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Christabel by Samuel Taylor Coleridge

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Christabel is a Gothic narrative poem that tells the story of a young noblewoman who meets a mysterious stranger named Geraldine in the woods at night and invites her home, unaware that Geraldine is a supernatural predator who enchants her.

Core theme
Betrayal
The PoemFull text

Christabel

Samuel Taylor Coleridge

Part I 'Tis the middle of night by the castle clock And the owls have awakened the crowing cock; Tu-whit!- Tu-whoo! And hark, again! the crowing cock, How drowsily it crew. Sir Leoline, the Baron rich, Hath a toothless mastiff, which From her kennel beneath the rock Maketh answer to the clock, Four for the quarters, and twelve for the hour; Ever and aye, by shine and shower, Sixteen short howls, not over loud; Some say, she sees my lady's shroud. Is the night chilly and dark? The night is chilly, but not dark. The thin gray cloud is spread on high, It covers but not hides the sky. The moon is behind, and at the full; And yet she looks both small and dull. The night is chill, the cloud is gray: 'T is a month before the month of May, And the Spring comes slowly up this way. The lovely lady, Christabel, Whom her father loves so well, What makes her in the wood so late, A furlong from the castle gate? She had dreams all yesternight Of her own betrothed knight; And she in the midnight wood will pray For the weal of her lover that's far away. She stole along, she nothing spoke, The sighs she heaved were soft and low, And naught was green upon the oak, But moss and rarest mistletoe: She kneels beneath the huge oak tree, And in silence prayeth she. The lady sprang up suddenly, The lovely lady, Christabel! It moaned as near, as near can be, But what it is she cannot tell.- On the other side it seems to be, Of the huge, broad-breasted, old oak tree. The night is chill; the forest bare; Is it the wind that moaneth bleak? There is not wind enough in the air To move away the ringlet curl From the lovely lady's cheek- There is not wind enough to twirl The one red leaf, the last of its clan, That dances as often as dance it can, Hanging so light, and hanging so high, On the topmost twig that looks up at the sky. Hush, beating heart of Christabel! Jesu, Maria, shield her well! She folded her arms beneath her cloak, And stole to the other side of the oak. What sees she there? There she sees a damsel bright, Dressed in a silken robe of white, That shadowy in the moonlight shone: The neck that made that white robe wan, Her stately neck, and arms were bare; Her blue-veined feet unsandaled were; And wildly glittered here and there The gems entangled in her hair. I guess, 't was frightful there to see A lady so richly clad as she- Beautiful exceedingly! 'Mary mother, save me now!' Said Christabel, 'and who art thou?' The lady strange made answer meet, And her voice was faint and sweet:- 'Have pity on my sore distress, I scarce can speak for weariness: Stretch forth thy hand, and have no fear!' Said Christabel, 'How camest thou here?' And the lady, whose voice was faint and sweet, Did thus pursue her answer meet:- 'My sire is of a noble line, And my name is Geraldine: Five warriors seized me yestermorn, Me, even me, a maid forlorn: They choked my cries with force and fright, And tied me on a palfrey white. The palfrey was as fleet as wind, And they rode furiously behind. They spurred amain, their steeds were white: And once we crossed the shade of night. As sure as Heaven shall rescue me, I have no thought what men they be; Nor do I know how long it is (For I have lain entranced, I wis) Since one, the tallest of the five, Took me from the palfrey's back, A weary woman, scarce alive. Some muttered words his comrades spoke: He placed me underneath this oak; He swore they would return with haste; Whither they went I cannot tell- I thought I heard, some minutes past, Sounds as of a castle bell. Stretch forth thy hand,' thus ended she, 'And help a wretched maid to flee.' Then Christabel stretched forth her hand, And comforted fair Geraldine: 'O well, bright dame, may you command The service of Sir Leoline; And gladly our stout chivalry Will he send forth, and friends withal, To guide and guard you safe and free Home to your noble father's hall.' She rose: and forth with steps they passed That strove to be, and were not, fast. Her gracious stars the lady blest, And thus spake on sweet Christabel: 'All our household are at rest, The hall is silent as the cell; Sir Leoline is weak in health, And may not well awakened be, But we will move as if in stealth; And I beseech your courtesy, This night, to share your couch with me.' They crossed the moat, and Christabel Took the key that fitted well; A little door she opened straight, All in the middle of the gate; The gate that was ironed within and without, Where an army in battle array had marched out. The lady sank, belike through pain, And Christabel with might and main Lifted her up, a weary weight, Over the threshold of the gate: Then the lady rose again, And moved, as she were not in pain. So, free from danger, free from fear, They crossed the court: right glad they were. And Christabel devoutly cried To the Lady by her side; 'Praise we the Virgin all divine, Who hath rescued thee from thy distress!' 