Coleridge and the Psychology of Romanticism: Feeling and Thought [Hampshire and London: Macmillan, 2000 ], 21, 173 n. 45）。 [4] E. L. Griggs (ed.), Collected Letters of Samuel Taylor Coleridge (Oxford: Clarendon, 1956-71), vol. IV, 641. [5] Ibid., 641-42. [6] Northrop Frye, Anatomy of Criticism: Four Essays (Princeton: Princeton University Press, 1957), 145. [7] 参见原文： “As e’er beneath a waning moon was haunted / By woman wailing for her demon-lover”, “And from this chasm, with ceaseless turmoil seething”, “Huge fragments vaulted like rebounding hail,/ Or chaffy grain beneath the thresher’s flail”, “It flung up momently the sacred river./ Five miles meandering with a mazy motion / Through wood and dale the sacred river ran,/ Then reached the caverns measureless to man,/ And sank in tumult to a lifeless ocean”。 [8] Humphrey House在他的文章“Kubla Khan, Christabel and Dejection”中分析了前一句诗行的歧义性：如果重音置于“could”，那么可以理解为“If only I could, but I can’t”，这样，整首诗的主题就可以理解为创造力的丧失；如果“could”轻读，那么条件则是开放的，主题则暗示创造力发挥的可能性。Humphrey House选择的是第二种情况，他认为柯勒律治在写作该诗的时候，正在经历着创造力的复兴[见 Harold Bloom (ed.), Romanticism and Consciousness: Essays in Criticism [New York and London: W. W. Norton & Company, 1970], 306.]。无论是哪一种解读，均表明柯勒律治作为诗人的自我意识。 [9] J. L. Lowes认为，最后一行指缪斯女神的圣泉，也是心灵潜意识领域里的“深泉，”在这眼深泉，“意象和印象交汇融合，”而且“不停地沉降表面之下的碎片融化、吸收和合生为整体，”与柯勒律治在前言中所描写的创作过程翕然一致（The Road to Xanadu: A Study in the Ways of the Imagination [London: Canstable, 1927], 59, 60）。 [10] Humphrey House认为,诗歌的persona这里意欲建造的dome（“I would build that dome in air”）即诗歌的第一部分所言及的dome，就这一点而言，笔者不敢苟同；然而笔者同意他所谓的说该诗“is a triumphant positive statement of the potentialalities of poetry”的看法（Humphrey House, “Kubla Khan, Christabel and Dejection,” in Harold Bloom (ed.), Romanticism and Consciousness: Essays in Criticism (New York and London: W. W. Norton & Company, 1970), 307）。

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