1. Kara McGee, Margaret Mester, Caitlin Vanderwolf, Milena Williamson
Part V
Kara McGee, Margaret Mester, Caitlin Vanderwolf, Milena Williamson

2. Stanza 1 Oh sleep! it is a gentle thing, 292 A
"Pole to pole"
North pole to south pole, meaning everyone loves sleep
"To Queen Mary..."
Why is sleep sent by Queen Mary, and why from Heaven?
Queen Mary may refer to the holy Virgin, not a literal monarch
This becomes more plausible with the presence of the reference to the "holy Mother" in the gloss subsequent to line 300
Repeated "s" sound creates pleasing, soothing atmosphere which may allude to being lulled to sleep
Repetition of "gentle" emphasizes how welcome sleep is to the Mariner
Irregular rhyme scheme (A, B, C, C, B)
Break in the quatrain
Oh sleep! it is a gentle thing, 292 A
Beloved from pole to pole! B
To Mary Queen the praise be given! C
She sent the gentle sleep from Heaven, C
That slid into my soul. B

3. Stanzas 2 & 3 The silly buckets on the deck, 297 A
"The silly buckets...dew"
He is dreaming of water
May figuratively represent salvation; something that was empty (buckets) becomes full with purity (dew, rainwater)
"And when...rained"
His dreams have portrayed reality
Gloss alludes to the rain symbolizing the Lord's forgiveness of the Mariner
"My lips...dank"
Seems uncomfortable/unappreciative of rain/God's forgiveness
"Sure I had...drank"
Advantageous
His BODY drank, not his soul/mind
Important distinction
Repetition of "d" sound conveys saturation
Consistent rhyme scheme
Leaves first and third line of quatrain unrhymed, rhymes second and fourth line
Return to quatrain format
The silly buckets on the deck, 297 A
That had so long remained, B
I dreamt that they were filled with dew; C
And when I awoke, it rained. B
(Gloss: By grace of the holy Mother, the ancient Mariner is refreshed with rain.)
My lips were wet, my throat was cold, 301 D
My garments all were dank; E
Sure I had drunken in my dreams, F
And still my body drank. E
These stanzas go together because the first depicts a "cause" and the second, an "effect." Coincidentally or purposefully, rain has blessed the Mariner, yet he reacts ungratefully.

4. Stanza 4 I moved, and could not feel my limbs: 305 A
I was so light—almost B
I thought that I had died in sleep, C
And was a blessed ghost. B
"I moved...light"
Experiencing the effects of rejuvenation
"Almost I thought... ghost."
"Blessed ghost" could also mean angel
He may recognize that God had sent the rain
Questioning also whether he, too, has died
Rhyme scheme consistent with the previous two stanzas (A, B, C, B)

5. Stanzas 5 & 6 And soon I heard a roaring wind: 309
"And soon...anear;"
Physical manifestations of God's forgiveness continue to occur (roaring wind that moves the boat)
He cannot feel/see the wind: only its effec
Sails may represent the Mariner's faith being "thin and sere"
Sere: parched
Interesting to note that his faith/soul may still be parched after the aforementioned downpour
Repetition of "s" gives fluidity
"The upper air...between."
"Fire-flags" could be the northern lights or some other natural light phenomenon
Entire stanza could represent God's attempt to show himself to the Mariner, therefore strengthening his faith
Repetition of "and two and fro," coupled with "and in and out" creates an elaborate/spectacular tone
Sheen: shown, shined
First stanza: regular rhyme scheme and quatrain format
Second stanza: irregular rhyme and break in quatrain
Stanzas 5 & 6
And soon I heard a roaring wind: 309
It did not come anear;
But with its sound it shook the sails,
That were so thin and sere.
(Gloss: He heareth sounds and seeth strange sights and commotions in the sky and the element.)
The upper air burst into life! 313
And a hundred fire-flags sheen,
To and fro they were hurried about!
And to and fro, and in and out,
The wan stars danced between.

