Kubla Khan Essays (5570 words) - British Poetry,

Kubla Khan Kubla Khan If a man could pass thro' Paradise in a Dream, & have a flower presented to him as a pledge that his Soul had really been there, & found that flower in his hand when he awoke -- Aye! and what then? (CN, iii 4287) Kubla Khan is a fascinating and exasperating poem written by Samuel Taylor Coleridge (. Almost everyone who has read it, has been charmed by its magic. It must surely be true that no poem of comparable length in English or any other language has been the subject of so much critical commentary. Its fifty-four lines have spawned thousands of pages of discussion and analysis. Kubla Khan is the sole or a major subject in five book-length studies; close to 150 articles and book-chapters (doubtless I have missed some others) have been devoted exclusively to it; and brief notes and incidental comments on it are without number. Despite this deluge, however, there is no critical unanimity and very little agreement on a number of important issues connected with the poem: its date of composition, its meaning, its sources in Coleridge's reading and observation of nature, its structural integrity (i.e. fragment versus complete poem), and its relationship to the Preface by which Coleridge introduc ed it on its first publication in 1816. Coleridge's philosophical explorations appear in his greatest poems. 'Kubla Khan', with its exotic imagery and symbols, rich vocabulary and rhythms, written, by Coleridge's account, under the influence of laudanum, was often considered a brilliant work, but without any defined theme. However, despite its complexity the poem can be read as a well-constructed exposition on human genius and art. The theme of life and nature again appears in 'The Rime of the Ancient Mariner', where the effect on nature of a crime against the power of life is presented in the form of a ballad. 'Christabel', an unfinished 'gothic' ballad, evokes a sinister atmosphere, hinting at evil and the grotesque. In his poems Coleridge's detailed perception of nature links scene and mood, and leads to a contemplation of moral and universal concerns. In his theory of poetry Coleridge stressed the aesthetic quality as the primary consideration. The metrical theory on which 'Christabel' is constructed helped to break th e fetters of 18th-century correctness and monotony and soon found disciples, among others Walter Scott and Lord Byron. Opium and the Dream of Kubla Khan Coleridge's use of opium has long been a topic of fascination, and the grouping of Coleridge, opium and Kubla Khan formed an inevitable triad long before Elisabeth Schneider combined them in the title of her book. It is tempting on a subject of such intrinsic interest to say more than is necessary for the purpose in hand. Since the medicinal use of opium was so common and wide-spread, it is not surprising to learn that its use involved neither legal penalties nor public stigma. All of the Romantic poets (except Wordsworth) are known to have used it, as did many other prominent contemporaries. Supplies were readily available: in 1830, for instance, Britain imported 22,000 pounds of raw opium. Many Englishmen, like the eminently respectable poet-parson George Crabbe, who took opium in regular but moderate quantity for nearly forty years, were addicts in ignorance, and led stable and productive lives despite their habit. By and large, opium was taken for granted; and it was only the terrible experiences of such articulate addicts as Coleridge and Dequincy that eventually began to bring the horrors of the drug to public attention. Coleridge's case is a particularly sad and instructive one. He had used opium as early as 1791 (see CL, i 18) and continued to use it occasionally, on medical advice, to alleviate pain from a series of physical and nervous ailments. But the opium cure proved ultimately to be more devastating in its effects than the troubles it was intended to treat, for such large quantities taken over so many months seduced him unwittingly into slavery to the drug. And his life between 1801 and 1806 (when he returned from Malta) is a somber illustration of a growing and, finally, a hopeless bondage to opium. By the time he realized he was addicted, however, it was too late. He consulted a variety

Using the Common French Expression Casser Les Pieds

Using the Common French Expression 'Casser Les Pieds' The French expression casser les pieds quelquun is a weird one, a true idiom that doesnt directly translate. Phrased correctly, it means to annoy someone. This expression has evolved from casser la cervelle to casser les oreilles to casser les pieds, with the meaning of casser being more to crush than to break. It is a very commonly-used expression in French. Il me casse les pieds avec ses problà ¨mes He really annoys/bores me with his problems. The idea behind casser les pieds is more annoyance than boredom. But its used with both meanings. Note that the construction requires an indirect object pronoun. This means the expression is used with words such as me, te, lui, nous, vous, and leur. Idioms are tricky in every language. In French, its not usual to say break a leg to wish good luck to someone, for example. Casser les Pieds This is an odd-looking idiom. If you say casser les pieds quelquun, it means to annoy/bore someone. If you say casser les pieds DE quelquun its physical, and it means you broke someones feet. On jouait au foot...Pierre a tirà © dans le ballon en mà ªme temps que moi. Il ma donnà © un grand coup de pied et il ma cassà © le pied. We were playing soccer...Peter shot the ball at the same time as I did. He kicked me hard and broke my foot. Pierre a passà © la soirà ©e me raconter ses problà ¨mes de coeur, et quand je lui ai dit darrà ªter, il est allà © casser les pieds quelquun dautre. Pierre spent the evening telling me his love problems, and when I told him to stop, he went on to annoy someone else. Synonyms There are a number of synonyms for this phase, including some very common vulgar options that appear in everyday French language and pop culture. Boredom Sennuyer (very common) Sennuyer comme un rat mort, or like a dead rat, which means to be very bored. (Common expression) Se faire chier (very common vulgar slang) Annoyance Ennuyer, agacer, exaspà ©rer, importuner (quite formal) quelquun. Casser les oreilles quelquun meeans literally to break someones ears, but this expression is mostly used when someone talks too much. Faire chier quelquun (very common vulgar slang)