As he spoke there came upon him the dim sense of a foaming reef of argument ahead--such as this: “Then there ought to be no death! And what ought not to be, cannot be! But there is death: what then is death? If it be a stopping of life, then that is which cannot be. But it may be only a change in the form of life that looks like a stopping, and is not! If Death be stronger than Life, so that he stops life, how then was Life able so to flout him, that he, the thing that was not, arose from the antenatal sepulchre on which Death sat throned in impotent negation of entity, unable to preclude existence, and yet able to annihilate it? Life alone is: nothingness is not; Death cannot destroy; he is not the antagonist, not the opposite of life.” Some such argument Richard, I say, saw vaguely through the gloom ahead, and began to beat to windward. “Did you ever notice,” he said, “in _The Rime of the Ancient Mariner_, the point at which the dead bird falls from the neck of the man?” It was a point, however, at which neither he nor Barbara was capable of seeing the depth of the poem. Richard thought it was the new-born love of beauty that freed the mariner; he did not see that it was the love of life, the new-born sympathy with life. “I don't even know what you are talking of,” answered Barbara. “Do tell me. It sounds like something wonderful! Is it a story?” “Yes--a wonderful story.” Richard had not attempted to understand Coleridge's philosophy, taking it for quite obsolete; and it was but doubtfully that he had made trial of his poems. Happily choosing _Christabel_, however, for a tasting-piece, he was immediately enchanted and absorbed; and never again had he been so keenly aware of disappointment as when he came to the end, and found, as an Irishman might say, that it was not there: a lump gathered in his throat; he flung the book from him, and it was a week before he could open it again. The next poem he tried was _The Rime of the Ancient Mariner_, which he read with almost equal delight, bewitched with many an individual phrase, with the melody unique of many a stanza, with the strangeness of its speech, with the loveliness of its real, and the wildness of its invented pictures. But he had not yet discovered, or even begun to foresee the marvel of its whole. A man must know something of repentance before he can understand _The Rime of the Ancient Mariner_.