How does Coleridge tell the story in part 4 of Rime of the Ancient Mariner Essay

Part 4 begins with another attempt from the Wedding node to get away, shown through the direct speech of the Wedding Guest, I headache thee, ancient labourer The direct speech is likewise used to cue us that the trap is telling a story within the poem. The capitalisation of the word, fear, is used to echo the honest and fearful reaction of about(prenominal) the Wedding Guest and the reader, following the tragic event that has occurred in the prior articulation.The first stanza is used to re-acquaint us with the characters in Coleridges poem and we ar reminded that the Mariner appears to possess all(a) of the features of a dead person, long, and lank, and brown, notwithstanding is still alive, reaffirming his liminal state he is somewhere inbetween life and death. In stanza 2, the glisten ticker motif is echoed, reminding us of the Mariners appearance, the singular eye implies that he not fully there, whilst glittering possesses connotations of witchery, furthering the i dea that the Mariner is a supernatural creature. In stanzas 3 and 4, Coleridge largely concenteres on the isolation of the Mariner.In the 3rd stanza, we see the poet use a lot of repetition in order to communicate the true extent of isolation and his misery, Alone, alone, all all alone, Alone on a wide, wide sea The anaphora emphasises his feelings of solitude, whilst the vowel rhyme slows down the rate in which the poem read, allowing a lot of focus on his seclusion. In the 4th stanza, the Mariner equates death with beauty because his loneliness gets to such an unbearable degree that he is resentful of the dead diddleys they argon free of the torture that the Mariner continues to endure alone, he sees the many hands as so beautiful The intensifier in the quote, so, demonstrates the mariners newfound love for humanity, as he misses their company, it alike acts as an recital for his remorse, whilst the exclamation mark simply serves to emphasise the statement. He bitterly ac knowledges that a thousand thousand slimy things live on and so did he. Coleridge utilizes social organisation in this particular quote the enjambment in the line helps to cozy up that the horrors continue to live on then with the use of the semi colon, the Mariner is able to liken himself to these unnatural and ugly creatures, highlighting the transgression that he continues to feel.By the 6th stanza, the vice felt by the Mariner is so overwhelming that he is inefficient to pray, I looked to Heaven, and tried to pray. The continual semantic fields relating to religion in this stanza, prayer, saint, give notice to the reader that the Mariner is trying to bring himself closer to God it also indicates that the Mariner has begun his attempt at redemption, as at this point, its so hard for him to ignore his own guilt.Despite his prayer to God, he is unable to escape from his guilt through anything because of a wicked whisper. His guilt continues into the 7th stanza, the dead we re at my feet, here, the dead mariners ar not except a physical burden for the Ancient Mariner but also a burden, within his mind, on his already guilty concious. The chiasmus-like structure of the quote, for the cant over and the sea, and the sea and the sky, in the 7th stanza reflects the mariners self-reflection as hes telling the story, consolidating his role as storyteller.The deviation of the lay form also establishes a re-focus of narration the quote may be intended as another reminder that we are hearing a characters story within a poem. The Mariners guilt is strengthened, in the 8th stanza, when he states that the accusatory looks of the mariners, as they died, prolong never passed away, not only have the structures of the mariners stayed with him, but the oecumenical guilt has remained with him. The cold sweat that melted from the dead mariners limbs makes them seem approximately life-like, the oxymoronic language helps to convey their liminal state.In the 8th stanz a, the mariner states that the curse in a dead mans eye is much horrible than that of an orphans curse, reflecting the extent of blame received by the Mariner, as well as his general guilt and shame. His suffering is exclamatory by Coleridges intertextual reference to the bible, seven days, seven nights, I power saw that curse, as there is an implication that God is punishing the Mariner for destroying one of His own creations, the albatross. Also, the quote suggests that the Mariner is becoming closer to both the idea of God, and God, Himself.The 10th stanza in part 4 marks a moment of change, as the Mariner doesnt acknowledge his guilt. Coleridge also communicates the potential difference for change, as he returns back to the original ballad form from the sectet, implying that some sort of transition is about to occur. The celestial imagery used by Coleridge in the stanza, moon, sky, and star, reinforces the idea of transition, the sky and stars ordinarily symbolise hope and create a sense of positive anticipation, as well as the moon, which is often symbolic of change.The idea of transition is support further by Coleridges use of gerund verbs, moving, going, in the stanza. Arguably, they imply that the Mariner is moving on from his previously overwhelming guilt and instead, embracing new ideas of nature, God and humanity in general. Indeed, in the twelfth stanza, we see that the Mariners appreciation of nature is able to stave off him from his strong feelings of guilt, the water-snakesmoved in tracks of shining white.The word, tracks, creates a discriminate with the directionless mariner, he has been unable to connect with God and nature until now, when he sees the water-snakes and their tracks offer him some sense of clarity and purpose. The 11th, 12th and 13th stanzas are all quintets together they are able to reflect the Mariners transitional period into the glory of nature, triggered by the moving moon in the 10th stanza. In the 13th and 14th st anzas, we see the Mariners newfound complete adoration for nature.Coleridge uses regal imagery to convey the mariners love for nature, and to reflect the change brought by the moon, rich raise, glossy greenand velvet. Additionally, in the 14th stanza, despite his verbal description of the water-snakes regal aspects he is unable to express the beauty of the products of nature no tongue their beauty might declare. His newfound admiration for nature has made him realise that the true beauty of nature is beyond the expression of mankind, and as he is humbled by religion and nature he believes that only God is capable of creating such things, a spring of love gushed from my heart and I blessed them unaware. The part ends with him finally being in touch with God and religion, I could pray, meaning that he is more connected to a high power, God. There is also a ghost reference to the Albatross, it fell off and sank like lead into the sea. Albatross represents the burden, and the parabl e suggests that the burden of blame has finally been released. There is also the assumption that the Albatross is now back in contact with its natural habitat, the sea, a part of nature.The enjambment in the line creates and emphasises a more visual interpreting of the Albatross parting the Mariners neck, as it reflects the birds downward movement. By the end of the part, much of the Mariners sign guilt has been abandoned or at least temporarily disconcert by nature. We also get the impression that the curse is over for the Mariner, as he is now starting to acknowledge and admire worlds beauty, however this is just Coleridge lulling us into a false sense of security, as sadly, the curse is far from over.