Both procedures would meet in the attention they focused on the reactions, psychological and expressive, to be represented (as Wordsworth put it in the preface to the 1800 volume) by “fitting to metrical arrangement a selection of the real language of men in a state of vivid sensation.” For Wordsworth, the vividness of sensation would be communicated by intensity of language in the naturalist poems for Coleridge, the intensity of language would reflect the vividness of sensation that the supernatural elements would necessarily produce, but it was the sensation of real people and not its supposed supernatural occasions that was the source of the poetic language. The idea was that Wordsworth would treat natural events as though they had the special interest that ballads had traditionally found in the supernatural while Coleridge would do the converse, which is to say he would treat supernatural events as they would be experienced by psychologically real human beings.
In chapter 14 of his intellectual quasi-autobiography, Biographia Literaria (1817), Coleridge describes how he and William Wordsworth decided to split the writing of Lyrical Ballads so that Coleridge would do the so-called supernatural poems and Wordsworth the entirely naturalistic ones.
Nevertheless it would probably be better to see the different versions of the poem as essentially true to the same vision and to regard them as presenting that vision with the slight stereoscopic differences that allow us to see depth. It opened the 1798 first edition of Lyrical Ballads, where it first appeared Coleridge revised it for the 1800 edition and undertook further revisions later, after his sea voyage to Malta (where he went to recover his health), revisions that include the wonderful marginal glosses. The Rime of the Ancient Mariner is Samuel Taylor Coleridge’s most popular poem. Analysis of Coleridge’s The Rime of the Ancient Marinerīy NASRULLAH MAMBROL on Febru
0 kommentar(er)
