The Rime of the Ancient Mariner Part II
By Samuel Taylor Coleridge
The Sun now rose upon the right:
Out of the sea came he,
Still hid in mist, and on the left
Went down into the sea.And the good South Wind still blew behind,
But no sweet bird did follow,
Nor any day for food or play
Came to the mariners’ hollo!And I had done an hellish thing,
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!Nor dim nor red, like God’s own head,
The glorious Sun 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.The fair breeze blew, the white foam flew,
The furrow followed free;
We were the first that ever burst
Into that silent sea.Down dropped the breeze, the sails dropped down,
’Twas sad as sad could be;
And we did speak only to break
The silence of the sea!All in a hot and copper sky,
The bloody Sun, at noon,
Right up above the mast did stand,
No bigger than the Moon.Day after day, day after day,
We stuck, nor breath nor motion;
As idle as a painted ship
Upon a painted ocean.Water, water, every where,
And all the boards did shrink;
Water, water, every where,
Nor any drop to drink.The very deeps did rot: O Christ!
That ever this should be!
Yea, slimy things did crawl with legs
Upon the slimy sea.About, about, in reel and rout
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
Of the Spirit that plagued us so;
Nine fathom deep he had followed us
From the land of mist and snow.And every tongue, through utter drought,
Was withered at the root;
We could not speak, no more than if
We had been choked with soot.Ah! wel-a-day! what evil looks
Had I from old and young!
Instead of the Cross, the Albatross
About my neck was hung.
Exploring The Rime of The Ancient Mariner Part II: A Journey into Consequence
Samuel Taylor Coleridge’s “The Rime of The Ancient Mariner” stands as a monumental work in English literature, captivating readers with its vivid imagery, supernatural elements, and profound moral lessons. Part II of this epic poem plunges deeper into the dire consequences of the Mariner’s impulsive act, transforming the initial crime into a shared suffering and a haunting psychological ordeal. This section is pivotal, shifting the narrative from a simple act of violence to a complex exploration of guilt, blame, and the interconnectedness of nature and humanity.
The Rime of The Ancient Mariner Part II Summary and Central Idea
Part II of “The Rime of The Ancient Mariner” details the immediate aftermath and escalating torment following the Mariner’s killing of the albatross. Initially, the crew’s reaction is divided: they first condemn the Mariner for slaying the bird that “made the breeze to blow,” attributing their good fortune to it. However, when the sun rises “Nor dim nor red, like God’s own head,” they swiftly change their minds, praising the Mariner for killing the bird that “brought the fog and mist.” This fickle shift in blame highlights human inconsistency and self-preservation.
The true horror begins when the ship enters a “silent sea” and becomes utterly becalmed. The “good South Wind” vanishes, leaving the vessel motionless under a scorching, “bloody Sun.” The crew suffers extreme thirst, with “Water, water, every where, Nor any drop to drink.” This agonizing drought is accompanied by grotesque natural phenomena: “slimy things did crawl with legs Upon the slimy sea,” and “death-fires danced at night,” turning the water into “witch’s oils.” The crew’s tongues wither, rendering them unable to speak. In a desperate act of blame and superstition, they hang the dead albatross around the Mariner’s neck, replacing the Christian cross with the symbol of his transgression.
The central idea of Part II revolves around the immediate and severe consequences of violating the natural order, the psychological burden of guilt, and the contagious nature of suffering. It powerfully illustrates how a single act of disrespect towards nature can unleash a chain of calamitous events, affecting not just the perpetrator but all those associated with the transgression. This section underscores the theme of interconnectedness, suggesting that humanity’s actions have far-reaching impacts on the environment and, in turn, on human fate.
Noteworthy Knowledge for Readers
- The Shifting Nature of Blame: A key insight from Part II is the crew’s rapid change of heart regarding the albatross. This reveals how easily human judgment can be swayed by immediate circumstances and self-interest, moving from condemnation to praise and back to condemnation.
- The Albatross as a Symbol: The albatross transcends being merely a bird; it becomes a powerful symbol of nature’s innocence, grace, and the sacred bond between humanity and the natural world. Its death and subsequent hanging around the Mariner’s neck symbolize the heavy burden of guilt and the visible mark of sin.
