The poem's structure, moving from a description of Kubla Khan's decree to the violent power of nature and then to the speaker's personal vision, can be seen as reflecting:
A
A linear historical narrative.
B
The chaotic and associative nature of a dream.
C
A logical argument.
D
A detailed architectural plan.
উত্তরের বিবরণ
he poem’s structure reflects the chaotic and associative nature of a dream because:
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Dreamlike Origin: Subtitled “A Vision in a Dream. A Fragment,” the poem was inspired by an opium-induced dream that Coleridge attempted to capture upon waking.
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Non-linear Narrative: The poem shifts abruptly between Kubla Khan’s decree, the wild chasm, and the speaker’s memory of the Abyssinian maid, mimicking the unpredictable progression of a dream.
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Creative Tension: It juxtaposes human order (the pleasure-dome) with nature’s chaos (the river and chasm), reflecting the Romantic fascination with imagination versus untamed natural forces, much like a dream blends contrasting elements.
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Fragmentation: The poem remains unfinished due to the interruption by “the person from Porlock,” symbolizing the fleeting and elusive nature of inspiration, as in dreams.
This structure reinforces the fragmented, associative, and visionary qualities central to the poem’s dreamlike atmosphere.
0
Updated: 1 month ago
Which dramatist does Coleridge compare the wind’s softer tale to?
Created: 1 month ago
A
Shakespeare
B
Otway
C
Milton
D
Marlowe
Coleridge বাতাসের কম ভয়ঙ্কর সুরকে তুলনা করেন নাট্যকার Thomas Otway–এর কোমল ট্র্যাজিক কবিতার সাথে—“As Otway’s self had framed the tender lay।” অর্থাৎ কখনও বাতাসের সুরে তিনি মমতা ও কোমলতার ছোঁয়া পান। এই তুলনা প্রমাণ করে কোলরিজের সাহিত্যজ্ঞান এবং প্রকৃতিকে নাট্যরূপে কল্পনা করার ক্ষমতা।
2
Updated: 1 month ago
Ultimately, the poem suggests that dejection is primarily a crisis of-
Created: 1 month ago
A
faith
B
health
C
imagination
D
love
This analysis captures the heart of Coleridge’s creative and emotional crisis in Dejection: An Ode:
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Dejection as paralysis: The speaker’s grief is not sharp or dramatic but a dull, immobilizing numbness that prevents him from experiencing inspiration or emotional response to nature.
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Inner world shapes perception: Joy is framed as an internal, generative power. Without it, even the most beautiful external scenes—the night sky, the landscape—fail to inspire, rendering the world cold and lifeless.
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Imagination as the “shaping spirit”: Coleridge portrays the imagination as the source of both joy and creative vitality. Its absence leads to a profound inability to engage with either life or art.
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Contrast with the past: Previously, imagination transformed misfortunes into dreams of happiness, showing its restorative and transcendent power. The present state of dejection highlights the loss of this internal faculty, underscoring the Romantic view that the mind’s inner vitality is essential for experiencing and creating beauty.
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Updated: 1 month ago
Who are described as ‘seraphs’ in the final part of the poem?
Created: 1 month ago
A
Angels in heaven
B
Bright spirits standing above each sailor’s corpse
C
Voices guiding the Mariner
D
The Hermit and his companions
মৃত নাবিকদের দেহের উপরে আলোকোজ্জ্বল সত্তারা দাঁড়ানো থাকে। তারা seraph—স্বর্গদূতের প্রতীক। তারা নাবিকদের আত্মাকে মুক্তি দেয় এবং মেরিনারকে আধ্যাত্মিক মুক্তির দিকে ঠেলে দেয়। এটি দেখায়—পাপের পরেও ঈশ্বরের করুণা মানুষকে রক্ষা করতে পারে।
0
Updated: 1 month ago
