{"id":194,"date":"2019-04-08T04:46:11","date_gmt":"2019-04-08T04:46:11","guid":{"rendered":"http:\/\/www.huronresearch.ca\/eng2\/?page_id=194"},"modified":"2019-04-09T07:02:54","modified_gmt":"2019-04-09T07:02:54","slug":"comparing-illustrated-versions-of-ancient-mariner","status":"publish","type":"page","link":"https:\/\/www.huronresearch.ca\/eng2\/texts\/comparing-illustrated-versions-of-ancient-mariner\/","title":{"rendered":"Comparing Illustrated Versions of Ancient Mariner"},"content":{"rendered":"
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Variation does not only apply to literary texts, but to the representational art which accompanies literature. The first purpose of graphic illustrations is to reinforce the narrative; to emphasize moods with lyrics.\u00a0The Rime of the Ancient Mariner\u00a0<\/em>implies a romantic realism, discussing supernatural events with the greatest possible verisimilitude. Coleridge rouses in his readers a willingness to suspend disbelief, which he believed was so essential to imaginative writing. Fantasy, such as\u00a0The Ancient Mariner<\/em> demands realism on the part of any artist who attempts to illustrate it. The two illustrative examples show very distinct representational and artistic styles by C. Walter Hodges and Gustave Dor\u00e9.<\/span><\/p>\n

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