Gericault and the Human

By looking at the first picture by Gericault, it becomes clear that we are departing from the normative expectations of Romantic paiting. The presence of human intervention within the verdant landscape is clear. Buildings rise from the tan, ragged landscape, flesh with the cold stone. The aqueduct appears on the left corner of the painting, one of the classic examples of molding the landscape to the needs of the homosapien. Humans can be seen at the center of the painting, yet, while they are central in terms of placement, they still are at the periphery the far edges of the landscape.

The element of humans seems to contradict the centrality of nature within romantic art, but these humans are one within nature, naked, nude and vulnerable. This element of the naturalistic man is purely romantic, since man is nude, one within nature.

Nature is a curative element for the human. It is the best reparative salve for the human psyche, medicine comes from the earth, and nature can heal the broken soul. “The Dungeon” reveals what happens when people are stripped from this natural setting, when the nature is lost. 

The dungeon is described as “made for man;” it is cold and dark, holds the bodies of humans in cells made for man by man (l. 1). The speaker asks of the guilty: “Is this the only cure?” (l. 5) He describes the punishment that this cure for immorality entails: “Each pore and natural outlet shrivell’d up…/ His energies roll back upon his heart,/ And stagnate and corrupt; till changed to poison” (ll. 6-9). The greatest punishment that man faces in exile is to be deprived of nature, to be deprived of the primal, the essential, and the real. 

The next stanza seems to present a better option: O nature!/ Healest thy wandering and distempered child” (ll. 20-21). Rather than chaining the offender: “pourest on him thy soft influences,/ Thy sunny hues, fair forms, and breathing sweets,/ Thy melodies of woods, and winds, and waters,/ Till he relent” (ll. 20-25). Man can reallign his moral compass within the grasp of nature, in the arms of the earth. 

This relates to the ideas of industrialization, foreshadowed in Gericault’s picture. Civilization looms on the right side of the painting, oncoming and foreboding. The cityscape of industrialization is a dungeon by itself, encapsulating man in an iron, concrete cage of his own design. Gericault, and the romantics, yearn for a time released from the chains of modernity. Every man is a slave, every man is a prisoner.

-Nathaniel 

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Humanity role and relationship to Nature

The painting by Theodore Gericault, “Evening: Landscape with an Aqueduct,” embodies the romantic themes present during the 18th century. this painting share themes with the Samuel Taylor Coleridge and William Wordsworth’s Lyrical Ballads. This painting, in particular the builds and the tree in ruins, is representative of the themes and ideal of the Rime of the Ancient Mariner. The reason that it does is it shows the dichotomy of civilization and nature. In the painting, there are two specific points that i see it. The first one is the building with the 2 window.romantic-image-1 (2).jpg

this portion if the painting shows themes within the romantic literary because the base of the building blends smoothly into ground. Romanticism focuses on the blending of nature and humanity. for example, in The Rime of the Ancient Mariner, Wordsworth states that.

“Day after day, day after day,

we stuck nor breath nor motion”

This quote relates to the blending because they both show how humanity can only work around the will of nature. Even though humanity is the Apex predator, we still are subjected to the power and will of nature. The second place that shows romaric themes is the ruins with the tree coming out of it at the top left of the painting.

 

romantic-image-1 (4).jpgThese ruins are covered in moss and a tree growing out of it. This Oak tree symbolize the power nature holds over humanity. Even though, humanity is capable of create long standing architectural feats, they still will never outlast the will of nature. This tree growing out of rube shows how humanity can only work around nature, but never control it fully. At the end of the day, when civilisation leaves, nature will always reclaim the land. this concept of the absolute power is integral to the ideas of romanticism Humanity is only an inhabit in mother earth, meaning we that we can build around it and manipulate it to a degree, but we will never wiled the power absolutely control it.

 

-conor morgan

From your mother to the good and bad

I’d like to start by saying that when looking at Lines Written in Early Spring (page 102) and the image by Caspar David Friedrich, The Monk by the Sea, together as one, it makes the poem appear as if it’s coming from mother nature, as if Earth was its own entity reflecting on humans and our progress on Earth.

In line one, it says “I heard a thousand blended notes,” which can be seen in the white sky that has a mixed texture. This could represent the notes also being mixed if paper could actually mix that way–but that’s the beauty of it because here it is. Lines 2 and 3 also say “In that sweet mood when pleasant thoughts bring sad thoughts to the mind,” here, we could also interpret the sky as that changing of thoughts, where the sky is white, the pleasant thoughts, literally blend with the dark, the sad thoughts.

