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Ancient Mariner

Ancient Mariner. Part 2. Stanzas 1-2. The Sun now r ose upon the r ight: (83) A Out of the sea came he , B Still hid in mist , and on the left C Went down into the sea. B And the good south wind still b lew b ehind, (87) But no sweet bird did follow,

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Ancient Mariner

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  1. Ancient Mariner Part 2

  2. Stanzas 1-2 The Sun now rose upon the right: (83) A Out of the sea came he, B Still hid in mist, and on the left C Went down into the sea. B And the good south wind still blew behind, (87) But no sweet bird did follow, Nor any day for food or play Came to the mariners’ hollo! (Mostly quatrain structure, with some deviation) • Personification of sun conveys a greater power with control. The sun (a recurring symbol) is presented in a less positive light here:it is hidden in the mist, not shining "bright." • The sky is misty and foggy, not clear. • Passage of time and direction • The wind is blowing behind them but no bird, MOOD is timidly optimistic but somewhat foreboding. • Repetition and parallel structure from part 1: emphasizes significance of bird's death through contrast

  3. Stanza 3 And I had done an hellish thing (,91) And it would work ’em woe: For all averred, I had killed the bird That made the breeze to blow. Ah wretch! said they, the bird to slay, That made the breeze to blow! Gloss: His shipmates cry out against the ancient Mariner, for killing the bird of good luck. Deviation from quatrain structure: emphasizes the realization of the gravity of his sin. Mariner exhibits self-awareness: he comprehends the evil of his act and the coming punishment. This leads to the question: why did he do it? Averred: state/assert to be the case Alliteration of "w" sound: emphasizes phrase "work 'em woe"- his act will provoke sorrow (woe) for the men Repetition: shows importance of the bird as an agent of life and luck. The Albatross allowed the men to continue their journey and survive. The other men condemn the Mariner as a "wretch" (a despicable person) for killing their good-fortune.

  4. Stanza 4 Nor dim nor red, like God’s own head(97) The gloriousSun uprist: Then all averred, I had killed the bird That brought the fog and mist. ’Twas right, said they, such birds to slay, That bring the fog and mist. Gloss:But when the fog cleared off, they justify the same, and thus make themselves accomplices in the crime. Deviation from quatrain structure: emphasizes the culpability of the crew along with Mariner. Simile: the sun comes up like God's head; it is not "dim" or scary and "red" but "glorious" Shows connection between God (greater power) and the Sun Repetition/Parallel Structure to previous stanza. The men once again come to an agreement about the killing of the bird. Juxtaposition: Unlike before, the men now think the Albatross had been a bad omen and the Mariner was right for killing it. Significance of their indecision: the men make decisions based on their self-interest and the weather; they do not care about the Albatross or the morals. They go so far as saying it's right to kill more birds.

  5. Stanzas 5-6 The fair breeze blew, the white foam flew, 103 The furrow followed free;*We were the first that ever burst Into that silent sea. Down dropt the breeze, the sails dropt down, 107 ’Twas sad as sad could be; And we did speak only to break* The silence of the sea! GLOSS:The fair breeze continues; the ship enters the Pacific Ocean, and sails northward, even till it reaches the Line. The ship hath been suddenly becalmed. The ship sails towards North with the help of favorable breezes. The TONE of this stanza is optimistic, a sharp contrast from that of the next. Asyndeton and alliteration, and internal rhyme contribute to positive feeling. Imagery of the environment depicts a new beginning and shows that the crew has momentarily moved on from the albatross's murder and is ready for the journey northward. The MOOD, emphasized by the chiasmus in line 107, sharply shifts to one of depression and hopelessness. The imagery of the breeze and sails falling "down" depicts this shift. The "silence" is juxtaposed against the boisterous, active atmosphere evident in the 5th stanza. The first gloss clarifies that the ship is sailing northward towards the equator. The second stanza's gloss gives a sense of foreboding with it's matter-of-fact TONE and simple structure.

