During the era where Romantic literature thrived, society was conflicted by age reason. England specifically was plagued with economical and societal collapse. As a result, many writers attemptedto escape their troubles by writing about fantastic, supernatural, and unexplainable tales. Though Samuel Taylor Coleridge was an enchanting writer, he participated in the gothic genre. His poem "Christabel" is a prime exemplory case 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 an enchanting mask.
In order to pinpoint the Gothic characteristics of "Christabel, " it is critical to know very well 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 several tactics. Scenes happen 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 generally expanded upon by means of dreams. That is common in Gothic fiction, as the subconscious often knows more than the conscious. Dreams work in moving action forward because their meanings be based upon their interpretation. Regarding "Christabel, " Saith Bracy's (the bard) dream would have ended Geraldine's hold over Christabel, had Sir Leoline interpreted it properly. Since he didn't, the dream serves no purpose other than to heighten the strain 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 can be apparent that supernatural elements are at work, readers cannot define the exact evil. This is really the case for Geraldine. Coleridge implies that she may be a witch, or possibly a vampire. Witches are recognized for casting spells and controlling other people. Vampires usually require invitations before entering a private place, and they commonly be capable of hold people under their thrall. All of these characteristics apply to Geraldine, so that it is impossible to learn who or what she is.
The Gothic nature of "Christabel" is evident throughout the poem. Gothic undertones are first noted as the poem starts 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 complete 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 time, 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 were. Though she gives off light, she is the dark component 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 simply kidnapped by five men. Once Christabel offers her assistance, Geraldine acts strangely. If they get to the gate, Geraldine "sank, belike through pain". Christabel physically drags her above the threshold. Upon first reading the poem, Geraldine's inability to enter on her behalf own may appear innocent. She's already informed the reader that she is tired, so that it may not be noticed that her fatigue only sets in at convenient moments. As the poem progresses, it becomes obvious that evil requires the help of innocence to gain entry into any area, including the human mind.
When the two ladies reach Christabel's room, Geraldine learns that Christabel's mother is dead. Geraldine first agrees that she wishes Christabel's mother was there. However, her view promptly changes. Geraldine says:
'Off, wandering mother! Peak
and pine!
I have the energy 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 directed at me'. (205-213)
Once Geraldine rids the room of the mother's spirit, she is free to take over Christabel; as 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 the bosom there worketh a spell, / Which is lord of thy utterance, Christabel!"(267-268). Unacquainted with the reality in Geraldine's words, Christabel heeds her warning. As a result, she is struggling to warn her father of Geraldine's evil. Instead, she must sit by watching the evil Geraldine make an impression on her father. By the time Christabel breaks free from her trance, it is too late. Her father has already been smitten by Geraldine, and he chooses her and only 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 can be 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 really is this component of the unknown that makes "Christabel, " and Gothic literature generally, so horrifying.
Source
1. The Norton Anthology of English Literature, The Major authors, Sixth Edition.
2. English Romantic Poets, Edited by M. H. Abrams.
3. Dictionary of Literary Terms and Literary Theory, J. A. Cuddon.
4. The Short Oxford History of English Literature, Andrew Sanders, Second Edition.
5. The Oxford Companion to English Literature, Edited by Margaret Drabble, Revised.
6. A Glossary of Literary Terms, M. H. Abrams, Eighth Edition.
7. Romantic Writings, Edited by Stephen Bygrave.