In stanza 2 lines 7-8 it says, “And much it griev’d my heart to think What man has made of man,”  this line really took over the image for me and made me reflect on how I needed to come to Merced, a place that sometimes feels is as empty as in this painting (coming from a city such as Oakland, there’s no real empty space, and there’s like an abundance of empty space here–not that it’s a bad thing, it’s just ), in order to be able to reflect on the impact we, human beings, have made–which has been anything but good to the environment. Point being, the painting could be the point that mother nature decides to reflect on how we’ve developed.

That is like how in the earlier lines I mentioned where pleasant thoughts bring sad thoughts. Throughout the rest of the poem, it is admiring its surroundings of birds and the breeze, which shows an appreciation of this space, though not reflected in the painting, because it is a beach, we can easily assume that there are these elements at this moment. But while there is an appreciation for this moment we’re in, there’s a slight inevitable part of us that can’t help but reflect on where we come from, which is probably not a place as serene as a beach–if you like the beach, at least.

A Beautiful World of Ethereal Places and Ephemereal Wonders

Their colors are distinct as those of the sun and regularly and obviously blended, though less vivid, fine specimens may be found any night at the foot of the upper Yosemite fall, glowing gloriously amid the gloomy shadows and thundering waters, whenever there is plenty of moonlight and spray.

– John Muir

Dear my fellow venerable peers and aspiring scholars, I present to you a plea.

Awaken your slumbering reverence of nature within. This world that we share asks for our appreciation now more than ever. The strength of a movement is determined by the collection of the will of its individuals. Wordsworth intuitively composed his poetry at a time of boiling industrial forthcoming, but do not hesitate to relate its antiquity to the pertinence it has in a world of modern environmental peril. Wordsworth and Coleridge’s Lyrical Ballads is as contemporary to our present problematic endeavors with Earth as you could possibly imagine. Their words continue to speak for a voiceless mother Earth, the most beautiful of all planets we have ever encountered. As students of the University of California, Merced, we are granted an opportunity to embrace a pioneering spirit that has fueled and characterized the United States of America for centuries. Considering our proximity to the greatest wilderness of them all, Yosemite, we are living embodiments of Frederick Jackson Turner’s Frontier Thesis, which spoke to the roaring passion for Western expansion and human inquisitiveness. Go forth and revel within the temples of awful (awe-inspiring) natural wonder, avoid the temptation and distractions of modernity, as they serve no true purpose to your free-spirited soul.

Wordsworth and Coleridge have me lost in a world of beauty and pain. Romanticism speaks to me like a siren-wailing fire truck calls to a lonesome canine to howl incessantly. I’m enamored by this imaginative prose, delicate as a rose, insinuating thoughts of philosophical scorn, like an unforgiving thorn. I have literally and figuratively lost myself in the forests of the Sierra Nevada, blanketed by chilling darkness, but it was then, that I had ever felt more alive. I was young then, and my eyes scrambled in the twilight in fear of black bears. I know now, that these lovable bears in comparison to fearsome grizzlies of the north or population dwindling from receding landscapes of polar bears, are not to be feared. Fresh mountain wind,  towering sequoias revived me from my past loathsome troubles that lay insidious within my mind for so long. The landscapes of this breathtaking mountain range lay etched in my thoughts even with my eyes closed, and are now ingrained in me for the rest of my existence.

The painting “Buttermere Lake: A Shower”, instills moody thoughts in a gloomy overcast. I initially see a bleak landscape of melancholy, that speaks of a desolate past. The rainbow from the painting reminds me of Lower Yosemite Fall’s moonbows. We are within 2 hours of North America’s tallest waterfall. An exciting thought to contemplate itself. I look within these dark clouds of anguish and uncertainty, however, and I find hope. Just as I once lost my wallet and my keys in Yosemite and panicked for my life, I would eventually calm down and see that they were exactly where I had placed, underneath a pile of my belongings. There is always hope even in death and absolute remorse. Even if you cannot see it, there is always light somewhere within or somewhere far beyond the twilight zone. It is only in darkness that light truly shines. Be courageous in the face of overwhelming odds. Fight on until your last dying breath, and submit to no oppressive force. I reference another poem that carries my sentiments. “Do Not Go Gentle Into That Good Night” – Dylan Thomas

Buttermere Lake, with Part of Cromackwater, Cumberland, a Shower exhibited 1798 by Joseph Mallord William Turner 1775-1851

Joseph William Turner’s painting carries multiple aspects of Romanticism within its frame. It is an encapsulation of the feelings and emotions of The Lyrical Ballads. Expostulation and Reply discusses enjoying nature even if its morals and lessons taught are not as direct as a lecture of philosophy or a laboratory session of science.

