The rewarding process of a ‘journey’ can be limited by the objective of a ‘destination’. All three composers Samuel Coleridge, Richard Kelly and Victor Kelleher explore the power of the imaginative journey to surpass the confines of a physical target. Coleridge’s “Kubla Khan” portrays the journey as a sensual experience that is both stimulating and rewarding. Whilst the imaginative journey on “This Lime tree Bower My Prison” is initially challenging, this only allows further sense of enlightenment as depicted in Richard Kelly’s film “Donnie Darko”. Victor Kelleher’s visual “The Ivory Trail", portrays the imagination as key to exploring a spiritual realm unlimited by a physical target. In all four texts, the physical ‘destination’ is portrayed as misleading, the ‘journey’ into the imagination is indeed, much more rewarding.
Samuel Coleridge’s Kubla Khan is a journey into the imagination, a realm of sensual experience, which transcends the limitations of a physical destination. Coleridge explores the imagination as a life force behind all creation. Coleridge’s depiction of Xanadu is enclosed with “walls and towers were girdled round”, which suggests the restrictive nature of the physical environment. Xanadu is portrayed as the destination, yet Coleridge’s imagination is the creative force, which transcends all its limitations. The journey is depicted as highly pleasurable, Coleridge’s tone is ecstatic in describing land features such as the “deep romantic chasm which slanted Down the green hill”. Rhythm is used to emphasise the vivid nature of Coleridge’s imagination, as well as the sensual and stimulating experience of the journey. Coleridge describes the houses in Xanadu as “A stately pleasure-dome decree”, alluding to the symbol of a cranium that is Coleridge’s mind. He uses the extended metaphor of the ‘River Alph’ as a symbol for the imagination, which is sacred to all experience. Coleridge uses alliteration in describing the river running, “Through caverns measureless to man”, indicative of his journey exploring the wealth of the subconscious mind. And thus, Xanadu is a metaphor for Coleridge as the emperor of the imagination. Which, paradoxically suggests the imagination is the paradise not the physical destination Xanadu. The secluded imagery of Xanadu has connotations of the four-walled yoni, an Asian symbol of the womb, which suggests God as present in nature through sexual imagery. Coleridge uses Biblical allusions in equating the power of the imagination to that of God’s creations. Throughout the poem Kubla Khan the imagination is depicted as sacred to all creation. Coleridge’s Kubla Khan portrays the imagination as a creative force, which allows Coleridge to undertake a journey, which is both rewarding and stimulating.
In contrast to Coleridge’s pleasurable journey in the poem ‘Xanadu’, the protagonist in the film “Donnie Darko” experiences a journey that is highly challenging yet, ultimately rewarding. Donnie Darko, is established in the opening scene with a tracking shot that depicts the sun rising as he wakes up in the foreground, indicative of his journey beginning. Donnie wakes up laughing, as if he has come to understand something, this sense of realisation feels like the scene should belong at the end. The opening is essential in introducing the circular form of the film, which is a reflection of the nature of Donnie’s journey. A journey, which does not lead to any certain destination, but instead brings Donnie to where he started, in a circular series of events. Donnie’s journey into the imagination is involuntary, as a result of the medication he takes to manage his supposed mental condition. The film is set in the late 1980’s, a significant era in American politics - centred around the Bush senior vs. Dukakis election. Ironically Dukakis was falsely accused of having a mental illness, this knowledge sows a seed of doubt about Donnie’s own mental condition, which is questionable. Donnie’s teacher explains, while looking down the barrel of the lens, “…to this prescribed nonsense, they’re slipping away.” Alluding to the negative effect of the medication Donnie is made to take. Donnie’s attitude towards his imaginative journey is initially, pessimistic. It is a confronting journey that allows Donnie a sense of self-discovery. After Donnie has taken his medication, a high-angle shot shows him following a voice down the stairs, a metaphorical descent into madness. As Donnie meets the voice, his face slowly dissolves into the giant Rabbit - Frank. This represents Donnie’s interior journey with Frank the phantom figure, who is conjured up as a result of Donnie’s medication. Sleep is used as a metaphor for the power of the subconscious or imagination, this is where Donnie’s involuntary journeys take place. Donnie is victimised by his alter ego- Frank, who represents Donnie’s dark side. Under Frank’s control, Donnie is made to completely destroy the school. Frank’s presence is haunting, which is seen with a high-angle shot revealing the slogan Donnie has written, “They made me do it”. As the film progresses, Donnie’s feelings towards his journey significantly change, he becomes more in control of himself he discovers the rewarding ability of the imagination for himself and those around him. An empowering, low angle shot captures Donnie stabbing Frank in the eye. Which symbolises Donnie’s revelation, moving away from the menacing ‘dark side’ to discover a sense of self. The central eye motif is threaded throughout the film, perhaps alluding to the evil-eye, or the ever watching presence that is Donnie’s alter ego- Frank. At the end of the film, Donnie dies alone, yet instead of being scared as he predicts throughout the film, he is seemingly content. He has understood that he must venture into the imagination and turn back time in order to sacrifice himself and save the girl he loves. In voice over he explains, “I can only hope when the world comes to an end, I can breathe a sigh of relief, for there will be so much to look forward to.” An extreme zoom of an eye, captures a hidden skull appearing and just beside this image, Donnie is laughing in his bed, as he is now aware that he must face death. Yet, he is perfectly content, having achieved enlightenment by saving the life of another. Donnie’s all-knowing smile, alludes to his self-fulfilment. His journey has come to an end. Donnie’s journey is depicted as highly challenging, yet ultimately incredibly rewarding. Donnie does not reach a physical landmark or ‘destination’, but instead reaches a milestone in personal development. The film “Donnie Darko” is a journey into the imagination, which results in a sense of enlightenment.
