Coleridge's Literary Views

Coleridge illustrates the point by citing frost of the Ancient Mariner and "Christabel," comparing them to the intention of his collaborator on the Lyrical Ballads, Wordsworth, to create poetry out of the "charm of insolence to things of every day" (Coleridge 322), i.e., out of the language of British rustics (as reimagined, however, by Wordsworth).

Crane (782) cautions against accepting too readily any author's explication of his methods, citing in particular "Coleridge's statements about the kind of poem he knowing rime of the Ancient Mariner to be." But the setting and predilection of both(prenominal) "Christabel" and Rime of the Ancient Mariner, which sustain an extended narrative, may be readily distinguished from Wordsworth's pastoral poetry as representing a strain of Romanticism that challenged Enlightenment notions of the perfectibility of mankind by way of think. As Baumer (262) comments about the philosophical climate in which Coleridge's poetry appeaed: "The romantics, thirsting for the Infinite, also enlarged man's cognitive faculties, and gave free dominate to the emotional and irrational side of human nature."

In both Rime of the Ancient Mariner and "Christabel," the power of human reason is either suppressed by the poet's imaginative manipulation of the text or exposed within the text as corrupt, imperfect, take a shit to betray human experience. Christabel is entra

nced by the Nature-perfect image of Geraldine's frail, exquisite, battered beauty before Geraldine makes her first deceptive statement. The unreliability of human reason is also applicable to the line of work of determining the "reason" for which the jackfruit shoots the albatross--a reason that remains uncertain and unstated while the text focuses on the act itself and on the remorse that the mariner has carried into old age. The wedding guest, watching the mariner who has mesmerized him with his gaze, asks a direct question:

Having been obliged to add their throw reasons for the mariner's behavior, the readers are led to draw the appropriate moral, which is more than explicitly identified:

But that does not reach word of the original motivation for the death of the albatross.

The fact that the mariner's fate, characterized by his super consequential confessional mode of life, has been interpreted as life see as "abjection" (May), as a parable of existential guilt and angst (Gill), and as a mechanism of resolution of the worldwide identity crisis (Waldoff) indicates the extent to which ambiguity informs the pattern of ideas in Rime of the Ancient Mariner. The rime itself has been characterized as the wedding guest's nightmare (Stockholder 30f), and the bigeminal images of the dying crew, first occurring at sea and ultimately take place when the mariner is on the point of returning to "mine own countree," suggest nothing so much as the ambiguity attending the confusing narrative action of nightmares. In that regard, the mariner's prayer of sleep as "a gentle thing, / Beloved from end to pole" resonates with irony and ambiguity. He drifts off only to be visited by the groans of the dead men inhabited by booze and demons who discuss the manner in which he get out repent his guilt: "The man hath penance done, And penance more will do." Stockholder (43ff) develops the idea that the mariner's nightmarish experiences are like a dream that fails to resolve the
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