Geraldine enters the poem a fallen woman. After being seized by five warriors and left by an oak tree, she is found by Christabel, who ventured late into the woods to pray for her betrothed knight. Geraldine is found "drest in a silken robe of white / That shadowy in the moonlight shone" (83). After hearing Geraldine's horrific account and learning that she is of noble birth, Christabel instantly sympathizes with her, perhaps seeing her own virginal purity in the white-clad woman. However, it soon becomes clear to the reader that Geraldine is not another innocent heroine. A series of strange occurrences, beginning with the description of her pale skin and "blue-veined feet unsandal'd," (83) and continuing with her unwillingness to pray to the virgin Mary, the strange wailing of the dog, and the reigniting of the flame, all reveal an unseen power to Geraldine. As the women approach the castle, Geraldine sinks in pain, and "Christabel with might and main / Lifted her up, a weary weight, / Over the threshold of the gate" (85). Geraldine moves freely as soon as she enters the castle, and the physical act of carrying Geraldine forces Christabel to take on a masculine role.
Geraldine again wavers between masculinity and femininity as the women enter Christabel's chamber. Deciding to pray before bed, Geraldine stands before a carved angel while Christabel tries to sleep. However, instead of prayer, she witnesses Geraldine, with her eyes rolling around in her head, and a short intake of breath, drop her robe in front of her. This act of sexuality in place of religious duty openly mocks Christabel's piety throughout the beginning of the poem. After most likely being raped by the gang of men, Geraldine is conscious of the way men view the female body. Seeing nothing but purity in Christabel, Geraldine promises that she "wilt know to-morrow, / This mark of my shame, this seal of my sorrow," (89) essentially pledging to introduce her to the condemned world of female sexuality. Christabel awakens the next morning feeling as though she has committed an unknown sin, and prays dutifully.
Geraldine's dark intentions remain unseen by Christabel until her meeting with Sir Leoline the following morning. The baron shows Geraldine particular attention and Christabel, after hearing the bard Bracy's dream of the green snake, realizes that she is the dove, soon to be consumed by the viper. Geraldine's eyes then appear to be "shrunk in her head, / Each shrunk up to a serpent's eye, / And with somewhat of malice, and more of dread, At Cristabel she looked askance," (97). The serpent imagery conveys masculinity, sexuality, and knowledge, behaviors that Christabel has both been ignorant of and denied. She falls into a "dizzy trance" and shuddering "aloud, with a hissing sound," (97) Christabel unleashes the darker part of herself, realizing at once that her fears were within herself. She attempts to repress these feelings again, urging her father to send Geraldine away, but it only angers him.
Coleridge's characterization of Geraldine is interesting to me because she seems to be paradoxically bound to both purity and sexuality. Given the sudden ending of the poem, it is difficult not to wonder how Christabel's knowledge of herself and Geraldine would have affected her situation. How Christabel chooses to handle herself in future confrontations between herself and Geraldine, her father, or even her betrothed knight would perhaps have established Geraldine's ultimate purpose in the poem.
I was searching online for artistic representations of "Christabel" and found, other than the two images I posted, this music video named after, and influenced by, the poem.
If we take Geraldine to be the sexual other of Christabel, what purpose do you think she would have played in the remainder of the poem? Who, if either, would have overpowered the other in the end?
Geraldine again wavers between masculinity and femininity as the women enter Christabel's chamber. Deciding to pray before bed, Geraldine stands before a carved angel while Christabel tries to sleep. However, instead of prayer, she witnesses Geraldine, with her eyes rolling around in her head, and a short intake of breath, drop her robe in front of her. This act of sexuality in place of religious duty openly mocks Christabel's piety throughout the beginning of the poem. After most likely being raped by the gang of men, Geraldine is conscious of the way men view the female body. Seeing nothing but purity in Christabel, Geraldine promises that she "wilt know to-morrow, / This mark of my shame, this seal of my sorrow," (89) essentially pledging to introduce her to the condemned world of female sexuality. Christabel awakens the next morning feeling as though she has committed an unknown sin, and prays dutifully.
Geraldine's dark intentions remain unseen by Christabel until her meeting with Sir Leoline the following morning. The baron shows Geraldine particular attention and Christabel, after hearing the bard Bracy's dream of the green snake, realizes that she is the dove, soon to be consumed by the viper. Geraldine's eyes then appear to be "shrunk in her head, / Each shrunk up to a serpent's eye, / And with somewhat of malice, and more of dread, At Cristabel she looked askance," (97). The serpent imagery conveys masculinity, sexuality, and knowledge, behaviors that Christabel has both been ignorant of and denied. She falls into a "dizzy trance" and shuddering "aloud, with a hissing sound," (97) Christabel unleashes the darker part of herself, realizing at once that her fears were within herself. She attempts to repress these feelings again, urging her father to send Geraldine away, but it only angers him.
Coleridge's characterization of Geraldine is interesting to me because she seems to be paradoxically bound to both purity and sexuality. Given the sudden ending of the poem, it is difficult not to wonder how Christabel's knowledge of herself and Geraldine would have affected her situation. How Christabel chooses to handle herself in future confrontations between herself and Geraldine, her father, or even her betrothed knight would perhaps have established Geraldine's ultimate purpose in the poem.
I was searching online for artistic representations of "Christabel" and found, other than the two images I posted, this music video named after, and influenced by, the poem.
Discussion Questions
What role do you think the men (the baron, the bard, the knight) play in fueling or discouraging Christabel's sexual awakening? How does Geraldine influence this?If we take Geraldine to be the sexual other of Christabel, what purpose do you think she would have played in the remainder of the poem? Who, if either, would have overpowered the other in the end?
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