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By Alberto Cottino
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Having the whole text set in italic is a particularly frequent misfortune to befall the “Mariner”: is it because of a misguided tribute to the out-of-the-ordinary? A half-way lunge towards gothic script? At the same time, there are a few printed versions that deliver the text in ways for which I for one feel deeply grateful. Bruce Rogers (for Oxford University Press, 1930) sets a classic standard but is not alone. With reference to the “Coleridgean” argument about illustration sketched here, the way the text reads on the page deserves as much care and attention as the interpolation of images by other hands.
Paradoxically, in such a context, under such a spell, a conventional moral along the lines of “be kind to animals” has a natural place. No matter that the penance exceeds the unwitting crime, no matter that the moral is trite. ” The child in every reader expects— needs—to find a comforting crumb of the ultra-mundane. Separate things in the poem are immediately recognisable and understood, yet they hang together in a different—one might say privileged— story-tale way. So there are feelings and situations to which anyone WHAT DOES THE POEM DO?
I am inclined to read the foreshadowing of the ending in Part V in relation to the words “fear” and “dread” that enter the poem in the surrounding context. 16 The temptation to remember the narrative as a collection of scenes is overwhelming but, more important, they are sustained in their place by the oxygen of emotion; attempts to realise the scenes as pictorial illustrations vary widely, and most of them fail. Everything that came into it—the memories of voyages documented by Lowes, the echoes of recondite sources recorded by Beer—came this way.