CHRISTABLE

Coleridge expressed his repugnance for the beast that man becomes when erotically
aroused in his insight regarding his relationship with Sara Fricker, he writes “But to
marry a woman whom I do not love- to degrade her, whom I call my Wife, by making her
an Instrument of low Desire-and on the removal of desultory Appetite, to be perhaps not
displease with her Absence!”(Spatz 109) This sheds a light on the tone regarding the
physical drive of the seduced and seducer.
We must conclude, therefore, that there were deeper concerns than lack of interest or
motivation that halted Coleridge’s poetic progress. As the literal level of “Christabel” is
penetrated, it becomes clear that it is the dominant psychological undercurrents as
revealed by the relationship between Christabel, Geraldine, and Sir Leoline which halt
Coleridge. It is only when the the universal themes such as the desire for union with the
Mother and conflicting wishes of death and self aggrandizement, are taken into account
that the tremendous emotional impact of the work is understood and the guilt of
Christabel and the narrator makes sense to the reader.(Blake 8)

SYNOPSIS---The story of Christabel concerns a central female character of the

same name and her encounter with a stranger called Geraldine, who claims to
have been abducted from her home by a band of rough men.
Christabel goes into the woods to pray by the large oak tree, where she hears a
strange noise. Upon looking behind the tree, she finds Geraldine who says that
she had been abducted from her home by men on horseback. Christabel pities
her and takes her home with her; supernatural signs (a dog barking, a mysterious
flame on a dead fire, Geraldine being unable to cross water) seem to indicate that
all is not well. They spend the night together, but while Geraldine undresses, she
shows a terrible but undefined mark: "Behold! her bosom and half her side— / A
sight to dream of, not to tell! / And she is to sleep by Christabel" (246–48). Her
father, Sir Leoline, becomes enchanted with Geraldine, ordering a grand
procession to announce her rescue. The unfinished poem ends here.
INFLUENCES-Christabel was an influence on Edgar Allan Poe, particularly his poem
"The Sleeper" (1831).[12] It has been argued that Joseph Sheridan Le Fanu's 1872
novel Carmilla is a homage or adaptation of Christabel.[13] Le Fanu's antagonist
Carmilla has certain similarities with Christabel's Geraldine; for instance, she
cannot cross the threshold of a house, and seems to be stronger at night.
Likewise, the heroines of the two works are similar, both Christabel and Laura are
the children of deceased mothers currently in the charge of their widowed fathers.
Geraldine's presence gives Christabel similar symptoms as Carmilla's does to
Laura; both heroines experience troubled sleep and weakness in the morning
after spending the night with their guest.
 While some modern critics focus upon lesbian and feminist readings of the
poem, another interesting interpretation is the one that explores the demonic
presence that underscores much of the action. Geraldine, who initially appears to
be an almost mirror image of Christabel, is later revealed as being far more
complex, both sexually and morally:
Like one that shuddered, she unbound
The cincture from beneath her breast:
Her silken robe, and inner vest,
Dropt to her feet, and in full view,
Behold! her bosom and half her side—
POWER OF GOOD TO OVERCOME EVIL- Is repentance necessary for transgressions?
Coleridge’s religious views changed all through his lonesome life.The title of the poem
was important and hinted the theme of religion. Without a doubt, the
character of Christabel embodies the idea of religion and purity, not only
through her name, but through her actions. Christabel is always praying
and seems to be a “good” person that cares for others. By going out into the
woods to pray for the knight who she will soon marry, we can see that she
symbolizes the good in people. This idea of “good” is further supported
when we see Christabel save a distraught stranger in the woods, Geraldine.
Geraldine’s character symbolizes evil and seduction. Although Christabel is
described as this righteous, “lovely lady” who helps others, she is still prone
to falling into the evil temptations that Geraldine represents. While
Christabel is expressing her devoutness by praying, Geraldine openly
expresses her sexuality and sins in the presence of Christabel as she
undresses. This event is where Christabel’s purity is taken over by sin and
temptation. This juxtaposition between the two characters to suggest many
underlying comments regarding the concepts of good and evil. The fact that
Christabel is the one who saves Geraldine, (The good saves the bad)
suggests that Geraldine is impure and is being saved by the pure.
Geraldine’s impureness is implied because she was attacked by a group of
men, presumably sexually assaulted. The characters reveal some sort of
inner conflict in a sense. The first example is Christabel’s experience with
evil through her close and intimate interaction with Geraldine. At the same
time we are surprised to then notice that she is no longer as kind and caring
towards Geraldine as we witnessed in the beginning of the poem. Her
hospitality seems to have faded away. I think that this change is due to the
beginning of self conflict as she struggles to hold on to her purity because
she now has a guilty conscious and has been stained by Geraldine.
Christabel’s character is an example of the life changing events that people
undergo that make them put their morality and values into question. In a
sense, Geraldine is a threat to Christabel’s purity. By having Geraldine
around, Christabel is reminded of her “errors” and feels guilt. While, for
Geraldine, Chirstabel seems to represent everything that she will never be. I
think that Geraldine envies Christabel and might have gained satisfaction
and making her sin. “Christabel” revolves around the juxtaposition of sin/evil versus
religiosity/devoutness, and sexuality versus purity. The obvious characters who represent
these juxtapositions are Christabel (who represents devoutness and purity) and Geraldine
(who represents sin/evil and sexuality). Christabel frequently prays throughout the poem and
one of the most prominent furnishings in her bedroom is the carving of an angel. In addition,
Christabel is patiently waiting for and could be seen as “saving” herself for her betrothed
knight. In contrast, Geraldine claims that she does not have the strength to praise the Virgin
Mary for being rescued by Christabel.

