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Answer Guide to our Close Reading of “The Rime of the Ancient ...

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Part I<br />

Part II<br />

<strong>Answer</strong> <strong>Guide</strong> <strong>to</strong> <strong>our</strong> <strong>Close</strong> <strong>Reading</strong> <strong>of</strong> <strong>“The</strong> <strong>Rime</strong> <strong>of</strong> <strong>the</strong> <strong>Ancient</strong> Mariner”<br />

1. The effect <strong>of</strong> <strong>the</strong> contrast between <strong>the</strong> Mariner’s appearance and <strong>the</strong> feast is that it shows how<br />

much <strong>the</strong> Mariner does not belong. He is a ragged, worn, and impoverished man outside <strong>of</strong> a<br />

fancy wedding feast. As well, this foreshadows <strong>the</strong> idea that <strong>the</strong> Mariner does not belong<br />

anywhere, as he is forever fated <strong>to</strong> wander.<br />

2. The short “e” sound is repeated throughout this stanza, and <strong>the</strong> internal rhyme is “met” and<br />

“set.”<br />

3. His “skinny hand” implies he is famished, <strong>the</strong> manner in which he grabs <strong>the</strong> wedding guest<br />

implies he is a little irrational/obtuse, and his glittering eye suggests he has a knack for getting<br />

and holding attention.<br />

4. This interruption suggests that <strong>the</strong> Wedding Guest is not wholly in<strong>to</strong> <strong>the</strong> Mariner’s s<strong>to</strong>ry. His<br />

attention is wandering, and <strong>the</strong> poet demonstrates this by interrupting <strong>the</strong> narrative.<br />

5. The ship being driven through <strong>the</strong> s<strong>to</strong>rm is compared <strong>to</strong> someone fleeing from a group <strong>of</strong> yelling<br />

pursuers.<br />

6. The interruption in <strong>the</strong> stanza structure coincides with a major interruption in <strong>the</strong> plot <strong>of</strong> <strong>the</strong><br />

s<strong>to</strong>ry. In <strong>the</strong> s<strong>to</strong>ry, <strong>the</strong> ship/crew experiences a major change in routine when <strong>the</strong>y head in<strong>to</strong> a<br />

fierce s<strong>to</strong>rm while sailing south.<br />

7. Coleridge uses onoma<strong>to</strong>poeia in <strong>the</strong>se lines <strong>to</strong> emphasize <strong>the</strong> ferocity and noisiness with which<br />

<strong>the</strong> ice is cracking around <strong>the</strong> ship as it sails in cold seas. This is indeed a dangerous situation,<br />

and <strong>the</strong> onoma<strong>to</strong>poeia heightens <strong>the</strong> danger with its audi<strong>to</strong>ry imagery.<br />

8. The mariner kills <strong>the</strong> albatross with a crossbow at <strong>the</strong> end <strong>of</strong> part I.<br />

9. The text is not clear on his motivation. Maybe he did it because he has no respect for nature.<br />

Maybe <strong>the</strong> albatross annoyed him. Maybe he is just a mean individual. Maybe he thought <strong>the</strong><br />

albatross was responsible for <strong>the</strong> fog and mist in which <strong>the</strong> ship was caught.<br />

1. The internal rhyme functions in a couple <strong>of</strong> ways. For one, it draws a connection between <strong>the</strong><br />

killing <strong>of</strong> <strong>the</strong> bird and <strong>the</strong> curse (<strong>the</strong> drought). For ano<strong>the</strong>r, it emphasizes <strong>the</strong> fact that <strong>the</strong><br />

sailors are having an intense discussion regarding <strong>the</strong> Mariner and his killing <strong>of</strong> <strong>the</strong> albatross.<br />

2. There are a couple <strong>of</strong> possibilities as <strong>to</strong> why Coleridge alters <strong>the</strong> stanza structure here. It could<br />

be <strong>to</strong> emphasize <strong>the</strong> importance <strong>of</strong> <strong>the</strong> discussion in this part <strong>of</strong> <strong>the</strong> s<strong>to</strong>ry. It could also<br />

emphasize <strong>the</strong> element <strong>of</strong> danger <strong>the</strong> ship is now in, since <strong>the</strong> last time <strong>the</strong> stanzas changed, it<br />

coincided with a s<strong>to</strong>rm in <strong>the</strong> plot. Regardless, it represents a major transition in <strong>the</strong> poem.<br />

3. The immediate consequence <strong>of</strong> <strong>the</strong> Mariner’s actions is that <strong>the</strong> fog and mist burn away, as <strong>the</strong><br />

ship enters <strong>the</strong> Pacific Ocean.<br />

4. The crew’s attitude changes dramatically throughout part II. At first, <strong>the</strong>y are angry with <strong>the</strong><br />

Mariner for killing <strong>the</strong> good omen. Then, <strong>the</strong>y approve <strong>of</strong> his actions, thinking <strong>the</strong> albatross was<br />

<strong>the</strong> cause <strong>of</strong> <strong>the</strong> fog and mist. Finally, <strong>the</strong>y are angry once again, fixing <strong>the</strong> mariner with evil<br />

looks and forcing him <strong>to</strong> wear <strong>the</strong> corpse <strong>of</strong> <strong>the</strong> albatross around his neck.


