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Christabel
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This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
214 pages, Paperback
First published January 1, 1816
11 people are currently reading
1778 people want to read
About the author
Samuel Taylor Coleridge
2,245 books891 followersSamuel Taylor Coleridge (1772-1834) was an English poet, critic, and philosopher who was, along with his friend William Wordsworth, one of the founders of the Romantic Movement in England and one of the Lake Poets. He is probably best known for his poems The Rime of the Ancient Mariner and Kubla Khan, as well as his major prose work Biographia Literaria.
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Displaying 1 - 30 of 171 reviews
May 13, 2020
For what there was of this, it was actually quite nice. I like old, rhyming poetry it seems. He has a good sense of meter and rhythm, and the story is just starting to get interesting and exciting when it gets abruptly cut off. I was kind of digging it, and if there was more I suspect we would have gotten on quite while. Alas, that was all there was to this!
March 10, 2021
okay so bbc merlin but make it slightly sapphic and very evil
June 10, 2019
As I read The Gabriel Hounds last week, I saw quotes from this poem at the beginnings of various chapters. And the heroine of that book was named Christabel, so of course i became curious about this poem.
I've read Coleridge's Rime Of The Ancient Mariner many years ago, but I hadn't managed anything else of his until this unfinished poem. The poet planned for five parts, but only two were completed.
Why? What happened to keep Coleridge from completing this work? That became my point of wonder while I read this spooky poem of Christabel being taken over body and soul by the wicked Geraldine, who is obviously up to no good not only towards Christabel but against her father as well.
So, why didn't Coleridge finish? This liner note from the preface of the edition I read at Gutenberg helps explain:
"Since the latter date, my poetic powers have been, till very lately, in a state of suspended animation. But as, in my very first conception of the tale, I had the whole present to my mind, with the wholeness, no less than the liveliness of a vision; I trust that I shall be able to embody in verse the three parts yet to come, in the course of the present year."
The latter date he mentions is 1800, which was when the second and final section of the poem was finished; but he never could get himself together to add more parts to this piece.At first I thought maybe he died before he could do that, but when I went to wiki for more information I learned of Coleridge's poor physical health, possible bipolar condition, and addiction to opium.
I think it is a wonder he was able to write even as much of this poem as he did! Why is it that so many creative people had (and have) such severe issues? Such a shame, isn't it.
I've read Coleridge's Rime Of The Ancient Mariner many years ago, but I hadn't managed anything else of his until this unfinished poem. The poet planned for five parts, but only two were completed.
Why? What happened to keep Coleridge from completing this work? That became my point of wonder while I read this spooky poem of Christabel being taken over body and soul by the wicked Geraldine, who is obviously up to no good not only towards Christabel but against her father as well.
So, why didn't Coleridge finish? This liner note from the preface of the edition I read at Gutenberg helps explain:
"Since the latter date, my poetic powers have been, till very lately, in a state of suspended animation. But as, in my very first conception of the tale, I had the whole present to my mind, with the wholeness, no less than the liveliness of a vision; I trust that I shall be able to embody in verse the three parts yet to come, in the course of the present year."
The latter date he mentions is 1800, which was when the second and final section of the poem was finished; but he never could get himself together to add more parts to this piece.At first I thought maybe he died before he could do that, but when I went to wiki for more information I learned of Coleridge's poor physical health, possible bipolar condition, and addiction to opium.
I think it is a wonder he was able to write even as much of this poem as he did! Why is it that so many creative people had (and have) such severe issues? Such a shame, isn't it.
April 18, 2016
I think this is so good. I love the evil vs good/ sexuality vs purity themes. It is really a great work. It is such a pity that it isn't finished. I really want to know how Samuel Taylor Coleridge would have ended it.
April 1, 2024
I love Gothic literature and this was no exception. This is a highly interesting poem.