Geraldine likewise represents sin and a lack of devoutness through her serpent-like looks
and her hissing noises; this behavior alludes to the snake that tempts Eve in the Garden of
Eden. In addition, Geraldine has been roughly “handled” by five strange men and she often
exhibits shame and a sense of impurity when she is around Christabel. Christabel’s rescuing
of Geraldine can be read as a pure woman saving a fallen woman. Although Geraldine is
constructed to be Christabel’s foil so that her “impurities” can enhance the sense of
Christabel’s goodness and purity, Geraldine herself interestingly embodies the
aforementioned juxtapositions. For instance, although Geraldine symbolizes impurity and
evil, she wears a beautiful white robe that symbolizes purity. Furthermore, the scene that
exemplifies Geraldine’s embodiment of these juxtaposing qualities is the one in which she is
praying by Christabel’s bed. In the middle of her prayer, Geraldine is overcome by the
orgasm-like gestures of her eyes rolling around, the drawing in of her breath, the shivering of
her body, and her sudden unclasping of her belt to remove half of her white robe. Thus, sin
and sexuality overtake devoutness and purity.

The theme of mysticism, which is prominent in one of Coleridge’s most fantastical poems
“Kubla Khan,” is also prominent in Christabel. Geraldine is overtaken by a mysterious spell
several times during the poem, and near the end of the poem, she somehow transfers the
effects of the spell to Christabel. Once Christabel physically recovers from the spell, she still
seems transformed. Christabel’s kindness and consideration for Geraldine have disappeared
and she begs her father to cast Geraldine out of their home. Christabel goes from selfless to
selfish. The ways in which the spells taint Geraldine and Christabel suggest the destructive
powers of mysticism.
In the essay “Coleridge’s ‘Christabel’ and the Phantom Soul,” Anya Taylor claims that the
poem is “part of Coleridge’s life-long meditation on the vulnerabilities of will and agency”
(708). The two young female characters in “Christabel” are certainly vulnerable to the
overwhelming powers of the supernatural world.

The theme of the power of nature, which is present in much of Coleridge’s work, also
appears in “Christabel.” For example, Sir Leoline’s mastiff immediately senses the evil and
danger that Geraldine brings. The mastiff howls when she senses that Christabel is near
Geraldine in the woods; the dog angrily moans when Geraldine passes by in Sir Leoline’s
home. The animal’s “sixth sense” suggests the power of the natural world.

Christabel was published together with Kubla Khan and The Pains of Sleep in 1816 after
being two times refused in with ‘The lyrical Ballads.’ This poem is mythologised echoes of
the Middle Ages. He also endows the poem with a supernatural dimension which is
constitutive of the Gothic tradition.

