Hello and welcome to the Discourse. The Namesake is the title of the first novel by Jhumpa Lahiri published in 2003. Like her short stories in The Interpreter of Maladies, the central idea of "The Namesake" revolves around identity, belonging, and the immigrant experience or foreignness. The novel intricately explores the life of Gogol Ganguli, the son of Bengali immigrants, as he navigates the complexities of growing up in America while grappling with his cultural heritage. Gogol's name, which connects him to his family's heritage, becomes a source of confusion and conflict as he navigates the complexities of growing up in America while grappling with his cultural heritage. The dynamics within the Ganguli family illustrate the challenges of maintaining cultural ties while adapting to a new environment. As the title suggests, names are significant symbols throughout the novel, representing personal and cultural identity. To grapple with his inner conflicts, Gogol changes his name. This name change reflects his desire to distance himself from his past, leading to deeper questions about self-acceptance. The novel poignantly captures the complexities of navigating multiple identities and the impact of cultural heritage on personal growth. Lahiri's exploration of these themes provides a rich narrative that resonates with anyone who has experienced the challenges of balancing diverse cultural influences.
Characters of The Namesake:
Gogol Ganguli is the protagonist of the novel. He is the son of Ashoke and Ashima Ganguli. Growing up in a suburban town in Massachusetts, with intermittent, long trips to Calcutta, Gogol quickly becomes conscious of the difference between his parents’ culture and the world in which he lives. He comes to hate the name Gogol, embarrassed by its unique oddity. When he turns eighteen, before leaving for Yale, he legally changes his name to Nikhil. Ashoke Ganguli is originally from Kolkatta. As a young man, he faced a train crash in India. He survived because he was reading a short story by Nikolai Gogol when the crash occurred, and rescuers saw him move the book in the wreckage. Ashoke moves to America to study fiber optics. He earned his doctorate from MIT and works as a professor in the Boston area. His pet name, by which he is known at home in India, is Mithu. His family arranges his marriage to Ashima. Ashima was raised in Calcutta and married Ashoke having only met him briefly. She moves with him to Cambridge, Massachusetts, and stays in a suburb of Boston to raise her family. She faces difficulties in settling in America because of cultural differences. She tries to maintain her cultural roots by organizing social gatherings of the Indian community in Boston. In India, she is called Monu by her family members. Sonia Ganguli is the younger sister of Gogol and the daughter of Ashima and Ashoke. As a teenager, she struggles with the divide between her American friends and her Indian background and moves to California for college. After her father’s death, she comes back to Ashima to take care of her. She gets romantically involved with Ben, a Jewish-Chinese journalist in Boston. Ruth is an English major at Yale who becomes Gogol’s first girlfriend. She decides to study abroad for a semester at Oxford, and then extends her stay over the summer. After her return, they find that they are not as close as they were before and they break up. Gogol’s second serious girlfriend is Maxine Ratliff, a History graduate from Barnard. She belongs to a rich family. Gogol falls in love with her effortless beauty and elegant, rich lifestyle and moves to live with her at her home. However, he begins feeling for his family after the death of his father and feels that Maxine is an outsider and soon they break up. Maushumi Mazoomdar is a young Indian American girl who grew up in London. She is a PhD student at NYU. While her family wishes her to marry someone of Indian background she romanticizes marrying someone from other cultures. Her parents arrange her marriage with Gogol after Moushumi breaks off an engagement to Graham just before their wedding. Like Gogol, she too struggles with her identity, family background, and surroundings. Because of their similar experiences, they come close. They decide to move to Paris where Maushumi begins an extramarital affair with Dimitri Desjardins, an old crush of Moushumi who works as an adjunct professor of German literature. She divorces Gogol when he comes to know about the affair.
Summary of ‘The Namesake’:
The novel begins in Cambridge, Massachusetts, in 1968. Ashoke Ganguly moved to Boston and began graduate school after barely surviving a catastrophic train accident in India. He barely survived the train accident. He was discovered by the rescue party because of the blowing pages of the book he had been reading when the train derailed—a copy of The Collected Stories of Nikolai Gogol. He believes Gogol saved his life in the train accident.