The first time I read this, I wasn't very impressed by it. I liked it, but I didn't really look further at what the poem could potentially be trying to say. The second time, however, I reread it for my essay, in which I focus on how the Gothic genre illustrates the significance of pursuing knowledge. Now it became interesting. Deception, sexual temptation, use of power, sublimity: this poem has it all. If it weren't for the fact that I'm also including 'Frankenstein', I would've dissected every single line, looked for meaning in every tiny detail.
I don't know where to start to be honest, I might actually enjoy writing this essay.
The first time I read this, I wasn't very impressed by it. I liked it, but I didn't really look further at what the poem could potentially be trying to say. The second time, however, I reread it for my essay, in which I focus on how the Gothic genre illustrates the significance of pursuing knowledge. Now it became interesting. Deception, sexual temptation, use of power, sublimity: this poem has it all. If it weren't for the fact that I'm also including 'Frankenstein', I would've dissected every single line, looked for meaning in every tiny detail.
I don't know where to start to be honest, I might actually enjoy writing this essay.
June 5, 2019
lesbian vampires
June 11, 2017
Donde Christabel encuentra en el bosque después de medianoche a una extraña mujer, y no encuentra nada mejor que invitarla a su lecho.
Con conatos de vampirismo lésbico o meramente de un espiritu maléfico y donde se entrecruzan elementos de cuento de hada y cuento admonitorio buscando redimir la virtud , el final es especulativo porque el Sr. Coleridge nunca llegó a concluirlo. Hay menciones de espiritus en pena, de traspaso de un umbral de hierro (¿contra las hadas?) aunque puede concluirse como eso de que los vampiros no pueden entrar solos a un hogar. Un amor perdido, y una mujer/espiritu/demonio seductor. Cosas compelidas a no decirse y ojos de serpiente.
Interesante.
Y anterior a Carmilla pues fue escrito en 1797.
(Me recuerda un poco a lo que hace Gaiman en Nieve, cristal y manzanas.)
And Christabel awoke and spied
The same who lay down by her side—
O rather say, the same whom she
Raised up beneath the old oak tree!
Nay, fairer yet! and yet more fair!
For she belike hath drunken deep
Of all the blessedness of sleep!
Con conatos de vampirismo lésbico o meramente de un espiritu maléfico y donde se entrecruzan elementos de cuento de hada y cuento admonitorio buscando redimir la virtud , el final es especulativo porque el Sr. Coleridge nunca llegó a concluirlo. Hay menciones de espiritus en pena, de traspaso de un umbral de hierro (¿contra las hadas?) aunque puede concluirse como eso de que los vampiros no pueden entrar solos a un hogar. Un amor perdido, y una mujer/espiritu/demonio seductor. Cosas compelidas a no decirse y ojos de serpiente.
Interesante.
Y anterior a Carmilla pues fue escrito en 1797.
(Me recuerda un poco a lo que hace Gaiman en Nieve, cristal y manzanas.)
November 8, 2018
Because Christabel is unfinished, and especially because there were supposed to be at least three more parts, reading it feels like getting sucked into a story only to find out that all the pages after the prologue and the first chapter are missing. We never know what happens to Christabel and who or what Geraldine really is, but leaving the poem unrated just because the story ends abruptly would be a bit unfair. I mean, something can still be said about the language, the atmosphere etc.
I absolutely adore The Rime of the Ancient Mariner (1798), but although Christabel is a more conventional horror/gothic poem with a linear narrative, it doesn't mean it's bad. Just that it's entertaining but not particularly remarkable. The second part is much less interesting as it's a sort of an interlude that leads to the following events (whatever they may be), whereas the strongly gothic first part is remarkably similar to Carmilla (1872) with its heaving bosoms, supernatural elements, and two ladies having a very close encounter.
Although I picked Christabel up because I've heard about Geraldine in the context of vampires, I hesitate to call it a full-blown vampire story. That's just because the poem is unfinished, so we can't really be 100 percent sure about what's going on despite the relatively strong hints. Who knows what surprises Coleridge had in store (and I hear he had too much of them, because he couldn't decide how to end the story).
