and making a Lake, whence issueth a River, which having from these tops espied Nilus, never leaves seeking to find him, whom he cannot leave both to seeke and to finde....

There are no Cities on the top, but palaces, standing by themselves ...
spacious, sumptuous, and beautifull, where the Princes of the Royall blood have their abode with their families." This legend looks backward to Mandeville, with whose account of the Terrestrial Paradise it has much in common, and forward to Milton, who used some of its elements in his description of Paradise in the fourth book of "Paradise Lost." (See Professor Cooper's article in "Modern Philology," III., 327 ff., from which this is condensed.) Mr.E.H.Coleridge (the poet's grandson) has recently shown that in the winter of 1797-8 Coleridge read and made notes from a book, "Travels through ...

the Cherokee Country," by the American botanist William Bartram.

Chapter VII.

of Bartram's book contains an account of some natural wonders in the Cherokee country that almost certainly afforded part of the imagery of "Kubla Khan." Bartram, says Mr.Coleridge, "speaks of waters which 'descend by slow degrees through rocky caverns into the bowels of the earth, whence they are carried by subterraneous channels into other receptacles and basons.' He travels for several miles over 'fertile eminences and delightful shady forests.' He is enchanted by a 'view of a dark sublime grove;' of the grand fountain he says that the 'ebullition is astonishing and continual, though its greatest force of fury intermits' (note the word 'intermits') 'regularly for the space of thirty seconds of time: the ebullition is perpendicular upward, from a vast rugged orifice through a bed of rock throwing up small particles of white shells.' He is informed by 'a trader' that when the Great Sink was forming there was heard 'an inexpressible rushing noise like a mighty hurricane or thunderstorm,' that 'the earth was overflowed by torrents of water which came wave after wave rushing down, attended with a terrific noise and tremor of the earth,' that the fountain ceased to flow and 'sank into a huge bason of water;' but, as he saw with his own eyes, 'vast heaps of fragments of rock' (Coleridge writes 'huge fragments'), 'white chalk, stones, and pebbles had been thrown up by the original outbursts and forced aside into the lateral valleys.'" From these and from other like sources Coleridge's mind was no doubt stored with suggestions of tropical wonder and loveliness, which fell together--if his own account of the making of the poem is to be relied on--into the kaleidoscopic beauty of "Kubla Khan." It is not unlikely, too (cf.ll.