Coleridge’s poem “This lime tree bower my prison” explores a highly confronting imaginative journey that ultimate allows a rewarding self- fulfilment. Similarly to Donnie Darko’s involuntary journey, Coleridge is forced to take an imaginary journey, as a result of his limited physical ability. The imaginative journey is depicted as one of growth, the poet is initially scathing of his situation, which is expressed through his petulant tone. The use of exclamation emphasises the metaphor, “This Lime Tree Bower My Prison!” Which signifies the poet’s restriction from and sense of entrapment. Monosyllabic language such as, “Well, they are gone,” further highlights Coleridge’s feelings of self-pity. The poet’s restriction from a physical journey has diminished his connection with nature, which relies principally on sensory experience, it has thus, “Dimm’d mine eyes to blindness!” Each stanza reveals a tonal shift, which reflects the cyclical form of the poem, as well as the growth of the imaginative journey. The leaf is used as an extended motif to express this change, as Coleridge comes to realise nature’s immense beauty. Initially, the leaf holds connotations of a barrier, depriving Coleridge from endeavouring on a physical journey. And yet as the poem progresses Coleridge benevolently describes “Some broad and sunny leaf”. Thus portraying the exquisiteness of the nature surrounding him. By overcoming his original sense of loss, Coleridge has allowed himself to endeavour on an imaginative journey, which is ironically, more fulfilling than that of the physical. He metaphorically relates this journey to, “the solitary humble-bee Sings in the bean flower!” that is equally celebratory of its isolation. Furthermore, Coleridge comes to realise the complexity of the imagination, as the key to experience. Coleridge has achieved a sense of fulfilment and gratification, without reaching any physical destination. Recurring imagery of the ‘senses’, that “keep the heart awake to Love and Beauty!” conveys their ability to provide sensual experience. Alliteration is used to provide a sense of rhythm, “…sails light up The slip of smooth clear blue…”. Furthermore, it expresses Coleridge’s deep understanding and closeness to nature. Coleridge celebrates the omniscience of “the mighty Orb’s dilated glory”, which has enabled him an epiphany. Perhaps the Orb is a metaphor for the ‘all seeing eye’ that enabled Coleridge to absorb the true beauty of nature. Coleridge has transcended his physical restriction, accomplishing a sense of enlightenment on the imaginative journey.
Victor Kelleher’s visual “The Ivory Trail”, illustrates the ability of the imagination to surpass physical limitations of space and time, allowing a sense of enlightenment. Similarly to Coleridge’s “This lime tree bower”, Kelleher depicts the potential of the imaginative journey to allow spiritual growth. The tri-part composition is made up of a young traveler, an Egyptian Sphinx and Islamic prayer towers. The visual is united with an overlayed, winding sand path that furthers the notion of a physical journey, a direct allusion to the cliché “to walk the sands of time”. This is further emphasised with the enlarged text choice “TRAIL” in the foreground. And yet, the male’s gaze directs the audience to a spiritual journey as he looks up to the Islamic prayer towers, a supplication of god, which induces the concept death but also hope and the afterlife. Kelleher juxtaposes symbols of the physical journey with the protagonists upwards gaze to suggest a deeper and more insightful journey is being taken through the mind. The text “Not all journeys have an ending” is overlayed across the cultural icon the sphinx, which by contrast, suggests an imposing immortality and end to life’s journey. The text suggests the absence of physical boundaries on this journey, which is a direct parallel to “This lime tree bower”, in which Coleridge is able to surpass his physical limitations. The prayer towers, or minarets, are a symbol for the spirits that exist beyond human existence, Kelleher suggests the enlightenment received through spiritual training. The warm yellows and oranges of the setting sun denote an end to the physical journey, whilst the traveller’s upward gaze is suggestive of the endless fulfilment achieved through the imagination. The context of Africa conveys the Egyptian philosophy of the afterlife, which alludes to an inner, imaginative journey. Victor Kelleher’s visual “The Ivory Trail”, portrays the ability of the imagination to delve into spiritual realms unlimited by physical destinations.
Samuel Coleridge, Richard Kelly and Victor Kelleher depict the imaginative journey as highly rewarding, allowing a sense of enlightenment free from the confines of a tangible target. In all four texts, the physical ‘destination’ is portrayed as misleading, it is the ‘journey’ into the imagination that is infinitely more rewarding.
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