While it can be beautiful and frightening (often simultaneously), the natural world's power in "The Rime of the Ancient Mariner" is unquestionable. In a move typical of Romantic poets both preceding and following Coleridge, and especially typical of his colleague, William Wordsworth, Coleridge emphasizes the way in which the natural world dwarfs and asserts its awesome power over man. Especially in the 1817 text, in which Coleridge includes marginal glosses, it is clear that the spiritual world controls and utilizes the natural world. At times the natural world seems to be a character itself, based on the way it interacts with the Ancient Mariner. From the moment the Ancient Mariner offends the spirit of the "rime," retribution comes in the form of natural phenomena. The wind dies, the sun intensifies, and it will not rain. The ocean becomes revolting, "rotting" and thrashing with "slimy" creatures and sizzling with strange fires. Only when the Ancient Mariner expresses love for the natural world-the water-snakes-does his punishment abate even slightly. It rains, but the storm is unusually awesome, with a thick stream of fire pouring from one huge cloud. A spirit, whether God or a pagan one, dominates the physical world in order to punish and inspire reverence in the Ancient Mariner. At the poem's end, the Ancient Mariner preaches respect for the natural world as a way to remain in good standing with the spiritual world, because in order to respect God, one must respect all of his creations. This is why he valorizes the Hermit, who sets the example of both prayer and living in harmony with nature. In his final advice to the Wedding Guest, the Ancient Mariner affirms that one can access the sublime, "the image of a greater and better world," only by seeing the value of the mundane, "the petty things of daily life."
The Spiritual World: The Metaphysical
"The Rime of the Ancient Mariner" occurs in the natural, physical world-the land and ocean. However, the work has popularly been interpreted as an allegory of man's connection to the spiritual, metaphysical world. In the epigraph, Burnet speaks of man's urge to "classify" things since Adam named the animals. The Ancient Mariner shoots the Albatross as if to prove that it is not an airy spirit, but rather a mortal creature; in a symbolic way, he tries to "classify" the Albatross. Like all natural things, the Albatross is intimately tied to the spiritual world, and thus begins the Ancient Mariner's punishment by the spiritual world by means of the natural world. Rather than address him directly; the supernatural communicates through the natural. The ocean, sun, and lack of wind and rain punish the Ancient Mariner and his shipmates. When the dead men come alive to curse the Ancient Mariner with their eyes, things that are natural-their corpses-are inhabited by a powerful spirit. Men (like Adam) feel the urge to define things, and the Ancient Mariner seems to feel this urge when he suddenly and inexplicably kills the Albatross, shooting it from the sky as though he needs to bring it into the physical, definable realm. It is mortal, but closely tied to the metaphysical, spiritual world-it even flies like a spirit because it is a bird.
The Ancient Mariner detects spirits in their pure form several times in the poem. Even then, they talk only about him, and not to him. When the ghost ship carrying Death and Life-in-Death sails by, the Ancient Mariner overhears them gambling. Then when he lies unconscious on the deck, he hears the First Voice and Second Voice discussing his fate. When angels appear over the sailors' corpses near the shore, they do not talk to the Ancient Mariner, but only guide his ship. In all these instances, it is unclear whether the spirits are real or figments of his imagination. The Ancient Mariner-and we the reader-being mortal beings, require physical affirmation of the spiritual. Coleridge's spiritual world in the poem balances between the religious and the purely fantastical. The Ancient Mariner's prayers do have an effect, as when he blesses the water-snakes and is relieved of his thirst. At the poem's end, he valorizes the holy Hermit and the act of praying with others. However, the spirit that follows the sailors from the "rime", Death, Life-in-Death, the voices, and the angels, are not necessarily Christian archetypes. In a move typical of both Romantic writers and painters, Coleridge locates the spiritual and/or holy in the natural world in order to emphasize man's connection to it. Society can distance man from the sublime by championing worldly pleasures and abandoning reverence for the otherworld. In this way, the wedding reception represents man's alienation from the holy - even in a religious tradition like marriage. However, society can also bring man closer to the sublime, such as when people gather together in prayer.