Christabel
. In cases no chance is given them torepent of their transgressions. They are denied God’s
grace, and are led to the point of noreturn.
Christabel
is the story of innocence and purity violated by sin. In a setting of ambiguity, if not disorder,
Geraldine twists Christabel’s simplicity and inexperience, offering false protection. Such
apparent truths beguile Christabel and introduce her to carnality.Geraldine’s spell brings
spiritual destruction and never-ending misery on Christabel and herfather, Sir Leoline.
Christabel
mirrors Coleridge’s views on the doctrine of the Fall. The storyitself, the Bible and the
author’s consideration of John Milton’s
Paradise Lost
as a literary mediator are merely a pretext for him to express his theological
concerns and spiritual anxieties while giving vent to his heavy-laden vocation as a poet.
“and men loved darkness rather than light, because their deeds were evil”

Coleridge's Poems The "Willing Suspension of

Disbelief"
Besides being a supreme poet in his own right, Coleridge is also well-known for ushering in
the Romantic age of poetry in England. Along with his friend William Wordsworth,
Coleridge wrote and published Lyrical Ballads, a work that not only contained many of
the two poets' poetic works, but also included essays on the nature and craft of poetry. When
creating or reading poetry, Coleridge called for "That willing suspension of disbelief for the
moment, which constitutes poetic faith." By this he meant that the reader will accept the
poem on its own terms, temporarily giving over to the author's vision of the world long
enough to appreciate the work.
A fine example of this is Coleridge's "Rime of the Ancient Mariner

"Christabel" follows the same pattern, beginning with the allegedly violated woman being
rescued by the title character, but eventually giving way to the so-called victim's malignant
supernatural identity. A similar "suspension of disbelief" occurs in modern literary genres
such as "magical realism" and horror, where the supernatural or unbelievable elements are
framed in mundane terms and possess their own internal logic.

How does Coleridge offer a contrast between Geraldine and the

title character in "Christabel"?
While both women are young and seemingly innocent,
Geraldine hides her inner evil under the "white garment" of
purity. Christabel is truly pure, but her innocence and
generosity place her in danger from Geraldine's lascivious
darkness. Only when Christabel prays is she able to
temporarily break the spell of silence and warn her father
against Geraldine--but it is too late, as Geraldine has
replaced Christabel in her father's affections already.
Christabel, the main character in the poem "Christabel," is an
innocent and devout young woman who rescues Geraldine.
She represents purity at risk in the face of deceitful beauty
and sinful lust.
Christabel is not simply a helpless damsel in distress,
however. She fights boldly against Geraldine's influence and
can see danger where her own father sees only an attractive
young lady and a political opportunity. Christabel is actually
able to resist Geraldine briefly when she prays and
momentarily breaks the spell of silence the evil woman has
placed upon her.
Geraldine
In "Christabel," Geraldine is the young woman who is rescued
and cared for by Christabel. Geraldine is one of the earliest
literary depictions of the female vampire, although she also
follows in the tradition of the "white woman" ghost stories.
Geraldine represents carnal desire and the darker side of
human nature. She portrays herself as a victim of male
violence, but in fact performs her own acts of violence against
the innocent soul of Christabel. At times beautiful, Geraldine's
true nature is revealed in the scarred and deformed body she
hides under her white dress and the snakelike hissing she
directs toward the resistant Christabel.
Sir Leoline
In "Christabel," Sir Leoline is the ailing father of Christabel.
His impotence is paralleled in the "toothless mastiff" which
guards his home. He is depicted as the loving father who
betrays his love and trust of his child in favor of a dangerous
and beautiful woman.
Lord Roland de Vaux of Tryermaine
In "Christabel," Lord Roland de Vaux of Tryermaine is the father of Geraldine. He was once
boyhood friends with Sir Leoline.
Bracy the Bard
In "Christabel," Bracy the Bard works for Sir Leoline and is ordered by Sir Leoline to take
Geraldine back to her father.
THEME OF INNOCENCE-n
“Christabel,” Coleridge explores the
vulnerability of innocence and purity. In Coleridge's works,
innocence is not the same as ignorance, nor is it a sort of
bland simplicity. His innocence is the state of being pure in
one's relationship to nature and to others--to have no artificial
barriers or societal constructs barring one's appreciation of
the natural world. Innocence is a deep state of being, in which
one's thought and emotions are unified and without the
conflicts experienced by the majority of "experienced"
humanity

Examine The Significance Of The Interpenetration

Of Reality And Dreams In Romantic-era Literature.
on Crime and Transgression in Romantic Literature