"You look round on your Mother Earth,
          As if she for no purpose bore you; 
          As if you were her first-born birth,
          And none had lived before you!"

William is expostulated by Matthew. Why does he seem to mindless observe the world with his mind adrift in solitary rumination?

"Nor less I deem that there are Powers
          Which of themselves our minds impress;
          That we can feed this mind of ours
          In a wise passiveness.

William explains his penchant for wonderful Mother Earth. He feels that he assimilates notions of patience and lessons of wisdom in the stillness of meditation and deep contemplation.

Landscapes like the one Turner paints and the ones that you can come across after hiking to a viewpoint are so powerful, that you can’t help but lay speechless. I recall the times I’ve been such amazing views like Glacier Point and Angel’s Landing, and I sat startled and comforted by the immense grandeur for hours.

I make one last reference to another one of Wordsworth’s poems. I ask that you consider your lifestyle and your attachments to materials, just like Wordsworth attempts to convey the contempt of materialism. A life is meant to be fulfilled with experience, and not meaningless objects.

The world is too much with us; late and soon,
Getting and spending, we lay waste our powers
.

The World is Too Much With Us

William Wordsworth

Earth day is on April 22. Also, National Park Week is April 15-23. On April 15 and 16 and again on April 22 and 23 you can visit any national park in the country free of charge. As the heavy snowfall from this year’s dramatic winter begins to recede in the Sierra Nevada, I encourage you to take part in experiencing our world within its raw natural boundaries, rather than dwelling within unsatisfying cities. The following link is a website that has been instrumental in my transition from childhood to young adulthood. It has guided me with a knowledgeable content of incredible hikes in Yosemite and also carries a comedic and informative style of prose. Check it out! http://www.yosemitehikes.com/hikes.htm

One last note. Last winter I explored Zion National Park, and after embarking on a notoriously scary but enjoyable hike, I found a drone sitting atop Angel’s Landing. Flying drones are strictly prohibited in these National Parks, and I felt obligated to find the owner before a ranger confiscated it. I’ve been looking for the owner ever since. After a considerable amount of time debating with myself internally over ethical matters, I decided to examine the footage of nature. I was absolutely blown away, and I feel compelled to share. I hope that everyone has the desire to embark on their own expeditions. I recommend the HD setting for enhanced theatrics.

 

Sincerely,

Thomas Pham

Transient Beauty

In Théodore Gericault’s “Evening: Landscape with an Aqueduct,” we are presented to a scene where the sun is setting on the green plains and a river; among them, a castle and six curious figures seemingly delighting in the river’s refreshing coolness. In the distance, similar castles line the plains and form a picturesque sense of the quotidian. On further observation, I noticed the trees surrounding the scene have but little leaves on them, signaling the season to be Autumn. Coupled with the sunset, a bittersweet tone arises due to the end of summer, the end of the day, and the end of a season.

In relation to the Lyrical Ballads, “Two April Mornings” by Wordsworth encompasses the reflecting tone the painting conveys. I want to focus the attention on the two figures on the bottom of the painting, seeing as how the poem gives a few lines of conversation. It starts with someone asking Matthew, the second person, why he was sighing even though it was such a beautiful day. His reply:

“Yon cloud with that long purple cleft

Brings fresh into my mind

A day like this which I have left

Full thirty years behind.

 

And on that slope of springing corn

The self-same crimson hue

Fell from the sky that April morn,

The same which now I view!”

This reply I attribute to the figure sitting upon the rocks, watching the others play in the river and the surrounding clouds of dawn approach the scene. His remembrance of the day he “left behind” thirty years ago is indicative of a nostalgia he feels, but whether it is reflective or regretful, is not revealed. We later find that Matthew was thinking of his sister who has passed, and reflects on the ephemerality of life like the day; just as soon as it begins, the dawn quickly comes before you know it. Later in the poem, we are also told by the narrator that Matthew too, has died. He is described in his grave as clutching onto a wild apple tree in his hand, signaling his longing for the past. This reflective and nostalgic poem is very much Romantic in the sense that, it speaks of nature as relating to the soul of man. They share the same sense of transient beauty, much like a firework, traveling into the sky only to explode for some beautiful seconds until it’s gone forever.