"The Rime of the Ancient Mariner" typifies the Romantic fascination with liminal spaces. A liminal space is defined as a place on the edge of a realm or between two realms, whether a forest and a field, or reason and imagination. A liminal space often signifies a liminal state of mind, such as the threshold of the imagination's wonders. Romantics such as Coleridge, Wordsworth, and Keats valorize the liminal space and state as places where one can experience the sublime. For this reason they are often - and especially in the case of Coleridge's poems - associated with drug-induced euphoria. Following from this, liminal spaces and states are those in which pain and pleasure are inextricable. Romantic poets frequently had their protagonists enter liminal spaces and become irreversibly changed. Starting in the epigraph to "The Rime of the Ancient Mariner", Coleridge expresses a fascination with the liminal state between the spiritual and natural, or the mundane and the divine. Recall that this is what Burnet calls the "certain [and] uncertain" and "day [and] night."
In the Ancient Mariner's story, liminal spaces are bewildering and cause pain. The first liminal space the sailors encounter is the equator, which is in a sense about as liminal a location as exists; after all, it is the threshold between the Earth's hemispheres. No sooner has the ship crossed the equator than a terrible storm ensues and drives it into the poem's ultimate symbolic liminal space, the icy world of the "rime." It is liminal by its very physical makeup; there, water exists not in one a single, definitive state, but in all three forms: liquid (water), solid (ice), and gas (mist). They are still most definitely in the ocean, but surrounding them are mountainous icebergs reminiscent of the land. The "rime" fits the archetype of the Romantic liminal space in that it is simultaneously terrifying and beautiful, and in that the sailors do not navigate there purposely, but are rather transported there by some other force. Whereas the open ocean is a wild territory representing the mysteries of the mind and the sublime, the "rime" exists just on its edge. As a liminal space it holds great power, and indeed a powerful spirit inhabits the "rime."
As punishment for his crime of killing the Albatross, the Ancient Mariner is sentenced to Life-in-Death, condemned to be trapped in a limbo-like state where his "glittering eye" tells of both powerful genius and pain. He can compel others to listen to his story from beginning to end, but is forced to do so to relieve his pain. The Ancient Mariner is caught in a liminal state that, as in much of Romantic poetry, is comparable to addiction. He can relieve his suffering temporarily by sharing his story, but must do so continually. The Ancient Mariner suffers because of his experience in the "rime" and afterwards, but has also been extremely close to the divine and sublime because of it. Therefore his curse is somewhat of a blessing; great and unusual knowledge accompanies his pain. The Wedding Guest, the Hermit, and all others to whom he relates his tale enter into a momentary liminal state themselves where they have a distinct sensation of being stunned or mesmerized.
Although Christian and pagan themes are confounded at times in "The Rime of the Ancient Mariner", many readers and critics have insisted on a Christian interpretation. Coleridge claimed that he did not intend for the poem to have a moral, but it is difficult not to find one in Part 7. The Ancient Mariner essentially preaches closeness to God through prayer and the willingness to show respect to all of God's creatures. He also says that he finds no greater joy than in joining others in prayer: "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!" He also champions the Hermit, who does nothing but pray, practice humility before God, and openly revere God's creatures. The Ancient Mariner's shooting of the Albatross can be compared to several Judeo-Christian stories of betrayal, including the original sin of Adam and Eve, and Cain's betrayal of Abel. Like Adam and Eve, the Ancient Mariner fails to respect God's rules and is tempted to try to understand things that should remain out of his reach. Like them, he is forbidden from being truly close to the sublime, existing in a limbo-like rather than an Eden-like state. However, as a son of Adam and Eve, the Ancient Mariner is already a sinner and cast out of the divine realm. Like Cain, the Ancient Mariner angers God by killing another creature. Most obviously, the Ancient Mariner can be seen as the archetypal Judas or the universal sinner who betrays Christ by sinning. Like Judas, he murders the "Christian soul" who could lead to his salvation and greater understanding of the divine. Many readers have interpreted the Albatross as Christ, since it is the "rime" spirit's favorite creature, and the Ancient Mariner pays dearly for killing it. The Albatross is even hung around the Ancient Mariner's neck to mark him for his sin. Though the rain baptizes him after he is finally able to pray, like a real baptism, it does not ensure his salvation. In the end, the Ancient Mariner is like a strange prophet, kept alive to pass word of God's greatness onto others.
"The Rime of the Ancient Mariner" is in many ways a portrait of imprisonment and its inherent loneliness and torment. The first instance of imprisonment occurs when the sailors are swept by a storm into the "rime." The ice is "mast-high", and the captain cannot steer the ship through it. The sailors' confinement in the disorienting "rime" foreshadows the Ancient Mariner's later imprisonment within a bewildered limbo-like existence. In the beginning of the poem, the ship is a vehicle of adventure, and the sailors set out in one another's happy company. However, once the Ancient Mariner shoots the Albatross, it quickly becomes a prison. Without wind to sail the ship, the sailors lose all control over their fate. They are cut off from civilization, even though they have each other's company. They are imprisoned further by thirst, which silences them and effectively puts them in isolation; they are denied the basic human ability to communicate. When the other sailors drop dead, the ship becomes a private prison for the Ancient Mariner.
