This furthers the image that his lover is some sort of spell caster or witch. He vilifies her and victimizes himself. He claims that only his Christian religion can free him of her ties.

It is possible that this is use of the technique called roman a clef. The Oxford Companion to English Literature defines it as intention for readers to identify real people, particularly with certain characters in novels. It is possible that this person's name is omitted is because it was in fact a real person.

Conflation of sin with love of individual from a different race/religion. This theology is based off of Scripture in the New Testament which states: "Do not be unequally yoked together with unbelievers. For what fellowship has righteousness with lawlessness? And what communion has light with darkness?" (NKJV 2 Corinthians 6:14)

It is worth noting that each stanza begins with a harsh and aggressive command from the colonizer to the colonized.

Another instance in which the speaker notes the religious difference between he and his beloved. He chooses to love with his religion only.

Tension between "sweetness" and "pain." The speaker assesses that the lover is not bewitching him, but also causes him pain.

Speaker continues to vilify subject. Implies that though her words may be sweet, but they cause harm.

At this point, considering that this poem is published within the Bengal Annual by a colonizer, using sterotyping themes of Orientalism to describe his lover, it is not too difficult to infer that this woman is an Indian native. Not only were they passionate, but they breathed in "passion's wildest tone," which connotes savagism and wild eroticism.

The speaker must be receiving some form of objection or resistance at this point of the poem. Just like the British Empire colonizing india in the 19th century, the speaker silences this voice.

The speaker confesses that he has enjoyed the loves and words of this person, but he continues to reject the love that he desires to indulge.

We circle back to the "holy vow." The language of "One" with a capital O is indicative of Providence, specifically Christian Providence.

The speaker, in Christian terms, is taking this relational conflict to a spiritual warfare level. Not only is she a witch, but also a demon battling with God over his soul.

Here is the crux, the reason why he rejects his love. This supports the argument that the woman is native to India, because she does not share the same faith as the speaker--meaning that she is either an atheist, agnostic, but most likely a Hindu.

contrasting descriptors. Her eyes appear to be kind, but to the speaker, he believes that they will be his downfall.

Not only is the speaker rejecting the gaze of his lover, but he pleads that they find some other eyes to behold.

With eyes being windows to a soul, we immediately see conflict in the first line of the poem. The speaker begs his "forbidden" love to turn her eyes away. He rejects intimacy and the reader understands that this poem is about the death of a relationship.

Here the poem goes a bit deeper into the reason for the speaker's desire to sever the relationship. What does he mean here about a holier vow? This will be made more clear later in the poem.

There is now a more stark opposition between the speaker and his lover. He is now claiming that she is bewitching him with her gaze, and his "holier vow" will unshackle him from her captivity.

There are various iterations of this phrase as the last line of each stanza. The iterations change from "must not love" (line 8) to "cannot love" (line 16) to "will not" (line 24) to "may not" (line 32) to "would not" (40) and finally "dare not" (48) with italics.

This shows the speakers determination to end the relationship. Not at the eighth line of each stanza, he makes it clear that in no way should he, would he, dare he, love her.

While the speaker recognizes the history and love of the woman's gaze, he continues to sever his ties.

Here the speaker suggests that England is the only country that can bring rest and happiness. Those who travel elsewhere (most likely the speaker is referring to India), they only find "dreariness and dearth."

One of the most common, but more nuanced concepts of British Romantic literature is the idea of Space/Place. Meaning that the text illustrates physical and metaphysical locations through modes of the Sublime and the Picturesque. This poem highlights not only the physical beauty of England, but it also shows that England can only be the true "Home."

"dreaming" connotes with the unconscious, as well does the colonial representation of the Orient. Here the Speaker further his argument that though he is "wandering and adventuring" his unconscious will always be captured with the images of England.

This ties into the Romantic concept of Space/Place. The Speaker illustrates that even though the traveller of the poem may be wandering to other countries--his mind and heart are at yearning for a completely different place entirely--home. Which can only be England, for the colonial speaker.

Furthering the speaker's point, those who are "wildly wandering" are those who are going to "understand" the great value of England and its charms.

Immediately the speaker is showing that the country of England has great value. However, the great value of the country may go little noted by the citizens that do not travel to other countries. Within the first line of the poem there is a British nationalism that suggests that England is greater than any other country.

Images of Romantic concepts of Nature and Space/Place. The rural cottages and silver streams are iconic nostalgic scenes in the 19th and early 20th century British.

We see a long thread of negative and violent verbs and adjectives: savage, wailing, turmoil seething, pants, forced, burst, thresher's flail. The speaker is terrified at seeing this beautiful and erotic place turn into a home of violence.

The Speaker immediately indicates that these images, both geographical and symbolic, are indicative of the unconscious. The Unconscious is always fragmented, deep seeded, and erotic.

See "fertile" annotation.

Phallic symbols, also connotes dominance, control. Possibly even male dominance of the gardens and fertile ground.

Capital of Kublai Kahn's Dynasty in China. Also known as Shangdu: https://en.wikipedia.org/wiki/Shangdu

The images of the river, fertile ground, and gardens connote the female body. "The East" and the "Orient" are considered not only wild, erotic, and sexual, but also feminine. The speaker may be insinuating the need of male dominance.

Another "Oriental" image that the speaker is borrowing to describe his unconscious vision.

Connotes wisdom, mysticism, and stoicism.

Within the discourse of Orientalism and colonialism. The term "Savage" is to describe a country that is being subjugated under the British Empire.

Definition of Savage: savage, adj. L. silvaticus. I. That is in a state of nature, wild. I.5. Of peoples or (now somewhat rarely) individual persons: Uncivilized; existing in the lowest stage of culture. savage, sb.

1. A person living in the lowest state of development or cultivation; an uncivilized, wild person.

J.A SIMPSON and E.S.C. WEINER, Eds., The Oxford English Dictionary, 2nd ed. Oxford: Oxford University Press 1989.

For the speaker, not only does the unconscious connote the erotic, but so to is the geographic region in China. With the location of Xanadu being sandwiched between the subtitle of "vision in a dream. A Fragment" and "pleasure-dome" we see the conflation of an Eastern country with the unconscious and pleasure. Pleasure does not necessarily mean sexual, but it is a physical enjoyment of the body. This can include eating, drinking, and sleeping, as well as sex.

Connotes with holy, stoic, and mystic. Ties into the argument of "Oriental Stereotypes" on the "Orientalism" page.

Here the speaker seeks to have the African woman's song to give him new life, to urge him onto his own creation.

It is important that the woman is not represented in the speaker's unconscious, but a woman from the Ethiopian region of Africa.

https://en.wikipedia.org/wiki/Dulcimer

machine or person that removes grain or plants by beating. See "forced" annotation.

We have moved from the holy, virgin, and wise images in this poem to images violence, sexual, and the demonic supernatural.

After being reinvigorated by the woman's song, the speaker seeks to create his own pleasure dome. One way to read this is that the Romantic poet, being rejuvenated by the Oriental Renaissance, seeks to create his own literary pleasure domes through the use of "Oriental" landscapes and images.

Here the speaker reflects on what others should say after his consumption of the honey and milk of Xander. The speaker suggests that he will cause effects of the Sublime--that others will have a deep fear of "His flashing eyes, his floating hair!"