A few years later, his parents and Ashima’s parents arranged their marriage, and Ashima left Calcutta to join Ashoke in Boston. As the novel begins, Ashima is pregnant. She makes a snack for herself as she contemplates her recent life. Ashima was apprehensive of leaving India to settle in the US but after her marriage, she dutifully did so to accompany her husband. However, her life is not easy. She feels lonely and homesick in America, clinging to letters from her family and devising makeshift Indian recipes with the ingredients she can scrounge together. As Ashima feels labor pains, Ashoke takes her to the hospital where she gives birth to their first child. Ashoke and Ashima want to wait for his grandmother’s letter to suggest a name for their son. However, the doctor suggests that they should choose a nickname for the birth certificate of their son. Ashoke decides to name him “Gogol,” the writer whose book saved Ashoke’s life.
The family settles into life in Cambridge, with Ashima learning to take Gogol around on her errands. As the family prepares for its first trip back to Calcutta, Ashoke and Ashima learn that Ashima’s father has died suddenly. Their trip is shrouded in mourning. Ashima, especially, misses her parents and her home in Calcutta, despite the family’s growing network of Bengali friends in the Boston area.
By 1971, the Gangulis have moved from Harvard Square to a university town outside Boston. After two years in university-subsidized housing, Ashima and Ashoke decide to buy a home. The new house is on Pemberton Road, and there are no Bengali neighbors. On the first day of Gogol's kindergarten, his parents tell the principal, Mrs. Lapidus, that she should call Gogol by his formal name, "Nikhil." But she overhears them referring to him as "Gogol" and asks him what he would like to be called. When he answers "Gogol," it sticks. Ashima gives birth to Gogol's little sister, Sonia, in May. In the next years, Ashoke finds out about the deaths of both his parents and Ashima finds out about the death of her mother. They learn about these deaths by phone call.
Growing up, Gogol gradually realizes that his name is quite unusual, and he really doesn't like that. He doesn't like that at all. Annoyed by the Bengali customs of his parents, Gogol totally embraces American popular culture. On Gogol's fourteenth birthday, his father comes into his room and gives him his birthday present: The Short Stories of Nikolai Gogol. Gogol is more interested in listening to the Beatles than looking at the book, and he is unable to appreciate it. Ashoke tries to tell him about the train accident but stops because he realizes Gogol cannot yet understand. Gogol begins his junior year of high school in the fall. His English teacher Mr. Lawson knows about the Russian author Gogol and assigns the class to read one of his short stories, "The Overcoat."
The summer before he leaves to attend college at Yale, Gogol officially changes his name to Nikhil, but the name Gogol stays forever with him. He meets Ruth, an English major, and they date for a while, although he never introduces her to his parents. The next year, they break up. Gogol takes regular trips home to visit his family in Boston, and on one of these trips, Ashoke tells Gogol the story of the train crash that influenced his choice of Gogol’s name. Gogol asks him if he reminds him of that night that he almost died, and his father says no; he reminds him of "everything that followed."
In 1994, Gogol began working as an architect in New York City. He meets Maxine, whose carefree, intellectual parents represent everything his parents are not. He falls in love with the girl and her family. Her parents, Lydia and Gerald, are incredibly wealthy, and they interact in a casual but intelligent way that is totally opposite the behavior of Gogol's own parents. He begins spending most of his time at their home rather than at his own apartment, and he feels effortlessly incorporated into their lives. Meanwhile, Ashoke is scheduled to go to Ohio to teach at a University for nine months. Ashima calls Gogol to meet them before they leave but Gogol neglects. He visits them for a few minutes while going for lunch with Maxine.
One day, while Ashima was waiting for Ashoke to return home, he called her to inform her that he was facing stomach problems so he went to the hospital. After a few hours, she calls back and comes to know that Ashoke suffered a massive heart attack and died. Gogol travels to Ohio to collect his father’s remains and empty his apartment, then he returns to Boston to grieve with his mother and Sonia. He feels that his father died because of his neglect and is wracked with guilt. Maxine is sympathetic to Ashoke’s death, but she doesn’t understand why Gogol grieves with his family for so long. She tries to approach him but Gogol feels that despite all her goodness, she is an outsider to his family. They break up.