Keats's 'The Eve of St Agnes' and Coleridge's 'Christabel' both depict

poetic worlds of Gothic sensuality and ghostly ethereality, centring on the
blurred distinction between dream and reality to produce poetry that attains
a degree of timelessness and transcendence. As James Wilson has
argued, 'to sustain its beauty, art must transcend its mortal creator to enter
an eternal, non-material realm' and this preoccupation manifests itself in
the dreamlike aesthetics of both texts. In 'St Agnes', Keats fuses the
material and abstract, inverting the states of life and lifelessness, and
infusing his imagery with a sense of timeless suspension to depict dream
as a state of heightened consciousness and intensified sensation, in which
the mortal and ordinary becomes heavenly and transcendental. Coleridge,
too, produces a world of dreamlike transcendence in 'Christabel', but does
so through the depiction of distorted reality, establishing an ominous
atmosphere of dark supernaturalism. Whereas in 'St Agnes' dream
represents the heavenly, in 'Christabel' dream enshrouds the text in an
atmosphere of pervasive uncertainty, becoming a dangerous state of
vulnerable exposition to the corruptive forces of the hellishly phantasmal.
Ultimately though, as both textual worlds transcend the constraints of
reality in the display of a dreamlike aesthetic, they 'sustain [their] beauty' as
art and, correspondingly, the messages they convey about life and the
human imagination attain a degree of universal, timeless relevance.
'Christabel', however, centres on a disorientating sense of bizarre
surrealism and the frightening supernatural rather than illustrative beauty or
sensual richness, Coleridge's poeticism effecting unease where Keats's
imaginatively captivated and aesthetically pleased. Andrea Henderson, in
her suggestion that Christabel 'seems suspended' in the 'abstract space
within which the poem operates', supports this distancing of the poetic
world from concrete reality and moves it towards a realm of the visionary
and unreal, and this is established strikingly in the poem's opening setting.
Plunging his reader straight into the bleak, stark 'middle of the night',
Coleridge immediately creates an intense sense of unease as 'the owls'
incongruously take on the 'awaken[ing]' role of the 'crowing cock', whose
crow concurrently becomes uncharacteristically 'drows[y]'; the gingerly
faltering narration contributing to this atmosphere of anxiety in its tone of
reluctant uncertainty. At the same time the 'night' setting, paradoxically
'chilly, but not dark', is roofed with a 'thin gray cloud' (15-16) which drains
the poetic canvas of all colour and vibrancy so that this inverse textual
world, in stark contrast to Keats's, appears almost in dark, hazy colour
negatives. In the introduction of Christabel to the text; the protagonist and
heroine of dream, she instantly becomes the centre of this foggily unearthly
setting. Led by romantic 'dreams all yesternight', as she kneels alone
'beneath the huge oak tree' in a serene, trancelike state of 'silen[t] praye[r]'
(27-36), the material elements dissolve around her and the poetic world
becomes a flickeringly insubstantial, abstract dream setting of which she
becomes the essence and creator. As Anya Taylor has suggested, the text
represents a 'tumult of uncertainty', and because of this figurative
construction of the remote, secluded poetic world as one of dream, from
this point nothing in the text can be certain. Coleridge's opening is thus vital
in the staging of Geraldine's appearance as, amidst the dream-setting
already established, this 'damsel', enigmatically both 'shadowy' and 'bright'
(58-60), becomes an incarnation of the atmosphere of paradoxical
phantasmagoria contained in this wild, pagan setting. Patricia M. Adair has
argued that Coleridge uses the figure of Geraldine to represent the
'terrifying activity of the unconscious mind...the evil that comes in sleep
when the will is powerless' and this is evident in Coleridge's first depiction
of her, as the dark, sinister tone underlying the setting up to this point
comes dazzlingly to the surface in her embodiment.

Coleridge does not use in Christabel the balladesque style as successfully as

in The Rime of the Ancient Marinere (1914: 322-26). Eilenberg believes that it is part
of the binding connection between voice and literary property:“it is essential rather
than accidental”. Coleridge further explains: “this occasional variation in number of
syllables is notintroduced wantonly, […] but in correspondence with some transition in the
natureof the imagery or passion” (Mays 2001: 481-82).

