The Rime Of The Ancient Mariner

The Rime Of The Ancient Mariner Samuel Taylor Coleridges The Rime of the Ancient Mariner is said to be his attempt to bring supernatural terrors to a naturalistic setting. Some critics have argued that the moral truths of the poem are not only unintelligible but also irrational. But for other critics, this irrationality is what gives the poem its greatest quality. In analyzing and critiquing Coleridges poem, an in depth analysis of the irrational is needed. This irrationality is not Coleridges failure to explain the supernatural but actually an evidence of its Christian moral code and that the poems irrationality emerges because of Coleridges inner conflict with his conversion from Unitarianism to the Anglicanism religion. This hermeneutic must be in mind when attempting to interpret Coleridges poem. Before we can look at modern critics such as Christopher Stokes, J Robert Barth, John T Netland, and even Jerome J. McGann, we must first look at how earlier critics have looked at Coleridges work through a Christian eyes. The article Coleridge And The Luminous Gloom: An Analysis Of The Symbolical Language In The Rime Of The Ancient Mariner' by Elliott B. Gose, Jr. examines the poem through a Christian perspective only because Gose believes the poem is filled with Christian trappings (239). Gose shows how symbols carry a Christian ideology and spends considerable time on examining how the sun (whether glorious or red) represents God while the other forces in the poem represent the forces of nature. In the end, Gose claims that nature is subordinate to God and that the Mariners voyage does not deal with a physical voyage but it represents a Romantic urge to explore the eternal soul and the temporal emotions (244). But throughout the article, Gose fails to fully explain the other stran ger elements in Coleridges poem. For instance, he brings up life-in-death, who wins the Mariner in a gamble, but then dismisses her by stating how she is obviously outside the Christian hierarchy and is connected with a whole strand of non-Christian figures, incidents, and images in the poem (242). He interprets this from the obscure explanation given from the gloss and continues with the rest of the poem still in Christian ideological framework. More modern critics will point out how though much of the poem seems to use Christian terms, the more stranger elements and the ambiguous details create distance between familiar and unfamiliar which gave trouble to many earlier Christian critical readings of Coleridges text. Goses confusion with the gloss and its obscure Christian emphasis can be explained in Reading And Resistance: The Hermeneutic Subtext Of The Rime Of The Ancient Mariner by John T Netland. He suggests that the poem displays an incongruous mixture of pagan and Christian symbols (38) and examines the use of the gloss as a hermeneutic. Although the gloss-writing editor is responding to the original poem and seeks to interpret it for a modern audience, the editor marginalizes the Mariners experiences and emphasizes the Christian overtones of the poem. Netland states the gloss and the poem itself create a unique tension between contrasting religious imaginations (41). One is a world of categorized and rational set of religious experiences (inferred from gloss) while the other a spiritual, mystical, irrational religious sublimity (from the poem). Netland states that Coleridge may have gotten his idea from Bibles at that time with their gloss notes that gave a clearer interpretation of the b iblical text. This is very similar to Jerome J. McGanns examinations in his brilliant article, The Meaning Of The Ancient Mariner, where McGann briefly details the poems history from its initial criticism to Coleridges embracing of Christian ideology to his Higher Critical analytics of the re-interpretative process of the Bible to Coleridges attempt in mimicking this layered hermeneutic upon his own work. McGann points to the fact that Coleridges poem was originally a literary ballad among all the other lyrical ballads found Wordsworths printed work, Lyrical Ballads. With the second edition, and with Wordworths concerns, Coleridge made alterations to make the poem less a literary ballad and more a lyrical ballad. Coleridge may have realized what he was doing was similar to what occurred in Biblical narratives. Coleridge had argued in length on issues of Higher Criticism that Scriptures were not an unmediated and fixed biblical text but an evolved and continuously evolving set of rec ords which include the Churchs later glosses on and interpretations of the earlier documents (47). McGann remarkably suggests that Coleridges revised version of his poem shows four clear layers of development: (a) an original mariners tale; (b) the ballad narrative of that story; (c) the editorial gloss added when the ballad was, we are to suppose, first printed; and (d) Coleridges own point of view on his invented materials (50). The last shows Coleridges own theory of religious and