The title is a description given by Samuel Taylor Coleridge of the wedding guest held captive by the glittering eye of the Ancient Mariner.
Part of my Lent reading has been Malcolm Guite‘s monumental revisiting of Coleridge’s life seen through the prism of his early, life-enhancing, poem The Rime of the Ancient Mariner.
Malcom Guite is, of course, himself a well known poet and theologian and he had taken the reader upon a journey through the poem and, stanza by stanza, through the ways in which it adumbrated S.T.C’s own life; a life he could not possibly have imagined when he penned the first version, which he shared with William Wordsworth in March 1798. Coleridge went on to revise and rework the poem until in 1813 he added the glosses, or margin notes, giving us the poem in the form in which it is usually presented today.
1796 to 1798 were years of marvellous production for the poet, in 1797 he completed three of his best known and best loved poems, The Rime of the Ancient Mariner, Kubla Khan and Frost in Winter.
I belong to that generation of semi-educated schoolchildren who studied these poems briefly among many others, and whose knowledge of Samuel Taylor Coleridge consisted of the fact that he was a Romantic Poet and an opium addict. Such was the received wisdom of the time, except in more academic circles. But latterly, thanks to several new biographies and studies, that view has ameliorated. A far greater understanding and sympathy for drug addiction has demonstrated that it is not lack of moral fibre that leads to severe addiction; furthermore a much kinder and more generous appreciation of what the Romantic Poets (of which Wordsworth and Coleridge were the earliest) have given the English language and literature has arisen and then there are his prose writings most of which few people have ever read, except again in the groves of academe.
In S.T.C’s studies on Shakespeare, given first as a series of lectures in Bristol, he has demonstrated a reassessment of the genius and spirit of the playwright which from that time on altered the status and understanding of The Bard for all time, and the texts of the lectures are still part of fundamental teachings on Shakespeare to this day – who knew? Apart from the academics.
However, this is not really the subject of Mariner, Malcom Guite’s book. He sees the poem as a journey from a completely different perspective. That the mariner’s journey is one which we should all take in one form or another, a journey through emotional and intellectual blindness towards a baptism (death and resurrection) of spiritual awareness and self realisation and Christian wisdom and through our own sensitive and dedicated reading of the poem should become wiser people.
He also shows how the emotional and spiritual awakenings of the mariner strangely mirror the life of the poet, his early voyage in the sunlit Quantock hills, through the graduals degradation of his physique through copious doses of laudanum (the classic go-to pain-killer and cure-all of his time, it should be noted) and finally his tremendous and extraordinary efforts successfully to rid himself of his addiction with the help of Dr Gillman.
This barely scratches the surface of this remarkable book. Guite fills in gaps everywhere, showing the influence The Rime had on its contemporaries and the present day alike. Including great artists, other poets and literature scholars everywhere.
And throughout, how Coleridge struggled with faith through constant prayer, even when dry as dust and unable to approach His Source, his source and all of our sources of inspiration – the great I AM.
Furthermore, it added greatly to my appreciation and understanding of another great book – The Poet’s Daughters by Katie Waldegrave. [see my post 30 December 2013].