Ashima encourages him to call Moushumi Mazoomdar, the daughter of family friends whom Gogol has grown up around at family parties. She tells him that she moved to Paris to study French literature, and then moved to New York to follow her ex-fiancé, an American named Graham. After the fight that ended their engagement, Moushumi had taken the rest of the semester off from NYU and mourned, finally returning to school in the fall. It was then that she had met Gogol. Gogol and she begin to date seriously. They marry within a year, soon after Gogol’s 30th birthday, in a traditional Bengali ceremony organized by their families. Soon, however, Gogol realizes that he dislikes Moushumi’s friends and her desire to be someone different. Moushumi decides to attend a conference in Paris where she is invited to present a paper on her thesis. Gogol accompanies her on a vacation. Moushumi expresses her longing to live in Paris, but Gogol feels out of place the entire time. Two days after their first wedding anniversary, Moushumi comes across a resume at the university from a man named Dimitri Desjardins whom she had fallen in love with in high school. She meets him and soon develops an extramarital affair. However, she tries to hide it from Gogol. Somehow Gogol comes to know about her extramarital affair and they get divorced.
Ashima is living with Sonia who is having an affair with Ben, a Chinese Jewish journalist. Sonia and Ben have planned to go to Kolkatta to get married in the traditional Indian way. Ashima decides to sell the house and spend six months of each year living in Calcutta, and the other six months living in America with her children, Sonia and Gogol. She arranges for one last Christmas party at the Ganguli house on Pemberton Road. Gogol visits there to help his mother pack up the family home and prepare for her last Christmas Eve party. While packing, Gogol comes across the book of Nikolai Gogol's short stories that his father gave him for his fourteenth birthday. He sees the inscription his father has written inside: "The man who gave you his name, from the man who gave you your name." He takes his time while remembering his father and then begins to read “The Overcoat.” So this is it for today. We will continue to discuss the history of Indian English literature. Please stay connected with the Discourse. Thanks and Regards!
Hello and welcome to the Discourse. Bowdlerize is a literary term that refers to the practice of removing or altering content considered inappropriate or offensive from a text. This term originates from the name of Thomas Bowdler, who published a censored version of Shakespeare's works in the early 19th century, aiming to make them more acceptable for family reading. Thomas Bowdler was an English physician known for publishing The Family Shakespeare, an expurgated edition of William Shakespeare's plays edited by his sister Henrietta Maria Bowdler. The purpose of this edited version was to make Shakespeare’s plays more appropriate than the original for 19th-century women and children. Mrs. Harriet Bowdler was an English religious author. She removed anything that seemed irreverent or immoral, deleting about 10% of the original works. The resulting edition was published under the name of her brother, Thomas Bowdler, after whom this type of treatment came to be known as Bowdlerization.
Another term for Bowdlerization is Expurgation or censorship by political correctness. It is a form of censorship that involves purging anything deemed noxious or offensive from an artistic work or other type of writing or media.
The term bowdlerization is often used in the context of the expurgation of lewd material from books. The main purpose of Bowdlerization is to make literature more suitable for certain audiences, especially children or those who might be offended by explicit content. The content to be altered or expurgated may include, sexual content, profanity, violence, and racial or cultural references.
Some editions of Mark Twain’s The Adventures of Huckleberry Finn (by NewSouth Books) have altered or removed racial slurs to make the text more palatable.
Agatha Christie’s novel ‘And Then There Were None’ was originally published under the title ‘Ten Little Niggers’ in 1939 and it included a poem by the same title which serves as a major plot element. The title was changed before its publication in America in 1940 to ‘And Then There Were None’ and the poem too was altered as ‘Ten Little Indians.’
Bowdlerization has been heavily criticized again and again. Critics argue that bowdlerization can distort the original meaning and artistic integrity of the work. It raises questions about censorship and the balance between protecting audiences and preserving creative expression. Altering texts can compromise the author's original intent and artistic expression. Original texts, even with challenging content, provide valuable insights into historical contexts, social issues, and human experiences. Some believe that confronting uncomfortable themes is essential for understanding and addressing societal issues. Bowdlerization can lead to a sanitized view of history and culture, potentially perpetuating ignorance. Once the practice of bowdlerization begins, it can lead to increasingly arbitrary or excessive alterations, diminishing the richness of literature.