For Snell, such “irregularity” is a well-balanced metrical system, since the text mostly

alternates iambic and anapaestic meter .

THEOLOGICAL DOCTRINE IN CHRISTABLE.

Contravening the theological view of Milton Coleridge is in doubt whether repentance or

redemption is necessary for transgression. Whether free agency(church’ father) is necessary
for a sinner for relief of sin. Christ is loving and caring as a son of god. Then why such free
agency if needed.

Young rebellious Samuel,the last of thirteen children of the late vicar of the Parish Church of
Ottery St Mary, Revd John Coleridge, abandoned his family’s plan for him to enter the
Anglican ministry. Coleridge was attracted by the Unitarian orthodoxy and
joined it. The theological core of Christabel is the doctrine of the Fall as set forth in the
teachings of St Paul, with the poetic mediation of Paradise Lost.

. One should also consider the poet’s obsession with the original sin and the evil which
enters one’s existence. These aspects inclined Coleridge’s religious orientation
towards“desperatio salutis”. The latter issue and his belief of permanent guilt oftenturned his
life into an ongoing quest for personal forgiveness – at least on arational theological level.
On the other hand, on the poetic level, Coleridgealways puts this issue into question and
tends to leave his characters to be actedupon by fate – to the point of no return, since they
are out of salvation’s reachand God’s grace .
When our primeval parents ate of the forbidden fruit, they became subject tosin and death
(Gen. 3: 1-24). According to Pauline eschatology, since God knewthat the Fall would occur,
He sent his Son to Earth to redeem the posterity ofAdam. Jesus Christ came in the meridian
of time to atone for the
consequences brought about by the Fall and for man’s own sins on condition of man’srepent
ance: “for as in Adam all die, even so in Christ shall all be made alive”

Mortals need God’s grace due to Adam’s transgression and their own sins. Jesus Christ
offers his mercy and pays the penalty of the penitent: “not by works of righteousness which
we have done, but according to his mercy he has saved us, by the washing of regeneration,
and renewing of the Holy Ghost” (Titus 3:5). The unrepentant must personally pay the
penalty.
In Book XII.469-73, Milton explains that, without free agency,Adam and Eve would not know
good from evil and could not fall short
of perfection before God. So, as Marshall writes in his essay (1961: 15-18), therewould be
no need of a Saviour and God’s plan would be frustrated: “O goodnessinfinite, goodness
immense! | That all this good of evil shall produce, | And evilturn to good; more wonderful |
Than that which by creation first brought forthLight out of darkness!”.
10
Milton’s theological issues play a key role in
Christabel
. In fact, Christabel and Geraldine’s relationship is based onColeridge’s play on the veiled
ambiguity behind these doctrines. Adam’stransgression, the idea of guilt and the origin of
evil
11
are controversial matterdue to Coleridge’s faltering amongst the different visions of the
original sin ofthe Christian churches he belonged to.
Coleridge’s use of language and imagery is ambiguous; he beguiles hisreader repeatedly
with apparent truths, and oxymoronic scenarios ordescriptions. Coleridge leaves hither and
thither some misleading hints as to thecharacterisation of both Christabel and Geraldine.
Like
The Rime of the AncyentMarinere
,
Christabel
leads one into a “visionary” dimension. The poem ischaracterised by a gloomy atmosphere
and deep darkness: both within thecharacters’ souls and in the environment. The light shines
rarely; at sunrise theconsequences of evil actions are already in place and characters are
already atthe point of no return. At l. 1, there are specific time and place references:
“’Tismiddle of night by the castle clock”.
12
The stillness of the night is broken andanimals start to cry. Something mysterious is about
to take place in the lands ofSir Leoline, the rich Baron. Coleridge’s picture of animals is
powerful: the owls’cry awakens the crowing cock; though old, the mastiff bitch has a
greatsensitivity; she perceives what human beings cannot and, as a result, she is theonly
one to understand the doomed destiny of Sir Leoline’s family.Christabelisalone in the
wood, pleading fervently to God for her betrothedknight(ll. 23 -57). The
narrator introduces sweet Christabel as a fair and innocent maid, a Christ-like
figure. As in medieval poetry, mainly in ballads,characters are referred to by epithets, titles or
formulaic variations to impress adistinctive vice or virtue upon the readers’ mind. Throughout
the poem,Christabel is called: “holy”, “lovely lady”, “sweet”. The woodland setting is
notaccidental. In the Bible, the chief eschatological events take place in a garden:Eden,
Gethsemane, or that of the empty tomb where the Lord appeared to MaryMagdalene.
Coleridge turns the garden into a wood, olive-trees into oaks, andrenders Christabel as a
sui generis
Saviour in Gethsemane. Both the wood andthe night are a symbol of the unconscious and
of what escapes the scrutiny ofrational understanding – a sort of twilight zone. Besides, if
Christ is the Father’s beloved, Christabel is described likewise: “lovely lady, Christabel, |
Whom herfather loves so well” (ll. 23-24). She is not alone in the wood; she is
frightened by the sublime vision of a “damsel bright, | Dressed in a silken robe of white”(ll.
58-59) and calls upon the aid of the Blessed Virgin: “Mary mother, save menow!”
We observed that although initially hesitant, Christabel moves towards Geraldine and
stretches forth her hand to help her (ll. 71, 75, 102, 104). At this stage of the
poem,Christabel seems endowed with a saving mission. “Stretch forth thy hand” is
arecurring formula in the New Testament; it reminds of God’s redeeming lovethrough the
healing power of his Beloved Son. Christabel brings the bright dame to her father’s hall.

