaping or modifying power" (Biographia 160), the "true inward creatrix," that "instantly out of the chaos of elements or shattered fragments of memory, puts together some form to fit it" (107). In the poem, that function is best fulfilled by Kubla Khan himself, for it is he alone who creates in the mind landscape. Although he is neither a symbol of God nor of "Mankind", his role in the poem is all-important, a point reinforced by the very title of the poem. As the mind's creative power, Kubla Khan is a reflection of the divine in man, what Coleridge calls "a repetition in the finite mind of the eternal act of creation in the infinite I AM" (Biographia 167). As the imagination, Kubla Khan resides in the mind "In Xanadu" and there he creates the visions that must then be embodied in art.

Kubla Khan's creation best justifies his identification as the imagination. Considered in its totality, his creation reflects a triple structure, and Coleridge would have known that three is the Pythagorean number signifying completion and the synthesis of opposing elements (Cirlot 222). At the center of Kubla's creation stands the pleasure-dome with its opposing elements of sun and ice unified into what is later called "a miracle of rare device" (1. 35). Surrounding the dome and forming the second of the three structural divisions are "gardens bright with sinuous rills" (1. 8) and "forests ancient as the hills" (1. 10). Like the sun and ice of the dome, the gardens and forests reflect opposing elements, the gardens suggesting the ordered, cultivated, and artificial and the forests the free, untamed, and natural.

Yet, despite their opposition, both seem to blend harmoniously in their "here" and "there" placement around the dome. They are further unified by the third structural division of Kubla's creation, for the gardens and forests are in turn "with walls and towers ... girdled round" (7). Even this third division reflects a union of opposites, the walls representing the horizontal and the towers the vertical or even perhaps the feminine and masculine respectively.6 Some have specu lated that the outer enclosure of walls and towers forms a square or rectangle (Suther 242; Woodring 362-63), but the words "girdled round" suggest that even this portion is circular in shape. Imagistically, Kubla's entire creation could be said to resemble a domed, three-tiered crown, the walls and towers forming the outer circlet. As such, the creation emblems Kubla's crowning achievement: his transmutation of opposing elements into a unified whole symbolizing perfection.

As described in the first stanza, the creation reflects the  shaping and modifying, the balancing and reconciling power of imagination, not, as Chayes argues, the mere "work of the arranging and ornamenting fancy" (8). The idea of achieved perfection is further implied by the "twice five miles" occupied by the total creation (a dimension I take as referring to the diameter of the whole circular structure), for ten is the Pythagorean number that raises all things to unity and is considered the number of perfection (Cirlot 223).  The act of building is unnecessary "In Xanadu" because the imagination is a "synthetic and magical power" which "instantly out of the chaos of elements ... puts together some form to fit it." Significantly, the only reference to building in the poem comes later in stanza three, and there it is the "I" who pro claims he "would build that dome in air" (46). The hiatus (break) between the "decree" of stanza one and the "build" of stanza three is crucial to an understanding of the poem as a metaphorical expression of the mind's creative process.

Whereas the first stanza focuses on Kubla's creation itself, the second stanza focuses on that creation in relation to the surrounding landscape, particularly the river. n. The instant Kubla's creation came into existence, it would be reflected on the river, and that is how it is seen in the second stanza. Because its reflection is projected midway on the waves between the "ceaseless turmoil" of the fountain and the "tumult" of the caverns leading to the "lifeless ocean," Kubla's creation has an uncertain reality in relation to the river:

 The shadow of the dome of pleasure

 Floated midway on the waves;

Where was heard the mingled measure

From the fountain and the caves. (31-34)

Although it presumably fertilized the ground where Kubla's creation came to be, the river merely allows the "shadow" of that creation to be reflected back on itself. The stream of thought supplies imagination with the "fertile ground" upon which to exercise its "synthetic and magical power," and it simultaneously serves as the mirror upon which the imagination projects or reflects its creation. If stanza one begins with creation, stanza two ends with impending destruction. The creation of stanza one is a floating shadow in stanza two, and both have been lost in the passage of time.

The only counter against the implied loss is missing from the first two stanzas, but it is recognized and celebrated in stanza three, an integral part of the poem's metaphor.. As Chayes argues, stanza three is a corrective stanza, but it does not reflect a "new creative process" (17) at work in the poem. . The picture must be painted, the statue sculpted, the poem written to be considered finally as fully realized works of art. In other words, the artist must act on the conception; there must be "consciousness of effort," reflecting what Coleridge calls imagination "co existing with the conscious will" (Biographia 167). Through an effort of will, the artist can, as it were, rescue the conception and give it an external form through art. That finalizing step is the subject of stanza three.