It should be noted that a student edition of the novel Fahrenheit 451 was expurgated or bowdlerized to remove a variety of content. This was ironic given the subject matter of the novel involves burning books. Fahrenheit 451 by Ray Bradbury has been censored in multiple ways, including removing words, changing passages, and blacking out words. The novel has also been banned for its depictions of drugs, religious beliefs, and vulgarity.
So this is it. We will continue to discuss literary terms and devices. Please stay connected with the Discourse. Thanks and Regards!
Hello and welcome to the Discourse. The Byronic hero is a fascinating literary archetype named after the English poet Lord Byron. This character type is often marked by a blend of traits that challenge traditional heroism. A Byronic Hero is a variant of a Romantic hero. British poet, critic, and historian Lord Macaulay described a Byronic hero as "a man proud, moody, cynical, with defiance on his brow, and misery in his heart, a scorner of his kind, implacable in revenge, yet capable of deep and strong affection". The term is named after Lord Byron, a prominent figure in the Romantic literary movement, known for his poetry and flamboyant lifestyle. His works often featured protagonists who embodied traits that would become synonymous with the Byronic hero. Byron introduced this archetype in several of his own works. In his semi-autobiographical narrative poem Child Harold’s Pilgrimage, the protagonist, Childe Harold, is a disillusioned wanderer who embodies the traits of the Byronic hero. Similarly, the central character of his dramatic poem Manfred is deeply introspective, grappling with guilt and existential despair, and thus, a Byronic hero.
Characteristics of a Byronic Hero:
The Byronic hero reflects the Romantic ideal of the individual as a powerful figure, often at odds with society, representing a departure from traditional heroic figures. A Byronic Hero typically showcases a Rebellious Nature. They often defy societal norms and conventions, displaying a strong sense of independence. The Byronic Hero often suggests a Complex Morality. They possess a troubled past and are often haunted by guilt or a sense of loss, making their moral compass ambiguous. They understand their complexities and they tend to be deeply Introspective, struggling with their inner demons and existential questions. Though morally ambiguous, a Byronic Hero is Charismatic, typically charming and magnetic, drawing others to them despite their flaws. Yet, they remain introverted and Isolated. Byronic heroes often feel alienated from society and struggle with feelings of loneliness and despair. Byronic Heroes are Passionate, and driven by intense emotions, whether it be love, anger, or revenge.
Explanation of a Byronic Hero:
Let us take an example from Bollywood. Vijay Verma, Amitabh Bachchan's character in the movie Deewar is a typical Byronic Hero. He defies societal norms and expectations. He rises from humble beginnings to become a powerful figure in the underworld, showcasing his rebellious spirit against a corrupt system. His character is marked by moral ambiguity. While he engages in criminal activities, his motivations stem from a desire to protect his family, take revenge, and rise above poverty, making him a sympathetic figure. Vijay grapples with his choices, often reflecting on his life and the consequences of his actions. His internal struggles are a hallmark of the Byronic hero. Despite his success, he suffers isolation, alienation, and being left out. Vijay's ambition and desire for revenge ultimately lead to tragic outcomes, reflecting the classic traits of a Byronic hero who is often doomed by his own flaws.
Lord Byron as a Byronic Hero:
Lord Byron was known for his defiance against societal norms. He lived a lifestyle that challenged the conventions of his time, including his numerous love affairs and his criticism of social and political issues. His poetry often reflects inner conflict and moral ambiguity. Byron’s characters grapple with their own flaws and societal expectations, mirroring his own struggles with morality. Childe Harold’s Pilgrimage is considered semi-autobiographical. He was deeply introspective, often reflecting on his emotions, desires, and regrets in his work. His poetry reveals a profound awareness of his own psychological turmoil. He was known for his charm and magnetism and despite his fame, Byron often felt alienated and misunderstood. His travels and exile from England reflect his struggle with belonging and acceptance. His passionate pursuits, whether in love or politics suggest his traits as a Byronic Hero.
Examples of Byronic Heroes from Literature:
Some of the famous Byronic Heroes from literature include Emily Bronte’s Heathcliff in Wuthering Heights. He is a brooding, vengeful, and deeply passionate character.