'Alas, alas!' said Geraldine, 'I cannot speak for weariness.' So, free from danger, free from fear, They crossed the court: right glad they were. Outside her kennel the mastiff old Lay fast asleep, in moonshine cold. The mastiff old did not awake, Yet she an angry moan did make. And what can ail the mastiff bitch? Never till now she uttered yell Beneath the eye of Christabel. Perhaps it is the owlet's scritch: For what can aid the mastiff bitch? They passed the hall, that echoes still, Pass as lightly as you will. The brands were flat, the brands were dying, Amid their own white ashes lying; But when the lady passed, there came A tongue of light, a fit of flame; And Christabel saw the lady's eye, And nothing else saw she thereby, Save the boss of the shield of Sir Leoline tall, Which hung in a murky old niche in the wall. 'O softly tread,' said Christabel, 'My father seldom sleepeth well.' Sweet Christabel her feet doth bare, And, jealous of the listening air, They steal their way from stair to stair, Now in glimmer, and now in gloom, And now they pass the Baron's room, As still as death, with stifled breath! And now have reached her chamber door; And now doth Geraldine press down The rushes of the chamber floor. The moon shines dim in the open air, And not a moonbeam enters here. But they without its light can see The chamber carved so curiously, Carved with figures strange and sweet, All made out of the carver's brain, For a lady's chamber meet: The lamp with twofold silver chain Is fastened to an angel's feet. The silver lamp burns dead and dim; But Christabel the lamp will trim. She trimmed the lamp, and made it bright, And left it swinging to and fro, While Geraldine, in wretched plight, Sank down upon the floor below. 'O weary lady, Geraldine, I pray you, drink this cordial wine! It is a wine of virtuous powers; My mother made it of wild flowers.' 'And will your mother pity me, Who am a maiden most forlorn?' Christabel answered- 'Woe is me! She died the hour that I was born. I have heard the gray-haired friar tell, How on her death-bed she did say, That she should hear the castle-bell Strike twelve upon my wedding-day. O mother dear! that thou wert here!' 'I would,' said Geraldine, 'she were!' But soon, with altered voice, said she- 'Off, wandering mother! Peak and pine! I have 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! 't is given to me.' Then Christabel knelt by the lady's side, And raised to heaven her eyes so blue- 'Alas!' said she, 'this ghastly ride- Dear lady! it hath wildered you!' The lady wiped her moist cold brow, And faintly said, ''T is over now!' Again the wild-flower wine she drank: Her fair large eyes 'gan glitter bright, And from the floor, whereon she sank, The lofty lady stood upright: She was most beautiful to see, Like a lady of a far countree. And thus the lofty lady spake- 'All they, who live in the upper sky, Do love you, holy Christabel! And you love them, and for their sake, And for the good which me befell, Even I in my degree will try, Fair maiden, to requite you well. But now unrobe yourself; for I Must pray, ere yet in bed I lie.' Quoth Christabel, 'So let it be!' And as the lady bade, did she. Her gentle limbs did she undress And lay down in her loveliness. But through her brain, of weal and woe, So many thoughts moved to and fro, That vain it were her lids to close; So half-way from the bed she rose, And on her elbow did recline. To look at the lady Geraldine. Beneath the lamp the lady bowed, And slowly rolled her eyes around; Then drawing in her breath aloud, Like one that shuddered, she unbound The cincture from beneath her breast: Her silken robe, and inner vest, Dropped to her feet, and full in view, Behold! her bosom and half her side- A sight to dream of, not to tell! O shield her! shield sweet Christabel! Yet Geraldine nor speaks nor stirs: Ah! what a stricken look was hers! Deep from within she seems half-way To lift some weight with sick assay, And eyes the maid and seeks delay; Then suddenly, as one defied, Collects herself in scorn and pride, And lay down by the maiden's side!