symbolic interpretation. McGann believes that The Rime of the Ancient Mariner is Coleridges imitation of a culturally redacted literary work (51). But coming back to Netlands article, the gloss, he believes, becomes an inadequate hermeneutic for analyzing the poem. Netland suggests that the gloss is inadequate as a hermeneutic since the editor reduces the Mariners spiritual journey, actions, and sufferings into a straight-forward neat plot to emphasize Christian redemption. Netland states that the Marinerà ¢Ã¢â€š ¬Ã‚ ¦has experienced something of the religious sublime (whether real or delusive), and his compulsive retellings of his story point to the inexplicable profundity of his experience (51). The writer of the gloss fails to understand this and the gloss represses the Mariners heightened religious experience. Netland suggests that we instead respond like the stunned Wedding Guest which is far more consistent to Coleridgean hermeneutics when analyzing the journey of the Mariner. But can the gloss be ignored? McGann disagrees and states that the changes (as well as the addition of the gloss) from 1798 to 1817 show an important story in Coleridges development of the purposes of his poem. Many believed that these changes were a reactionary movement in which a daring and radical poem is transformed into a relatively tame work of Christian symbolism (42) when Coleridge retreated from his radical views to his later Christian ideology. McGann, in his article, dives deeply into Coleridges understanding of the Higher Critical analysis of the Christian Bible to show Coleridges Hermeneutic Model of his poem originating from his ideas of the process of the Bibles creation. Coleridge saw how Gods Word was expressed and later reexpressed through commentary, gloss, and interpretation by particular people at different times according to their differing lights (43). Coleridges poem is presented as just this type of reinterpreted text retaining its own ideological coherence e ven through the fragmentation from reinterpretation. McGann states that the poem shows Coleridges process of textual evolution and the symbolic meaning of that process is a Christian redemptive one. We can see how the very nature of religion affected Coleridge in his earlier 1798 version and his later 1817 version (with gloss) and can conclude that the poet himself and his faith must be examined. J. Robert Barths book, Romanticism and Transcendence: Wordsworth, Coleridge, and the Religious Imagination, delves deeply into Coleridges theories, struggles, and faith. Although, he spends the first four chapter exploring Wordsworths works and how it practices Coleridges theories of imagination, he examines closely the nature of religion in The Rime of the Ancient Mariner in chapter 6. Although Coleridge had theological speculations, he was a practical Christian (89). Coleridge believed in living out the practical aspects of his faith. Barth does not give a complete examination of Coleridges poem, but hones in to what he believes gives strength and beauty to Coleridges poetry. The notion of polarity (a balance or reconciliation of opposites (6)) is central to Coleridges theories of ima gination. Opposite objects, qualities, or tensions exist within the same field of force' (6). Barth also looks at prayer as a means of bringing these two forces into harmony (natural and supernatural). Coleridge is concerned with prayer but at a deeper level as a means of uniting the creature with the Creator (90). Coleridges guilt and need for redemption is bound to his longing for forgiveness and friendship with God. Coleridge calls prayer the the effort to connect the misery of Self with the blessedness of God (90). It is a means of connecting the natural to the supernatural, the temporal to the eternal, and the immanent to the transcendent. Barth states that even though Coleridge does move from his Unitarian ideology to his Christian ideology, a shift that can be seen in the poem and its revision, this idea of prayer is still deep within Coleridges soul. Although, Barth explores prayer within the poem during Coleridges conversion, this shift of faith can be explored further as m eans for a proper hermeneutic in interpreting Coleridges poem. Christopher Stokes article My Soul In Agony: Irrationality And Christianity In The Rime Of The Ancient Mariner explores the struggle between the physical and the spiritual world in Coleridges poem. His poem contains strange elements that seem unintelligible and irrational. Stokes states that these elements stem from Coleridges Unitarian moral theory that he subscribed to at the time. Because these strange elements are unintelligible, there is an ambiguity between the supernatural events and orthodox religion. Though much of the poem seems to use Christian terms, there is still details that are ambiguous and this creates distance between familiar and unfamiliar. Stokes states that these ambiguous moments create a divided tone and he claims this is from Coleridges difficult transition from Unitarianism