When Coleridge's Ancient Mariner learns how important love and benevolence truly are, he is able to resolve his guilt and end his period of anxiety and isolation.
Punishment was imposed upon the Mariner by powers greater than he, and after he recogni...
When Coleridge's Ancient Mariner learns how important love and benevolence truly are, he is able to resolve his guilt and end his period of anxiety and isolation.
Punishment was imposed upon the Mariner by powers greater than he, and after he recognized the true nature and superiority of these powers he was able to understandthe error of his ways. On the other hand Manfred's guilt and isolation are self-imposed and last until his death.
Humility, a quality that was so necessary for the Mariner's expiation, is lacking in Manfred. He is willing to recognize any power greater than himself. There is an almost dichotomous contract between Manfred, the hero who 'acts', and the Mariner, the hero who is 'acted upon'.
Despite this contrast, and despite other obvious differences between the Mariner and Manfred, the normative statements of Romantic individualism suggested by Coleridge and Byron in these work, The Rime of Ancient Mariner and Manfred, respectively, are similar.
The question that is bound to arise at this point: if Manfred is not Byron's normative statement of Romantic individualism and the Chamois Hunter is, why then is the play centered around Manfred rather than the Hunter? My answer to this question is simply that Byron is more interested in Manfred then he is in the normative. Whereas Coleridge made the Mariner both the main character and the normative figure in his poem. The greatness of Byron's poem lies(as it does in most of his poems) in the presentation of the hero's alienation, pain, world weariness, unnatural prowess, defiance, and stoicism. At times, Manfred is just too pretentious and affectedly tragic, but we remain sympathetic and admiring toward him even though we recognize his lack of humility.
Manfred is partly a product of Byron's own egotism and his proclivity to maintain his image as an outrageously naughty poet who is more interested in the perverse than the normative. Byron does, however, illustrate the superiority of the Chamois Hunter over Manfred, but his main suggestion for the right kind of life comes in his portrayal of Manfred, one who refused to lead it.