- And in her arms the maid she took, Ah, well-a-day! And with low voice and doleful look These words did say: '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.' It was a lovely sight to see The lady Christabel, when she Was praying at the old oak tree. Amid the jagged shadows Of mossy leafless boughs, Kneeling in the moonlight, To make her gentle vows; Her slender palms together prest, Heaving sometimes on her breast; Her face resigned to bliss or bale- Her face, oh, call it fair not pale, And both blue eyes more bright than clear. Each about to have a tear. With open eyes (ah, woe is me!) Asleep, and dreaming fearfully, Fearfully dreaming, yet, I wis, Dreaming that alone, which is- O sorrow and shame! Can this be she, The lady, who knelt at the old oak tree? And lo! the worker of these harms, That holds the maiden in her arms, Seems to slumber still and mild, As a mother with her child. A star hath set, a star hath risen, O Geraldine! since arms of thine Have been the lovely lady's prison. O Geraldine! one hour was thine- Thou'st had thy will! By tarn and rill, The night-birds all that hour were still. But now they are jubilant anew, From cliff and tower, tu-whoo! tu-whoo! Tu-whoo! tu-whoo! from wood and fell! And see! the lady Christabel Gathers herself from out her trance; Her limbs relax, her countenance Grows sad and soft; the smooth thin lids Close o'er her eyes; and tears she sheds- Large tears that leave the lashes bright! And oft the while she seems to smile As infants at a sudden light! Yea, she doth smile, and she doth weep, Like a youthful hermitess, Beauteous in a wilderness, Who, praying always, prays in sleep. And, if she move unquietly, Perchance, 't is but the blood so free Comes back and tingles in her feet. No doubt, she hath a vision sweet. What if her guardian spirit 't were, What if she knew her mother near? But this she knows, in joys and woes, That saints will aid if men will call: For the blue sky bends over all. PART II Each matin bell, the Baron saith, Knells us back to a world of death. These words Sir Leoline first said, When he rose and found his lady dead: These words Sir Leoline will say Many a morn to his dying day! And hence the custom and law began That still at dawn the sacristan, Who duly pulls the heavy bell, Five and forty beads must tell Between each stroke- a warning knell, Which not a soul can choose but hear From Bratha Head to Wyndermere. Saith Bracy the bard, 'So let it knell! And let the drowsy sacristan Still count as slowly as he can!' There is no lack of such, I ween, As well fill up the space between. In Langdale Pike and Witch's Lair, And Dungeon-ghyll so foully rent, With ropes of rock and bells of air Three sinful sextons' ghosts are pent, Who all give back, one after t' other, The death-note to their living brother; And oft too, by the knell offended, Just as their one! two! three! is ended, The devil mocks the doleful tale With a merry peal from Borrowdale. The air is still! through mist and cloud That merry peal comes ringing loud; And Geraldine shakes off her dread, And rises lightly from the bed; Puts on her silken vestments white, And tricks her hair in lovely plight, And nothing doubting of her spell Awakens the lady Christabel. 'Sleep you, sweet lady Christabel? I trust that you have rested well.' 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! And while she spake, her looks, her air, Such gentle thankfulness declare, That (so it seemed) her girded vests Grew tight beneath her heaving breasts. 'Sure I have sinned!' said Christabel, 'Now heaven be praised if all be well!' And in low faltering tones, yet sweet, Did she the lofty lady greet With such perplexity of mind As dreams too lively leave behind. So quickly she rose, and quickly arrayed Her maiden limbs, and having prayed That He, who on the cross did groan, Might wash away her sins unknown, She forthwith led fair Geraldine To meet her sire, Sir Leoline. The lovely maid and the lady tall Are pacing both into the hall, And pacing on through page and groom, Enter the Baron's presence-room. The Baron rose, and while he prest His gentle daughter to his breast, With cheerful wonder in his eyes The lady Geraldine espies, And gave such welcome to the same, As might beseem so bright a dame! But when he heard the lady's tale, And when she told her father's name, Why waxed Sir Leoline so pale, Murmuring o'er the name again, Lord Roland de Vaux of Tryermaine? Alas! they had been friends in youth; But whispering tongues can poison truth; And constancy lives in realms above; And life is thorny; and youth is vain; And to be wroth with one we love Doth work like madness in the brain. And thus