August 19, 2021: Difference between revisions
(Added some notes.) |
(Additions.) |
||
Line 1: | Line 1: | ||
__NOTOC__<div style="padding-top: 30px;"> | __NOTOC__<div style="padding-top: 30px;"> | ||
{{Center|{{Large|The Rime of the Ancient Mariner}}<br /> | {{Center|{{Large|The Rime of the Ancient Mariner}}{{efn|In chapter 14 of the ''[[w:Biographia Literaria|Biographia Literaria]]'', Coleridge states his poetic objective is to achieve “a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith.” }}<br /> | ||
By: [[w:Samuel Taylor Coleridge|Samuel Taylor Coleridge]] ([[w:The Rime of the Ancient Mariner|{{date|1798}}]]){{refn|The text and introductions are from {{cite book |last=Coleridge |first=S. T. |date={{date|1798}} |title=The Rime of the Ancient Mariner |url= |location=London |publisher=A. Arch, Gracechurch Street |ref=harv }}}}{{efn|In the 1817 version of the poem, Coleridge amended a epigraph that he adapted from [[w:Thomas Burnet|Thomas Burnet]]’s ''Archaeologie Philosophicae'': “I readily believe that there are more invisible than visible Natures in the universe. But who will explain for us the family and relations and distinguishing features and functions of each? What do they do? What places do they inhabit? The human mind has always sought the knowledge of these things, but never attained it. Meanwhile I do not deny that it is helpful sometimes to contemplate in the mind, as on a tablet, the image of a greater and better world, lest the intellect, habituated to the petty things of daily life, narrow itself and sink wholly into trivial thoughts. But at the same time we must be watchful for the truth and keep a sense of proportion, so that we distinguish the certain from the uncertain, day from night.”}}<br /><br />{{font|font=Alegreya SC|in seven parts}}{{efn|Coleridge describes the origin of this poem in the opening section of Chapter 14 of '' | By: [[w:Samuel Taylor Coleridge|Samuel Taylor Coleridge]] ([[w:The Rime of the Ancient Mariner|{{date|1798}}]]){{refn|The text and introductions are from {{cite book |last=Coleridge |first=S. T. |date={{date|1798}} |title=The Rime of the Ancient Mariner |url= |location=London |publisher=A. Arch, Gracechurch Street |ref=harv }}}}{{efn|In the 1817 version of the poem, Coleridge amended a epigraph that he adapted from [[w:Thomas Burnet|Thomas Burnet]]’s ''Archaeologie Philosophicae'': “I readily believe that there are more invisible than visible Natures in the universe. But who will explain for us the family and relations and distinguishing features and functions of each? What do they do? What places do they inhabit? The human mind has always sought the knowledge of these things, but never attained it. Meanwhile I do not deny that it is helpful sometimes to contemplate in the mind, as on a tablet, the image of a greater and better world, lest the intellect, habituated to the petty things of daily life, narrow itself and sink wholly into trivial thoughts. But at the same time we must be watchful for the truth and keep a sense of proportion, so that we distinguish the certain from the uncertain, day from night.”}}<br /><br />{{font|font=Alegreya SC|in seven parts}}{{efn|Coleridge describes the origin of this poem in the opening section of Chapter 14 of ''Biographia Literaria''. In a note on his “We Are Seven,” in 1843, [[w:William Wordsworth|Wordsworth]] added some details. The poem, based on a dream of Coleridge's friend [[w:Isaac Cruikshank|Cruikshank]], was originally planned as a collaboration between the two friends, to pay the expense of a walking tour they took with [[w:Dorothy Wordsworth|Dorothy Wordsworth]] in the spring of 1798. Before he dropped out of the enterprise, Wordsworth suggested the shooting of the albatross and the navigation of the ship by the dead men; he also contributed lines 13-16 and 226-227.<br />{{sp}}The version of ''Rime'' printed in ''[[w:Lyrical Ballads|Lyrical Ballads]]'' (1798) contained many archaic words and spellings. In later editions Coleridge greatly improved the poem by pruning the archaisms, and by other revisions; he also added the Latin epigraph by Burnet and the marginal glosses which I do not include here.}} }} | ||
<div style="display: flex; justify-content: center; padding-top: 25px;"> | <div style="display: flex; justify-content: center; padding-top: 25px;"> | ||
{| style="width: | {| style="width: 550px;" | ||