to Anglican Christianity. Coleridge struggled with Christianitys concept of original sin and a closer examination must be conducted to understand why he possibly struggled with it. The concept and doctrine of Original Sin was developed by the early Roman church and was based on Pauls teachings found in the Book of Romans. In the Old Testament (specifically from Genesis), Adam and Eve disobeyed God in the Garden and the result was that they were cursed and banished out of the Garden. Because of the actions of Adam and Eve, sin (a propensity to disobey God) originated in the Garden and continued to all future generations. Paul teaches a reinterpretation of this Genesis story. In Romans 5.12, Paul states that just as sin entered the world through one man, and death through sin, and in this way death came to all people, because all sinned. At the time of Pauls teaching, audiences of the early Gospels will be familiar with the story of Jesus (especially since Mark and Matthew may have been circulating prior to Romans being written). The audiences would understand that Jesus died as a sacrificial lamb for the sins (actual personal committed sins; a personal disobedie nce) of all man. But Paul goes to reinterpret Christs death to add that Jesus died to not only remove our personal sins but also to remove the hold of original sin on humanity which results in death. For just as through the disobedience of the one man the many were made sinners, so also through the obedience of the one man the many will be made righteous (Romans 5.19). This meant that all humanity was guilty for their personal sins and guilty for the sin of Adam and Eve that was passed to generations. Later under the Roman church, Saint Augustine of Hippo taught that all of humanity was in a state of sin that came from Adam. Man is born with sin and a weakened free-will that gravitates toward sin. Adam and Eves sin and guilt is carried onto each generation (Kelley, 34-38). This was the concept of Original Sin. This is a belief that is still held today by Catholics and Protestants (although, it may vary based on demonization). But Unitarians do not believe in the concept of Original Sin. They do not believe that the sin of Adam and Eve corrupted all of humanity and that we still carry their guilt. They state it would contradict the love and justice of God to attribute to us the sin of others, because sin is ones own personal action (JoÃÅ' zsef, 107). This was a key to why Coleridge struggled in his conversion to Christianity and is evident in his poem. Stokes, in his article, explains the struggle readers have with the strange and irrational elements in the poem are reflective and evidence of Coleridges struggle in his departure from Unitarian ideology to Anglican ideology. An example can be seen with the killing of the Albatross which many critics agree is a strange element to the poem. The Mariner simply kills the bird with no thought prior and the only shock is from the Wedding Guest. The crew at first thought it wrong, but then agreed that the bird was bad luck. Without the gloss notes (and in the original 1798 version), it seems that even nature is unmoved by something that seemed like a crime and the reader isnt given any reason that the killing set any clear event in motion (a determinative effects of motives based on Unitarian moral theory (5)). The albatross death is a powerful but initially unintelligible event but has no obvious moral or religious significance (6). Coleridge, after his conversion and firming in Christian ideology, comes to term with original sin and revises his work (through additions, subtractions, and including a gloss for the poem) giving it a more Anglican tone. The gloss becomes an Anglican hermeneutic bringing the poem under a Christian ideology and moral order. The poem under the gloss gives it a Christian salvational trajectory (20). It is only through the gloss (and Coleridges later revision in 1817) that we learn that the ancient Mariner inhospitably killeth the pious bird of good omen. Stokes understands the common critical belief that the Mariner conspicuously relies on Christian rituals and beliefs . . . the Christian doctrine fails to explain his world of excessive suffering and irrational events (11). But he states that before we dismiss these strange elements as irrational, we must explore Coleridges religious thinking at the time of writing the poem and both its revisions. It is only through the examination of his personal faith and conversion that we can develop a proper hermeneutic to interpret Coleridges poem. It would be erroneous to assume irrationality as a failure of the poems Christian moral code. One must look at Coleridges conversion as well as his struggle with the Christian doctrine of original sin that creates the irrational or at least creates ambiguous language. It is only through this hermeneutic that we can fully understand and appreciate Coleridges poem where he attempts to understand and present to us the concepts that are beyond understanding.