it chanced, as I divine, With Roland and Sir Leoline. Each spake words of high disdain And insult to his heart's best brother: They parted- ne'er to meet again! But never either found another To free the hollow heart from paining- They stood aloof, the scars remaining, Like cliffs which had been rent asunder; A dreary sea now flows between. But neither heat, nor frost, nor thunder, Shall wholly do away, I ween, The marks of that which once hath been. Sir Leoline, a moment's space, Stood gazing on the damsel's face: And the youthful Lord of Tryermaine Came back upon his heart again. O then the Baron forgot his age, His noble heart swelled high with rage; He swore by the wounds in Jesu's side He would proclaim it far and wide, With trump and solemn heraldry, That they, who thus had wronged the dame Were base as spotted infamy! 'And if they dare deny the same, My herald shall appoint a week, And let the recreant traitors seek My tourney court- that there and then I may dislodge their reptile souls From the bodies and forms of men!' He spake: his eye in lightning rolls! For the lady was ruthlessly seized; and he kenned In the beautiful lady the child of his friend! And now the tears were on his face, And fondly in his arms he took Fair Geraldine who met the embrace, Prolonging it with joyous look. Which when she viewed, a vision fell Upon the soul of Christabel, The vision of fear, the touch and pain! She shrunk and shuddered, and saw again- (Ah, woe is me! Was it for thee, Thou gentle maid! such sights to see?) Again she saw that bosom old, Again she felt that bosom cold, And drew in her breath with a hissing sound: Whereat the Knight turned wildly round, And nothing saw, but his own sweet maid With eyes upraised, as one that prayed. The touch, the sight, had passed away, And in its stead that vision blest, Which comforted her after-rest, While in the lady's arms she lay, Had put a rapture in her breast, And on her lips and o'er her eyes Spread smiles like light! With new surprise, 'What ails then my beloved child?' The Baron said- His daughter mild Made answer, 'All will yet be well!' I ween, she had no power to tell Aught else: so mighty was the spell. Yet he who saw this Geraldine, Had deemed her sure a thing divine. Such sorrow with such grace she blended, As if she feared she had offended Sweet Christabel, that gentle maid! And with such lowly tones she prayed She might be sent without delay Home to her father's mansion. 'Nay! Nay, by my soul!' said Leoline. 'Ho! Bracy the bard, the charge be thine! Go thou, with music sweet and loud, And take two steeds with trappings proud, And take the youth whom thou lov'st best To bear thy harp, and learn thy song, And clothe you both in solemn vest, And over the mountains haste along, Lest wandering folk, that are abroad, Detain you on the valley road. 'And when he has crossed the Irthing flood, My merry bard! he hastes, he hastes Up Knorren Moor, through Halegarth Wood, And reaches soon that castle good Which stands and threatens Scotland's wastes. 'Bard Bracy! bard Bracy! your horses are fleet, Ye must ride up the hall, your music so sweet, More loud than your horses' echoing feet! And loud and loud to Lord Roland call, Thy daughter is safe in Langdale hall! Thy beautiful daughter is safe and free- Sir Leoline greets thee thus through me. He bids thee come without delay With all thy numerous array; And take thy lovely daughter home: And he will meet thee on the way With all his numerous array White with their panting palfreys' foam: And, by mine honor! I will say, That I repent me of the day When I spake words of fierce disdain To Roland de Vaux of Tryermaine!- - For since that evil hour hath flown, Many a summer's sun hath shone; Yet ne'er found I a friend again Like Roland de Vaux of Tryermaine.' The lady fell, and clasped his knees, Her face upraised, her eyes o'erflowing; And Bracy replied, with faltering voice, His gracious hail on all bestowing; 'Thy words, thou sire of Christabel, Are sweeter than my harp can tell; Yet might I gain a boon of thee, This day my journey should not be, So strange a dream hath come to me; That I had vowed with music loud To clear yon wood from thing unblest, Warned by a vision in my rest! For in my sleep I saw that dove, That gentle bird, whom thou dost love, And call'st by thy own daughter's name- Sir Leoline! I saw the same, Fluttering, and uttering fearful moan, Among the green herbs in the forest alone. Which when I saw and when I heard, I wondered what might ail the bird; For nothing near it could I see, Save the grass and herbs underneath the old tree. And in my dream methought I went To search out what might there be found; And what the sweet bird's trouble