| {{center|''Part 1''}}<br />{{int|An old mariner stops a group on their way to a wedding. The leader of the group listens to the mariner’s story. The mariner’s tale starts out with calm seas and a happy crew, but a sudden storm and strange weather change the mood. The mariner’s actions upset the crew.}}<br /> | | {{center|''Part 1''}}<br />{{int|An old mariner stops a group on their way to a wedding. The leader of the group listens to the mariner’s story. The mariner’s tale starts out with calm seas and a happy crew, but a sudden storm and strange weather change the mood. The mariner’s actions upset the crew.}}<br /> | ||
<poem> | <poem> | ||
Line 24: | Line 24: | ||
The Wedding-Guest stood still, | The Wedding-Guest stood still, | ||
And listens like a three years child: {{ln|15}} | And listens like a three years child: {{ln|15}} | ||
The Mariner hath his will.{{efn|The Mariner has mesmerized the wedding guest: think of it like a kind of hypnotism. This is the first hint of the supernatural forces at work in the poem and the mariner himself.}} | The Mariner hath his will.{{efn|The Mariner has mesmerized the wedding guest: think of it like a kind of hypnotism. This is the first hint of the supernatural forces at work in the poem and the mariner himself. As {{harvtxt|Rumens|2009}} points out, the narrative drive and almost motion-picture shifting between the mariner’s tale and festive wedding has an almost hypnotic effect on the readers, compelling us to read on. Indeed, the strong simple narrative, the haunting imagery, and the rhythm and sounds—like Poe’s “The Raven” has perpetuated this poem’s popularity, helping achieve Coleridge’s goal of a “willing suspension of disbelief.” And like Poe’s poem, this allows readers to both enjoy the poem on a visceral level, but also contemplate its reflections on life and death.<br />{{sp}}''Rime'' seems to suggest the importance of storytelling in human community, as the mariner’s compulsion to tell his story to the wedding guest is centered in morality—in a drive to help others who might be lost find wisdom in his story. Here, the mariner acts as scapegoat for the betterment of humsnity.}} | ||
The Wedding-Guest sat on a stone: | The Wedding-Guest sat on a stone: | ||
Line 94: | Line 94: | ||
And a good south wind sprung up behind; | And a good south wind sprung up behind; | ||
The Albatross did follow, | The Albatross did follow,{{efn|Whalley reads ''Rime'' as allegory: the Albatross is the bringer of the gentle southern wind and should be associated with poetic genius; the mariner is the poet himself who brings us in touch with “the most intense personal suffering, perplexity, loneliness, longing, horror, fear. . . . that nightmare land that Coleridge inhabited, the realm of Life-in-Death” ({{harvnb|Whalley|1947|p=382}}). Killing the albatross kills the poetic genius.}} | ||
And every day, for food or play, | And every day, for food or play, | ||
Came to the mariners’ hollo! | Came to the mariners’ hollo! | ||
Line 106: | Line 106: | ||
From the fiends, that plague thee thus!— {{ln|80}} | From the fiends, that plague thee thus!— {{ln|80}} | ||
Why look’st thou ”—With my cross-bow | Why look’st thou ”—With my cross-bow | ||
I shot the {{font|font=Alegreya SC|Albatross}}.{{refn|The [[w:Albatross|albatross]] is a symbol of good luck, but [[w:Albatross (metaphor)|in ''Rime'']] it becomes symbolic of a psychological burden.}} | I shot the {{font|font=Alegreya SC|Albatross}}.{{refn|The [[w:Albatross|albatross]] is a symbol of good luck, but [[w:Albatross (metaphor)|in ''Rime'']] it becomes symbolic of a psychological burden.}}{{efn|{{harvtxt|Rumens|2009}} states that Coleridge seems to associate his opium addiction with the transgression of the mariner. In a letter to his friend John Morgan, Coleridge writes: “What Crime is there scarcely which has not been included in or followed from the one guilt of taking opium? Not to speak of ingratitude to my maker for the wasted Talents; of ingratitude to so many friends who have loved me I know not why; of barbarous neglect of my family . . . I have in this one dirty business of Laudanum an hundred times deceived, tricked, nay, actually & consciously ''lied''. —And yet all these vices are so opposite to my nature, that but for the free-agency-annihilating Poison, I verily believe that I should have suffered myself to be cut in pieces rather than have committed any one of them” (quoted in {{harvtxt|Rumens|2009}}).<br />{{sp}}The mariner’s action, too, seems to be unprovoked and ambiguous, suggesting an ''evil'' motivated him to kill the bird and thus injure his community. }} | ||
</poem><br /><br /> | </poem><br /><br /> | ||
|- | |- | ||
Line 166: | Line 166: | ||
About, about, in reel and rout | About, about, in reel and rout | ||