Communication Case Study Essay

1. Which barriers to listening described in Chapter 3 might make it difficult for Mark and Kate to hear one another’s perspectives when they meet to discuss the situation? Listening is very important in communication. This is the key to effective communication. Listening effectively is one’s ability to fully understand and interpret messages sent by the speaker. In Mark and Kate’s situation, there are listening barriers that prevent and make it difficult for them to fully understand one another. In Kate and Mark’s situation, and many other people’s situation, psychological barriers are the most common. Emotions became a distraction to listen what the speaker has to say. Just when Mark is calling her attention about doing the job right, Kate already started to put up her guard and defended herself. Most people, including myself, get anxious when we hear criticisms about ourselves. There are many things that are already playing inside our mind about the situation. This makes it difficult to listen to what the other speaker has to say. We tend to be close-minded in situations like that. In addition, under the psychological barriers is the egocentrism. The book says, â€Å"your own ideas are more important or valuable that those of others.† Kate mentioned the situation about her ideas being shot down. She believes that her ideas or suggestions are not as important as the other members of the team. If we believe that our ideas and suggestions are not appreciated well like others, we tend to not listen anymore because we feel like whatever we do, it will not be treated the same as others. On the other hand, Mark needs to carefully listen to what Kate has to say. Since he already listened to what the other members of the team said, he also needs to understand why Kate acts the way she is acting. I believe in Mark’s situation, an environmental barrier is present. I am not sure if the influence of other people is under this category. Mark became so focused about his own observations of Kate’s actions and what the team was saying about her. If he is only to focus on what he had observed and what other said, it will be a huge problem and understanding each other will be too difficult for them. 2. Consider the listening styles discussed in Chapter 3. Present evidence that indicates each person’s styles, and then describe how this knowledge might have created a different communication outcome for Kate and Mark. Kate is a critical listener. In this particular scenario, she became exaggeratedly overreactions on Mark’s message. If only Mark and Kate are relational and analytical listeners, a better situation and outcome of the meeting could’ve been in place. For example, if Kate is an analytical listener, she will be more concerned about fully understanding the message before making a judgment. She could’ve seen the situation like Mark must have been concerned about her and wants her to become better at the job. Instead of taking it in a bad way, she could’ve seen the feedback as a room for improvement on her performance. On the other hand, Kate could really be an analytical listener. She might have just over analyzed the situation that worsens her interpretation of the information conveyed by Mark. Yet, if Kate become more professional about it, she should clarify the message she received with Mark instead of making her own conclusions and interpretations. This is one problem when we tend to just hear not listen. In addition, if Mark will be a relational listener, he will be nonjudgmental about what Kate was saying. He will be able to further help and understand her with the situation. He also must understand where Kate is coming from. Instead of firing her, he can offer her some support and resolve the issues arising within the team. The issue must not only be addressed just between Kate and Mark. It must be resolved together with the whole team. This is to eliminate any other future similar issues. They all need to listen not just hear so they can properly communicate. If they are effective listeners, ideas of each members of the team will be evaluated in the s ame importance as the others.

Sociological Imagination Summary - 1307 Words

Ans: In the book â€Å"The Sociological Imagination†, the author C. Wright Mills begins by describing the perilous situation of the American man during the 1950s. He describes they situation as one of internment and frailty. Mills sees men as restricted by the routines of their daily lives. They go to their jobs and become workers, they go home and are family men. The American men of the 1950s were in a state of powerlessness due to the effects of World War Two and the looming threat of nuclear warfare between the United States of America and the former Soviet Union. They lived in a world of trepidation and great uncertainty. To help understand the American man situation of the time, Mills suggest they we adopt a â€Å"Sociological†¦show more content†¦Mills argues that a sociological study can serve to demonstrate to the individual how his private life is also constructed by the environment in which he lives and the actual age in which he resides. The study of socio logy can tie the private and the classical by altering private issues into classical issues and the classical into private ones. To explain the kind of job that sociology can do in bridging the private with the classical, the author differentiates between what he calls â€Å"personal troubles and public issues†. Personal troubles according to Mills are what a person senses in his â€Å"Milieu† which is Mills word for instantaneous position in which man maneuvers like the family. He makes it clear that troubles are an intimate element. Issues on the other hand, is part of a greater social construction. Issues according to Mills is a disaster in an organization, and not a disaster in a single person. To further clarify his