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'Ideology is not a dreamlike illusion that we build to escape insupportable reality; in its basic dimension it is a fantasy-construction which serves as a support for our "reality" itself' (Slavoj Zizek).

Explore the practical and theoretical implications of this definition of ideology for the interpretation of the literary text.Answer this question in close relation to Coleridge's 'Rime of the Ancient Mariner'.

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What better way to explore a definition and a relation between two ideas such as Ideology and Theory than to use one of the most complex and diverse poems ever created. With Rime of the Ancient Mariner as our reference we will show how Zizeck's definition is in fact, very feasible, how had Coleridge himself been consulted on the matter, he may well have acquiesced. It is not the actual definition of ideology or theory that we are questioning here, it is the relation of Zizek's interpretation of the two, in this instance to Rime of the Ancient Mariner. Without further procrastination, let us begin.

Rime of the Ancient Mariner is an interesting and varying juxtaposition of physical, emotional and spiritual suffering. These three issues combine together to create a reality in this instance, that is altered simply by perception. Physical, emotional and spiritual suffering are all measured by an individual's approach to each one, and so for the purposes of Zizeck's definition, we can see that Coleridge's poem explores very effectively the way in which theoretical and practical approaches to one idea, can change depending on who is approaching it, and therefore ideology is something that is dream like to one person and reality to another.

The poem uses Nature as a channel of expressiveness. It is nature which the Mariner first rebels against when he shoots the albatross,

'God save thee, ancient Mariner ! From the fiends, that plague thee thus !-- Why look'st thou so ?'--With my cross-bow I shot the Albatross!'

He later sees the error of his ways for this 'inhospitable' act and repents for what he has done. It is interesting though, the use of Nature as a medium of forgiveness and repenting. Perhaps, in order to better relate Coleridge's use of Nature, and some other important issues in the poem to some sort of explanatory theory to help us better understand, we should look briefly at Coleridge's past, for he later on in his life did confess that the role of the Mariner was in fact based upon himself.

What becomes apparent when we know that Coleridge suffered a great deal during his life - practically being forced into marriage, dogged with bad health and quarrelling (which was later resolved) with his best friend and partner, Wordsworth, we can see why he has portrayed the Mariner as someone who is plagued by horrific supernatural events as a penance for murdering the Albatross. However, a deeper look at the poem suggests something more, perhaps something indeed, of the Voltaire. The Mariner, much like Voltaire's Candide, is plagued by bad luck, simply going from one bad event to the next. Of course, in the Mariner's case these unfortunate events are portrayed as a repayment for a bad act committed, and in Candide's case, with slightly more irony, he is simply an unlucky soul. The ultimate result however, is one not too dissimilar. Candide goes through life constantly exalting the good parts, never focusing on his misfortune and never becoming depressed or depleted because of the events which befall him. Coleridge, in the same way, has ultimately told a story through the Mariner of a man whose life is plagued by misfortune due to a crime he committed, and although on the surface it may seem as though this is a story of horror, in fact the end result is that we as the reader and the Mariner as the centre of this tale, come to see the inherent beauty in the natural world which surrounds us. It is when the Mariner begins to find beauty even is small, slimy creatures that we start to see the beginnings of Voltaire's theory of Candide some to light - the Mariner is beginning to find beauty in the Natural world, to realise what he has done and thus begins a trail of positivity rather than negativity.

'Yea, slimy things did crawl with legs Upon the slimy sea.

About, about, in reel and rout The death-fires danced at night ; The water, like a witch's oils, Burnt green, and blue and white.'

From this part of the poem onwards, the Mariner begins to resemble Candide in his attitude towards the events which befall him. Whilst Candide is portrayed by Voltaire with irony, and certainly an element of the ridiculous, the theory that should life and the events which compile to make it turn against you, a positive attitude and an ability to see the best in any situation will ultimately make for a happier person; this concept is little changed between the two literary pieces despite the gulf in time, instance and situation which separates them.

The Mariner begins his Rime as a sallow, self interested person, who despite tradition that the Albatross is the bird which 'makes the winds blow', he shot it because he became irritated by its constant presence. We then follow his tale of self discovery really, and by the end of the tale see him in a different light, as he in turn, beholds the land on which he lives in a different light;

'O shrieve me, shrieve me, holy man !' The Hermit crossed his brow. `Say quick,' quoth he, `I bid thee say-- What manner of man art thou ?'

Forthwith this frame of mine was wrenched With a woful agony, Which forced me to begin my tale ; And then it left me free.'

We see the Mariner finally accept his penance and realise that despite tha pain of his tale, he is now 'left free' because of what he has learned and how he has changed his perception on life during his journey.

Whilst the tale of Candide is funnier, and sweeter, less probing perhaps, the similarities between the positivity of Candide in his journey - the way in which he encounters those who are unfortunate and attempts to make them see why they still in fact have more fortune than the next person, is undeniably similar to the way in which Coleridge has presented his Mariner. The Mariner may not be as saccharine as Candide, may go on a harder journey and may commit a crime on order for his journey to begin and realisation to embark, but he does eventually see the positivity in what surrounds him, in the nature that he encounters, and in the creatures that he meets.

The Mariner starts his tale with relatively realistic descriptions of life at sea, but as guilt engulfs him, he becomes increasingly immersed in the fantasy, nightmarish world of the supernatural. This ties in perfectly with Zizek's idea of fantasy-construction; the Mariner's guilt and desire for penance at his murder of the Albatross has resulted in a fantasy construction of a nightmarish reality which engulfs him until he is able to begin to see the error of his ways and the beauty in what surrounds him. Ultimately Coleridge seems to be asking the reader to remember to respect what we must live harmoniously with, and not to take for granted the creatures and plants which surround us. Whilst Candide faces this issue not in himself but in others who fail to see what fortune they possess, and how they must treat others with respect in order to gain what they want, the preface is similar in that both characters must embark on long journey's to realise either in others or in themselves that the natural world, and the creatures, humans and beings that inhabit it are not to be diminished in any way.

Zizek's definition is one which works effectively with Rime of the Ancient Mariner because of the fantasy construction within the tale. Indeed, the Mariner's fantasy construction does serve as a 'reality' itself because the Mariner undergoes a regeneration from beginning to end because of what he experiences during the fantasy of the supernatural world;

'He prayeth well, who loveth well Both man and bird and beast.

He prayeth best, who loveth best All things both great and small ; For the dear God who loveth us, He made and loveth all.'

The end result is a somewhat Christian view on nature, that God loves us all equally and we should therefore all be treated equally, but the Mariner certainly ends the tale more fulfilled and richer than he began it, for his experiences. In the Mariner's case the fantasy construction certainly supports Zizek's view, in that it is not in any way built to escape reality, but rather to confront it, to aid self-realisation and therefore self-development. In this instance Zizek's definition fits perfectly, but as we started off, the perception of any 'reality' or 'escapism' is merely in the eyes of the beholder.

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