meant, That thus lay fluttering on the ground. I went and peered, and could descry No cause for her distressful cry; But yet for her dear lady's sake I stooped, methought, the dove to take, When lo! I saw a bright green snake Coiled around its wings and neck. Green as the herbs on which it couched, Close by the dove's its head it crouched; And with the dove it heaves and stirs, Swelling its neck as she swelled hers! I woke; it was the midnight hour, The clock was echoing in the tower; But though my slumber was gone by, This dream it would not pass away- It seems to live upon my eye! And thence I vowed this self-same day With music strong and saintly song To wander through the forest bare, Lest aught unholy loiter there.' Thus Bracy said: the Baron, the while, Half-listening heard him with a smile; Then turned to Lady Geraldine, His eyes made up of wonder and love; And said in courtly accents fine, 'Sweet maid, Lord Roland's beauteous dove, With arms more strong than harp or song, Thy sire and I will crush the snake!' He kissed her forehead as he spake, And Geraldine in maiden wise Casting down her large bright eyes, With blushing cheek and courtesy fine She turned her from Sir Leoline; Softly gathering up her train, That o'er her right arm fell again; And folded her arms across her chest, And couched her head upon her breast, And looked askance at Christabel- Jesu, Maria, shield her well! A snake's small eye blinks dull and shy, And the lady's eyes they shrunk in her head, Each shrunk up to a serpent's eye, And with somewhat of malice, and more of dread, At Christabel she looked askance!- One moment- and the sight was fled! But Christabel in dizzy trance Stumbling on the unsteady ground Shuddered aloud, with a hissing sound; And Geraldine again turned round, And like a thing that sought relief, Full of wonder and full of grief, She rolled her large bright eyes divine Wildly on Sir Leoline. The maid, alas! her thoughts are gone, She nothing sees- no sight but one! The maid, devoid of guile and sin, I know not how, in fearful wise, So deeply had she drunken in That look, those shrunken serpent eyes, That all her features were resigned To this sole image in her mind: And passively did imitate That look of dull and treacherous hate! And thus she stood, in dizzy trance, Still picturing that look askance With forced unconscious sympathy Full before her father's view- As far as such a look could be In eyes so innocent and blue! And when the trance was o'er, the maid Paused awhile, and inly prayed: Then falling at the Baron's feet, 'By my mother's soul do I entreat That thou this woman send away!' She said: and more she could not say; For what she knew she could not tell, O'er-mastered by the mighty spell. Why is thy cheek so wan and wild, Sir Leoline? Thy only child Lies at thy feet, thy joy, thy pride. So fair, so innocent, so mild; The same, for whom thy lady died! O by the pangs of her dear mother Think thou no evil of thy child! For her, and thee, and for no other, She prayed the moment ere she died: Prayed that the babe for whom she died, Might prove her dear lord's joy and pride! That prayer her deadly pangs beguiled, Sir Leoline! And wouldst thou wrong thy only child, Her child and thine? Within the Baron's heart and brain If thoughts, like these, had any share, They only swelled his rage and pain, And did but work confusion there. His heart was cleft with pain and rage, His cheeks they quivered, his eyes were wild, Dishonored thus in his old age; Dishonored by his only child, And all his hospitality To the insulted daughter of his friend By more than woman's jealousy Brought thus to a disgraceful end- He rolled his eye with stern regard Upon the gentle ministrel bard, And said in tones abrupt, austere- 'Why, Bracy! dost thou loiter here? I bade thee hence!' The bard obeyed; And turning from his own sweet maid, The aged knight, Sir Leoline, Led forth the lady Geraldine! (Coleridge never finished the poem; this conclusion is by James Gillman, who cared for Coleridge during the latter years. He wrote the following based on what the poet would outline for his friends.) THE CONCLUSION TO PART II A little child, a limber elf, Singing, dancing to itself, A fairy thing with red round cheeks, That always finds, and never seeks, Makes such a vision to the sight As fills a father's eyes with light; And pleasures flow in so thick and fast Upon his heart, that he at last Must needs express his love's excess With words of unmeant bitterness. Perhaps 'tis pretty to force together Thoughts so all unlike each other; To mutter and mock a broken charm, To dally with wrong that does no harm. 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. THE END