I absolutely adore The Rime of the Ancient Mariner (1798), but although Christabel is a more conventional horror/gothic poem with a linear narrative, it doesn't mean it's bad. Just that it's entertaining but not particularly remarkable. The second part is much less interesting as it's a sort of an interlude that leads to the following events (whatever they may be), whereas the strongly gothic first part is remarkably similar to Carmilla (1872) with its heaving bosoms, supernatural elements, and two ladies having a very close encounter.
Although I picked Christabel up because I've heard about Geraldine in the context of vampires, I hesitate to call it a full-blown vampire story. That's just because the poem is unfinished, so we can't really be 100 percent sure about what's going on despite the relatively strong hints. Who knows what surprises Coleridge had in store (and I hear he had too much of them, because he couldn't decide how to end the story).
February 10, 2020
(I reread this and changed my review from a 4 to a 5.)
My analysis of the poem, if you've already read it and are curious:
My analysis of the poem, if you've already read it and are curious:
February 21, 2022
3.75? literally every character in this was gay. go coleridge!
October 2, 2024
Carmilla is that you?
January 25, 2025
I would let that woman do despicable things to me.
October 28, 2025
Unfinished poem by Samuel Coleridge, which is a shame because I was hooked ! A vampire tale, rather saphic, with a bit of horror thrown in, tension increasing.
October 1, 2016
saucy gothic
June 26, 2025
hay que llamar a coleridge con una ouija para que se siente a terminar este poema CÓMO TE VAS A VOLVER ADICTO AL OPIO ANTES DE TERMINARLO????
January 26, 2013
I read this because I got offered a book (Christabel by Suzanne Sullivan) that's based on this poem. I liked it very much so I can't wait to see how the book is going to turn out!
January 29, 2026
Leute ihr checkt nicht wie traurig ich bin, das Coleridge das nie beendet hat. So interessante Anfänge mit krassen oppositionellen Äquivalenzen, blurring von identities, und triangulations of desire…
August 30, 2021
One of Coleridge’s donations to romanticism is the overture and use of medieval elements in poetry. Convinced as he is that distance lends charm to the view he takes the setting and circumstances away from the present and places them in the Middle Ages in order that the ordinary and the usual become glamorous and highly appealing, in ‘Christabel’ Coleridge uses medieval elements in such a subtle and exquisitemanner that they succeed in leaving a deep impression on our mind.
In this poem the setting is definitely medieval in appearance. In the midst of the wood is situated a castle where the chief events of the poem take place. It is surrounded by a deep defensive ‘moat’ beyond which stands a big gate ironed within and without’, so wide that an army in battle array could march easily out of it. The gate again, has a small door fixed in its middle. Beyond the gate there lies a court most probably for the holding of tournaments. The actual castle consists of a hail with a fire-place and a clock to announce hours the Baron’s room.
The poem presents a medieval atmosphere characterized by loneliness eerieness and mystery on the one hand and incantation (words used in magic) use of spell and supernaturalism on the other.
The action of poem begins at midnight. The night is chilly but not dark. The moon is at the full phase but mysteriously looks ‘both small and dull’. The thin grey cloud ‘covers but not hides the sky’. The owl screeches and surprisingly the cock also drowsily crows. Hearing the sound of the clock the ‘toothless mastiff bitch’ gives ‘sixteen short howls not over loud’ in the wood the trees have become bare. There is a huge old oak tree without a trace of green on it.
What is mysterious is that the tree is left with only one red leaf that amazingly turns round and round although there is no wind to make it do so. The loneliness of the place is deepened by a solitary woman found kneeling underneath the oak.
The atmosphere becomes charged with eeriness when all of a sudden and apparently without any cause a moaning sound comes from the other side of the oak. Geraldine’s sinking on the floor for a number of times apparently without sufficient cause is also mysterious and amazing.
