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The Rime of Ancient Mariner October 15, 2018 1. Ancient Mariner as "the" lyrical ballad - A definition of ballad: a relatively short narrative poem, written to be sung, with a simple and dramatic action. The ballads tell of love, death, the supernatural, or a combination of these. Two characteristics of the ballad are incremental repetition and the ballad stanza. Incremental repetition repeats one or more lines with small but significant variations that advance the action. The ballad stanza is four lines; commonly, the first and third lines contain four feet or accents, the second and fourth lines contain three feet. Ballads often open abruptly, present brief descriptions, and use concise dialogue. The folk ballad is usually anonymous and the presentation impersonal. -lyrical: It has been said that each of these poems has a purpose. Another circumstance must be mentioned which distinguishes these Poems from the popular Poetry of the day; it is this, that the feeling therein developed gives importance to the action and situation, and not the action and situation to the feeling.(From "Preface to Lyrical Ballads") 2. Occasion of the Lyrical Ballads, and the objects originally proposed--Preface to the second edition During the first year that Mr. Wordsworth and I were neighbours, our conversations turned frequently on the two cardinal points of poetry, the power of exciting the sympathy of the reader by a faithful adherence to the truth of nature, and the power of giving the interest of novelty by the modifying colours of imagination. The sudden charm, which accidents of light and shade, which moon-light or sun-set diffused over a known and familiar landscape, appeared to represent the practicability of combining both. These are the poetry of nature. The thought suggested itself (to which of us I do not recollect) that a series of poems might be composed of two sorts. In the one, the incidents and agents were to be, in part at least, supernatural; and the excellence aimed at was to consist in the interesting of the affections by the dramatic truth of such emotions as would naturally accompany such situations, supposing them real. And real in this sense they have been to every human being who, from whatever source of delusion, has at any time believed himself under supernatural agency. For the second class, subjects were to be chosen from ordinary life; the characters and incidents were to be such, as will be found in every village and its vicinity, where there is a meditative and feeling mind to seek after them, or to notice them, when they present themselves. In this idea originated the plan of the 'Lyrical Ballads'; in which it was agreed, that my endeavours should be directed to persons and characters supernatural, or at least romantic, yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith. Mr. Wordsworth on the other hand was to propose to himself as his object, to give the charm of novelty to things of every day, and to excite a feeling analogous to the supernatural, by awakening the mind's attention from the lethargy of custom, and directing it to the loveliness and the wonders of the world before us; an inexhaustible treasure, but for which in consequence of the film of familiarity and selfish solicitude we have eyes, yet see not, ears that hear not, and hearts that neither feel nor understand. With this view I wrote the 'Ancient Mariner,' and was preparing among other poems, the 'Dark Ladie,' and the 'Christabel,' in which I should have more nearly realized my ideal, than I had done in my first attempt. But Mr. Wordsworth's industry had proved so much more successful, and the number of his poems so much greater, that my compositions, instead of forming a balance, appeared rather an interpolation of heterogeneous matter. Mr. Wordsworth added two or three poems written in his own character, in the impassioned, lofty, and sustained diction, which is characteristic of his genius. 3. Coleridge's own comment on the poem's 'moral' Mrs Barbauld once told me that she admired "The Ancient Mariner" very much, but that there were two faults in it---it was improbable, and had no moral. As for the probability, I owned that that might admit some question; but as to the want of a moral, I told her that in my own judgment the poem had too much, and that the only or chief fault, if I might say so, was the obtrusion of the moral sentiment so openly on the reader as a principle or cause of action in a work of such pure imagination. It ought to have had no more moral than the Arabian Nights' tale of the merchant's sitting down to eat dates by the side of the well, and throwing the shells aside, and lo! a genie starts up, and says he must kill the aforesaid merchant because one of the date shells had, it seems, put out the eye of the genie's son.(Table-Talk, quoted by House, p.90.) 4. Wordsworth's comment on its "great defects" First, that the principal person has no distinct character, either in his profession of mariner or as a human being who, having been long under the control of super-natural impressions, might be supposed himself to partake of something supernatural; secondly, that he does not act, but is continually acted upon; thirdly, that the events, having no necessary connection, do not produce each other; and lastly, that the imagery is somewhat too laboriously accumulated. Yet the poem contains many delicate touches of passion, and indeed that passion is everywhere true to nature; a great number of the stanzas present beautiful images, and are expressed with unusual felicity of language; and the versification, though the metre is itself unfit for long poems, is harmonious and artfully varied, exhibiting the utmost powers of that metre, and every variety of which it is capable. 