This video says about itself:
Kubla Khan by Samuel Taylor Coleridge, reading with text
9 February 2013
Kubla Khan (pron.: /ˌkʊblə ˈkɑːn/) is a poem written by Samuel Taylor Coleridge, completed in 1797 and published in 1816. According to Coleridge‘s Preface to Kubla Khan, the poem was composed one night after he experienced an opium influenced dream after reading a work describing Xanadu, the summer palace of the Mongol ruler and Emperor of China Kublai Khan. Upon waking, he set about writing lines of poetry that came to him from the dream until he was interrupted by a person from Porlock. The poem could not be completed according to its original 200–300 line plan as the interruption caused him to forget the lines. He left it unpublished and kept it for private readings for his friends until 1816 when, on the prompting by George Gordon Byron, it was published.
Some of Coleridge’s contemporaries denounced the poem and questioned his story about its origin. It was not until years later that critics began to openly admire the poem. Most modern critics now view Kubla Khan as one of Coleridge’s three great poems, with The Rime of the Ancient Mariner and Christabel. The poem is considered one of the most famous examples of Romanticism in English poetry. A copy of the manuscript is a permanent exhibit at the British Museum in London.
Apart from Coleridge’s poetic imagination, and descriptions by Marco Polo, there is more to say about Khubilai Khan and other Mongolian rulers of medieval China.
From the International Institute for Asian Studies in the Netherlands:
Khubilai Khan’s legacy: Inner Asian Influence on Chinese art
Date & time
19 February 2015, 14.30 – 16.30 hrs
Museumstraat 1, Amsterdam
14.30 – 15.00 Reception with coffee & tea in the foyer at the Auditorium
15.00 – 15.10 Welcome & Introduction
15.10 – 16.00 Lecture by Professor Morris Rossabi
16.00 – 16.30 Q&A
This slide-illustrated presentation challenges the conventional wisdom that portrays the thirteenth-century Mongolians as merely destroyers, killers, rapists, and plunderers. Although the lecture does not minimize the massacres and destruction wrought by the Mongolians, it also reveals their contributions to the arts and culture in China. Khubilai Khan, in particular, supported several of the most prominent Chinese painters, recruited Muslim weavers to add new motifs in Chinese textiles, appointed Mongolians to supervise the spectacular porcelain industry, and commissioned Tibetan and Nepalese painters and artisans to produce portraits of the Imperial family and to construct remarkable buildings in Dadu (or Beijing). Marco Polo, whose book introduced Khubilai to the West, was himself dazzled by the extraordinary art and culture he encountered in Mongol-ruled China.
To be sure, the Mongolians were not the artists and craftsmen, but they acted as sponsors, patrons, and consumers of the arts, thereby performing an invaluable service. Women, especially Khubilai’s wife and great granddaughter, were avid supporters of Chinese art.
Morris Rossabi is a historian of China and Inner Asia who conducted his initial research on traditional Chinese foreign relations and on the peoples along China’s borders. He wrote a biography of Khubilai Khan, which has been translated in many languages, including Korean and Russian, and helped to organize exhibitions at the Metropolitan Museum of Art, New York, the Cleveland Museum of Art, and the Asian Art Museum in San Francisco. He was commissioned to write three chapters for the Cambridge History of China. After serving as a Consultant for the Soros Foundation, he wrote the book Modern Mongolia. The author of numerous articles and speeches, he travels repeatedly to Central Asia and Mongolia, where he teaches courses on Mongolian and East Asian history.
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