The vision of the damsel with the dulcimer singing of Mt. Abora symbolizes the artist in the act of executing what has been conceived or created. Because this vision is also from the past, it may reflect Coleridge's own past achievements, but more likely it represents those of artists in general that serve as models or examples for the "I" of stanza three. e. As depicted, the damsel gives outward expression to her own inner vision or imaginative conception in "symphony and song." In so doing, she transmits her conception and awakens in those who hear a responding sense of pleasure or delight. Together her "sym phony and song" is analogous to the written poem, the symphony or underlying melody corresponding to the poem's rhythm or meter and the song to its words or images, both combined as a unified expression that embodies and externalizes the inner conception.

The "I" of stanza three is the poet recognizing the need to bridge  the gap between conception and execution, between the decree and the building. To that end, he would follow the damsel's example:

Could I revive within me

Her symphony and song,

To such delight 'twould win me,

That with music loud and long,

I would build that dome in air,

 That sunny dome! those caves of ice! (42-47)

The union of symphony and song, meter and word, form and content would allow the poet to execute Kubla's decree by building the "dome in air.” The final emphasis in the poem falls on the effects that would be produced on those who hear the poet's own music/poem.

Thus, the original poem begun but never finished becomes finally a poem about the creative process, symbolically depicting the unexpressed fragility of the original conception while at the same time affirming the powerful effect of that conception when built or ex pressed through the efforts of the poet's conscious will working in tandem with imagination. r." The published poem is a finished work about a fragment. The three stanzas of the published poem reflect in their own "symphony and song" the lost tripartite creation once decreed by Kubla Khan in the Xanadu of the poet's mind.

Works Cited

Chayes, Irene H. "'Kubla Khan' and the Creative Process." Studies in Romanticism 6 (1966): 1-21.

Cirlot, J. E. A Dictionary of Symbols. Trans. Jack Sage. New York: Philosophical Library, 1963.

Coleridge, Samuel Taylor. “Anima Poetae.” Ed. E. H. Coleridge. Boston, 1895.

Biographia Literaria. Ed. George Watson. New York: Dent, 1956.

The Collected Letters of Samuel Taylor Coleridge. Ed. E. L. Griggs. 4 vols.

Schneider, Elisabeth. Coleridge, Opium, and Kubla Khan. Chicago: U of Chicago P, 1953.

Suther, Marshall. Visions of Xanadu. New York: Columbia UP, 1965.

Woodring, Carl R. "Coleridge and the Khan." Essays in Criticism 9 (1959): 361-68.

Coleridge's Fancy and Imagination Analysis

Fancy and Imagination

Especially it deals with two distinctions:

·       Primary imagination

·       Secondary imagination

They are discussed in relationship with poetry; especially with romantic poetry

Another term ‘Fancy’ comes parallel with these two terms.

Fancy: Coleridge builds his theory on basic difference between fancy and imagination. To him imagination is very very important to the making of a piece of poetry. Fancy is something which goes into logical fact. It’s the mechanical ability of a poet; a poet’s ability to use the mechanics of a poetry making. Like his art in using the devices, like metaphors, simile, alliteration, assonance, the ability to use these poetic devices and blend words into sentences carefully to make them beautiful like poetry.

In fancy, a poet’s imagination doesn’t come into play. It is merely the representation of feeling or reality of an observation by making it appear patterned than it would have been, can be represented by someone who is not poet. So, what makes a poet say some mundane things differently is a fancy. So, in order to be fanciful as a poet, one needs good knowledge in language, the way rhymes work, rhythms work and very good knowledge of poetic devices like. So, by using these things a poet can make his poem beautiful. So, what does, a poet do is merely tags his impressions. He takes the photographic impressions from nature or from experiences and weaves them in source of well at, they appear beautiful. But a poet does not use his personal musing. The poet does not create anything out of what he collected from his experiences, his impressions. So that is fancy.

Now, from a piece collected from experience or impressions or from thoughts or from memories when the poet starts using his conscious, unconscious mind and add something from his personal side other than what was there in his speaking from his experiences, he enters the domain of imagination.

So, fancy is a lower class and imagination a higher class of the same thing. Now, what happens in imagination? The point can do two things. What happens in primary imagination is, Primary imagination is creative. It is a regional and it comes from the unconscious mind of the poets mind. Human individual power to produce images is brought into play, creating something which was not there in the plain reception done by the heart, mind and the heart.

For, example, you saw many things on the river banks and beautifully note them describing what you saw, you’re still using fancy. And now you start contemplating on the rambles comparing it with life, thinking that you too are like the river bank then you’ve started primary imagination. The power to give chaos, the certain by bringing in your personal emotions and sympathies, you give it order, you give a colour, you add something to the photographic description and that is where the primary imagination is worked. You’ve started infusing your personal feelings which were not there. Certain things you infuse, you make connections, you make comparisons of natural things with your personal life and thoughts and there you’ve added something to what was already there. That is where your primary imagination has come into use.