Spell is made use of when Geraldine by touching Christabel’s naked body with her bare bosom activates this special power on her as a result of which her spell becomes the controller of her voice and makes her unable to forget the horrible ‘sight’ whose witness she has unwillingly become. Her use of incantation is found when she tries and is able to drive away the invisible spirit by repeatedly crying ‘with (a) hollow voice’: ‘Off, woman, off! This hour is mine.’
In this milieu we may also bring to mind her curse to the spirit: ‘Off, wandering mother! peak and pine!’
Supernaturalism is found in a number of cases such as the mastiff’s making of an ‘angry’ yell while she lies ‘fast asleep’, the dying brands’, sudden production of ‘a tongue of light’ and ‘a fit of flame’ as Geraldine goes past them, the appearance of the ghost of Christabel’s mother as soon as she wishes for her presence. her strenuous fight with the mother resulting in the wiping of ‘her moist cold broty’, the revelation of the exceedingly beautiful woman’s bosom disfigured with mark of shame and seal of sorrow and Christabel’s lying asleep with ‘open eyes’ and ‘dreaming fearfully’ in a trance induced by Geraldine’s spell.
These supernatural elements without a doubt go well with the superstitious thoughts and beliefs of the medieval times.
In the poem we also observe the presence of characters that are medieval to the bone. Of them we want to mention, first, the owner of the castle, Sir Leoline, ‘the Baron rich’ and ‘of a noble line’. There is a reference to the Lady of the castle who died while giving birth to her child, a common medical problem of the medieval age.
Then there is Christabel who, in the absence of her mother, comes forward to play in the role of a true hostess by assuring shelter to Geraldine. She is betrothed to a knight who has gone far in search of adventure. Her hostess-like courtesy is revealed when she requests her guest to allow herself to sleep for the night only on ‘her’ coach which is actually hers.
Christabel assures Geraldine that her father will gladly send their ‘stout chivalry’ together with friends who would ‘guide and guard’ a forlorn lady like her safe to her ‘noble father’s hall’. There is also a reference to the friar, a familiar figure of the age, before whom Christabel’s mother while on death-bed, expressed her wish to be present when the castle-bell would strike twelve on her daughter’s wedding-day.
The principles, practices and conventions, peculiar to the medieval times are also present in the poem. The belief in witches and ghosts was real for which we find in the poem the presence of a witch like Geraldine and a ghost like Christabel’s mother.
The superstitious belief that dogs can smell the presence of a ghost is made use of in the old mastiff’s seeing of ‘mv lady’s shroud’.
Another superstitious belief that ‘evil spirits may not enter a house without help from a mortal’ is utilized in the case of Geraldine’s access in to the castle made possible through Christabel’s cooperation.
Another such belief is expressed in the line ‘Her gracious stars the lady blest’ which alludes to a supposedly lucky or unlucky planet or a sign of the zodiac regarded as permanently influencing or deciding the fate of a person born under it.
We may further point out a belief of the age, superstitious no doubt which states that wicked spirits become most active after midnight and they can even drive out guardian angels during the hour ‘allotted to them.
The poet has also mentioned the religious practices of the time such as crossing oneself or naming Jesu or Maria when faced with danger or seeking protection or after recovery from menace. Another such practice is kneeling and praying for the ‘weal’ (well-being) of the lover (as done by Christabel), and for the recovery of one’s plight (as she does for Geraldine).
There is also the practice of bowing (bending of the head to show deep respect to God) before going to bed (as done by Geraldine).
These religious practices together with the firm faith that ‘saints will aid if men will call’ show the deep piety (piousness) of the age. Among social practices may be mentioned women’s riding on palfrey (saddle-horse) drinking of light wine prepared from wild flowers, wearing of sandals silken robes inner vest and cincture and decking of hair with ‘wildly’ glittering gems.