-Daniel Corral

Hippies of the 18th century

For me, “The Tables Turned” by William Wordsworth is represented in Théodore Gericault’s Evening: Landscape with an Aqueduct. On a superficial level, the painting shows how one should immerse themselves in nature and enjoy the world around them, rather than live their lives through the guidance of books and science as noted by Wordsworth. For instance, in “The Tables Turned”, the speaker says, “Up! Up! My friend, and quit your books” because “Books! ’tis a dull and endless strife”. The speaker notes how living life and learning about life through books is not the right way to gain knowledge, they must “hear the woodland linnet…there’s more of wisdom in it”. It seems that for the reader, learning is an experience that cannot be encompassed through books and science. We must learn from nature, something that has not been interpreted or created by man. We must reach our own interpretations of the world by going out into the world itself rather than reading about what other people have to say about it, for “one impulse from a vernal wood may teach you more of man, of moral evil and of good, than all the sages can”. I feel that the same idea is invoked in Gericault’s painting. The men in the painting do not seem to care about anything that is going on around them, they are just swimming the water naked. They have stripped away from science and knowledge that would find being naked in the wild as something absurd. The one who is clothed, is not fully clothed as if they are the person the speaker of the poem is trying to convince to be one with nature. The color of the sun is very warm, indicating it is a late part of the day that I often find to be the most peaceful time of the day. It seems that time does not exist in the painting, for the people do not even seem to care that the day is almost at an end, they are still enjoying their time outside.

-Nancy Sanchez

A Romantic Nihilism: A Beautiful World Doesn’t Care, and That’s OK

The world, specifically Earth, is a fairly, large place with various forms of life surrounding humans. Though humanity has taken hold as a major dominant species, the Earth and universe seemingly refuse to acknowledge any of this hierarchy when it comes to natural disaster and growth, floral and animal life will live or die regardless of one’s own existence, the universe will continue to unravel its timeline of events regardless of what single being such as us can do. Rather than to take this with fear and anxiety, one can instead note this with a calm, peaceful admiration of the beauty of life as it continues forward. This can be reflected in the work of “A Monk By the Sea”, crafted by Casper David Friedrich, and then further within the work of Wordsworth in “Michael, A Pastoral Poem”. In the poem, the rather sad but likely common tale of misfortune is spun whilst an atmosphere of flourishing nature surrounds the characters. The contrast between nature as a cool, careless force working beyond human interference can be seen in both works as a background, grounding a sad but real world for the people that live in it.

In the painting, the monk stands alone as a vast, dark blue ocean continues for what seems like forever, only met by an equally expansive bleak sky. One can simply say that this is a depressing atmosphere, with gray clouds, the abyss of the ocean ahead, the loneliness of the monk. However, the title and the image itself give way to a deeper interpretation, concerning the status of human life in comparison to that of the natural world. The ocean, be it dangerous and vast, is still home for countless species of marine life. A monk stares not into a gloomy, watery grave but rather a massive reserve for life. If it were any other man staring, one may find themselves falling deeply into an existential crisis when seeing such an abyss, but instead the title specifically notes the figure is a monk. A monk, a man of faith, is coming to terms with the vast emptiness of man surrounding him, but should more easily recognize the beauty of millions of lives swimming and crawling, existing, before him. This is a world that cares not for his faith, or his own body — it’s simply an ocean — and yet it is ever so powerful and great compared to his own vessel.