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

Christabel is a Gothic narrative poem that tells the story of a young noblewoman who meets a mysterious stranger named Geraldine in the woods at night and invites her home, unaware that Geraldine is a supernatural predator who enchants her. In Part II, Geraldine influences Christabel's father, Sir Leoline, while Christabel — rendered mute by the spell — is unable to alert him to the threat. Coleridge never completed the poem, leaving it with Geraldine victorious and Christabel forsaken by her father.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. 'Tis the middle of night by the castle clock / And the owls have awakened the crowing cock;

    Editor's note

    Coleridge starts by creating a strong sense of unease. The owls wake the rooster instead of the other way around — nature is already out of sync. The mastiff howls at the clock, and someone claims she sees a dead woman’s shroud. By the time Christabel makes her entrance, the poem has already conveyed that the world is out of balance.

  2. Is the night chilly and dark? / The night is chilly, but not dark.

    Editor's note

    This question-and-answer technique is one of Coleridge's most distinctive moves in the poem. The moon is full yet appears 'small and dull,' shrouded by a thin veil of clouds. It's April, and spring has yet to arrive. Everything hangs in a liminal space — neither fully dark nor entirely light, not quite winter but also not quite spring. The landscape reflects the transformation that Christabel herself is about to undergo.

  3. The lovely lady, Christabel, / Whom her father loves so well,

    Editor's note

    We meet Christabel: she’s been dreaming of her missing betrothed knight and has quietly slipped out at midnight to pray for him beneath an oak tree. Love, piety, and innocence define her from the start. The oak tree—ancient, bare, and adorned with a single red leaf—marks the boundary between her safe world and whatever is about to intrude upon it.

  4. The lady sprang up suddenly, / The lovely lady, Christabel!

    Editor's note

    A moan emerges from behind the oak. There's no wind — Coleridge emphasizes this to eliminate any natural explanation. The lone red leaf remains perfectly still. The sound seems to come from nowhere. Christabel's heart is directly told to quiet down. The narrator invokes Jesus and Mary for her protection, signaling to the reader that she is approaching real danger.

  5. There she sees a damsel bright, / Dressed in a silken robe of white,

    Editor's note

    Geraldine appears: beautiful, barefoot, adorned with jewels, dressed in white that makes her luminous neck look almost pale. She shares a tale of being taken by five warriors. The story is just believable enough for a kind-hearted young woman to accept. Christabel's instinct is one of genuine charity — she immediately offers shelter and her father's protection. This is the trap.

  6. The lady sank, belike through pain, / And Christabel with might and main

    Editor's note

    Geraldine can't cross the gate on her own — Christabel has to lift her over. This echoes a well-known vampire and witch tale: a creature can't enter unless invited or carried. Once inside, the mastiff lets out an angry moan in her sleep but remains asleep, the dying fire flares as Geraldine walks by, and her eyes reflect the light in a disconcerting way. The house itself seems to respond.

  7. 'O weary lady, Geraldine, / I pray you, drink this cordial wine!