A trace of medieval architecture can be detected in Christabel’s chamber. Its use in the Gothic style is reflected in the hail that ‘echoes still/Pass as lightly as you will’, in the winding stairs going up ‘now in glimmer and now in gloom’ and in Christabel’s chamber carved ‘curiously’ with ‘strange and sweet’ figures—all from the carver’s brain’— So that they may appear appropriate ‘for a lady’s chamber’. The bedroom has been built so wonderfully that ‘not a moonbeam enters here’ vet there is no difficulty in seeing as ‘light from the sky’ can find free entrance here. Besides there is the silver lamp (tied with double silver chains to an angel’s feet) which can swing to and fro.
The poet has used in the poem some archaic words and phrases in order that they may harmonize with its medieval atmosphere.
Of these we may mention nouns like ‘sire’, ‘naught’, ‘yester morning ‘yester night’ adverbs like’ withal’ be like’ verbs like quoth’ ‘espy’ and phrases like ‘ever and eve’, ‘I wis’, ‘Woe is me ’ and ‘Ah, wel-a-day’.
The poem also presents some of the dark sides of the medieval times such as witchery, banditry and harlotry. Geraldine’s cursing of the spirit of Christabel’s mother with words like ‘Off, wandering mother! Peak and pine!’ clearly indicates the former’s skill in witchcraft.
Attack by bandits on harmless travellers was one of the notable crimes of the age. The report that five ruffians seized Geraldine tied her ‘on a palfrey whit and made her ride off ‘furiously’ is indicative of the brigandage prevalent at that time.
Harlotry was a social vice of the age and women of low character were often branded as a punishment for their mean activities. Her beauty gorgeous dress and fondness for ornament tempt us to take Geraldine as a courtesan whose disfigurement of the bosom through branding does not appear too unlike.
The allegory in the poem works under two layers:
a) Christabel and Geraldine are distinct as women on the one hand, and forces representing good and evil on the other. As a representative of evil Geraldine is so powerful that she requires no assistant to fulfil her purpose.
b) At the same time she suffers from two weaknesses : first, her real self is so horrid that she has to appear in the guise of a very attractive and beautiful woman in order to make herself acceptable to others and to secure the cooperation of the good woman to cause her ruin, and secondly, notwithstanding her remarkable power, it is not permanent but lasts only for a short while.
As an agent of evil she also possesses such other qualities as wickedness, deception and sin. As a representative of good, Christabel’s power is so feeble that she needs to be assisted not only by the spirit of her mother who really serves as her guardian angel’ but also by such lower than mortals as the mastiff bitch and inanimate things as the gate the hall the strands and the lamp.
As an agent of good though Christabel is not so attractive as Geraldine yet she possesses such qualities as loveliness, honesty purity, simplicity and innocence. One cardinal characteristic of good is that no matter however it has to suffer, it never loses faith in divine powers.
As a romantic poet Coleridge’s primary concern in writing the poem ‘Christabel’ is that it should be artistically satisfying and mentally pleasing to readers, The poet himself admitted that the poem ‘pretended to be nothing more than a common fairy tale’ and that it was a fantasia of elusive charm and nocturnal mystery’.
There is nothing to dispute what the poet has said above. Yet he treats the various factors of the poem in such a ‘subtle and complicated’ way that it is too difficult to produce its theme in a short, neat and happy manner. However, as a romanticist he could not deny his attraction for ballad poetry along with allegory that frequently goes with it. Therefore, it would not be unnatural for us to expect the traces of both in his marvellous though fraginenta poem ‘Christabel’. In fact it contains certain allegorical features that are hard to deny.
In this poem the setting is definitely medieval in appearance. In the midst of the wood is situated a castle where the chief events of the poem take place. It is surrounded by a deep defensive ‘moat’ beyond which stands a big gate ironed within and without’, so wide that an army in battle array could march easily out of it. The gate again, has a small door fixed in its middle. Beyond the gate there lies a court most probably for the holding of tournaments. The actual castle consists of a hail with a fire-place and a clock to announce hours the Baron’s room.