At ll. 191-93, Christabel offers Geraldine a drink of wine of virtuous powersthat her late
mother made of wild flowers. The cordial has a vivifying effect onGeraldine, whose
supernatural strength is magnified. Geraldine arises like
a phoenix; her faculties to see beyond human limits are now restored and shefaces the spirit
of Christabel’s late mother – a sort of guardian angel who comesto protect her daughter
(Gilbert 1978: 70). Christabel cannot be rescued asGeraldine gains even greater power from
the second drink of the cordialandcommands the spirit to depart by saying: “Off, wandering
mother! Peak and pine! | I have power to bid thee flee” (ll. 205-6) and further
on: “Off, woman,off! this hour is mine – | Though thou her guardian spirit be, | Off, woman,
off!’t is given to me” (ll. 211-213).
18
From this point onwards, Christabel’s will- power is paralysed and she is just acted upon
by Geraldine’s charms.Once Christabel’s eyes are open, she realises what has happened
but shecannot change her fate in any way. It is noteworthy that the topos of a charm
bymeans of a magic potion is also inverted: the victim offers it instead of drinkingof it.
Christabel, foreordained to spiritual death, cannot stop looking at Geraldinewho, meanwhile,
drops her silken robe and inner vest and unfolds herself to herfull view. Christabel is also
depicted as an ill-fated being in the Conclusion toPart I where she prays with “her face
resigned to bliss or blade” (l. 288). Thisrecalls again Christ’s obedience in Gethsemane:
“Father, if thou be willing,remove this cup from me: nevertheless not my will, but thine, be
done”.. By means of the word “resigned”, Coleridge conveys a total lack ofwillingness and a
passive acceptance of her “fate”.In total submission, Holy Christabel is ready to be offered
up like a livingsacrifice (l. 228). Geraldine has a mission and she knows her role well: she
tellsChristabel what to do, lies next to her and takes Christabel in her arms (l. 263).Then
Geraldine casts out the spell: “In the touch of this bosom there worketh aspell, | Which is lord
of thy utterance, Christabel! | Thou knowest to-night, andwilt know to-morrow, | This mark of
my shame, this seal of my sorrow” (ll. 267-270).

Conclusions

Christabel
is the result of the most prolific years of Coleridge’s
literary production, of his personal growth and maturity, and of his spiritual andreligious
quest. The poem is ambiguous in many ways. It has been my purposeto show Coleridge’s
involvement in both theological and ethical dilemmas.Despite its theological complexity and
its literary sources,
Christabel
is the storyof innocence and purity being violated by sin. Geraldine, the deceiver
parexcellence, twists Christabel’s simplicity and chaste condition, representingherself as
mother offering (false) protection and yet as a libidinous figure(Holstein 1976: 119-28). She
brings evil and corruption to her victim’s worldand introduces her to sexual pleasure (Spatz
1975: 109-13, May, 1997: 708). Atthe same time, she represents sexual promiscuity or even
incest since she lies both with daughter and father.
Christabel
’s theological essence is found in John3:19: “and this is the condemnation, that light is come
into the world, and menloved darkness rather than light, because their deeds were evil”.
Christabel isvictim of Geraldine’s deceit. Geraldine embodies Coleridge’s greatest
spiritualconcern with evil that inexplicably enters one’s life.