- Supernatural Elements: The poem introduces supernatural forces as direct consequences of the Mariner’s act. The becalmed ship, the “bloody Sun,” the “slimy things,” and the “Spirit that plagued us so” all point to a world where nature responds with mystical retribution.
- Sensory Deprivation and Overload: The description of the “silent sea” followed by the overwhelming visual and tactile horrors of the rotting deeps and “death-fires” creates a profound sense of isolation and psychological torment.
In-Depth Analysis of The Rime of The Ancient Mariner Part II
Part II meticulously builds the atmosphere of dread and despair, transforming the ship from a vessel of exploration into a prison of suffering. Coleridge employs a masterful blend of narrative progression and evocative imagery to convey the Mariner’s and his crew’s descent into their self-made purgatory.
The Mariner’s Crime and the Crew’s Complicity
The section opens with the Mariner reflecting on his “hellish thing” and the woe it would bring. The crew’s initial condemnation is clear:
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!
This immediate reaction establishes the albatross as a bringer of good fortune. However, the crew’s subsequent reversal is critical. When the fog lifts, they declare:
’Twas right, said they, such birds to slay,
That bring the fog and mist.
This fickle judgment implicates the entire crew in the Mariner’s sin. By condoning his act, they become complicit, sharing in the impending curse. This collective responsibility is a crucial aspect of the poem’s moral framework.
The Becalming and the Descent into Suffering
The turning point arrives with the sudden cessation of the wind:
Down dropped the breeze, the sails dropped down,
’Twas sad as sad could be;
This physical stagnation mirrors the spiritual and psychological paralysis that grips the crew. The “silent sea” becomes a character in itself, an oppressive force that amplifies their isolation:
And we did speak only to break
The silence of the sea!
The sun, once a symbol of life, transforms into a malevolent entity:
All in a hot and copper sky,
The bloody Sun, at noon,
Right up above the mast did stand,
No bigger than the Moon.
Its reduced size and “bloody” appearance signify a distorted, ominous reality. The iconic lines describing the thirst encapsulate their agony:
Water, water, every where,
And all the boards did shrink;
Water, water, every where,
Nor any drop to drink.
This paradox of abundance and deprivation highlights the cruel irony of their situation, a direct consequence of their transgression against nature.
Supernatural Retribution and Psychological Torment
The natural world itself seems to rebel, manifesting grotesque and terrifying phenomena:
Yea, slimy things did crawl with legs
Upon the slimy sea.
The “death-fires danced at night” and the water burning “green, and blue and white” introduce a palpable sense of the supernatural. These are not mere hallucinations but physical manifestations of the curse, suggesting that the spirit of the albatross, or a vengeful nature spirit, is actively tormenting them:
And some in dreams assured were
Of the Spirit that plagued us so;
Nine fathom deep he had followed us
From the land of mist and snow.
The physical suffering is compounded by psychological torture. The inability to speak due to extreme drought symbolizes their spiritual voicelessness and isolation:
And every tongue, through utter drought,
Was withered at the root;
We could not speak, no more than if
We had been choked with soot.
The ultimate symbol of their shared guilt and the Mariner’s personal burden is the albatross itself:
Instead of the Cross, the Albatross
About my neck was hung.
This powerful image replaces a symbol of salvation with one of damnation, marking the Mariner as the primary bearer of the curse, yet also a representation of the crew’s collective sin.
Literary Devices in The Rime of The Ancient Mariner Part II
Coleridge’s masterful use of literary devices in Part II deepens the poem’s impact, creating a vivid and haunting experience for the reader.
- Allusion: The poem references “O Christ!” during the sailors’ suffering, as seen in “The very deeps did rot: O Christ! That ever this should be!” This evokes spiritual desperation and a yearning for divine intervention, connecting their physical agony to a broader spiritual crisis.
- Assonance: The repetition of vowel sounds creates a musical effect and emphasizes key phrases. For instance, the long ‘e’ sound in “We were the first that ever burst Into that silent sea” draws attention to the ship’s unprecedented entry into the calm, eerie waters.