The poem presents a medieval atmosphere characterized by loneliness eerieness and mystery on the one hand and incantation (words used in magic) use of spell and supernaturalism on the other.
The action of poem begins at midnight. The night is chilly but not dark. The moon is at the full phase but mysteriously looks ‘both small and dull’. The thin grey cloud ‘covers but not hides the sky’. The owl screeches and surprisingly the cock also drowsily crows. Hearing the sound of the clock the ‘toothless mastiff bitch’ gives ‘sixteen short howls not over loud’ in the wood the trees have become bare. There is a huge old oak tree without a trace of green on it.
What is mysterious is that the tree is left with only one red leaf that amazingly turns round and round although there is no wind to make it do so. The loneliness of the place is deepened by a solitary woman found kneeling underneath the oak.
The atmosphere becomes charged with eeriness when all of a sudden and apparently without any cause a moaning sound comes from the other side of the oak. Geraldine’s sinking on the floor for a number of times apparently without sufficient cause is also mysterious and amazing.
Spell is made use of when Geraldine by touching Christabel’s naked body with her bare bosom activates this special power on her as a result of which her spell becomes the controller of her voice and makes her unable to forget the horrible ‘sight’ whose witness she has unwillingly become. Her use of incantation is found when she tries and is able to drive away the invisible spirit by repeatedly crying ‘with (a) hollow voice’: ‘Off, woman, off! This hour is mine.’
In this milieu we may also bring to mind her curse to the spirit: ‘Off, wandering mother! peak and pine!’
Supernaturalism is found in a number of cases such as the mastiff’s making of an ‘angry’ yell while she lies ‘fast asleep’, the dying brands’, sudden production of ‘a tongue of light’ and ‘a fit of flame’ as Geraldine goes past them, the appearance of the ghost of Christabel’s mother as soon as she wishes for her presence. her strenuous fight with the mother resulting in the wiping of ‘her moist cold broty’, the revelation of the exceedingly beautiful woman’s bosom disfigured with mark of shame and seal of sorrow and Christabel’s lying asleep with ‘open eyes’ and ‘dreaming fearfully’ in a trance induced by Geraldine’s spell.
These supernatural elements without a doubt go well with the superstitious thoughts and beliefs of the medieval times.
In the poem we also observe the presence of characters that are medieval to the bone. Of them we want to mention, first, the owner of the castle, Sir Leoline, ‘the Baron rich’ and ‘of a noble line’. There is a reference to the Lady of the castle who died while giving birth to her child, a common medical problem of the medieval age.
Then there is Christabel who, in the absence of her mother, comes forward to play in the role of a true hostess by assuring shelter to Geraldine. She is betrothed to a knight who has gone far in search of adventure. Her hostess-like courtesy is revealed when she requests her guest to allow herself to sleep for the night only on ‘her’ coach which is actually hers.
Christabel assures Geraldine that her father will gladly send their ‘stout chivalry’ together with friends who would ‘guide and guard’ a forlorn lady like her safe to her ‘noble father’s hall’. There is also a reference to the friar, a familiar figure of the age, before whom Christabel’s mother while on death-bed, expressed her wish to be present when the castle-bell would strike twelve on her daughter’s wedding-day.
The principles, practices and conventions, peculiar to the medieval times are also present in the poem. The belief in witches and ghosts was real for which we find in the poem the presence of a witch like Geraldine and a ghost like Christabel’s mother.
The superstitious belief that dogs can smell the presence of a ghost is made use of in the old mastiff’s seeing of ‘mv lady’s shroud’.
Another superstitious belief that ‘evil spirits may not enter a house without help from a mortal’ is utilized in the case of Geraldine’s access in to the castle made possible through Christabel’s cooperation.
Another such belief is expressed in the line ‘Her gracious stars the lady blest’ which alludes to a supposedly lucky or unlucky planet or a sign of the zodiac regarded as permanently influencing or deciding the fate of a person born under it.
We may further point out a belief of the age, superstitious no doubt which states that wicked spirits become most active after midnight and they can even drive out guardian angels during the hour ‘allotted to them.
