Critical Literary Analysis of Coleridge's The Rime of The Ancient Mariner

Coleridge’s “The Rime of the Ancient Mariner” is a profound exploration of loss, guilt, and the human condition, articulated through the experiences of a mariner trapped in a liminal space between life and death. This critical literary analysis delves into the complexities of the mariner’s existence, the dualities present in the poem, and how these elements contribute to its overarching themes. By employing various literary techniques, Coleridge constructs a narrative that raises existential questions while eluding definitive answers.

The Mariner’s Existential Loss

At the heart of the poem is the mariner’s existential loss, which can be interpreted as a loss of a concrete identity. The mariner occupies a space that defies the conventional boundaries of life and death. Coleridge illustrates this through the phrase “Life-in-Death,” indicating that the mariner’s soul has been claimed by a supernatural force. This state of being neither fully alive nor completely dead reflects the poem's exploration of guilt and the search for redemption. The mariner’s journey is not just a physical one; it is also a spiritual and psychological odyssey, as he grapples with his past actions and their consequences.

Language and Form: The Liminal Space

Coleridge’s choice of language and structure significantly enhances the poem's themes. The opening line, “It is an ancient mariner,” immediately distances the protagonist from the reader and the wedding guest. The use of the impersonal pronoun “it” creates an “otherworldly” quality that emphasizes the mariner’s alienation from humanity. This detachment is further emphasized in lines 21-24, where the mariner descends “below the kirk, below the hill, below the lighthouse top.” These references to religious and human symbols suggest a descent into a morally ambiguous space, away from what is considered good or sacred.

Anaphora plays a vital role in the poem, serving to both quicken and slow the narrative while underscoring key themes. For instance, the stanza describing “Life-in-Death” employs anaphora to heighten the tension surrounding her contradictory nature:

• “Her lips were red, her looks were free”
• “Her locks were yellow as gold”
• “Her skin was white as leprosy”
• “The Night-mare Life-in-Death was she”
• “Who thicks man's blood with cold”

The stark contrast within these lines, particularly between beauty and horror, reflects the duality that permeates the mariner’s experience. Critics like Seronsy have noted that this duality drives the narrative, linking themes of joy and sorrow, innocence and guilt, yet they often overlook the significance of the mariner’s existence straddling the realms of the natural and supernatural.

Critical Perspectives on Duality

The poem has elicited a spectrum of critical interpretations, often categorized into two camps: those advocating for an allegorical Christian reading and those, such as Stillinger, who acknowledge the absence of clear moral resolutions. Wordsworth described the mariner as a figure “acted upon,” suggesting a lack of agency that complicates the narrative. L.M. Grow notes that “The Rime” vividly illustrates the problem of existence without providing definitive answers. This notion of the mariner being continuously acted upon aligns with Coleridge’s treatment of nature as an unstable force, oscillating between beauty and terror.

Nature: A Source of Conflict

Coleridge juxtaposes the sun and moon as symbols of opposing forces. The sun is often depicted negatively, associated with violence and the supernatural, while the moon provides solace. In the 1834 marginal gloss by H. Brown, the mariner’s yearning for the moon indicates a desire for calm amidst chaos. This gendered representation of celestial bodies adds another layer of duality, illustrating the mariner’s struggle within a world governed by conflicting forces.

Tonal Variations and Rhyme Scheme

Some critics have pointed to the “flatness” of tonal variances throughout the poem, suggesting that the consistent ABCB rhyme scheme serves as a canvas for Coleridge to explore profound themes. The musicality inherent in the ballad form allows for a rhythmic exploration of the mariner’s experiences. Notably, the line “Alone, alone, all all, alone” encapsulates the mariner’s isolation while reinforcing the poem’s rhythmic quality.

As the poem approaches its conclusion, the mariner reflects:

“He prayeth best, who loveth best
All things both great and small;
For the dear God who loveth us,
He made and loveth all.”

These lines, while seemingly simplistic, resonate with the complexities of love and connection, serving as a thematic culmination of the mariner’s journey. However, the wedding guest’s reaction—“stunned,” “forlorn,” and “sadder”—contrasts sharply with the mariner’s newfound wisdom, suggesting that the search for meaning may ultimately leave one in a state of confusion.

Nature and the Supernatural

Throughout the poem, the mariner confronts nature, which often transforms into a supernatural force. At times, nature is depicted as serene, as in the lines:

“And ice, mast high, came floating by / As green as Emerald.”

The use of commas slows the cadence, portraying the ice as initially beautiful. However, this beauty quickly morphs into terror:

“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!”

This shift illustrates the dual nature of the mariner’s environment, reflecting his own instability and the unpredictability of existence.

Conclusion: The Nature of Existence

Ultimately, Coleridge’s “The Rime of the Ancient Mariner” invites readers to grapple with profound questions about existence. By presenting a protagonist who has lost everything and situating him in a world rife with contradictions, Coleridge creates a narrative that challenges the notion of a clear moral resolution. The poem’s exploration of duality, coupled with its rich use of language and form, serves as a powerful commentary on the complexities of life, guilt, and redemption.

References:
1. Coleridge, S. T. “The Rime of the Ancient Mariner.”
2. Seronsy, M. “Dual Patterning in RAM.”
3. Stillinger, J. “How Many Mariners Did Coleridge Write?”
4. Wordsworth, W. “The Prelude.”
5. Grow, L. M. “The Rime Presents Us with Not an Answer.”
6. Abrams, M. H. “The Greater Romantic Lyric.”