This is a great version of this classic poem at a reasonable price. Very lovely illustrations and just the right amount of annotation of antiquated phrases. A great book for adults who have not read the story, or to get children interested in poetry.

Relic113

Dover puts out quite the book. This edition being in the $5 range is no exception. It's the size of a large coloring book with the writing on the left and the pictures on the right. Printed well and bound to last a great number of years with plenty of space to write commentary of your own if you are a student.

There is added text, printed very small, to the left of the actual poem. Some of it is interesting and some of it is superfluous. Very easy to ignore if you're not a 'footnote' reading person.

The plates run to the full edge of the paper and there is no white border if you are the 'cut it our of the book and hand it on my wall type'. No bashing here this book is cheap enough to buy one to read and one to be artistic with.

If you're familiar with the poem this illustrated volume is well worth having in your library. The drawings by Gustave Dore are beautiful and perfectly complememnt the text. A book that you can enjoy many times over whenever the mood strikes you.

"It's the structure of the reader's experience rather than any structures available on the page that should be the object of description" , says Stanley Fish in his essay. In parallel with Fish's this claim, Coleridge presents his poem, "The Rime of the Ancient Mariner", with marginal notes, each of which actually reifies the perspective of an "intended reader, the reader whose education, opinions, concerns make him capable of having the experience the author wished to provide". Coleridge gives a reading of his poem by creating an ideal reader, thus creating another kind of poet who "restructures" the poem. Therefore, the side notes should be thought to be an organic part of the poem "having meaning" rather than "leading to meaning". And this brings in a new understanding of the poem which is almost imposed on the actual reader by Coleridge's ideal one.
The marginal notes of the poem, at first sight, seem to be the short summaries of the stanzas. However, when they are read closely, the first thing that strikes the eye is that some of them include some details and deductions which are not suggested in the poem. These details and deductions go beyond the borders of a summary and turn into commentaries which express the perspective of a certain individual. And this perspective reflects the tendencies of a reader who is inclined to emphasize certain points of the poem by giving extra details and making deductions. Coleridge's ideal reader makes all the deductions that the poet wants to provide in his lines. Even at the very beginning of the poem he gets the supernatural tone of the lines that Coleridge wants to give. For instance, the fifth stanza of the first part suggests that:
"The wedding-guest sat on a stone:
He cannot choose but to hear;
Thus spake on that ancient man,
The bright-eyed Mariner." (Part I, V, 17-20)
And the marginal note gives the explanation of the stanza with these words: "The wedding guest is spell-bound by the eye of the old seafaring man, and constrained to hear his tale" (61). The related stanzas of the poem don't include any word directly related to "be spelled". It is true that a reader might come to such a conclusion but there is a possibility that s/he might not. As Fish says, there are different "interpretive communities" that can lead to different interpretations of a literary work. Therefore, a reader can explain the behavior of the wedding-guest in psychological terms while a different reader, for example the owner of the commentaries, can explain it in supernatural elements. The commentator's insistence upon supernatural explanation of the poem almost forces the readers to think in supernatural terms while they may interpret the experiences of the mariner, for instance, as products of hallucination or neurosis. The possible reason of this effect is that the marginal notes give a much more convincing impression as they don't seem to be parts of the poem and this caused them to lose their fictional side in the reader's eye. The reader unconsciously sees the commentator as an authority. For example, when the mariner kills the albatross without any reason, the weather and other conditions get worse. The mariner, an old man who kills a harmless albatross without any sensible reason, definitely believes that the conditions get worse so as to punish him for his crime. However, this approach to the changing conditions becomes more convincing when the commentator points out that, "And the Albatross begins to be avenged" (67). Moreover, the mariner never tells it as directly as the commentator although it is apparent that he believes it to be so. Coleridge, by creating his own ideal reader and giving his commentaries as marginal notes, almost forces the readers of the poem to believe in the "supernatural" experiences of the mariner. And he manages it without using the actual lines of the poem.
In his article, Stanley Fish points out that, "In a sequence where a reader first structures the field he inhabits and then is asked to restructure it by changing an assignment of speaker or realigning attitudes and positions" . In parallel with Fish's suggestion, Coleridge's reader, the commentator, changes the actual lines of the poem by giving extra details just like the end notes of an author. For instance, in the second part of the poem, the following stanza describes the temporary good conditions just after the mariner kills the albatross:
"The fair breeze blew, the white foam flew,
The furrow followed free;
We were the first that ever burst
Into that silent sea." (Part II, V, 103-106)