5. Harold Bloom's introduction of The Ancient Mariner -Tradition: The Ancient Mariner is in the tradition of the stories of Cain and of the Wandering Jew, but it does not reduce to them. It is a late manifestation of the Gothic Revival, and its first version is clearly to be related to the ballad of The Wandering Jew in Percy's Reliques of Ancient English Poetry. -Moral: the murder is a gratuitous act, but then so is the initial appearance of the bird. There is a tradition of seemingly motiveless malevolence that goes from Shakespeare's Iago(whom Coleridge saw as a tragic poet, manipulating men rather than words) and Milton's Satan to the protagonists of Poe, Melville, and Dostoevsky, and that appears in Gide, Camus, and other recent writers. The tradition begins with the demonic (tinged with Prometheanism), moves (in the nineteenth century) into a vitalism crossed by the social image of man in revolt, and climaxes (in our own time) in a violence that yet confirms individual existence and so averts an absolute despair of self. Coleridge's mariner belongs to this tradition whose dark ancestors include Cain, the Wandering Jew, and the Judas whose act of betrayal is portrayed as a desperate assertion of freedom by Wilde, Yeats, and D. H. Lawrence. This tradition's common denominator is that of a desperate assertion of self and a craving for a heightened sense of identity. 6. Harold Bloom, Romantic Poetry as Internalized Romance What allies Blake and Wordsworth, Shelley and Keats, is their strong mutual conviction that they are reviving the true English tradition of poetry, which they thought had vanished after the death of Milton, and had reappeared in diminished form, mostly after the death of Pope, in admirable but doomed poets like Chatterton, Cowper, and Collins, victims of circumstance and of the false dawn of Sensibility. It is in this highly individual sense that English Romanticism legitimately can be called, as traditionally it has been, a revival of romance. More than a revival, it is an internalization of romance, particularly of the quest variety, an internalization made for more than therapeutic purposes, because made in the name of a humanizing hope that approaches apocalyptic intensity. The poet takes the patterns of quest-romance and transposes them into his own imaginative life, so that the entire rhythm of the quest is heard again in the movement of the poet himself from poem to poem. 7. Excerpts from the text a. Addressing the Wedding guest and the Mariner's killing of the Albatross
It is an ancient Mariner, And he stoppeth one of three. 'By thy long grey beard and glittering eye, Now wherefore stopp'st thou me?
The Bridegroom's doors are opened wide, And I am next of kin; The guests are met, the feast is set: May'st hear the merry din.'
He holds him with his skinny hand, 'There was a ship,' quoth he. 'Hold off! unhand me, grey-beard loon!' Eftsoons his hand dropt he.
He holds him with his glittering eye— The Wedding-Guest stood still, And listens like a three years' child: The Mariner hath his will.
The Wedding-Guest sat on a stone: He cannot choose but hear; And thus spake on that ancient man, The bright-eyed Mariner.
'The ship was cheered, the harbour cleared, Merrily did we drop Below the kirk, below the hill, Below the lighthouse top.
The Sun came up upon the left, Out of the sea came he! And he shone bright, and on the right Went down into the sea.
Higher and higher every day, Till over the mast at noon—' The Wedding-Guest here beat his breast, For he heard the loud bassoon.
The bride hath paced into the hall, Red as a rose is she; Nodding their heads before her goes The merry minstrelsy.
The Wedding-Guest he beat his breast, Yet he cannot choose but hear; And thus spake on that ancient man, The bright-eyed Mariner.
And now the STORM-BLAST came, and he Was tyrannous and strong: He struck with his o'ertaking wings, And chased us south along.
With sloping masts and dipping prow, As who pursued with yell and blow Still treads the shadow of his foe, And forward bends his head, The ship drove fast, loud roared the blast, And southward aye we fled.
And now there came both mist and snow, And it grew wondrous cold: And ice, mast-high, came floating by, As green as emerald.
And through the drifts the snowy clifts Did send a dismal sheen: Nor shapes of men nor beasts we ken— The ice was all between.
The ice was here, the ice was there, The ice was all around: It cracked and growled, and roared and howled, Like noises in a swound!
At length did cross an Albatross, Thorough the fog it came; As if it had been a Christian soul, We hailed it in God's name.
It ate the food it ne'er had eat, And round and round it flew. The ice did split with a thunder-fit; The helmsman steered us through!
And a good south wind sprung up behind; The Albatross did follow, And every day, for food or play, Came to the mariner's hollo!
In mist or cloud, on mast or shroud, It perched for vespers nine; Whiles all the night, through fog-smoke white, Glimmered the white Moon-shine.'
'God save thee, ancient Mariner! From the fiends, that plague thee thus!— Why look'st thou so?'—With my cross-bow I shot the ALBATROSS. (Part I, 1-82)
b. Mariner's watching the water snake: an absolution
'I fear thee, ancient Mariner! I fear thy skinny hand! And thou art long, and lank, and brown, As is the ribbed sea-sand.
I fear thee and thy glittering eye, And thy skinny hand, so brown.'— Fear not, fear not, thou Wedding-Guest! This body dropt not down.
Alone, alone, all, all alone, Alone on a wide wide sea! And never a saint took pity on My soul in agony.
The many men, so beautiful! And they all dead did lie: And a thousand thousand slimy things Lived on; and so did I.