    Editor's note

    Christabel offers wine made from wild flowers that her deceased mother created. When she mentions her mother, Geraldine reacts — it’s as if she perceives a spirit and, in a hollow, altered voice, tells it to leave: 'Off, woman, off! this hour is mine.' This strongly suggests that Geraldine possesses supernatural qualities and that Christabel's mother's protective spirit exists, yet is unable to prevent what is about to happen.

  8. Beneath the lamp the lady bowed, / And slowly rolled her eyes around;

    Editor's note

    Geraldine undresses. Coleridge famously avoids revealing what Christabel sees — 'A sight to dream of, not to tell!' — which is more unsettling than any description could convey. Then Geraldine embraces Christabel and utters the spell: Christabel will be silenced, only able to say she encountered a radiant lady in the forest and brought her home out of kindness. The spell acts as a form of psychic imprisonment.

  9. It was a lovely sight to see / The lady Christabel, when she

    Editor's note

    The narrator pulls back to reveal Christabel as she once was — kneeling in the moonlight, pure and praying. Then we see her now: asleep with her eyes open, dreaming anxiously, while Geraldine lies next to her 'like a mother with her child.' This maternal image feels profoundly unsettling. A star has set and risen; Geraldine has had her time. When Christabel awakens, she sheds tears and smiles like a baby — she has been made helpless.

  10. Each matin bell, the Baron saith, / Knells us back to a world of death.

    Editor's note

    Part II begins with Sir Leoline's mourning ritual: each morning bell brings back memories of his wife's death. This portrayal of him shows a man who is deeply hurt, trapped in his memories. The castle's surroundings resonate with haunting bells. Meanwhile, Geraldine awakens feeling invigorated, shedding her 'dread,' and rouses Christabel with an act of innocent gratitude. Christabel wakes up feeling disoriented and guilty, unable to express the reason behind her feelings.

  11. But when he heard the lady's tale, / And when she told her father's name,

    Editor's note

    Geraldine discloses that she is the daughter of Lord Roland de Vaux, Sir Leoline's long-lost best friend from his younger days. The Baron is taken aback — a rush of old love, lingering guilt, and righteous anger toward the men who allegedly kidnapped her overwhelms him all at once. He pulls Geraldine into an embrace. In that moment, Christabel experiences a vivid memory from the night before — the icy bosom, the terror — and instinctively recoils, hissing in response. Her father remains oblivious to any issue.

  12. Saith Bracy the bard, 'So let it knell! / And let the drowsy sacristan

    Editor's note

    Bracy the bard requests to postpone his errand due to a dream he had: he saw a dove named Christabel fluttering on the forest floor, with a vivid green snake wrapped around its neck. This dream clearly represents what has already transpired. Sir Leoline listens, smiles, turns to Geraldine, and confidently states that he and Roland will 'crush the snake' — unaware that Geraldine *is* the snake. He interprets the warning as reassurance for the predator.

  13. A snake's small eye blinks dull and shy, / And the lady's eyes they shrunk in her head,

    Editor's note

    Geraldine's mask slips for a moment: her eyes narrow to slits like a serpent's as she gazes at Christabel. Still enchanted, Christabel unwittingly mirrors the expression — her innocent blue eyes now reflect a look of 'dull and treacherous hate' — right in front of her father. Sir Leoline watches in shock as his daughter seems to glare at his guest with jealous malice. He feels both furious and humiliated.

  14. Then falling at the Baron's feet, / 'By my mother's soul do I entreat

    Editor's note

    Christabel, managing to break the spell just a little, falls at her father's feet and pleads with him to send Geraldine away. She can say no more — the spell still grips her. Sir Leoline sees this as his daughter shaming him in front of his guest out of jealousy. He decides in favor of Geraldine. Turning his back on Christabel, he leads Geraldine out of the room. The poem concludes — unfinished — with the father and the monster walking away together.

  15. A little child, a limber elf, / Singing, dancing to itself,

    Editor's note

    This conclusion, crafted by James Gillman based on Coleridge's verbal outlines, is not Coleridge's own. It reflects on how a father’s intense love for a child can, paradoxically, come out as bitterness or harshness—words that can hurt even when love is behind them. It hints at Sir Leoline's rejection of Christabel as a tragic misfire of love, yet it feels out of place among the poem's Gothic darkness, resembling more of a philosophical aside than a genuine conclusion.

