Samuel Taylor Coleridge’s unfinished Gothic poem Christabel Invests Themes of Innocence, Supernatural Horror and Seduction, leaving readers a creepy story about the growing influence of a vampire, writes William Bove writes
Christabel by Samuel Taylor Coleridge
Christabel by Samuel Taylor Coleridge is a spooky mix of Gothic horror and romance. Originally intended as a three -part poem, only two parts were completed, so the story was not finished. Coleridge has never completed it, because personal tragedies and creative struggles have removed his desire to continue.
The poem did not leave him uninspired or disgusted by its creation. However, the toll that it took on him left him as emptied as his opponent, Geraldine, the vampire. It is suggested that colleague poets, including William Wordsworth, borrowed ideas from Coleridge, sometimes even as their own claims. Although Wordsworth remained an old friend, he does not plagiarize the work of Coleridge. Instead, he supported him throughout his life. Unfortunately, their friendship ended because of the growing selfishness and serious struggles of coleridge with mental health, including deep depression and fear, which may have been symptoms of a bipolar disorder.
The first part of Christabel was written in 1797, while the second was completed in 1800. The last part never came true. The poem opens with a creepy feeling of obstinacy that becomes deeper when the story unfolds, the weave of character, theme and mood together with rich Gothic images.
The scene is located in a dark forest around a castle at midnight. Christabel, a young and virtuous girl, ventures into the forest to pray for the person she loves. The night is filled with disturbing sounds – crying dogs, a chimney clock and a crow peck – all traditional signs of imminent danger. These creepy elements build up tension and predict the threat lurking in the shade.
In the forest, Christabel Geraldine meets a pale and tired woman who claims that she has been abandoned by men who will soon return for her. Considered by compassion, Christabel Geraldine brings back to the castle. Strange signs, however, indicate the true nature of Geraldine. She returns from the iron gates of the castle and becomes uncomfortable in the presence of stone angels – both symbols of divine protection.
These reactions, rooted in folklore, suggest that Geraldine is not an ordinary woman but a vampire. The romance of the poem attracts readers in this dark, mysterious world, where an unpleasant danger looms up and closer to Christabel.
Once in the castle Geraldine becomes weaker. Christabel offers her a place to rest, leading to an implicit temptation. However, Geraldine does not use traditional allure, but rather comfort and protection. She presses Christabel on her bosom, drenched her touch with a spelly power. The influence of magic is unmistakable – the presence of Geraldine leaves Christabel weakened and in rapture.
This scene also supports the theory that Geraldine is a vampire. Folklore often attributes vampires with the ability to charm and hypnotize their victims, either by direct view or an illusion of vulnerability. Christabel is deeply affected and suggests that she fell under the supernatural control of Geraldine.
As the poem progresses, Christabel has a vision of an old, corpse-like bosom and a different indication of Geraldine’s undead nature. The spell breaks for a moment, but Christabel remains too entangled by the influence of Geraldine to resist.
At some point the true form of Geraldine is partially revealed. Her eyes resemble those of a snake, and something shines unnatural on her. These details solidify her like an inhuman, malignant power. Her aversion to iron and religious images, along with her lifeless, cold body, reinforces the idea that she is a being of the undoden. Her presence leaves both Christabel and her father in a weakened state, which further suggests the ability of a vampire to dominate the living.
Nevertheless, the conclusion of the poem remains unwritten. We will never know the fate of Christabel, nor that of her father or Geraldine. Christabel, who feels Geraldine’s growing evil, tries to warn her father, but she is too empty to let him listen. He also falls under the spell of Geraldine and ignores his daughter’s desperate supplications. This last moment means that the vampire checking goes beyond innocence – it entangles everyone who crosses her way.
Fun fact: Samuel Taylor Coleridge is considered an important figure in the romantic literary movement for his masterful use of language, symbolism and exploration of the supernatural in poetry.
What do you think of the unfinished poem Christabel of Coleridge? Do you believe that Geraldine was a vampire, or do you interpret her differently? Share your thoughts below!