I looked upon the rotting sea, And drew my eyes away; I looked upon the rotting deck, And there the dead men lay.
I looked to heaven, and tried to pray; But or ever a prayer had gusht, A wicked whisper came, and made My heart as dry as dust.
I closed my lids, and kept them close, And the balls like pulses beat; For the sky and the sea, and the sea and the sky Lay dead like a load on my weary eye, And the dead were at my feet.
The cold sweat melted from their limbs, Nor rot nor reek did they: The look with which they looked on me Had never passed away.
An orphan's curse would drag to hell A spirit from on high; But oh! more horrible than that Is the curse in a dead man's eye! Seven days, seven nights, I saw that curse, And yet I could not die.
The moving Moon went up the sky, And no where did abide: Softly she was going up, And a star or two beside—
Her beams bemocked the sultry main, Like April hoar-frost spread; But where the ship's huge shadow lay, The charmèd water burnt alway A still and awful red.
Beyond the shadow of the ship, I watched the water-snakes: They moved in tracks of shining white, And when they reared, the elfish light Fell off in hoary flakes.
Within the shadow of the ship I watched their rich attire: Blue, glossy green, and velvet black, They coiled and swam; and every track Was a flash of golden fire.
O happy living things! no tongue Their beauty might declare: A spring of love gushed from my heart, And I blessed them unaware: Sure my kind saint took pity on me, And I blessed them unaware.
The self-same moment I could pray; And from my neck so free The Albatross fell off, and sank Like lead into the sea. (Part IV, 224-291)
c. The Conclusion
This Hermit good lives in that wood Which slopes down to the sea. How loudly his sweet voice he rears! He loves to talk with marineres That come from a far countree.
He kneels at morn, and noon, and eve— He hath a cushion plump: It is the moss that wholly hides The rotted old oak-stump.
The skiff-boat neared: I heard them talk, 'Why, this is strange, I trow! Where are those lights so many and fair, That signal made but now?'
'Strange, by my faith!' the Hermit said— 'And they answered not our cheer! The planks looked warped! and see those sails, How thin they are and sere! I never saw aught like to them, Unless perchance it were
Brown skeletons of leaves that lag My forest-brook along; When the ivy-tod is heavy with snow, And the owlet whoops to the wolf below, That eats the she-wolf's young.'
'Dear Lord! it hath a fiendish look— (The Pilot made reply) I am a-feared'—'Push on, push on!' Said the Hermit cheerily.
The boat came closer to the ship, But I nor spake nor stirred; The boat came close beneath the ship, And straight a sound was heard.
Under the water it rumbled on, Still louder and more dread: It reached the ship, it split the bay; The ship went down like lead.
Stunned by that loud and dreadful sound, Which sky and ocean smote, Like one that hath been seven days drowned My body lay afloat; But swift as dreams, myself I found Within the Pilot's boat.
Upon the whirl, where sank the ship, The boat spun round and round; And all was still, save that the hill Was telling of the sound.
I moved my lips—the Pilot shrieked And fell down in a fit; The holy Hermit raised his eyes, And prayed where he did sit.
I took the oars: the Pilot's boy, Who now doth crazy go, Laughed loud and long, and all the while His eyes went to and fro. 'Ha! ha!' quoth he, 'full plain I see, The Devil knows how to row.'
And now, all in my own countree, I stood on the firm land! The Hermit stepped forth from the boat, And scarcely he could stand.
'O shrieve me, shrieve me, holy man!' The Hermit crossed his brow. 'Say quick,' quoth he, 'I bid thee say— What manner of man art thou?'
Forthwith this frame of mine was wrenched With a woful agony, Which forced me to begin my tale; And then it left me free.
Since then, at an uncertain hour, That agony returns: And till my ghastly tale is told, This heart within me burns.
I pass, like night, from land to land; I have strange power of speech; That moment that his face I see, I know the man that must hear me: To him my tale I teach.
What loud uproar bursts from that door! The wedding-guests are there: But in the garden-bower the bride And bride-maids singing are: And hark the little vesper bell, Which biddeth me to prayer!
O Wedding-Guest! this soul hath been Alone on a wide wide sea: So lonely 'twas, that God himself Scarce seemèd there to be.
O sweeter than the marriage-feast, 'Tis sweeter far to me, To walk together to the kirk With a goodly company!—
To walk together to the kirk, And all together pray, While each to his great Father bends, Old men, and babes, and loving friends And youths and maidens gay!
Farewell, farewell! but this I tell To thee, thou Wedding-Guest! He prayeth well, who loveth well Both man and bird and beast.
He prayeth best, who loveth best All things both great and small; For the dear God who loveth us, He made and loveth all.
The Mariner, whose eye is bright, Whose beard with age is hoar, Is gone: and now the Wedding-Guest Turned from the bridegroom's door.
He went like one that hath been stunned, And is of sense forlorn: A sadder and a wiser man, He rose the morrow morn. (Part VII, 514-625)
 
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