Titlebook: Coleridge‘s Ancient Mariner; J. C. C. Mays Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 1 Coleridge.2 Nineteenth-century

SENT

Surplus and Obsolescence Planning, of its publication to the present. Its fortunes followed surrounding fashions in taste although, because the poem became popular so quickly (under the radar of the criticism of its day), it has enjoyed another reputation as well. The conventional approach to the poem, still fixed in a pattern estab

Sigmoidoscopy

Altitude

Coleridge‘s Ancient Mariner978-1-349-94907-6Series ISSN 2691-1256 Series E-ISSN 2634-5218

PATRI

Taking Bearings, Setting a Course, readers of Coleridge should concentrate on the . rather than the . and .; and Part II uses the cover illustration—of a place never before suggested as a source for Coleridge’s poem—to bolster the same argument. Parts III and IV include a chapter-by-chapter rationale of the book and a description of

調(diào)整

What Does the Poem Do?,such as how a notably simple vocabulary and verse form are made to create the most subtle effects; how sound and imagery come together in a distinctive way; how a traditional narrative form (the ballad) is reworked to communicate meanings at the very edge of and beyond proper comprehension; and how,

ABHOR

As a Poem of the Imagination,ground of a fundamental change in Coleridge’s intellectual and religious life, on the brink of his discovery of Kant; and how his later concept of Reason can be used to throw a more steady light on the incipient concept of Imagination discovered in the “Mariner” than ., whose argument rests on his r

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考得

The Shadow Cast by Wordsworth,fort to contain (or bury) the questions raised. Matters discussed include Wordsworth’s odd treatment of the “Mariner” in . 1800 vol. 1 and his continuing negative allusions to it in the three poems he selected to open vol. 2. Separately published poems by Wordsworth, . and ., are likewise read along

針葉樹(shù)

Revision, Gloss, Choice,plus his further revisions that have led to the odd situation of the poem existing in three distinct versions centred on 1798, 1800, and 1817. A questioning on several grounds of the last and most favoured of these during the twentieth century, which includes the prose gloss, and a questioning of a

Lumbar-Spine

A Reputation by Default, of its publication to the present. Its fortunes followed surrounding fashions in taste although, because the poem became popular so quickly (under the radar of the criticism of its day), it has enjoyed another reputation as well. The conventional approach to the poem, still fixed in a pattern estab