How does Coleridge tell the story in part 3 of Rime of the Ancient Mariner Essay

The chess opening line of part 3 in the first stanza, THERE passed a weary time, quests to the endorser that the diddlysquat is still in a state of suffering, continued from part 2. The capitalisation of the word, there, suggests that natures torture is only being directed at those on the ship. Coleridge furthers the mood of natures torture in this stanza finished his use of close tomography, all(prenominal) throat was parched and glazed each eye. The word, glazed implies a sort of mental vacancy or vegetation, whilst parched denotes that they be exclusively dried out, not only are they dehydrated but they are dried out in the sense that the maw has now all in all lost either remnant of hope and faith in nature. The enjambement in the line is used to highlight and emphasise the extent of the vaporization among the ships crew. However, by the 5th line, the t hotshot of the stanza has get down less(prenominal) sullen, shown through Coleridges deviation from the ballad fo rm.The two extra lines go after the sense of hope newly acquired by the ship after they break a something in the sky. Both the second and third stanzas return to the pompous ballad form to show the ficklness of the Mariners hope. In stanza 2, Coleridge uses unfixed language, shape and seemed, in this stanza in order to maintain the suspense caused by both the proof lector and the Mariners uncertainty about this speck. Its also used to reflect the desperation of the Mariner, as his tone has become more positive despite the potentially dangerous object.The Mariners self-assured tone continues in the third stanza, shown through the structural braid of punctuation, A speck, a mist, a shape, I wist The exclamation is used in order to show the hopefullness of the Mariner, the internal poetry used by Coleridge also creates an upbeat tone, as it speeds up the pace of the poem. Coleridge creates a contrast with the abduce, the object plunged and tacked and veered, as the Mariner s own ship is completely still, the contrast implies to the reader that, perhaps, this sprite may be of the unreal realm, as there is no breeze after all.In stanza 7, Coleridge deviates from the traditional ballad form, this time to shoot the reader aware of the threat that the shape imposes on the Mariner. Within the sestet, Coleridge uses a number of literary devices in order to communicate the danger the Mariners ship is now facing. We see the poet use elemental imagery with the quote, the western wave was all-aflame. The pairing of two conflicting elements, water and fire, nearly seems unnatural, and is an example of the poems supernatural theme.Indeed, the imagery is used to indicate to the reader that the Mariner is now dealing with something supernatural. Coleridge also uses symbolism through the quote, that strange shape drove suddenly betwist us and the Sun. At this point, the Mariner is blocked from any source of light, and arguably, as God created light, this means he is completely cut off from God, and as a result any kind of assistance from God is being obstructed. Essentially, the mariner is unable to be protected or defended against any kind of harmful or supernatural being by this point.Similar symbolism is used in stanza 8, as the Sun was flecked with bars, suggesting that the sun has now been imprisioned by this object. The quote together with the simile, through a dungeon-grate he peered implies that whatever has imprisioned the sun is utterly capable of encaging the Mariners ship, increasing the fear felt by the Mariner at this moment in his story. In stanzas 10 and 11, the reader learns that decease and Life-in-Death are in charge of the mysterious ship.The personification and capitalisation of these two figures communicate to the reader the extent of their power. Coleridge triggers stripe in the reader by abandoning the expected rhyme scheme, having an abccb rather than the routine and typically ballad-like abcb scheme, Coleridges manipulation of structure through capricious punctuation also adds to the jolt is that Death? A total of five questions are asked in stanza 10, creating a sense of both danger and uncertainty. In stanza 11, Coleridge is able to evoke shock from the reader once again when depicting Life-in-Death. The reader is first told that her locks were yellowish as gold, as the simile is fairly conventional, containing the typical romantic and empurpled imagery, Coleridge is able to fool us until he reveals that her skin was white as leprosy. The juxtaposition between gold and leprosy presents her as this liminal figure, whilst she has certain characteristics of a conventional seductress type she is still ghost-like, even demonic. In stanzas 15, 16 and 17, Coleridge implies to the reader that Life-in-Death and Deaths trivialised game of death has led to the mariners deaths with the exemption of the Ancient Mariner.Already, on the first line of the 15th stanza, the star-dogged Moon suggests that change is near. The Mariner communicates his unalterable guilt to the reader by prolonging the first line, one after one, the caesura, used to emphasise the slowing down of pace, also helps to reflect his sorrow about the other mariners, who he feels responsible for. However, by the 16th stanza he speaks in a somewhat detached way as speaks with numerical language, rather than emotionally engaged language, four times fifty breathing men, despite his guilt.Alternatively, the Mariner may have become desensitised after, apparently, centuries of telling this story. Coleridge uses onomatopeoia in order to create a more vivid perception in the readers mind, heavy thump, a lifeless lump. The internal rhyme is used to heighten our auditory and visual senses even more, as it echoes the reasoned created by thump. The onomatopeic language is also used to echo the particular that the Mariner is now completely isolated.In the final stanza, we see other example of the Mariners feelin gs of guilt when he references his own injection of the Albatross, every soulpassed me by like the whizz of my cross-bow. The Mariners routine remark about the Albatross at the end of each part suggest that his guilt is long lasting, as it has remained with him ever since. Essentially, the quote implies that his shooting of the albatross has resulted in the 200 deaths of his fellow mariners part 3 leave us with the sense that the Mariner is now isolated, as headspring as wrapped up in guilt.