point, Mills ask us to consider a man and his wife that might be having marital problems. This he says would be a private problem. If on the other hand, half of all marriages ends in divorce then we are dealing with a public problem. Mills believes tha t the same can be said for other issues that looks like personal issues, but turned out to be communal issues such as unemployment. In Chapter 2 entitled â€Å"Grand Theory†, Mills begins by criticizing modern sociology. He believes that GrandShow MoreRelatedThe Promise Of Sociology, By Charles Wright Mills1133 Words   |  5 PagesSociology written by Charles Wright Mills explains that most men are unable to comprehend the effects of cultural and sociological changes that it can have on their lives. Mills introduces a concept that involves sociological imagination. Sociological imagination is the ability to see things socially and how they interact or show expressions to each other. â€Å"The sociological imagination enables its possessor to understand the larger historical scene in terms of its meaning for the inner life and theRead MoreThe Sociological Imagination is a book written by C. Wright Mills. 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Wright Mills986 Words   |  4 PagesMills Chapter Summary â€Å"Yet Men do not usually define the troubles they endure in terms of historical change and institution contradiction.† Stated from chapter one of â€Å"The Classic Readings in Sociology† which was based on â€Å"The Sociology Imagination† by C. Wright Mills. As our Sociology 131 class study the works of C. Wright Mills, we learn and examine his views. We learn how he view other things such as marriage, war, and the limitations of men. His view of war is that both sides playRead Morethe verdict Essay1352 Words   |  6 Pages Sociological Imagination Essay Galen College of Nursing Sociological Imagination Essay In 1959, sociologist, C. Wright Mills, had said that in order to think critically about the world around us, we need to use our sociological imagination in order to see the connections of our personal lives to the larger groups on history (Conley, 2011). 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The essay will first explore the significance of Indigenous infant mortality and a biomedical approach to the issue. Contrasts between biomedical and sociological approach will then be examined and demonstrated through the investigation of sociological concepts of social marginalisation and socioeconomic status. Lastly, the sociological knowledgeRead More1.Briefly Describe Your Favorite Character From Literature,1859 Words   |  8 Pages1. Briefly describe your favorite character from literature, television, or film. Using your sociological imagination, explain some of the problems that character had/has from a sociological p erspective. Be sure that you clearly define and identify the sociological perspective and the sociological imagination. Be careful not to give a detailed summary of the character – stick to the sociology! 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Male Dominance in a Midsummers Night Dream - 1304 Words

To what extent is Shakespeare trying portray male dominance over the female characters, in A Midsummer’s Night Dream. Almost in every play of Shakespeare we can see the dominance of males over women. In his plays women have no right to say what they think or what they want. They are always expected to be faithful to their fathers and husbands. They don’t have any freedom about their lives. However we know that this attitude of men against women in Shakespeare’s plays is a reflection of Renaissance society. We can see the most remarkable examples of male dominance in A Midsummer Night’s Dream. The play opens with a tragic event. Hermia who is in love with Lysander is forced to marry with Demetrius because of her father’s wish. According†¦show more content†¦Women in this play see themselves as weak once they are married or once they have sworn their love to a man. Hippolyta, the warrior Queen, seems deflated with the fact that Theseus has captured her and wants to marry her. When Theseus proudly talks about how he had taken her by war, and how he couldn t wait to get married, her only reply is that the days will pass by quick, demonstrating a lack of enthusiasm. Throughout the play, she doesn t say much, and her opinion or preference is also not asked for, despite the fact that she, in her own right, is of extreme importance and influence. Helena is shown as a faithful lover, but her dedication is at times, irritating. Helena chases Demetrius relentlessly, despite his cruel treatment of her. She appears, not mad at Demetrius for leaving her; but rather she blames herself for not being attractive enough. When Lysander and Demetrius turn their affection towards Helena, she begins to think they are mocking her. This presents to the audience her lack of self-esteem. And will you rent our ancient love asunder, to join with men in scorning your poor friend? It is not friendly, tis not maidenly: Our sex, as well as I, may chide you for it, though I alone do feel the injury Hermia and Helena are best friends and Helena explains their relationship as having two bodies but sharing one heart, ‘ Like to a double cherry, seeming parted, but yet an union in partition, two lovely berries moulded on one stem’. ButShow MoreRelatedThe Supernatural in William Shakespeares A Midsummer Nights Dream1550 Words   |  7 PagesMidsummer Nights Dream Consider the presentation of the supernatural in A Midsummer Nights dream. In what way does it reveal Shakespeares moral and philosophical concerns? How does Shakespeares stagecraft (setting, Characterisation, language, verse form etc) facilitate the consideration of his concerns? and how do we as a modern audience respond to the play as a piece of theatre? The main themes of A Midsummers Night Dream are the supernatural, dreams, nature and