The poet has also mentioned the religious practices of the time such as crossing oneself or naming Jesu or Maria when faced with danger or seeking protection or after recovery from menace. Another such practice is kneeling and praying for the ‘weal’ (well-being) of the lover (as done by Christabel), and for the recovery of one’s plight (as she does for Geraldine).
There is also the practice of bowing (bending of the head to show deep respect to God) before going to bed (as done by Geraldine).
These religious practices together with the firm faith that ‘saints will aid if men will call’ show the deep piety (piousness) of the age. Among social practices may be mentioned women’s riding on palfrey (saddle-horse) drinking of light wine prepared from wild flowers, wearing of sandals silken robes inner vest and cincture and decking of hair with ‘wildly’ glittering gems.
A trace of medieval architecture can be detected in Christabel’s chamber. Its use in the Gothic style is reflected in the hail that ‘echoes still/Pass as lightly as you will’, in the winding stairs going up ‘now in glimmer and now in gloom’ and in Christabel’s chamber carved ‘curiously’ with ‘strange and sweet’ figures—all from the carver’s brain’— So that they may appear appropriate ‘for a lady’s chamber’. The bedroom has been built so wonderfully that ‘not a moonbeam enters here’ vet there is no difficulty in seeing as ‘light from the sky’ can find free entrance here. Besides there is the silver lamp (tied with double silver chains to an angel’s feet) which can swing to and fro.
The poet has used in the poem some archaic words and phrases in order that they may harmonize with its medieval atmosphere.
Of these we may mention nouns like ‘sire’, ‘naught’, ‘yester morning ‘yester night’ adverbs like’ withal’ be like’ verbs like quoth’ ‘espy’ and phrases like ‘ever and eve’, ‘I wis’, ‘Woe is me ’ and ‘Ah, wel-a-day’.
The poem also presents some of the dark sides of the medieval times such as witchery, banditry and harlotry. Geraldine’s cursing of the spirit of Christabel’s mother with words like ‘Off, wandering mother! Peak and pine!’ clearly indicates the former’s skill in witchcraft.
Attack by bandits on harmless travellers was one of the notable crimes of the age. The report that five ruffians seized Geraldine tied her ‘on a palfrey whit and made her ride off ‘furiously’ is indicative of the brigandage prevalent at that time.
Harlotry was a social vice of the age and women of low character were often branded as a punishment for their mean activities. Her beauty gorgeous dress and fondness for ornament tempt us to take Geraldine as a courtesan whose disfigurement of the bosom through branding does not appear too unlike.
The allegory in the poem works under two layers:
a) Christabel and Geraldine are distinct as women on the one hand, and forces representing good and evil on the other. As a representative of evil Geraldine is so powerful that she requires no assistant to fulfil her purpose.
b) At the same time she suffers from two weaknesses : first, her real self is so horrid that she has to appear in the guise of a very attractive and beautiful woman in order to make herself acceptable to others and to secure the cooperation of the good woman to cause her ruin, and secondly, notwithstanding her remarkable power, it is not permanent but lasts only for a short while.
As an agent of evil she also possesses such other qualities as wickedness, deception and sin. As a representative of good, Christabel’s power is so feeble that she needs to be assisted not only by the spirit of her mother who really serves as her guardian angel’ but also by such lower than mortals as the mastiff bitch and inanimate things as the gate the hall the strands and the lamp.
As an agent of good though Christabel is not so attractive as Geraldine yet she possesses such qualities as loveliness, honesty purity, simplicity and innocence. One cardinal characteristic of good is that no matter however it has to suffer, it never loses faith in divine powers.
As a romantic poet Coleridge’s primary concern in writing the poem ‘Christabel’ is that it should be artistically satisfying and mentally pleasing to readers, The poet himself admitted that the poem ‘pretended to be nothing more than a common fairy tale’ and that it was a fantasia of elusive charm and nocturnal mystery’.