  6. Stanzas 7-8 All in a hot and copper sky, 111 The bloody Sun, at noon,* Right up above the mast did stand, No bigger than the Moon. Day after day, day after day, 115¤ We stuck, nor breath nor motion; As idle as a painted ship¤ Upon a painted ocean. The Sun at this point has come directly above the ship, creating unfavorable conditions. It subsequently causes the crew to suffer from severe dehydration. Imagery in lin lines 11 and 113 depict the changed environment, while personification of the Sun shows its proximity. The sun generally possesses negative connotations throughout the poem, and may be used as a symbol of a mean God that inflicts punishment. The moon contrastingly represents a kind god. Unfortunate events occur during the daytime. Repetition in line 115 lends to a hopelessTONE, gives reader a sense of how much time has passed. The simile comparing the ship to a painting demonstratesits still. almost suffocating nature.

  7. Stanzas 9-10 Water, water, everywhere (119) And all the boards did shrink; Water, water, everywhere, Nor any drop to drink. Gloss: And the Albatross begins to be avenged. The very deep did rot:O Christ! (123) That ever this should be! Yea slimy things did crawl with legs Upon the slimy sea repetition of "water, water, everywhere" emphasize irony in being unable to drink reference to Tantalus usually water serves to purify but in this case it is an overwhelming/destructive force of nature Cries of despair to God; prayer in time of desperation imagery of death and decay Visceral imagery and personification of slimy things that crawl ship is being corrupted by evil forces from the depths of the ocean

  8. Stanzas 11-12 supernatural forces overcome the ship personification of death fires imagery of death again immiscible qualities of oil and water emphasize alien and supernatural quality of their experience haunts the ship mates in their dreams; only way to grasp these horrors is through dream and imagination comes from the depths of the ocean where evil resides reference to writers of demons and supernatural beings About, about in reel and rout (127) The death fires danced at night; The water, like a witch's oils Burnt green, and blue and white. And some in dreams assured were (131) Of the spirit that plagued us so; Nine fathom deep he had followed us From the land of mist and snow. Gloss: A spirit had followed them; one of the invisible inhabitants of this planet , neither departed souls nor angels; concerning whom the learned Jew Josephus, and the Platonic Constantinopolitan, Michael Psellus, may be consulted. They are very numerous, and there is no climate or element without one or more.

  9. Stanza 13 And every tongue, through utter drought, (135) Was withered at the root; We could not speak, no more than if We had been choked with soot. Crew members are suffering from thirst and blaming the mariner for their pain Drought: (archaic) thirst Figurative language/imagery: men dried up from thirst like dying plants Figurative language/analogy to being choked with soot emphasizes agony

  10. Stanza 14 Ah! well a-day! what evil looks (139) Had I from old and young! Instead of the cross, the Albatross About my neck was hung. Gloss: The shipmates, in their sore distress, would fain throw the whole guilt on the ancient Mariner: in sign whereof they hang the dead sea-bird round his neck. "well-a-day:" (archaic) variant of wellaway, used to express distress The lack of communication between the crew and the individual condemnation of the Mariner emphasize the gothic element of (psychological) isolation Significance of dead Albatross taking the place of cross: guilt and curse replaces faith in God and goodness. He didn't have a choice - forced into a life of penance. The TONE is sorrowful, lonesome, powerless. Part II ends with Albatross

  11. Part II In this section of The Rime of the Ancient Mariner, a great transition takes place as the curse of killing the Albatross falls onto the shipmates. The tone quickly shifts from optimism, as the forces of nature aid the shipmates in their journey north, to a tone of despair as nature turns on them and the supernatural forces of evil, brought on by the killing of the Albatross, devour the ship. This is only the beginning of the Ancient Mariner’s endless torment as he journeys forth with his terrible tale of woe. Evidenced by their accusatory looks, the shipmates blame the Mariner for bringing such physical agony into their existence, and he is forced to literally bear the weight of a sin that never ceases to torment him throughout the rest of his long life. This section communicates the powerlessness of the crew and especially the Ancient Mariner as a result of killing an innocent creature of God. Forces much greater than the men -- mainly the physical world, the supernatural, and God -- solidify their transition into cursed souls. .

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