Even more dramatically, the ghost ship seems to imprison the sun: "And straight the sun was flecked with bars, / (Heaven's Mother send us grace!) / As if through a dungeon-grate he peered / With broad and burning face." The ghost ship has such power that it can imprison even the epitome of the natural world's power, the sun. These lines symbolize the spiritual world's power over the natural and physical; spirits can control not only mortals, but the very planets themselves. After he is rescued from the prison that is the ship, the Ancient Mariner is subject to the indefinite imprisonment of his soul within his physical body. His "glittering" eye represents his frenzied soul, eager to escape from his ravaged body. He is imprisoned by the addiction to his own story, as though trapped in the "rime" forever. In a sense, the Ancient Mariner imprisons others by compelling them to listen to his story; they are physically compelled to join him in his torment until he releases them.
"The Rime of the Ancient Mariner" is a tale of retribution, since the Ancient Mariner spends most of the poem paying for his one, impulsive error of killing the Albatross. The spiritual world avenges the Albatross's death by wreaking physical and psychological havoc on the Ancient Mariner and his shipmates. Even before the sailors die, their punishment is extensive; they become delirious from a debilitating state of thirst, their lips bake black in the sun, and they must endure the torment of seeing water all around them while being unable to drink it for its saltiness. Eventually the sailors all die, their souls flying either to heaven or hell. There are at least two ways to interpret the fact that the sailors suffer with the Ancient Mariner although they themselves have not erred. The first is that retribution is blind; inspired by anger and the desire to punish others, even a spirit may hurt the wrong people. The second is that the sailors are implicated in the Ancient Mariner's crime. If the Ancient Mariner represents the universal sinner, then each sailor, as a human, is guilty of having at some point disrespected one of God's creatures-or if not, he would have in the future. But the eternal punishment called Life-in-Death is reserved for the Ancient Mariner. Presumably the spirit, being immortal, must endure eternal grief over the murder of its beloved Albatross. In retribution, it forces the Ancient Mariner to endure eternal torment as well, in the form of his curse. Though he never dies - and may never, in a sense - the Ancient Mariner speaks from beyond the grave to warn others about the harsh, permanent consequences of momentary foolishness, selfishness, and disrespect of the natural world.
The Act of Storytelling
In "The Rime of the Ancient Mariner," Coleridge draws our attention not only to the Ancient Mariner's story, but to the act of storytelling itself. The Ancient Mariner's tale comprises so much of the poem that moments that occur outside of it often seem like interruptions. We are not only Coleridge's audience, but the Ancient Mariner's. Therefore, the messages that the protagonist delivers to his audience apply to us, as well. Storytelling is a preventative measure in the poem, used to dissuade those who favor the pleasures of society (like the Wedding Guest and, presumably, ourselves) from disregarding the natural and spiritual worlds. The poem can also be seen as an allegory for the writer's task. Coleridge uses the word "teach" to describe the Ancient Mariner's storytelling, and says that he has "strange power of speech." In this way, he compares the protagonist to himself: both are gifted storytellers who impart their wisdom unto others. By associating himself with the Ancient Mariner, Coleridge implies that he, and by extension all writers, are not only inspired but compelled to write. Their gift is equally a curse; the pleasure of writing is marred with torment. According to this interpretation, the writer writes not to please himself or others, but to sate a painful urge. Inherent in the writer's task is communication with others, whom he must warn lest they suffer a similar fate. Just as the Ancient Mariner is forced to balance in a painful limbo between life and death, the writer is compelled and even condemned to balance in the liminal space of the imagination "until [his] tale is told." Like a writer, he is equally enthralled and pained by his imagination. Both are addicts, and storytelling is their drug; it provides only momentary relief until the urge to tell returns. In modern psychological terms, the Ancient Mariner as well as the writer relies on "the talking cure" to relieve himself of his psychological burden. But for the Ancient Mariner, the cure - reliving the experience that started with the "rime" by repeating his "rhyme" - is part of the torture. Coleridge paints an equally powerful and pathetic image of the writer. The Ancient Mariner is able to inspire the Wedding Guest so that he awakes the next day a new man, yet he is also the constant victim of his own talent - a curse that torments, but never destroys.
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