§04Tone & mood

How this poem feels

The tone is Gothic and deeply unsettling, but it achieves this through restraint rather than excess. Coleridge maintains a hushed atmosphere — the household is asleep, everyone moves quietly, and the narrator consistently avoids directly describing the worst elements. This quietness amplifies the horror. There’s also a genuine tenderness for Christabel: the narrator speaks to her heart, calls on saints for her protection, and expresses sorrow for her. By Part II, the tone shifts to something more tragic, as the threat transitions from supernatural to social — Christabel now faces the risk of being disbelieved and abandoned by the very person meant to protect her.

§05Symbols & metaphors

Symbols & metaphors

Geraldine's bosom
The one thing Coleridge won’t describe directly — 'a sight to dream of, not to tell.' It symbolizes the unfathomable nature of evil and how trauma silences its victims. Whatever Christabel witnesses leaves a lasting mark on her and robs her of her voice.
The old oak tree
The site of Christabel's prayer is also where she discovers Geraldine. It acts as a boundary between the sacred and the ordinary—Christabel visits to connect with the divine but instead confronts something that opposes that connection.
The serpent / snake's eye
Geraldine's true nature is revealed in her eyes, momentarily narrowing to resemble a serpent's. Bracy's dream clarifies the symbolism: the snake wrapped around the dove represents Geraldine entwining herself around Christabel. The serpent embodies its usual connotations — deceit, the Fall, and evil disguised as beauty.
The mastiff
The old dog snoozes while Geraldine arrives, letting out an annoyed groan without waking up. She embodies instinct, sensing that something is off but unable to respond — much like Christabel, who feels the threat but finds herself unable to speak or take action against it.
The dead mother
Christabel's mother passed away the moment she was born, vowing to return on her daughter's wedding day. Her spirit tries to watch over Christabel and shield her from Geraldine, but ultimately gets driven away. She symbolizes the loss of maternal protection and highlights the unique vulnerability of a daughter who grows up without her mother.
The dove
In Bracy's dream, a dove named Christabel flutters helplessly on the ground, a snake coiling around its neck. The dove represents innocence, piety, and peace — all qualities that Christabel embodies — and its vulnerability in the dream serves as a foreboding sign of Geraldine's actions.

§06Historical context

Historical context

Coleridge started working on Christabel in 1797, a time that also gave us The Rime of the Ancient Mariner and Kubla Khan. He revisited it in 1800 but never finished it, leading to its circulation in manuscript form for years before it was finally published in 1816—largely thanks to Lord Byron, who had heard it read aloud and advocated for its release. By that time, it had already made an impact on writers like Walter Scott and Byron himself. The poem is central to the Romantic Gothic tradition, incorporating medieval ballads, folklore about vampires and witches, and the period's interest in the supernatural as a way to delve into psychological experiences. Coleridge chose to use accentual verse—focusing on stresses instead of syllables—as a nod to old English poetry. The fact that the poem remains unfinished has sparked extensive critical discussion, with some critics suggesting that its incompleteness carries its own significance, while others believe Coleridge simply lost his way, similar to what happened with Kubla Khan.

§07FAQ

Questions readers ask

Coleridge never provides a clear answer, and that ambiguity is intentional. The character shares traits with various folkloric beings: she can't cross a threshold without being carried (similar to vampire lore), she drives away a protective spirit, her eyes become serpentine, and she casts a silencing spell. Common interpretations suggest she is a lamia (a classical creature that seduces and preys on the innocent), a witch, or a vampire. Coleridge's brilliance lies in keeping the classification open — the true horror affects Christabel, rather than simply identifying a specific type of monster.

Citation

Cite this poem

MLA

Coleridge, Samuel Taylor. "Christabel." Storgy, https://storgy.com/poems/christabel-samuel-taylor-coleridge/.

APA

Coleridge, S. T. (n.d.). Christabel. Storgy. https://storgy.com/poems/christabel-samuel-taylor-coleridge/

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