Within the poem, the tale is spun of a man with great financial loss, but the story is not told before Wordsworth gives vibrant imagery of the rural life around him. The imagery introduces with, “Up the tumultuous brook of Green-head Gill, You will suppose that with an upright path / Your feet must struggle; in such bold ascent / The pastoral Mountains front you, face to face. But, courage! for beside that boisterous Brook / The mountains have all open’d out themselves, / And made a hidden valley of their own” (lines 2-8). One may already feel overwhelmed by the mountains and the hidden valley, massive landscapes. Only after nature is noticed then, is the story tied back down to the theme of the tale, a place of “…utter solitude” (line 13). Throughout the poem, Wordsworth continuously continues unraveling Michael, the unfortunate shepherd, as his life seems to sink worse and worse with his only hope, his son, becoming seized by the city. It is notable that the urban atmosphere becomes something that draws further upon Michael’s misery, showing that the events of loss will happen even with the coordination and structure of human society. At the poem’s end, when Michael’s tale is concluded with a final dismissive look at the remnants of his hope of the sheep fold, nearby the image of “Beside the boisterous brook of Green-head Gill” (last line) remains. Taking the painting into account, I perceived Michael’s tale as the minimization of human misery, how despite what seemed to be the world crumbling down on poor Michael, the ultimate effect on the surrounding nature was minimal as a “boisterous brook” continues to flow on regardless. Instead of solely perceiving the poem as a tale of loss, seeing through the eyes of the monk upon the water’s edge would fail to find any major meaning in said loss. It’s sad, it hurts, but ultimately the world around Michael continues forward – there can be at least some peace in knowing the brook continues to cheerily rush, the mountains still tower over him, the valley still sits where it always had been.

There’s something beautiful and truly romantic then in the pastoral poem – when a man loses just about all his hope, he can at least be reassured mother nature cares not for his pain, and will continue to live its own life.

-William Fernandez

And Death Too

Caspar David Friedrich’s The Monk by the Sea (1809) is historically radical due to it’s lack of depth, which at the time was rare for landscapes.  Similarly, “Inscription For The Spot Where The Hermitage Stood On St. Herbert’s Island, Derwent-Water” by William Woodsworth is radical in it’s own sense. Romanticism itself was and is full of radical ideas. Radical ideas that engulf the human being into reflection of their own connection with nature. In Woodsworth poem he expresses:

This quiet spot.–St. Herbert hither came

And here, for many seasons, from the world

Remov’d, and the affections of the world

He dwelt in solitude. He living here,

I find myself imagining this lone figure that “dwelt in solitude” within the canvas of Friederich’s sky-dominated painting. The undulating black horizontal sea, and the curvatures in the sand take up less space of the canvas, yet they express more of the story. Just as interesting is the figure that rests upon the sand. The figure appears miniscule in comparison to the ocean and skies above them, and the figure appears to be staring out into this vast image just as the viewer is. The painting immediately evokes emotions of solitude, and isolation from the world. Similarly, the poem expresses these ideas of being “removd” “for many seasons”, but we have no idea what season it is in this landscape, it’s almost as if the portrait exists outside of our feeble ideas of time and space. The uncertainty of the season or location of the “the quiet spot” adds to the solitude. Whether the solitude is sad or happy is not clear. Initially looking at the painting, there is a strong emotion of the eeriness of being alone in a big place, but I sensed that this solitude also evoked emotions of oneness with nature itself. Solitude leads to reflection…and dare I say….romanticism? I struggled to determine whether being embraced by nature was a happy emotion, or rather a melancholic and thought-provoking one.

In Woodworth’s poem the lone man is also craving the company of his one friend:

Along the beach of this small isle and thought
Of his Companion, he had pray’d that both
Might die in the same moment.

This intense feeling of wanting to die with another person can be paralleled to the painting because it demands so much empathy from the viewer. This empathy originates from watching someone so small, much like ourselves, be swallowed up by their surroundings. Again, whether this is a beautiful experience or a horrifying experience is up to the viewer. It can be interpreted in different ways, but I believe that the final line in the poem that expresses that both the men died at the same time

Though here the Hermit number’d his last days,
Far from St. Cuthbert his beloved friend,
Those holy men both died in the same hour.

shares this primary idea that no matter how far away we are from each other universal connections with those we love exists due to nature itself thrusting upon us two similarities: death and insignificance. The person in the canvas is powerless. Despite their importance in their own mind, and perhaps in their dear friend’s heart, they aren’t. Dying in the same hour, or succumbing to nature by viewing it, is the only way to give up. Which is important to do. Eventually. At some given hour.

-Beyanira Bautista

Paraiso

The painting by Theodore Gericault, “Evening: Landscape with an Aqueduct,” seems to be a near close depiction of William Wordsworth’s poem “Lines Written At a Small Distance From My House, and Sent by My Little Boy to the Person to Whom they are Addressed.”  It is as if Gericault’s paintbrush is taking direction from Wordsworth’s poetic expression.  

