In the 4. Studies in Literature and the Humanities same way, Jane Austen's incapacity for composing strong or eloquent verse seems to have endowed her with an incorruptible sense of the integrity of prose, the translucent rhythms of the speaking voice in the other harmony, the peculiar signature of breath and intelligence that identifies a person speaking and the state of mind that from moment to [...] With wit (of which we have said all too little) and a moral seriousness Whalley brings to book the infirmities of the age: the will to mastery of the devotees of technique; the nauseating tautologies of projective fantasy; the love of jargon and grammatical abstractions; and the scepticism and nihilism masquerading as objectivity. [...] To accumulate knowledge and to be able to repeat it is not the primary educational end for the humanities; rather, the purpose (which is scarcely definable) is fulfilled upon the whole person, in the secret places of the mind and memory, and is to be seen in the integrity of perception, judgement, recognition; and in the quality of action that is recognisable, but neither definable nor predictable [...] Other writers have examined in the poem the elements of colour and drama, the moral, the truth and accuracy of the detail, the supple and sensitive versification. [...] Without in any way detracting from the value of the `The Rime' as a poem, I wish to show that the `haunting quality' grows from our intimate experience in the poem of the most The Mariner and the Albatross.