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Samuel Taylor Coleridge

• Life
He born in Devonshire, studied in London, and attended the university in Cambridge but never graduated. His ideas were greatly influenced by French Revolution.
Coleridge’s imagination
He considered two kind of imagination:
-primary: that is creative, original, used uncounsciously. Is the human individual power to create images. Is the power that gives caos an order.
-secondary:is the poetic faculty to create new worlds
• Fancy
the fancy is a logical and mechanical ability that the poet has to use devices like metaphors, allitterations to express his ideas.
• Coleridge’s nature
Unlike Wordsworth, isn’t a moral guide or a source of consolation. It represent the presence of ideal in is not identified with the divine. He has a sort of new platonic view of the nature as the perfect world of ideas. For him the material world is the reflection of the real world of ideas in the flux of time.
• The language
he is interested in exotic and medieval period. He uses an archaic language with allitterations, repetitions and onomatopeas.

The rime of the ancient mariner
The rime of the ancient mariner is made up of seven parts. It is introduced by an argoument containing a summary of the whole poem that is always characterised by a misterious atmosphere. The mariner and his comrades are more types than human beings. Coleridge makes the mariner a spectator as well an actor.
This poem contains many of the features traditionally associated with the ballads that is the combination of dialogue and narration, the four line stanzas, frequent repetitions, allitterations.
This poem has been interpretated in many ways:
*It may be the description of a dream
*An allegory of the life of the soul
* but the interpretation that seems more relevant is the one of the description of the poetic jouney of Romanticism. The mariner is the poet, possessed by a song that derives from a guilt. This guilt is the actual origin of the poetry: it is the regret of a state of lost of innocence caused by the industrial revolution.

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