Samuel Taylor Coleridge

1. Samuel Taylor Coleridge

2. Wordsworth drew inspiration from everyday life • Coleridge dealt with incredible events in such a way as to make them credible. HOW? Through an alternation of real and unreal elements

3. The real elements to give a sense of credibility to the story without weakening the sense of supernatural mystery.

4. the supernatural Dream-like elements Ancient mariner Mysterious forces Albatross Unearthly creatures And the commonplace: visual realism The hill The lighthouse The church The sun A combination of..

5. Musicality he makes use of special sounds, words and devices ( alliteration, assonance, onomatopoeia, internal rhyme, unequal lines, repetition…) in order to create the unreal atmosphere of his best work

6. an archaic language • to make more credible the supernatural and to enrich its language with the use of : • Onomatopoeia • Alliterations • refined examples of chiasmus • repetitions.

7. FANCY and IMAGINATION • in part due to his studies in German philosophy • Against empiricism • The creative mind is capable of recreating the world of senses • Kant, Fichte and Shelling

8. IMAGINATION divided into 2 types: • PRIMARY • SECONDARY

9. Primary • It is common to all human beings • Through it we perceive the world around us • it works through our senses • but it goes beyond the simple perception of objects • it enables man to form concepts • to join the world of thought with the world of things

10. Secondary Imagination • is the poetic vision • It dissolves in order to re-create new worlds, something completely different, to rise above the data of experience. • During a state of ecstasy, images do not appear isolated, but associated according to laws of their own, which have nothing to do with the data of experience. • The mind creates a new reality which has only a superficial relationship with the material one.

11. What’s a poem ? • not a reproduction of things existing in the objective world but • a new world regulated by its own laws and with an independent existence. • the vision of the world is always original and unique since the mind doesn’t reproduce or imitate the natural world, but uses new categories of thought.

12. Fancy • It is inferior to Imagination • it is a kind of mechanical and logical faculty which enables a poet to associate metaphors, similes and other poetical devices. • W. and C. despise fancy and exalt Imagination. • For Wordsworth Imagination modifies the data of experience ( through recollection in tranquillity , half create) • for Coleridge Imagination transcends the data of experience and “create”.

13. SUPERNATURAL • He was attracted by the mystery behind the world of appearances • the supernatural becomes a metaphor for human experiences which the material world alone can not represent • to express this metaphor he uses the language of images.

14. In “ The rhyme of the Ancient Mariner” we have: • the image of the voyage • the albatross • the strange creature of the sea • the phenomena of the ocean combined with : • Neo-Platonic speculations on the existence of tutelary spirits of nature and legends The result was an association of general ideas with images of myth

15. The sense of Mystery is introduced by • the Mariner himself with : • his strange intrusion in the wedding feast • his appearance ( long grey beard, skinny hand, glittering eyes..) • his way of speaking full of archaism which brings back in time, in an imaginary past • The albatross: • it comes from nowhere and both alive or death, it is always accompanied by strange phenomena

16. medieval and oriental superstitions • the albatross is a mystic bird and killing it is a sacrilege and needs punishing • a spectre ship approaches with 2 ghosts on board Death, a skeleton, and Life-in-Death • the presence of unnatural creature: sea monsters, spirits, angels.. • the description of unnatural events: the ship moves without wind and noise, it is manoeuvred by a crew of dead people…

17. NATURE • Coleridge and Wordsworth distinguished clearly their tasks in • “ natural” • “ supernatural” • a tendency towards the real • a tendency towards the transcendental • With a perfect balance they expressed the tension between the real and the visionary which • W. resolved in favour of nature • C. in favour of supernatural.

18. Coleridge doesn’t find consolation and happiness in nature • the contemplation of nature was always accompanied by the awareness of the presence of the ideal in the real. • his Christian faith did not allow him to identify nature with the Divine ( W’s Pantheism). • The material world is the projection of the “real” world of ideas.

19. STYLE • he adopted the form , metre and the diction of traditional ballads but modified it by : • using the four-stanza rhyming ABCB as well as stanzas of five or six lines either at moments of particular narrative tension or in order to enrich the emotional texture of the poem • varying the number of syllables in the line, although maintaining the four/three stress pattern.

20. In doing so .. The ballad acquired more freedom of movement and proved the possibility to balance the tradition with the innovation and originality of the poet as an individual poet.

21. What’s a Ballad? • Dialogue + narration • 4-line stanza • Repetitions, allitterations, internal rhyme • The theme of travel and wandering • Supernatural elements • BUT • No moral • No didactic aim -no story

22. the explanatory notes • complicate, rather than clarify, the poem as a whole • there are times that they explain some unarticulated action • there are also times that they interpret the material of the poem in a way that seems odd or irrelevant to the poem itself. • For instance: in Part II, we find a note regarding the spirit that followed the ship nine fathoms deep: “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.” What might Coleridge mean by introducing such figures into the poem ? that the verse itself should be interpreted through them?

23. All these elements of gothic origin and the supernatural elements leave the poem open to many interpretations:

24. It is simply a dream caused by opium: • a first sense of freedom • soon followed by anguish • and fear OR An abnormal psychology of an old sailor survived to a shipwreck giving his personal version of it

25. it is an allegory of life • the crew represents mankind • the albatross the pact of Love that should unite all God’s creatures • the ship a microcosm in which the evil deed of a single person falls on others

26. it is a moral parable of a man • from the original sin ( the killing) • through punishment ( isolation) • repentance ( the blessing of the water snakes) • penitence ( the obsessive repetition of the story) • to his final redemption.

27. Reason versus imagination • rationality ( sunlight, under which the main bad events of the poem take place) • irrationality ( moonlight, when the main good event occur) • Sunlight represents the power of reason • Moonlight represents the power of Imagination)

28. SUN versus MOON • symbolic language • In “The Rime of the Ancient Mariner” the sun and the moon represent also two sides of the Christian God • the sun as a symbol of God, his power and his authority the sun = “God’s own head” (97) • Bad things happen to the crew during the day = the Christian conception of a vengeful God.

29. The Moon • it often symbolizes God, but with a more positive connotations • The Moon = the benevolent God. • Smooth sailing and calm weather occur at night, by the light of the moon. • For example, the mariner’s curse lifts and he returns home by moonlight. • Similarly, “Frost at Midnight” also praises the moon as it illuminates all around on a winter evening and spurs the speaker to great thought.

30. Artistic reading Artist = to search true and knowledge • Painful experiences – left alone • Saved by the power of imagination = being able to see beauty in the sea snakes • Once back in the ordinary world , his fuction as a prophet

31. a commentary on the ways in which people interpret the lessons of the past the past is simply unknowable HOW? • with elaborate symbolism that cannot be deciphered in a definitive way • with side notes that offer a highly theoretical spiritual-scientific interpretation • Coleridge creates tension between the ambiguous poem and the unambiguous-but-ridiculous notes, exposing a gulf between the “old” poem and the “new” attempt to understand it. • The message would be that, though certain moral lessons from the past are comprehensible —”he liveth best who loveth best” - other aspects are less easily grasped

32. moral • The Mariner kills the Albatross in bad faith, subjecting himself to the hostility of the forces that govern the universe (the spirits beneath the sea and the horrible Life-in-Death). • After earning his curse, the Mariner is able to regain his ability to pray, realizing that the monsters around him are beautiful in God’s eyes and that he should love them as he should have loved the Albatross.