There is nothing to dispute what the poet has said above. Yet he treats the various factors of the poem in such a ‘subtle and complicated’ way that it is too difficult to produce its theme in a short, neat and happy manner. However, as a romanticist he could not deny his attraction for ballad poetry along with allegory that frequently goes with it. Therefore, it would not be unnatural for us to expect the traces of both in his marvellous though fraginenta poem ‘Christabel’. In fact it contains certain allegorical features that are hard to deny.
February 19, 2024
"In the touch of this bosom there worketh a spell,
Which is lord of thy utterance, Christabel!
Thou knowest to-night, and wilt know to-morrow,
This mark of my shame, this seal of my sorrow;
But vainly thou warrest,
For this is alone in
Thy power to declare,
That in the dim forest
Thou heard'st a low moaning,
And found'st a bright lady, surpassingly fair;
And didst bring her home with thee in love and in charity,
To shield her and shelter her from the damp air."
Which is lord of thy utterance, Christabel!
Thou knowest to-night, and wilt know to-morrow,
This mark of my shame, this seal of my sorrow;
But vainly thou warrest,
For this is alone in
Thy power to declare,
That in the dim forest
Thou heard'st a low moaning,
And found'st a bright lady, surpassingly fair;
And didst bring her home with thee in love and in charity,
To shield her and shelter her from the damp air."
March 11, 2021
creepy
February 23, 2026
wait omg why was this so good??? i need a longer retelling of this nowwww this is SO cool
December 3, 2025
Perhaps 'tis tender too and pretty
At each wild word to feel within
A sweet recoil of love and pity.
And what, if in a world of sin
(O sorrow and shame should this be true!)
Such giddiness of heart and brain
Comes seldom save from rage and pain,
So talks as it 's most used to do.
At each wild word to feel within
A sweet recoil of love and pity.
And what, if in a world of sin
(O sorrow and shame should this be true!)
Such giddiness of heart and brain
Comes seldom save from rage and pain,
So talks as it 's most used to do.
July 9, 2020
Hat beim lesen zwar mein lispeln richtig getriggered aber sonst very nice
November 12, 2018
Preferred this to 'Rime of the Ancient Mariner'! Was not expecting it to be as spooky as it is.
Read
October 4, 2020what if we were the protagonist and villain of a never-completed sensual gothic poem (and we were both girls)
alternately: when you meet a wickedhot girl only she's SPOOKY but that's SEXY and turns out your dad and her dad were also gay back in the day before having a sexy gay falling-out and she's like 'babe let's get naked and hold each other close' and you're like '👀--wait fuck I mean uhhhh I PRETEND I DO NOT SEE IT!'
alternately: when you meet a wickedhot girl only she's SPOOKY but that's SEXY and turns out your dad and her dad were also gay back in the day before having a sexy gay falling-out and she's like 'babe let's get naked and hold each other close' and you're like '👀--wait fuck I mean uhhhh I PRETEND I DO NOT SEE IT!'
April 25, 2025
I had to read it twice to fully understand everything. I didn’t know what I was going into by thinking I can comprehend XVIII century english. Nonetheless, I adore „Christabel”, the story is unique and I feel like it for sure had an influence on Le Fanu’s ,,Carmilla”. From the white attire to hypnosis and many more.
September 30, 2016
when i read this, at first in 2014, it was like being stunned by the sheer awesomeness of coleridge's poems and the darkness inside the poem's narrative. fuck! i can still remember what kind of an evil book it was! goodness!
December 26, 2023
Christabel is among Coleridge's unfinished poems because of the author's melancholy and indolence. However, this one lacks the lyrical perfection of Kubla Khan, although the tale is intriguing enough to make me wonder what might have been.
October 31, 2012
Enjoyable poem about possible otherwordly terrors. I would have rated it higher except that it was never finished, and that just makes me a sadpanda because it was just getting really interesting.
September 27, 2021
geraldine, queer vampire icon
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