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In other words, the dialectic constituting the reading experience is itself a (cognitive) performance space, and as such presupposes a performance context.
Understanding the poem more fully, then, involves a textual analysis that is coupled with a study of the poems performance contexts.
 One could read this disclaimer quite literally, as do many critics, and thus conclude that indeed Coleridge is dismissing his own work as a mere triviality or curiosity in an attempt to avoid charges of blasphemy (Mellor, 157-58) or poetic and artistic ineptitude (Mc Farland, 225) contrasting his attempt to argue for creative individuality in the preface to 'Christabel'.
 The most convincing date of composition is Autumn (October or November) of 1797, for this is the date given in the Crew Manuscript endnote in which Coleridge writes, 'This fragment with a good deal more, not recoverable, composed in a sort of Reverie brought on by two grains of Opium, taken to check a dysentery, at a Farm House between Porlock and Linton, a quarter of a mile from Culbone Church, in the fall of the year, 1797.' Furthermore, in a letter to John Thelwall dated 14 October 1797 Coleridge mentions a brief absence that probably corresponds to his stay at Porlock where the poem was composed, and Coleridge goes on to say, 'My mind feels as if it ached to behold & know something —and it is only in the faith of this that rocks or waterfalls, mountains or caverns give me the sense of sublimity or majesty!  Here, Coleridge seems preoccupied with the sublime and very specific natural imagery that appear in 'Kubla Khan', helping to confirm further that the poem or some version of it was most likely composed in the fall of 1797.
We cannot know if the poem initially had textual supplements; but the 1810 autographed Crew Manuscript contains a short explanatory endnote, and the published 1816 manuscript begins with an elaborate preface.
Why did Coleridge feel it necessary to supplement his later manuscripts with such addenda?
One explanation concerns Coleridge's role as orator and his ability to affect audiences deeply through verbal performance.'Kubla Khan' is now one of Coleridge's best known and most widely read poems, yet it still presents twentieth-century scholars and readers with many of the same critical problems that confounded its contemporary reviewers. Fogle and Peter Huhn argue that Coleridge achieves thematic and structural unity by reconciling the celebratory and melancholic opposites evident in the poem.