The death-fires{{refn|This could be referencing the phosphorescence of the decomposing sea creature in line 123, or [[w:St. Elmo's fire|St. Elmo’s | The death-fires{{refn|This could be referencing the phosphorescence of the decomposing sea creature in line 123, or [[w:St. Elmo's fire|St. Elmo’s fire]]: an atmospheric discharge along a ship’s rigging—an ill omen.}} danced at night; | ||
The water, like a witch's oils, | The water, like a witch's oils, | ||
Burnt green, and blue and white. {{ln|130}} | Burnt green, and blue and white. {{ln|130}} | ||
Line 252: | Line 252: | ||
The naked hulk{{refn|The skeleton ship.}} alongside came, {{ln|195}} | The naked hulk{{refn|The skeleton ship.}} alongside came, {{ln|195}} | ||
And the twain were casting dice; | And the twain were casting dice;{{efn|This game of chance between Death and Life-in-Death, seems to be a metaphor for the mariner’s true transgression: going through life without experiencing life, carelessly, arrogantly and missing the joy of the natural world. {{harvtxt|Rumens|2009}} reads this as further representing Coleridge and his additions, caught in a game between Death and Life-in-Death.}} | ||
“The game is done! I’ve won! I’ve won!” | “The game is done! I’ve won! I’ve won!” | ||
Quoth she, and whistles thrice. | Quoth she, and whistles thrice. | ||
Line 340: | Line 340: | ||
And no where did abide: | And no where did abide: | ||
Softly she was going up, {{ln|265}} | Softly she was going up, {{ln|265}} | ||
And a star or two beside. | And a star or two beside.{{efn|A margin note added by Coleridge in the 1817 version of the poem helps to illuminate this stanza further: “In his loneliness and fixedness he yearneth towards the journeying Moon, and the stars that still sojourn, yet still move onward; and every where the blue sky belongs to them, and is their appointed rest, and their native country and their own natural homes, which they enter unannounced, as lords that are certainly expected and yet there is a silent joy at their arrival.” This begins to break the spell of Life-in-Death and might be leading to the mariner’s redemption.}} | ||
Her beams bemocked the sultry main, | Her beams bemocked the sultry main, | ||
Like April hoar-frost spread; | Like April hoar-frost spread; | ||
But where the | But where the ship’s huge shadow lay, | ||
The charmed water burnt alway {{ln|270}} | The charmed water burnt alway {{ln|270}} | ||
A still and awful red. | A still and awful red. | ||
Line 360: | Line 360: | ||
Was a flash of golden fire. | Was a flash of golden fire. | ||
O happy living things! no tongue | O happy living things!{{efn|The mariner’s attitude changes, as if he is seeing the “living things” for the first time. His heart seems to melt and he begins to feel a connection to them, resulting in the Albatross—the psychological weight—falling from his neck.}} no tongue | ||
Their beauty might declare: | Their beauty might declare: | ||
A spring of love gushed from my heart, | A spring of love gushed from my heart, | ||
Line 784: | Line 784: | ||
All things both great and small; {{ln|615}} | All things both great and small; {{ln|615}} | ||
For the dear God who loveth us | For the dear God who loveth us | ||
He made and loveth all.{{efn|Indeed, a lesson we might need more today than Coleridge’s readers did: have respect for our world and all the creatures in it. Humans have grown careless in their arrogance, pushing out the mysteries and sublimity of the natural world that could teach us humility. The lesson here seems to be similar to Wordsworth’s in “[[August 1, 2021|The World Is too Much with Us]].”<br />{{sp}}In 1830, Coleridge writes the following in response to poet Anne Barbauld’s criticism that ''Rime'' had no moral: “I told her that in my own judgment the poem had too much; and the only, or chief fault, if I might say so, was the obtrusion of the moral sentiment so openly on the reader as a principle or cause of action in a work of such pure imagination. It ought to have had no more moral than the ''Arabian Nights''’ tale of the merchant’s sitting down to eat dates by the side of a well, and throwing the shells aside, and lo! a genie starts up, and says he ''must'' kill the aforesaid merchant, ''because'' one of the date shells had, it seems, put out the eye of the genie’s son.” (See {{harvnb|Greenblatt|2018|p=274}}.) }} | He made and loveth all.{{efn|Indeed, a lesson we might need more today than Coleridge’s readers did: have respect for our world and all the creatures in it. Humans have grown careless in their arrogance, pushing out the mysteries and sublimity of the natural world that could teach us humility. The lesson here seems to be similar to Wordsworth’s in “[[August 1, 2021|The World Is too Much with Us]].”