In the painting we see a vision of perfection through the depiction of a day filled with leisure and great weather.  There are several people swimming along the aqueduct, simply basking in what seems to be an air of peace.  Similarly, in the poem, Woodsworth’s first words are that it was a “mild day of March.”  The word “mild” meaning that the climate is neither too hot nor too cold, setting the tone for how one may feel tempered when reading the rest of the poem.  The same feeling is evoked fromt the painting, where the sun light’s casting against the landscape and buildings, indicates the hour of dusk, hence indicating that a mildness has taken over that part of the day.

There also seems to be a Utopian fantasy taking place in both the art piece and the poem, when Woodsworth says: “Love, now an Universal birth/from heart to heart is stealing/from earth to man/from man to earth/-it is the hour of feeling.”  Now, instead of looking at the art piece first, if the lines are read first, and the art piece is looked at thereafter, one will see that a perfect world has been projected.  The illusion that “love” has been born on a “universal” level, meaning that everyone and everything is exuding a perfect sense of happiness and love, is entirely the definition of a Paradise world.  In the picture we see men inside of the water, casually relaxing and enjoying the themselves. That part of the art piece could even literally have those words “From Earth to man, from man to Earth -It is the hour of feeling” placed in that specific spot on the painting.

The combination of the perfect weather and the gentlemen’s’ sense of peace in Gericault’s painting goes quite well with Wordsworth last line when he says, “for this one day we’ll give to idleness.”  In other words, instead of carrying on with work, which is the daily protocol for survival, both painter and poet are saying that, instead, not worrying is the perfect way to enjoy life, and in that sense, the survival of one’s inner spirit is most important.

-Maricela (Marcy) Martinez

 

Iron Maiden Music Transcendence Through “The Rime of the Ancient Mariner” Melodic Poem

The rhythmic beat that Iron Maiden provides for Samuel Taylor Coleridge’s poem “The Rime of the Ancient Mariner” with Electric guitars, bass, and drum kits make it like a form of Romantic poetry. This is because music, is something that is mostly associated with inspiration, and just like Romanticism, it shares the similar effects of transcendence. Although, one can’t say the same thing for the types of lyrics that Iron Maiden uses. Unlike Iron Maiden, Taylor Coleridge’s poem uses very archaic words, sometimes hard to understand what is truly going on in the story. In contrast, because Iron maiden does not use the archaic words and “The Rime of the Ancient Mariner” does; it can be considered to be a modern day Romantic poem, for the same definition we learned in class about Romanticism, and the poems target “low class” audience; Iron Maiden uses words that are use on the daily, paraphrasing the poem through music.

Despite the fact that Iron Maiden paraphrase the entire poem, instead of singing it all word for word, they also use stanzas that are present in the poem such in the case when they are stranded in the ocean with shortage of supplies “Water, water, every where,/ An all the boards did shrink;/ Water, water every where, Nor any drop to drink” (ll 46-49). In both versions of the story, water is mentioned, a representation of nature as a whole possibly. This is because one: nature words relate back to the idea of Romanticism; and two: because nature can be understood the same even in two different time periods, it is the source of life. Iron Maiden, truly captures the essence of Romanticism not because they shift the story to the point that people are able to understand in an unarchaic language, but stays true to the part that the poem embodies the elements of Romanticism, nature.

The fact that the poetic devices seen in the poem are repetition and rhyme emphasizes a lyrical and much a like a melody constructed by words that create the same or similar sounds can be referred back to the way in which Iron Maiden adds a melodic sound that matches the gothic theme in the poem. The poem itself, encourages the form of music even with its poetic style that is present in nature “Sometimes a dropping from the sky/ I heard the sky-lark sing.” This constant use of birds keeps returning throughout the poem as spirits. The spirits is only represented by animals, but the communication of spirits and nature is only represented by sound animals make “And now ‘twas like all instruments;/ Now like a lonely flute;/ And now it is an angel’s song,/ That makes the heavens be mute” (ll 348-355). This part may represent the idea that Iron Maiden enjoy the art of music and embrace it as a way to transcend to a spiritual level without committing a crime against nature, the Mariner had to learn it the hard way that nature is possible to make music; therefore, as people are also a part of nature is possible to create music as well. Based on the Mariners experience in the ship, it is a tale of gratitude to nature that helps as a spirit to aid but it also takes on revenge if it is ever disturb.

Enrique Ramos