Secondary imagination to Coleridge is very high, very powerful, probably the highest faculty the poet posses from where high and sublime poetry becomes possible. What there is in secondary imagination?

It is the poetic faculty which not only gives shape and certain order to given word but builds a new world, a new art theme is produced from a producer or writer. So, it is here where the poet re-creates the world. He creates something different which was not there in his impressions. For example, in Kubla khan towards the end, by imagining the music of Dulcimer maid from Abysinia, he creates his imaginary dome, his own imaginary building, his own imaginary cave of ice which is not the cave of ice of kubla khan. The cave of ice described in the last stanza of kubla khan is not kubla khan’s original pleasure dome, that is described in the first part of the poem. In the last by imagining the music, the poet is able to create the environment of ground where the real palace of Kubla Khan stood. And in the banks of these imaginary environment, he is able to create all together new things.

This faculty, this power of a poet to create all together new things is the handy work of secondary imagination. So, fancy receives things. In fancy, the poet doesn’t add any other imagination from his or side. All that the poet does is decorates the goods, place them in correct order, in beautiful order, give beauty to expression. In Primary Imagination, the poet starts cementing the fancies by something original, by something creative unconsciously.

For example, in the second stanza of the poem Kubla Khan, in the palace that was built by Kubla khan, Coleridge starts musings these sounds, the wailing of a demon’s lover, the weeping of a woman which was not there in the original scene you saw. By connecting these with human sympathies, he is using human emotions.

By doing this, he is not creating something that is not there. In what was already, in those sounds that was already there, he starts feeling the sounds of humanity, the sound of prophesies are being made. So, these sounds are the amplification of sounds to sounds that already existed, the sound of river are before long the sounds were played in savaged place and in those sounds, Coleridge through imagination is locating human sympathies. This is where Primary Imagination works and towards end, he is all together recreating the place that was not there and here Secondary Imagination has come into play.

Subjectivity is an aesthetic theory of mind’s subjective experience of the external world.

We feel pleasure from our secondary imagination.

Georg Lukacs on “Art and Objective Truth” Summary

Artistic Representation of Reality

The artistic representation of reality rests on the same contradiction as any other reflection of reality.

The goal for all great art is to provide picture of reality in which the contradiction between appearance and reality, the particular and general, the immediate and the conceptual is submerged.

A sense of inseparable integrity

The universal appears as the quality of the individual and particular

Reality becomes manifest

It can be experienced within appearance

The general principle is exposed from the individual case.

Every work of art must present a circumscribed, self-contained and complete context with its own immediately self-evident movement and structure.

Special context in literature

Only the conclusion provides the full clarification of beginning

Every work of art evolves within itself all the preconditions for its characters, situations, events, etc.

Reader is conducted to the outcome.

The basic materialism of all great artists is partly or completely idealistic.

Every significant work of art creates its own world; characters, situations, actions

Illusion in any case necessary because readers’ surrender himself to the general effect of the work of art.

Non- correspondence with reality but non-correspondence is merely an illusion.

Readers’ reflection of reality must be broadened and deepened.

The extensive totality of reality is beyond the possible scope of any artistic creation.

The totality of the work of art is rather intensive; the circumscribed.

The briefest song is as much as an intensive totality as the mightiest epic.

In representing individual men and situations, the artist awakens the illusion of life.

If a work of art depicted only the overflowing abundance of new concepts, only those aspects which provide new insights, only the subtlety beyond the common generalization about ordinary experience, then the reader would merely be confused instead of being involved.

Active social function- the propaganda effect of genuine work of art.

Partisanship of objectivity must be found intensified in the work of art

The subject matter of work of art is consciously arranged and ordered by the artist toward this goal. (Engels=tendentiousness)

The paradox in the effect of  a work of art is that we surrender ourselves to the work as  though it represented reality and immerse ourselves in it although  we are always aware that it is not reality but simply a special form of reflecting reality.

Non correspondence in this respect is the pre condition of the artistic illusion.

Aesthetic illusion is only possible when the work of reflects the total objective process of life with objective accuracy.

In the period of bourgeois ascendancy-

·    There was parasitic divorce of art from life

·    Denial of any objectivity in art

·    A glorification of the sovereignty of the creative individual theory of indifference to content arbitrariness in form.

·    There should be mechanical materialism= selection of details on the basis of a photographic correspondence with reality

·    Objective anarchy in the selection and arrangement of their material.

New Nepali Rap

New Tharu Videos Culture or Taboo Medium