By J. C. C. Mays (auth.)

This is the 1st book-length examine to learn the "Ancient Mariner" as "poetry," in Coleridge's personal specific experience of the note. Coleridge's complex courting with the "Mariner" as an experimental poem lies in its beginning as a joint undertaking with Wordsworth. J. C. C. Mays strains the adjustments within the numerous types released in Coleridge's lifetime and indicates how Wordsworth's response to the poem inspired its next interpretation. this can be additionally the 1st e-book to situate the "Mariner" within the context of the whole lot of Coleridge's prose and verse, now to be had within the Bollingen accrued variation and Notebooks; that's, not just with regards to different poems like "The Ballad of the darkish Ladiè" and "Alice du Clós," but additionally to principles in his literary feedback (especially Biographia Literaria), philosophy, and theology. utilizing a mix of shut examining and vast old concerns, reception concept, and e-book heritage, Mays surveys the poem's carrying on with existence in illustrated variations and academic textbooks; its passage throughout the vicissitudes of recent feedback and demanding thought; and, in a last bankruptcy, its miraculous affinities with a few experimental poems of the current time.

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A half-way lunge towards gothic script? At the same time, there are a few printed versions that deliver the text in ways for which I for one feel deeply grateful. Bruce Rogers (for Oxford University Press, 1930) sets a classic standard but is not alone. With reference to the “Coleridgean” argument about illustration sketched here, the way the text reads on the page deserves as much care and attention as the interpolation of images by other hands. And the pictures embodied in words on the page are no ordinary pictures: they change shape, depth, and value as they enter the mind.

PW 1:232, 234: lines 14, 47–48). He adds the question mark because the change to “intellectuality” rests on a supposition (“And what if”). 4)17: again meaning harmony, concord of parts, and probably intending an allusion to “That undisturbed Song of pure concent” in Milton’s poem, “At a Solemn Musick,” where the word resonates with ideas of ecstatic harmony. As I described in Experimental Poetics (113–18), the extraordinary attraction of the “Mariner” for visual artists has resulted in some memorable work that nevertheless serves only to illustrate their starting positions: Gustave Doré’s and David Jones’s different kinds of religiosity, Mervyn Peake’s gloom, Duncan Grant’s gaiety, and so on.

The purpose of publishing his writing was not so much to gain recognition as to reform public taste on different terms. Now that all (or almost all) Coleridge wrote is finally in print, the road he chose appears less like a cul-de-sac; and maybe the road Wordsworth chose, more popular at the time, looks a little less impressive. Coleridge wrote more verse than was earlier known and, more importantly, an enormous amount more prose concerning topics that bear on the subject of his verse as well as being of great interest in their own right.

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