Further suggestions: Contrast the pleasant side of the earthly paradise (beauty s.a., safety: walls and towers; 6-11) to its demonic side (features of landscape, atmosphere); relevant words in (12-16): deep, romantic, chasm, cover, savage, holy and enchanted, beneath a waning moon, haunted, demon-lover. Contrast elements of (6-11) with elements in (17-30): tranquillity etc. versus ceaseless turmoil, pants, mighty fountain, was forced, burst, vaulted, rebounding hail, thresher's flail, dancing rocks, flung up, tumult, voices pro phesying war. Contrast aspects of the earthly paradise ("characters": Kubla, woman, demon-lover, landscape etc.) to aspects in (37-54): damsel with a dulcimer, Abyssinian maid, singing, Mount Abora, symphony and song, delight, music loud and long, dome in air, his flashing eyes, floating hair, holy dread, honey-dew, milk of Paradise.
In (1-36) especially elements of the landscape recur at various points, creating some "unity of space", helping the reader to imagine the scenery and the course of events: pleasure-dome, dome of pleasure (2, 31, 36), the sacred river [ran] (3, 24, 26, as waves in 32); caverns measureless to man (4, 27), also represented by caves (34, 36); dome and caves are repeated in (46, 47), in a different context, and with different implications. The adjective sunny characterises spots, pleasure-dome and dome (11,36, 47). The notion of a sunless sea (5) is repeated by lifeless ocean (28); the repetition of momently seems to create a subtle link between the fountain and the river (19, 24). Other repetitions of landscape elements are five miles (6, 25), chasm (12, 17) and fountain (19, 34).
Repeated references are made to the characters dominating respective sections of the poem: Kubla (title, thus of at least "background relevance" for the whole poem; mentioned, too, in (1, 29)); the figure of the damsel with a dulcimer (repeated as maid, her, she, her (37ff.)); the first-person speaker imagining his paradise: I, me (38, 42, 44, 46); the god-like figure his, him, he (50, 51, 53). A repeated emotional appeal is made by the adjective holy, which is associated with a fearsome place and fear as a human reaction; the fear etc. potentially evoked by the chasm should, however, be different from the holy dread in (52). The intensity of the expected awe in (49ff.) is underlined by a repetition of the word Beware! (49).