- Alliteration: Repeated consonant sounds at the beginnings of words draw attention to specific images and create rhythm. Examples include “fair breeze blew, the white foam flew” and “furrow followed free,” which emphasize the swift, smooth movement before the calm, and “death-fires danced,” highlighting the macabre energy of the supernatural phenomena.
- Consonance: The repeated consonant sounds within words produce a subtle, noticeable effect. In “The very deeps did rot: O Christ! That ever this should be!” the repeated ‘t’ sound adds a sense of finality and despair to the rotting environment.
- Imagery: Vivid descriptions immerse the reader in the scene. “All in a hot and copper sky, The bloody Sun, at noon” creates a powerful visual of the oppressive heat and ominous atmosphere. Similarly, “slimy things did crawl with legs Upon the slimy sea” conjures a repulsive and unsettling image of the corrupted ocean.
- Metaphor: Coleridge compares abstract ideas to concrete images without using “like” or “as.” Describing the sun as “The bloody Sun” is a metaphor that imbues the celestial body with a malevolent, threatening quality, reflecting the crew’s suffering.
- Personification: Inanimate objects are given human qualities. The “bloody Sun” is personified as a cruel, watchful figure, and the “death-fires danced at night” gives the supernatural lights a macabre, active agency. The “silence of the sea” is also personified as something that can be “broken,” giving it weight and power.
- Simile: Direct comparisons using “like” or “as” clarify meaning and create vivid images. “As idle as a painted ship Upon a painted ocean” powerfully conveys the ship’s complete stagnation. “The water, like a witch’s oils, Burnt green, and blue and white” creates a chilling image of the supernatural, corrupted sea.
- Symbolism: Objects represent abstract ideas. In Part II, the becalmed ship symbolizes the crew’s spiritual and physical stagnation, trapped by their collective guilt. The “bloody Sun” symbolizes divine wrath or a corrupted natural order. Most profoundly, the albatross hung “About my neck” symbolizes the Mariner’s crushing burden of guilt and the visible mark of his sin, replacing the traditional Christian symbol of redemption.
Poetic Devices in The Rime of The Ancient Mariner Part II
Beyond literary devices, Coleridge utilizes a range of poetic techniques to shape rhythm, sound, and overall effect, enhancing the narrative of Part II.
- Diction: The poem’s formal, archaic diction, with words like “averred” and “wel-a-day,” creates a sense of timelessness and elevates its subject matter, lending an ancient, legendary quality to the Mariner’s tale.
- End Rhyme: Coleridge frequently uses end rhyme, contributing to the poem’s musical flow and memorability. For example, “came he” and “sea,” “behind” and “find,” and “woe” and “blow” create a consistent, rhythmic pattern throughout Part II.
- Quatrain: The poem largely uses quatrains, stanzas of four lines, to provide a consistent and accessible structure. This regular form helps to ground the fantastical narrative and makes the long poem easier to follow.
- Rhyme Scheme: The prevalent rhyme scheme in Part II is ABCB, which offers a fluid and musical quality, as seen in the opening stanza: “right” (A), “he” (B), “left” (C), “sea” (B). This scheme allows for narrative progression while maintaining a lyrical feel.
- Stanza Form: The arrangement in stanzas organizes the narrative and emphasizes key themes. Each stanza often presents a distinct image or development in the crew’s suffering, such as the description of the becalming or the onset of thirst.
- Tone: The tone of Part II shifts dramatically from the initial descriptive serenity to one of profound ominousness and desperation. The lines “Down dropped the breeze, the sails dropped down, ’Twas sad as sad could be” establish a tone of profound sorrow, which deepens into horror with descriptions of the “bloody Sun” and “slimy things,” reflecting the escalating torment.
The Enduring Impact of The Rime of The Ancient Mariner Part II
Part II of “The Rime of The Ancient Mariner” is a masterclass in building suspense, depicting suffering, and exploring the profound consequences of human actions against nature. It is a powerful narrative that moves beyond a simple tale of adventure to delve into themes of guilt, retribution, and the delicate balance of the natural world. The vivid imagery, rich poetic devices, and the relentless escalation of the crew’s torment ensure that this section remains a compelling and unforgettable piece of literature, resonating with readers who contemplate humanity’s place within the vast, interconnected web of existence.