The name Christabel has a symbolic significance; Peterfreund splits theanthroponym in two
constituents, hence obtaining “Christ-Abel”, two victimswho gave up their lives as an

expiatory sacrifice to redeem a fallen humanity. If Geraldine represents Coleridge’s

sense of evil (Ulmer 2007: Christabel isColeridge’s sense of guilt that troubled his soul all

through his life. Coleridge’s characters are deprived of God’s grace since he gives them

no chance of repentance or redemption and are left “at the mercy” of“desperatio salutis”

since they are not able to find salvation from their point ofno return. Geraldine’s “spell” –

“Whichis lord of thy utterance” (l. 268) – produces Christabel’s Fall and makes herunable to
tell the truth about her. On such a Fall, Coleridge lays his theologicalviews according to his
self-made gospel – rather “good-spell” – and makesChristabel a mirror of his unsolved
issues such as his (Calvinist?) impendingsense of guilt which has osmotically passed from
his own life to that of his.characters. The spell stresses the connection between priesthood
and sorcery,
and the powers of heaven and the forces of darkness, equally embodied by Christabel and
Geraldine. Thus this spell stresses the connection between priesthood and sorcery,
and the powers of heaven and the forces of darkness, equally embodied by Christabeland

Geraldine.

“In the torch of this bosom there 'worketh a spel l which is lord of thy utterance, Christabel.!”

1n Christabel all the witches came in the costume of a Geraldine. She caught both
Christabel and his father by her charm. There are also some elements for that reason this
poem was called disgusting. Christabel found something which is unbearable and it;s hard to
define, when she sees Geraldine undressed. Sir Leoline was also under the charm of
Geraldine and also because of her father. Christabel tried to beware her father but it;s too
difficult for her because he was under the spell of Geraldine. Both Geraldine and sir leoline
left her alone in a very miserable way.!rom be$innin$ till end it is a beautiful poem dealing
with something happening horrible.
Conclusion:
S.T. Coleridge can be called a poet of supernatural elements. is poem
describes the feminist role in a good and bad manner. Christabel is a remarkable poem
which shows the two different roles of woman at a same time. e has shown that
the woman is so powerful than the man and t hey have the ability to attract others.
The study describes that the femme fatale are very evil and deadly women. They are too
much cruel and brin$ about the destruction of other creatures. Their main concern is to
seduce men and as a result they meet with their destruction. !or the effectivestyle he has
used so many symbols which can be compared with -eats and Tenn yson;s
poetry. Christabel is connected mainly with Geraldine. E cho is presented as a
femmefatale. She uses feminine tricks to trap Christabel and Sir
leoline.Geraldine proves throug h her character that identity is not fixed it can be
constructed through enchantment. The research shows that the poet’s attitude towards
female character is negative. he has tried to show that the female is the monster in their
respect and they have the ability to bring about the death of any person.

Supernaturalism in Christable..***************---- During the era in which

Romantic literature thrived, society was conflicted by the age of reason.
England in particular was plagued with economical and societal collapse.
As a result, many writers attempted to escape their troubles by writing
about fantastic, supernatural, and unexplainable tales .Though Samuel
Taylor Coleridge was a Romantic writer, he participated in the gothic
genre. His poem “Christabel” is a prime example of his supernatural
work. It contains quintessential gothic characteristics, such as dark
scenery, damsels in distress, and a hint of the supernatural. These Gothic
elements make “Christabel” a Gothic poem hidden beneath a Romantic
mask.

In order to pinpoint the Gothic characteristics of “Christabel,” it is critical

to understand what Gothic literature is. Gothic settings commonly
include dark and desolate areas, such as haunted castles, unknown
regions, and the recesses of the human mind. These settings are often
accompanied by ominous sounds, such as screeching animals, ticking
noises, and other specific sound effects. “Christabel” uses many of these
tactics. Scenes take place in darkened areas, while readers imagine the
sounds of screeching owls, howling dogs, and ticking clocks.