Part III<br />

Part IV<br />

Part V<br />

Part VI<br />

1. The simile here is comparing <strong>the</strong> souls flying from <strong>the</strong> sailors’ bodies <strong>to</strong> <strong>the</strong> whizzing <strong>of</strong> <strong>the</strong><br />

Mariner’s crossbow bolts. It is significant for two reasons: one, it suggests <strong>the</strong> souls <strong>of</strong> <strong>the</strong> men<br />

are angry—it’s almost like <strong>the</strong>y are taking a shot at him as <strong>the</strong>y move on. Second, it suggests<br />

that Death is working quickly, just as <strong>the</strong> Mariner’s curse is.<br />

1. The Wedding Guest is afraid that <strong>the</strong> Mariner is a ghost himself and interrupts <strong>the</strong> Mariner<br />

because <strong>of</strong> this. His suspicions are warranted, since <strong>the</strong> Mariner is haggard looking, and he did<br />

have a harrowing experience with curses and Death.<br />

2. The alliteration and <strong>the</strong> assonance almost leng<strong>the</strong>n <strong>the</strong> words <strong>the</strong>mselves. The long “o” sound<br />

takes time <strong>to</strong> produce, and it just goes <strong>to</strong> exaggerate both <strong>the</strong> length <strong>of</strong> time <strong>the</strong> Mariner was<br />

alone, and <strong>the</strong> intensity <strong>of</strong> his lonely feelings.<br />

3. Coleridge plays on <strong>the</strong> lack <strong>of</strong> pity for <strong>the</strong> Mariner. If not even <strong>the</strong> Saints will pity him, who else<br />

will? Perhaps he is doomed <strong>to</strong> roam <strong>the</strong> Earth forever without a friend in <strong>the</strong> world.<br />

4. The supernatural makes use <strong>of</strong> <strong>the</strong> natural in <strong>the</strong>se lines. The polar spirit freezes <strong>the</strong> corpses in<br />

time, so <strong>the</strong>y do not exude fluids, do not stink, and do not rot. The effect is a harrowing sight<br />

for <strong>the</strong> Mariner, and <strong>the</strong> beginning <strong>of</strong> <strong>the</strong> curse.<br />

5. The stare <strong>of</strong> <strong>the</strong> dead men is a curse on <strong>the</strong> Mariner since he most likely feels he is being stared<br />

at by conscious beings. Their stares are probably accusa<strong>to</strong>ry, and he probably feels<br />

overwhelming guilt.<br />

6. The spell is broken when <strong>the</strong> Mariner seas <strong>the</strong> sea snakes and recognizes <strong>the</strong>ir beauty, thus<br />

acknowledging <strong>the</strong> beauty <strong>of</strong> nature.<br />

1. The metaphorical meaning <strong>of</strong> <strong>the</strong> breaking <strong>of</strong> <strong>the</strong> drought is that it represents <strong>the</strong> end <strong>of</strong> <strong>the</strong><br />

Mariner’s curse, and it represents life, since he has been thirsting <strong>to</strong> death since <strong>the</strong> albatross<br />

was killed.<br />

2. The allusion is a reference <strong>to</strong> Jesus. It is significant because Jesus and <strong>the</strong> Mariner both suffer,<br />

and <strong>the</strong> Mariner is about <strong>to</strong> embark on a j<strong>our</strong>ney <strong>of</strong> repentance like o<strong>the</strong>r Christians. As well,<br />

<strong>the</strong> spirit who utters this phrase uses it as an expression <strong>of</strong> surprise, kind <strong>of</strong> like when we say<br />

OMG about something.<br />

1. The Mariner probably doubts what he sees because so much <strong>of</strong> his experiences lately have been<br />

unbelievable. He has also been dreaming vibrantly, and with all <strong>the</strong> disaster he has<br />

encountered, he’s afraid this is just ano<strong>the</strong>r dream.


Part VII<br />

1. Telling his tale brings <strong>the</strong> Mariner peace. If he does not tell it, his heart begins <strong>to</strong> burn in agony.<br />

His penance is <strong>to</strong> travel around and share his tale.<br />

2. The <strong>the</strong>me <strong>of</strong> <strong>the</strong> poem is that one should love and revere not only one’s fellow humanity, but<br />

also <strong>the</strong> natural world, for God made both, and God loves both.<br />

3. This is an opinion question. It can certainly be relevant in two contexts. One: it seems <strong>the</strong>re is<br />

much selfishness and conflict in <strong>our</strong> world, and it would perhaps be better <strong>of</strong>f if people were<br />

more caring. Second, it is imperative <strong>to</strong> preserve <strong>our</strong> natural world, not only <strong>to</strong> leave its natural<br />

wonders <strong>to</strong> future generations, but also <strong>to</strong> keep it clean for <strong>our</strong> benefit and o<strong>the</strong>r living<br />

creatures’ benefit.<br />

4. The Wedding Guest, after hearing <strong>the</strong> mariner’s tale, is left speechless and stunned. He goes <strong>of</strong>f<br />

<strong>to</strong> <strong>the</strong> feast, but wakes up <strong>the</strong> next day a sadder, but wiser man.

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