Coleridge, "Christabel"

Colridge’s Christabel is a narrative poem that explores the strange relationship between the titular character and a mysterious woman she aids. Structurally, the poem is strophic in that the number of lines vary from stanza to stanza, giving way to a flexibility that helps the poem progress with a pacing that is at times languid, and at other times frenetic. This helps mirror Christabel’s own perception of the events unfolding, as her tenuous grasp on the situation deteriorates into helplessness. Coleridge also uses rhyming couplets to imbue the poem with a sensuous rhythm that feels dream-like and both beautiful and precarious.

“In love and charity” Christabel’s religious devotion and pure heart implore her to rescue the seemingly frightened and abused Geraldine from the forest and offer her refuge in her father’s home (Coleridge 265). Though initially experiencing pity for the “damsel bright” who seems to reflect her purity and gentleness, Christabel slowly begins to develop the sense that all is not as it seems (60). Over the course of the poem, her feelings toward Geraldine progress from concern and empathy, to unsettlingly licentious curiosity, and finally to fitful terror at Geraldine’s supernatural influence. Unable to ward of the spells, or dissuade her father’s immediate affections towards Geraldine, Christabel’s fate at the conclusion of the poem remains unknown.  

A central theme the poem explores is façade, and how appearance can manipulate perspective to achieve a means. As Geraldine’s innocent exterior gives way to something potentially nefarious, Lord Leoline is oblivious to the danger his daughter is in as he is smitten by Geraldine’s charms and lulled into security by the innocence she intentionally projects. Clues suggesting a more malevolent angle to Geraldine’s nature pepper the poem, and hint towards a probable supernatural influence. Her presence disturbs the sleep of Christabel’s normally docile hound who produces “an angry moan”, acknowledging that it senses something is amiss (144). As animals are thought to have a sixth sense geared towards the supernatural, this is the first major clue to suggest that Geraldine might not be as good and pure as she appears at the beginning. Her presence produces “a tonguge of light” just by passing by the brands, she refuses to give praise to the Virgin Mary upon being saved, and she physically manifests serpentine traits before Christabel’s eyes in what can only be interpreted as a heavy Biblical allusion (154). She also collapses in exhaustion in the middle of the gate “that was iron’d within and without” and needs Christabel to carry her across the threshold (123). She is completely healthy and free of her exhaustion after being delivered to the other side, which plays towards two old superstitions.  The gate is made of iron which many believed to ward off evil, and her need for Christabel’s help when she “sank, belike thro’ pain” could be indicative of a distressed reaction to it(124). Her swift recovery once on the other side could also be a nod to old lore in which vampiric and demonic creatures could not enter a home without an invitation. In carrying Geraldine over the threshold, the kind-hearted Christabel has unwittingly granted permission to something dark to take up residency in her sanctuary.

Sexuality is another key theme of the poem that is explored through the juxtaposition of Christabel’s authentic innocence, and Geraldine’s more overt (though initially disguised) sexual enlightenment. Christabel’s virginal piety is prized and protected, and Geraldine’s increasingly problematic presence begins to present issues for this cause. Subtle homoerotic tendencies are hinted at through Christabel’s interactions with Geraldine in her bedroom, and her fixation with Geraldine’s beauty gives way to spying on her in a state of undress and squirreling away the moment to secrecy as it’s “a sight to dream of,  not to tell” (247). Her presence seems to also cause a pleasurable dream that provokes distress for Christabel, who is intent on physically and mentally preserving her innocence in adherence to her religious values. Geraldine’s charm and beauty are hypnotic, and prior to sleeping they lay together entwined in each other’s arms, communicating in the intimacy of whispers. Even Christabel carrying Geraldine over the threshold could be interpreted to be romantically symbolic, as it mirrors the tradition of a bride and groom entering their house for the first time. Homoerotic attraction would further perpetuate Christabel’s distress as it staunchly defies the values and beliefs she lives by.

The poem blooms in ambiguity, and its resolution (or lack thereof) leaves the reader to grapple for their own interpretation of Geraldine’s true character and what fate might be in store for poor Christabel. The degree of mysticism and mystery at play in the poem charge it with beautiful unease, and the irresolution at the end leaves much for the reader to decide.   

Questions:

1. What might be the function of the religious overtones in the poem? Is Coleridge trying to assert a religious critique?

2. What does Lord Leoline’s interactions with both Christabel and Gerladine indicate about his relationship with his daughter?