And the marginal note of this stanza suggests that, "The fair breeze continues; the ship enters the Pacific Ocean, and sails northward, even till reaches the Line" (67). It is apparent that the related lines of the poem don't include any information about the exact location or direction of the sail. However, the ideal reader of the poem is capable of locating the ship exactly on the Pacific Ocean and of giving its exact direction to the north. The commentator, as Fish suggests, "restructures" the lines of Coleridge by "realigning" the suggested directions of the wind which provide only ambiguous information about the location. And through his own experience, he himself creates the exact location of the sail as "the reader's experience is itself the product of a set of interpretive assumptions". Another example that shows the commentator's restructuring the lines of the poem is related to bad omens after the mariner's killing of Albatross. The related stanza in the second part of the poem says:
"And some in dreams assured were
Of the spirit that plagued us so;
Nine fathom deep he had followed us
From the land of mist and snow." (Part II, XII, 131-134)

And the commentary of the stanza gives a detailed information about the features and origins of the spirit: "One of the invisible inhabitants of this planet, neither departed souls nor angels; concerning whom the learned Jew, Josephus...may be consulted. They are very numerous,...."(69). As it is apparently seen, the commentator makes the interpretation of the stanza by using his own experience and education. He presents his background, imagination and his own point of view to other readers; therefore he offers his own interpretation and understanding of the poem. He changes or "realigns" the apparent meaning of the poem by bringing in a new perspective just like a painter's use of light on his/her painting from different angles. Thus, the commentator, like a gleam of light, illuminates the poem from a certain angle and creates a new appearance of it.
While creating a specific perspective in the understanding of the poem, some of the commentaries have their own poetical tone although they just seem to be small summaries of the stanzas. The owner of the commentaries prefers to use a literary language with phrases in a melodious harmony with each other and with a perfect choice of words. For example, in the fifth part of the poem, the mariner describes the resurrection of the crew not with their own souls but spelled by the spirits. And he describes it with the following lines:
"...`T was not those souls that fled in pain,
Which to their corses came again,
But a troop of spirits blest." (Part V, XIII, 347-349)

When the commentary of these lines is read, almost a new poem with harmonious phrases and with a poetical tone comes out. When the commentary is turned into the lines of a poem, the poetic side of it becomes much more obvious:
"But not by the souls of the men,
Nor by demons of earth or middle air,
But by a blessed troop of angelic spirits,
Sent by the invocation of the guardian saint." (81)

As it is clearly seen, the commentary owns a structure easily convertible into a stanza. Moreover, the phrases have a perfect parallelism with each other and there is a regular repetition of "by" in each line. And this tone and poetical structure of the commentary convincingly shows that Coleridge's ideal reader manages more than just understanding the poem and making comments on it. He becomes an indispensable part of the poem by getting closer and closer to the poet and by adopting his creative tone. He internalizes the poetical world of the poem and starts to read it with the energy of a poet which eventually leads to a harmonious language and rhetorical structure. He starts to ask rhetorical questions which encourage other readers of the poem to think on the poem, to question it and to deduce some conclusions. When the mariner describes the ship approaching "without a breeze, without a tide" (Part III, VI, 169), the ideal reader of Coleridge asks, "Can it be a ship that comes onward without wind or tide?" (71) so as to make other readers realize the strangeness of the situation and conclude that there must be a spiritual intervention. Therefore, the commentator emerges as a guide who tries to shape the reader's opinions and deductions.
In "The Rime of the Ancient Mariner", Coleridge creates his ideal reader in the small summaries of the poem in order to clarify the meaning he wants to provide by means of his ideal reader's experience, education and perspective. Coleridge, through his commentator, imposes the certain understanding of the poem on other readers who can have completely different interpretations and deductions. The commentator clarifies, interprets and "restructures" certain lines, asks questions and directs other readers in a way which his creator, Coleridge, wants them to follow. He almost forces the readers to look at the poem from one perspective and he manages it by using his position as an ideal reader and commentator endowed with authority by Coleridge himself. And throughout the poem, he ends up with being one of the poets of the poem by using his rights to interpret and "restructure" the actual lines of Samuel Taylor Coleridge.

I was suprised when I received The Modern Critical Interpretations edition of the Rime of the Ancient Mariner.

There are no woodcuts or any other pictures, there are no silver pages, there is no poem at all!

This book is only modern critical interpretations - nothing more. Buy it if you are a scholar - and refer to a separate copy of the poem.

I should have known from the edition but the editorial reviews were from a different book that was an edition of the actual poem.