6. Stanzas 7 & 8 And the coming wind did roar more loud, 318
And the sails did sigh like sedge;
And the rain poured down from one black cloud;
The Moon was at its edge.
The thick black cloud was cleft, and still 322
The Moon was at its side:
Like waters shot from some high crag,
The lightning fell with never a jag,
A river steep and wide.
Unusual rhyme scheme: A B A B
Alliteration
The wind roars but the ship is unable to move.
Polysyndeton
Time passing as illustrated by the moon's change in position.
Unusual rhyme scheme: A B C C B
Simile between a jet of water and lightning
These two stanzas feature repetitive imagery, specifically emphasizing the stark contrast between the bright moon and the dark sky.
These two stanzas set the scene for something momentous to occur...

8. Stanzas 9 & 10 The loud wind never reached the ship, 327
No rhyme scheme draws attention to the unusual events occurring
Rising action: the dead crew is reanimated by a powerful force and the ship is able to move with the wind.
The ship moves on, possibly representing God's forgiveness.
Typical rhyme scheme: A B C B
Details pertaining to eyes are a recurring motif in this poem. Ex. The Mariner hold the wedding guest with his eyes. The motionless eyes of the men portray how they have not truly come back to life.
"Even in a dream" illustrates the surreal nature of the events occurring. Also might be a reference to how Coleridge came up with the idea for the poem from a dream.
The loud wind never reached the
ship, 327
Yet now the ship moved on!
Beneath the lightning and the Moon
The dead men gave a groan.
(Gloss: The bodies of the ship’s crew are inspired, and the ship moves on)
They groaned, they stirred, they all uprose, 331
Nor spake, nor moved their eyes;
It had been strange, even in a dream,
To have seen those dead men rise.

10. Stanzas 11 & 12 Yet never a breeze up blew;
The helmsman steered, the ship moved on; 335
Yet never a breeze up blew;
The mariners all ’gan work the ropes,
Where they were wont to do;
They raised their limbs like lifeless tools—
We were a ghastly crew.
The body of my brother’s son 341
Stood by me, knee to knee:
The body and I pulled at one rope,
But he said nought to me.
Unusual rhyme scheme: A B C B D B
Alliteration
Simile between the men and "lifeless tools" indicates that they are reanimated but still soulless
Typical rhyme scheme: A B C B
Repetition of "the body"

11. Stanza 13 “I fear thee, ancient Mariner!” 345
Deviation from Quatrain
A B C C B rhyme scheme (irregular)
Wedding-Guest interjection reminds us of the story being told
Wedding-Guest serves as Greek Chorus
Reassuring/shift in tone
“I fear thee, ancient Mariner!” 345
Be calm, thou Wedding-Guest!
’Twas not those souls that fled in pain,
Which to their corses came again,
But a troop of spirits blest:
(Gloss: 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 down by the invocation of the guardian saint.)
Holy spirits--good not bad

12. Stanzas 14 & 15 For when it dawned—they dropped their arms, 350
This is how the mariner knows they spirits are angelic
Dawn represents God's influence
Alliteration highlights the "sweet sound"
Usual rhyme scheme: ABCB
For when it dawned—they dropped their arms, 350
And clustered round the mast;
Sweet sounds rose slowly through their mouths,
And from their bodies passed.
Around, around, flew each sweet sound, 354
Then darted to the Sun;
Slowly the sounds came back again,
Now mixed, now one by one.
Alliteration continues
'S' is capitalized in Sun. Represents God
Anaphora: "now" & "around" accentuates imagery of story
Usual rhyme scheme: ABCB

13. Stanzas 16 & 17 Sometimes a-dropping from the sky 358
I heard the sky-lark sing;
Sometimes all little birds that are,
How they seemed to fill the sea and air
With their sweet jargoning!
And now ’twas like all instruments, 363
Now like a lonely flute;
And now it is an angels song,
That makes the heavens be mute.
Deviation from quatrain
Unusual rhyme scheme: ABCDB
The innocence of birds, referencing the albatross? Feeling remorse for his actions?
Anaphora: "now"
Story imagery
Juxtaposition between skylark and albatross
Imagery:
Similes
"lonely flute"
Why lonely?
Bird is holy, sent from God
Usual rhyme scheme: ABCB