<br />{{sp}}In 1830, Coleridge writes the following in response to poet Anne Barbauld’s criticism that ''Rime'' had no moral: “I told her that in my own judgment the poem had too much; and the only, or chief fault, if I might say so, was the obtrusion of the moral sentiment so openly on the reader as a principle or cause of action in a work of such pure imagination. It ought to have had no more moral than the ''Arabian Nights''’ tale of the merchant’s sitting down to eat dates by the side of a well, and throwing the shells aside, and lo! a genie starts up, and says he ''must'' kill the aforesaid merchant, ''because'' one of the date shells had, it seems, put out the eye of the genie’s son.” (See {{harvnb|Greenblatt|2018|p=274}}.)<br />{{Sp}}Barbauld’s comment seems pretty dense to me, as the heavy-handed Christian morality seems to smack us upside the head st the end. }} | ||
The Mariner, whose eye is bright, | The Mariner, whose eye is bright, | ||
Line 809: | Line 809: | ||
* {{cite news |last=Parker |first=James |date={{date|2020-05-13|MDY}} |title=The 1798 Poem That Was Made for 2020 |url=https://www.theatlantic.com/culture/archive/2020/05/rime-ancient-mariner-was-made-2020/611602/ |work=The Atlantic |location=Books |page= |access-date={{date|2021-08-20|ISO}} |ref=harv }} | * {{cite news |last=Parker |first=James |date={{date|2020-05-13|MDY}} |title=The 1798 Poem That Was Made for 2020 |url=https://www.theatlantic.com/culture/archive/2020/05/rime-ancient-mariner-was-made-2020/611602/ |work=The Atlantic |location=Books |page= |access-date={{date|2021-08-20|ISO}} |ref=harv }} | ||
* {{cite news |last=Rumens |first=Carol |date={{date|2009-10-26|MDY}} |title=Poem of the week: The Rime of the Ancient Mariner by Samuel Taylor Coleridge |url=https://www.theguardian.com/books/booksblog/2009/oct/26/rime-ancient-mariner |work=The Guardian |location=Books Blog |page= |access-date={{date|2021-08-20|ISO}} |ref=harv }} | * {{cite news |last=Rumens |first=Carol |date={{date|2009-10-26|MDY}} |title=Poem of the week: The Rime of the Ancient Mariner by Samuel Taylor Coleridge |url=https://www.theguardian.com/books/booksblog/2009/oct/26/rime-ancient-mariner |work=The Guardian |location=Books Blog |page= |access-date={{date|2021-08-20|ISO}} |ref=harv }} | ||
* {{cite journal |last=Whalley |first=George |title=The Mariner and the Albatross |url=https://muse.jhu.edu/article/551661 |journal=University of Toronto Quarterly |volume=16 |issue=4 |date={{date|1947}} |pages=381–398 |access-date={{date|2021-08-21|ISO}} |ref=harv }} | |||
{{2021}} | {{2021}} |
Revision as of 10:35, 21 August 2021
Part 1 An old mariner stops a group on their way to a wedding. The leader of the group listens to the mariner’s story. The mariner’s tale starts out with calm seas and a happy crew, but a sudden storm and strange weather change the mood. The mariner’s actions upset the crew. It is an ancient Mariner, |
Part 2 The conditions at sea improve, causing the crew to change their opinion of the mariner. When the conditions change for the worse the crew force the mariner to wear the dead albatross as a sign of guilt. The Sun now rose upon the right:[3] |
Part 3 The crew is overtaken with thirst. The approach of another ship causes the mariner to become hopeful. But as the ship gets ever closer, his hope turns to dread. There passed a weary time. Each throat |
Part 4 As the Mariner’s tale continues, his appearance starts to alarm the wedding guest. The Mariner tells of the crew’s fate. After a period alone on the ship a prayer releases the weight of his guilt. “I fear thee, ancient Mariner! |
Part 5 The weather once again changes for the better, quenching the thirst of the Mariner. The crew, although changed, continue to perform their assigned duties. Oh sleep! it is a gentle thing, |
Part 6 Phantom voices question the what is driving the ship forward. As the voices disappear, the Mariner awakes to find the crew glaring at him. The ship approaches shore. first voice “But tell me, tell me! speak again, 410 second voice “Still as a slave before his lord, first voice “But why drives on that ship so fast, second voice “The air is cut away before, |
Part 7 The crew of an approaching boat is apprehensive about getting closer to the Mariner’s ship. The sudden sinking of the ship put everyone in harm’s way. The Mariner is compelled to share his story with the Hermit, and eases his own pain in the process. This Hermit good lives in that wood |
Commentary
- ↑ In chapter 14 of the Biographia Literaria, Coleridge states his poetic objective is to achieve “a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith.”
