How Does Coleridge Being Telling the Story
How does Coleridge begin telling the story in Part 1? In the first line of this poem, we meet the protagonist, “The Ancient Mariner”, who manages to get hold of one of the guests to the wedding that he is attending in order to tell him the story of his journey on a “bright” and “cold” day.
Against the will of the wedding guest, the Ancient Mariner spends the remainder of Part 1 describing his tale in detail; which eventually leads to the shooting of a magnificent and supposedly good omen of an albatross.Before the actual narrative of the poem begins, the reader is presented with a Latin epigraph taken from Burnet’s “Archaeologiae Philosophicae” (1692). The main theme taken from this quotation is that one must maintain a balance between acknowledging the imperfect, temporal world, yet also striving to understand the ethereal and ideal world of spirits, ghouls and ghosts in order to reach an eventual understanding of the truth.Coleridge uses this quotation in order to remind the reader to pay attention to the near-constant interactions between the real world and the spiritual world in the poem, and like the Ancient Mariner, the reader must explore and navigate these interactions in order to understand the truth behind the poem. From the first interaction between the wedding-guest and the Ancient Mariner, the reader is able to get a hold on something more than his unnaturally old appearance, as he is also described to have a “glittering eye”. This disturbs the wedding-guest, who consequently calls him a “grey-beard loon”.However, there is more to his “glittering eye” than initially expected, as he is able to compel the wedding-guest to listen to the tale, he so eagerly wants to expose, like a “three years’ child”.
How Does Coleridge Being Telling the Story Essay Example
Although the Ancient Mariner clearly takes the form of a human, there are subtle suggestions that he does possess unworldly qualities to him. This unworldly quality is consolidated by the fact that Coleridge chooses to describe him as “it” in the first line of the poem instead of using “he”. The use of setting is also very important in the way that Taylor Coleridge chooses to tell the story and also combine the theme of the Latin epigraph.Before the Ancient Mariner begins telling his story, Coleridge deliberately uses a setting filled with temporal temptations that distract the wedding-guest from the ethereal setting of the Ancient Mariner’s story. For example, while describing the setting of the sun in his tale, the Ancient Mariner has his story interrupted by the wedding-guest who “beat his breast, for he heard the loud bassoon. ” In light of Burnet’s quote, one can say that the temporal world with its “petty” pleasures seems to tempt the wedding-guest.The use of narration is also fundamental to the importance of how Coleridge tells the story in Part 1.
The narrator has a third-person limited perspective. In other words, he is only able to access the thoughts of one of the characters, and in the case, only the wedding-guests’. However, the narrator does not delve into the mind of the wedding-guest in Part 1 of the poem. The narrative also has two levels: there’s the story of the Mariner and the Wedding Guest, and there’s the story-within-a-story of the Mariner’s voyage, which takes up most part of the poem.This dual-layered narrative allows the reader to become intimate with both parts of the story, as opposed to just being able to fully access either the tale or the scene by the wedding. Another important aspect of the narrative is the way in which both the narrator and the Mariner use a ‘Ye Olde’ style of language, most probably from around the fourteenth century. For example, he uses words such as “stoppest,” and”eftsoons.
” This voice was typical with old English ballad, like ‘Sir Patrick Spens’. Many of the famous English ballads didn’t have a single, named author.Instead, they were collective works that were revised over many years as different performers added their own touches. The regular rhyme scheme and alternate lines of tetrameter and trimeter reinforce this ‘ballad-like’ feel, which accentuates the performance-like deliverance of the tale. In order to add suspense and change the tempo of the poem, Coleridge adds a stanza with six lines, as opposed to the normal four lines in which he fills with energetic and exciting words such as “roared,” “blast,” and “fled”.The suspense and tension is very important in Part 1, as it is all part of building up a climax at the end of Part 1 when he shoots the As seen here, Coleridge also puts words in capitals in order to emphasise their importance. This unconventional way of writing really conveys a sense of performance, rather than the more rigid style that would be used to tell a normal story.
This ‘performance’ effect is important in reminding the reader that the ‘tale’ is being told by the rather intriguing, and eccentric character of the Ancient Mariner.In conclusion, Coleridge firstly creates a worldly festive scene where the wedding-guest first meets the Ancient Mariner, who through his tale, provides a contrast with a mystical and intangible world from where his tale became. Through his curious actions of “stopping one in three” and with his “glittering eye”, the reader is drawn and intrigued by the Ancient Mariner, which Coleridge has deliberately done in order to induce the reader into this marvellous yet eerie character. This sets up the rest of the narrative poem where the reader will be fascinated to find out why this character commits the unexpected crime of shooting the Albatross.