14. Stanzas 18 & 19 It ceased; yet still the sails made on 367
A pleasant noise till noon,
A noise like of a hidden brook
In the leafy month of June,
That to the sleeping woods all night
Singeth a quiet tune.
Till noon we quietly sailed on, 373
Yet never a breeze did breathe:
Slowly and smoothly went the ship,
Moved onward from beneath.
The journey, for now, is pleasant-- temporary reprieve
Atypical rhyme scheme:
A B C B D B
Imagery-- calm, refreshing
Lots of allteration and "s" "oo" sounds contribute to euphonic tone
There is no wind, but the ship sails because the polar spirit is swimming underneath, carrying it-- help from God even after huge wrongdoing

15. Stanza 20 Under the keel nine fathom deep, 377
From the land of mist and snow,
The spirit slid: and it was he
That made the ship to go.
The sails at noon left off their tune,
And the ship stood still also.
Fathom = six feet
"s" alliteration conveys movement
Atypical rhyme scheme:
A B C B D B
Foreboding-- nothing good happens when the ship stops
(Gloss: The lonesome spirit from the south-pole carries on the ship as far as the line, in obedience to the angelic troop, but still requireth vengeance.)
Control of the ship has now passed from the daemons to God's angels.

16. Stanzas 21 & 22 The Sun, right up above the mast, 383
Had fixed her to the ocean:
But in a minute she ’gan stir,
With a short uneasy motion—
Backwards and forwards half her length
With a short uneasy motion.
Then like a pawing horse let go, 389
She made a sudden bound:
It flung the blood into my head,
And I fell down in a swound.
Symbolism-- God has once again stopped the ship
Atypical rhyme scheme:
A B C B D B
Repetition conveys rocking motion of ship
Simile;
personification
The ship begins to rock and the Mariner is flung about the deck and faints, signaling the end of one section of his punishment and the upcoming beginning of another.

17. Stanzas 23 & 24 How long in that same fit I lay, 393 Alliteration
I have not to declare;
But ere my living life returned,
I heard and in my soul discerned
Two voices in the air.
The Polar Spirits fellow-demons, the invisible inhabitants of the element, take part in his wrong; and two of them relate, one to the other, that penance long and heavy for the ancient Mariner hath been accorded to the Polar Spirit, who returneth southward.
“Is it he?” quoth one, “Is this the man? 398
By him who died on cross,
With his cruel bow he laid full low
The harmless Albatross.
Unusual rhyme scheme: A B C C B
Alliteration
Typical rhyme scheme: A B C B
Religious imagery compares the death of the albatross to the crucifiction of Jesus Christ.
Internal rhyme

18. Stanzas 25 & 26 “The spirit who bideth by himself 402
Typical rhyme scheme: A B C B
"He" likely refers God because He loves both the Mariner and the albatross, but despite His love, the Mariner must be punished, in this case by the Polar Spirit.
Simile between the spirit's voice and honey-dew.
The Mariner has been punished for his sin (killing the albatross), but he will continue to be punished.
Repetition of key words like "loved," "soft," and "penance."
“The spirit who bideth by himself 402
In the land of mist and snow,
He loved the bird that loved the man
Who shot him with his bow.”
The other was a softer voice, 406
As soft as honey-dew:
Quoth he, “The man hath penance done,
And penance more will do."

20. The Culmination of Part V
Comparison between the storm and the Ancient Mariner's struggle to be forgiven for killing the albatross.
Rising action of the piece occurs when the men are revived by the spirits.
The spirits' actions portray how the lives of men are influenced by God and other spiritual forces.
A conflict between God and the Polar Spirit arises when they argue about who has the jurisdiction to punish him.
Despite God's love for the Ancient Mariner, He seems to yield to the Polar Spirit who wants to punish the Mariner for killing the albatross.

21. Overall Meaning of the Work
Sun represents God
God is influential at dawn in Part V
Purity and sacredness of natural things
Skylark imagery
God represented through sun
God's role in crime and punishment