- ↑ In the 1817 version of the poem, Coleridge amended a epigraph that he adapted from Thomas Burnet’s Archaeologie Philosophicae: “I readily believe that there are more invisible than visible Natures in the universe. But who will explain for us the family and relations and distinguishing features and functions of each? What do they do? What places do they inhabit? The human mind has always sought the knowledge of these things, but never attained it. Meanwhile I do not deny that it is helpful sometimes to contemplate in the mind, as on a tablet, the image of a greater and better world, lest the intellect, habituated to the petty things of daily life, narrow itself and sink wholly into trivial thoughts. But at the same time we must be watchful for the truth and keep a sense of proportion, so that we distinguish the certain from the uncertain, day from night.”
- ↑ Coleridge describes the origin of this poem in the opening section of Chapter 14 of Biographia Literaria. In a note on his “We Are Seven,” in 1843, Wordsworth added some details. The poem, based on a dream of Coleridge's friend Cruikshank, was originally planned as a collaboration between the two friends, to pay the expense of a walking tour they took with Dorothy Wordsworth in the spring of 1798. Before he dropped out of the enterprise, Wordsworth suggested the shooting of the albatross and the navigation of the ship by the dead men; he also contributed lines 13-16 and 226-227.
The version of Rime printed in Lyrical Ballads (1798) contained many archaic words and spellings. In later editions Coleridge greatly improved the poem by pruning the archaisms, and by other revisions; he also added the Latin epigraph by Burnet and the marginal glosses which I do not include here. - ↑ The Mariner has mesmerized the wedding guest: think of it like a kind of hypnotism. This is the first hint of the supernatural forces at work in the poem and the mariner himself. As Rumens (2009) points out, the narrative drive and almost motion-picture shifting between the mariner’s tale and festive wedding has an almost hypnotic effect on the readers, compelling us to read on. Indeed, the strong simple narrative, the haunting imagery, and the rhythm and sounds—like Poe’s “The Raven” has perpetuated this poem’s popularity, helping achieve Coleridge’s goal of a “willing suspension of disbelief.” And like Poe’s poem, this allows readers to both enjoy the poem on a visceral level, but also contemplate its reflections on life and death.
Rime seems to suggest the importance of storytelling in human community, as the mariner’s compulsion to tell his story to the wedding guest is centered in morality—in a drive to help others who might be lost find wisdom in his story. Here, the mariner acts as scapegoat for the betterment of humsnity. - ↑ A whole stanza to show the ship was headed south.
- ↑ Whalley reads Rime as allegory: the Albatross is the bringer of the gentle southern wind and should be associated with poetic genius; the mariner is the poet himself who brings us in touch with “the most intense personal suffering, perplexity, loneliness, longing, horror, fear. . . . that nightmare land that Coleridge inhabited, the realm of Life-in-Death” (Whalley 1947, p. 382). Killing the albatross kills the poetic genius.
- ↑ Rumens (2009) states that Coleridge seems to associate his opium addiction with the transgression of the mariner. In a letter to his friend John Morgan, Coleridge writes: “What Crime is there scarcely which has not been included in or followed from the one guilt of taking opium? Not to speak of ingratitude to my maker for the wasted Talents; of ingratitude to so many friends who have loved me I know not why; of barbarous neglect of my family . . . I have in this one dirty business of Laudanum an hundred times deceived, tricked, nay, actually & consciously lied. —And yet all these vices are so opposite to my nature, that but for the free-agency-annihilating Poison, I verily believe that I should have suffered myself to be cut in pieces rather than have committed any one of them” (quoted in Rumens (2009)).