Gothic plots generally entail robbed innocence for the purpose of

money, lust, or power .These plots are frequently expanded upon by way
of dreams .This is common in Gothic fiction, as the subconscious often
knows more than the conscious. Dreams are effective in moving action
forward because their meanings depend on their interpretation. In the
case of “Christabel,” Saith Bracy’s (the bard) dream could have ended
Geraldine’s hold over Christabel, had Sir Leoline interpreted it properly.
Since he did not, the dream serves no purpose other than to heighten
the tension and make Christabel appear more powerless.

Many Gothic villains have a piercing eye that holds people under its spell
.Gothic villains are also commonly unexplained. Though it may be
obvious that supernatural elements are at work, readers cannot define
the exact evil. This is certainly the case for Geraldine. Coleridge implies
that she may be a witch, or maybe a vampire. Witches are known for
casting spells and controlling other people. Vampires usually require
invitations before entering a private place, and they commonly have the
ability to hold people under their thrall. All of these characteristics apply
to Geraldine, so it is impossible to know who or what she is.

The Gothic nature of “Christabel” is evident throughout the poem. Gothic

undertones are first noted as the poem begins with, “Tis the middle of
night by the castle clock, / And the owls have awakened the crowing
cock”(part 1, 1-2). These lines prepare the reader for the negative things
that are to come. The ominous tone of the poem continues while
Coleridge writes of dark clouds, a full moon, and chilly air. The negative
connotation of these descriptions makes the reader feel uneasy. The
feeling of dread increases while Coleridge describes Christabel’s reaction
to the noise she heard. He writes, “Hush, beating heart of Christabel! /
Jesu, Maria, shield her well!”(54-53). At this point, the reader expects the
worst. Thus it is surprising to see that the terror came from Geraldine,
the “damsel bright” who was “dressed in a silken robe of white”. The
contrast of the darkness of the woods and the light innocence of
Geraldine makes the reader think she must be pure.

The progression of the poem indicates that Geraldine is not what she
first appeared to be. Though she gives off light, she is the dark element
for whom the reader waited in the woods. Her words are contradictory,
and she acts as a damsel in distress to mask who she really is. Geraldine
is first introduced as a victim who was kidnapped by five men. Once
Christabel offers her assistance, Geraldine acts strangely. When they get
to the gate, Geraldine “sank, belike through pain”. Christabel physically
drags her over the threshold. Upon first reading the poem, Geraldine’s
inability to enter on her own may seem innocent. She has already
informed the reader that she is tired, so it may not be noticeable that her
fatigue only sets in at convenient moments. As the poem progresses, it
becomes obvious that evil requires the assistance of innocence to gain
entry into any area, including the human mind.

When the two ladies get to Christabel’s room, Geraldine learns that
Christabel’s mother is dead. Geraldine first agrees that she wishes
Christabel’s mother was there. However, her opinion promptly changes.
Geraldine says:

‘Off, wandering mother! Peak

and pine!

I have the power to bid thee flee.’

Alas what ails poor Geraldine?

Why stares she with unsettled eye?

Can she the bodiless dead espy?

And why with hollow voice cries she,

‘Off, woman, off! This hour is mine –

Though thou her guardian spirit be,

Off, woman, off! ‘Tis given to me’.(205-213)

Once Geraldine rids the room of the mother’s spirit, she is free to take
over Christabel; so long as Christabel allows it. Geraldine’s inability to
initiate evil is apparent again when she warns Christabel of the
consequences of her actions. Geraldine warns, “‘In the touch of this
bosom there worketh a spell, / Which is lord of thy utterance,
Christabel!”(267-268) .Unaware of the truth in Geraldine’s words,
Christabel heeds her warning. As a result, she is unable to warn her
father of Geraldine’s evil. Instead, she must sit by and watch the evil
Geraldine win over her father. By the time Christabel breaks free of her
trance, it is too late. Her father is already smitten by Geraldine, and he
chooses her in favor of his only daughter.

The events of “Christabel” are tragic and scary, but they are even more
horrifying because Coleridge does not explain them. There is no way to
determine if Geraldine is an evil being, or if she is only influenced by an
evil being. As Coleridge never finished his poem, there is no way to be
certain. Supernatural powers are certainly involved, but there is no way
to know their full extent. It is this element of the unknown that makes
“Christabel,” and Gothic literature in general, so horrifying.