Abstract
As part of a project rather larger than this paper, I have tried to trace the outlines of the mature Coleridge's thought on form and symbo1.' I have explored a figure for whom 'knowing' is fundamentally a formal rather than a propositional affair a theorist who sets form right at the heart of his system in the divine self-knowing or the Trinity, and who thus conceives of the Creation in terms of form's counterpart, the symbo1. But this is to present Coleridge's views in the abstract, lacking the substance which the poems grant to the Coleridgean vision. Coleridge's poems are not merely illustrations of the workings of the symbol: they are (to borrow Susanne Langer's term) the presentational forms which underlie his theories, and which therefore cannot be ignored. In this paper I look at 'The Ancient Mariner', and the mythological and intertextual context of the Coleridgean symbol, complementing an earlier study of the roots of the symbolic view of the universe in Mark Akenside's The Pleasures of Imagination. 2 ****
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