The mariner’s action, too, seems to be unprovoked and ambiguous, suggesting an evil motivated him to kill the bird and thus injure his community. - ↑ This game of chance between Death and Life-in-Death, seems to be a metaphor for the mariner’s true transgression: going through life without experiencing life, carelessly, arrogantly and missing the joy of the natural world. Rumens (2009) reads this as further representing Coleridge and his additions, caught in a game between Death and Life-in-Death.
- ↑ A margin note added by Coleridge in the 1817 version of the poem helps to illuminate this stanza further: “In his loneliness and fixedness he yearneth towards the journeying Moon, and the stars that still sojourn, yet still move onward; and every where the blue sky belongs to them, and is their appointed rest, and their native country and their own natural homes, which they enter unannounced, as lords that are certainly expected and yet there is a silent joy at their arrival.” This begins to break the spell of Life-in-Death and might be leading to the mariner’s redemption.
- ↑ The mariner’s attitude changes, as if he is seeing the “living things” for the first time. His heart seems to melt and he begins to feel a connection to them, resulting in the Albatross—the psychological weight—falling from his neck.
- ↑ A careless man, perhaps, like one who might shoot an albatross for no reason.
- ↑ Indeed, a lesson we might need more today than Coleridge’s readers did: have respect for our world and all the creatures in it. Humans have grown careless in their arrogance, pushing out the mysteries and sublimity of the natural world that could teach us humility. The lesson here seems to be similar to Wordsworth’s in “The World Is too Much with Us.”
In 1830, Coleridge writes the following in response to poet Anne Barbauld’s criticism that Rime had no moral: “I told her that in my own judgment the poem had too much; and the only, or chief fault, if I might say so, was the obtrusion of the moral sentiment so openly on the reader as a principle or cause of action in a work of such pure imagination. It ought to have had no more moral than the Arabian Nights’ tale of the merchant’s sitting down to eat dates by the side of a well, and throwing the shells aside, and lo! a genie starts up, and says he must kill the aforesaid merchant, because one of the date shells had, it seems, put out the eye of the genie’s son.” (See Greenblatt 2018, p. 274.)
Barbauld’s comment seems pretty dense to me, as the heavy-handed Christian morality seems to smack us upside the head st the end.
Notes and References
- ↑ The text and introductions are from Coleridge, S. T. (1798). The Rime of the Ancient Mariner. London: A. Arch, Gracechurch Street.
- ↑ The albatross is a symbol of good luck, but in Rime it becomes symbolic of a psychological burden.
- ↑ The ship has rounded Cape Horn and now heads north into the Pacific Ocean.
- ↑ This could be referencing the phosphorescence of the decomposing sea creature in line 123, or St. Elmo’s fire: an atmospheric discharge along a ship’s rigging—an ill omen.
- ↑ Sometimes called a water faery, a water-sprite is an elemental spirit associated with water.
- ↑ Gauze-like. Here the sail, like the ship, suggest a skeleton, or something worn down and decaying.
- ↑ The skeleton ship.
- ↑ The ghost ship. A “bark” is a ship.
- ↑ Another portent of evil.
- ↑ This might be a reference to St. Elmo’s fire (l. 261), or perhaps to the Southern Lights.
- ↑ Flowering plants, sedges may be found growing in almost all environments, many are associated with wetlands, or with poor soils.
- ↑ I.e., hear my confession and grant me absolution.
- ↑ He made the sign of the cross on his forehead.
Bibliography
- Greenblatt, Stephen, ed. (2018). The Norton Anthology of English Literature. The Major Authors. 2 (Tenth ed.). New York: W. W. Norton.
- Parker, James (May 13, 2020). "The 1798 Poem That Was Made for 2020". The Atlantic. Books. Retrieved 2021-08-20.
- Rumens, Carol (October 26, 2009). "Poem of the week: The Rime of the Ancient Mariner by Samuel Taylor Coleridge". The Guardian. Books Blog. Retrieved 2021-08-20.
- Whalley, George (1947). "The Mariner and the Albatross". University of Toronto Quarterly. 16 (4): 381–398. Retrieved 2021-08-21.