Exploring Gothic & Religious Elements in The Rime of the Ancient Mariner

Categories: The Rime of The Ancient Mariner

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The opening lines of Part one in The Rime of the Ancient Mariner introduce a third person omniscient narrator, a figure embodying Coleridge's comprehensive knowledge of the unfolding events. Some may interpret this narrator as representative of God, adding a religious dimension to the narrative. This initial encounter immediately sets the stage for the lyrical ballad, intertwining themes of religion, nature, and the supernatural.

The second stanza introduces the wedding guest, serving as a surrogate for the reader and expressing the confusion shared by the audience.

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The wedding guest's bewilderment emphasizes the mysterious nature of the encounter, leaving both the guest and the reader in the dark. As the Mariner begins his tale within the tale, the Gothic element of embedded narrative comes to the forefront.

The Ballad's Structural Elements

The ballad unfolds in quatrains throughout Part 1, a structural choice that undergoes transformation to reflect narrative shifts. Notably, stanzas six and eleven conclude with the same line, signaling a recurring theme embodied by the 'bright-eyed Marinere.

' The reversal of the seventh stanza at the poem's end symbolizes the Mariner's departure from and return to the familiar. This ballad, categorized as a Lyrical Ballad, exhibits elements of Romance and the Gothic, drawing on the Romantic themes of nature and extreme emotions, as well as Gothic elements like religious imagery and supernatural occurrences.

The Setting and Symbolism

Although set at a wedding, the embedded narrative in Part 1 unfolds in the land of 'mist and snow,' symbolizing the Mariner's isolation. This departure extends beyond physical boundaries to a separation from God, marked by his transgression of shooting the Albatross.

The Mariner distances himself from the divine, leaving the 'Kirk,' 'the hill,' and 'the light-house top,' signifying both physical and spiritual detachment.

Archaisms in the Mariner's language, such as 'ancyent,' 'thee,' 'thou,' and 'thus,' create a sense of antiquity, reinforcing the perception of the tale unfolding in a bygone era. The Mariner's peculiar introduction as 'it' rather than 'he' adds an air of mystery to his character, distinguishing him as an otherworldly being.

Rhythmic Persistence and Symbolic Motifs

Part 1 employs internal and alternate rhymes to create a rhythmic flow, emphasizing the Mariner's persistent recounting of the ship. The repetition of 'there was a ship' underscores the urgency in his narrative. The wedding guest's growing impatience, expressed through aggressive language, mirrors the potential reaction of the reader in the same situation.

The Mariner's almost wizard-like appearance, described through 'skinny hand,' 'grey beard,' and 'glittering eye,' adds a supernatural dimension to the Gothic elements. The motif of the Sun, personified as 'he,' serves as a symbol for God, diminishing in prominence after the Mariner's fateful act, suggesting divine displeasure.

Pathetic Fallacy and Symbolic Imagery

Coleridge employs Pathetic Fallacy to mirror the Mariner's mood through the tumultuous weather, a common Gothic device. The vivid description of the ice as 'green as Emerauld' combines elements of Romance, emphasizing the natural world. The repeated mention of 'ice' symbolizes the Mariner's desolation and isolation.

The ice itself takes on an almost sentient quality, 'crack'd and growl'd and roar'd and howl'd,' using animal imagery to depict its unforgiving and harsh nature. The Albatross, a symbolic religious emblem, ties into the pervasive religious themes throughout Part 1, aligning with Coleridge's personal views and contributing to the Romantic and Gothic aspects of the poem.

In a subtle foreshadowing move, the moon, introduced shortly before the Mariner's pivotal act, serves as a motif for change, hinting at the impending consequences of shooting the Albatross.

Religious Imagery and Mariner's Transgression

Part 1 of the ballad delves into the religious undertones, evident in the Mariner's departure from God's presence. The mention of the 'Kirk,' 'the hill,' and 'the light-house top' as locations left behind underscores not only physical distance but also a spiritual disconnect. The shooting of the Albatross serves as a profound transgression, echoing themes of guilt and divine retribution commonly found in Gothic literature.

The archaic lexis employed by the Mariner further emphasizes the ancient nature of the tale, creating a temporal gap between the events and the contemporary world of the reader. Coleridge's deliberate use of non-standard spellings, such as 'ancyent,' reinforces the archaic atmosphere, contributing to the eerie ambiance characteristic of Gothic literature.

Supernatural Elements and Gothic Imagery

The Mariner's supernatural appearance, described as 'wizard-like' with a 'skinny hand,' 'grey beard,' and 'glittering eye,' aligns with Gothic conventions. This characterization enhances the mysterious and unsettling atmosphere of the poem, drawing readers into the fantastical realm created by Coleridge. The ice, personified with growls and howls, becomes an ominous force, enveloping the Mariner in a harsh and unforgiving environment, characteristic of the Gothic genre.

Furthermore, the Albatross, beyond its religious symbolism, becomes a Gothic element as it becomes a spectral presence haunting the Mariner. The moon, introduced as a harbinger of change, adds an element of the supernatural to the narrative, heightening the sense of impending doom.

Conclusion

In conclusion, Part 1 of The Rime of the Ancient Mariner skillfully weaves elements of Romanticism and the Gothic, exploring themes of nature, religion, and the supernatural. The intricate structural choices, symbolic motifs, and the Mariner's captivating narrative contribute to a rich and layered exploration of the human experience, inviting readers to delve into the mysterious and thought-provoking world created by Coleridge.