David Jones
The Rime of the Ancient Mariner, 1929, Print, The British Library, London; C.100.k.20., ©️ Trustees of the Estate of David Jones; Photo: ©️ The British Library Board (C.100.k.20., p.17)
‘Things that belong to salvation’
Commentary by Hilary Davies
After the harsh admonition of the opening verses, the author of Hebrews begins to modulate his argument: ‘For God is not unjust; he will not overlook your work and the love you showed for his sake’ (6:10). A supreme example of such divine remembrance is explored in Samuel Taylor Coleridge’s masterpiece, The Rime of the Ancient Mariner.
When David Jones undertook in late 1927 to illustrate this poem, he was already regarded as one of Britain’s foremost watercolourists and wood engravers (Dilworth 2017: 122; Miles & Shiel 1995: 78). But Jones had never attempted copper engraving before; this determined his decision to concentrate on ‘simple incised lines reinforced ... by cross-hatched areas’ (Dilworth 2005: 13). His focus on stark simplicity to suggest rich layers of meaning perfectly mirrors the shimmering language and deceptively ballad-like prosody of Coleridge’s poem. ‘Engraving 5’ depicts the Mariner, albatross slung from his neck. His eyes are dead, pupil-less; his soul is in agony, for whenever he has tried to pray, a travesty falls from his lips, ‘A wicked whisper came, and made | My heart as dry as dust’ (Ancient Mariner, 60). Not only the albatross but he and the whole crew are pierced by the crossbow of his sin.
Yet he leans in Christ-like pose against the mainmast, a part of the boat that was always for Jones redolent of the cross. Alongside slither the water snakes which will be the occasion of his deliverance, ‘A spring of love gushed from my heart, | And I blessed them, unaware’ (ibid: 62). This death-ship is about to become the vessel of his transformation because he is suddenly able to love God’s creation afresh. Although he betrayed the trust of the albatross, thereby showing contempt for ‘all things both great and small’ (ibid: 80), he now ‘seize[s] the hope set before [him]’ (Hebrews 6:18) by ‘the dear God who loveth us’ (Ancient Mariner, 62). In that moment, the string attaching the albatross to his neck in Jones’s engraving seems to slacken, thereby allowing forgiveness to begin, ‘The Albatross fell off, and sank | Like lead into the sea’ (ibid).
References
Dilworth, Thomas. 2017. David Jones: Engraver, Soldier, Painter, Poet (London: Jonathan Cape)
Miles, Jonathan and Derek Shiel. 1995. David Jones, The Maker Unmade (Bridgend: Seren)
Jones, David. 2005. The Ancient Mariner, ed. by Thomas Dilworth (Alton: Enitharmon Press)