Charlotte Bronte’s Mr. Rochester in Jane Eyre again is a Byronic Hero with a mysterious, flawed, and emotionally complex persona. Lord Byron himself exemplified a Byronic Hero as Don Juan in his satirical epic poem Don Juan. He is charismatic, morally ambiguous, and a lover of adventure.
Mary Shelly's 'monster' in Frankenstein is a Byronic Hero expressing alienation, seeking acceptance, and grappling with identity. Oscar Wilde’s Dorian Gray in The Picture of Dorian Gray is a fine example of a Byronic Hero who is aesthetic-driven, morally corrupt, and obsessed with youth.
Charles Dickens’ Rigaud in Little Dorrit is manipulative, darkly charismatic, and morally ambiguous. F. Scott Fitzgerald’s Jay Gatsby in The Great Gatsby is an Anti-hero, but he can be suggested as a Byronic Hero too as he is a dreamer, self-made, and trapped by his own desires. Captain Nemo in Jules Verne’s ‘Twenty Thousand Leagues Under the Sea’ is a typical example of a Byronic Hero. He is mysterious, reclusive, and driven by personal vendettas. Edgar Allan Poe’s Roderick Usher in The Fall of the House of Usher can be described as a Byronic Hero who is sensitive, melancholic, and haunted by family legacy. Doctor Faustus from Christopher Marlowe’s play Doctor Faustus is often considered a Byronic Hero due to his characteristics like extreme ambition, intellectual arrogance, a rebellious spirit against societal norms, and a tragic downfall stemming from his own choices, mirroring the typical Byronic hero archetype. Hamlet and Macbeth are two characters from Shakespeare's plays that are sometimes considered Byronic heroes.
So this is it for today. We will continue to discuss literary terms and devices. Please stay connected with the Discourse. Thanks and Regards.
Hello and welcome to the Discourse. William K. Wimsatt and Monroe Beardsley are influential figures in the field of literary criticism, particularly known for their contributions to New Criticism. Wimsatt was an American professor of English, literary theorist, and critic associated with the movement of New Criticism while Beardsley was an American philosopher of arts. Wimsatt and Beardsley significantly influenced literary criticism by advocating for an approach that prioritizes the text (Close Reading). Their work has been foundational in developing New Criticism, impacting how literature is studied and analyzed in academic settings. Their theories continue to spark discussions about the role of the author, reader, and text in literary interpretation.
The Intentional Fallacy:
The Intentional Fallacy is a significant idea introduced by William K. Wimsatt and Monroe Beardsley in their influential essay "The Intentional Fallacy," published in 1946. The essay was reproduced in their book The Verbal Icon in 1954. The intentional fallacy refers to the error of attributing a work's meaning to the intent of the author. Wimsatt and Beardsley argue that interpreting a text based on what the author intended to convey leads to a misunderstanding of the work itself. Seeking to uncover an author's intentions can limit the appreciation of a text and distract from its intrinsic qualities. Wimsatt and Monroe argue that "the design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art". They say that the author cannot be reconstructed from a writing — the text is the primary source of meaning, and any details of the author's desires or life are secondary. Intentional Fallacy occurs when a critic puts too much emphasis on personal, biographical, or what he calls “external” information when analyzing a work. When a critic emphasizes too much on intentional criticism, it becomes subjective criticism, and so ceases to be criticism at all. Proper criticism must be evidence-based and objective. Critical inquiries are resolved through evidence in and of the text — not “by consulting the oracle” or the author who most probably cannot assert that the ‘intentions’ guessed’ by the critic were his or not.
Consider Robert Frost's poem "The Road Not Taken." A critic argues that the poem's meaning hinges on Frost's personal struggle with choices in his life, citing his biography as the basis for interpretation. Wimsatt and Monroe suggest that one should analyze the imagery of the roads, the metaphor of choice, and the poem’s structure to derive meaning without relying on Frost's intentions, his biography, or the period when he wrote the poem.
Similarly, In "Hamlet," Hamlet's delay in avenging his father's murder. A critic claims that Shakespeare wrote Hamlet's indecision because he was grappling with his own fears about action and morality. However, the correct approach would be to analyze Hamlet’s soliloquies, themes of existentialism, and the play's philosophical questions which will provide a richer understanding of the character's motivations independent of Shakespeare's personal life.
While analyzing F. Scott Fitzgerald's "The Great Gatsby," a reader asserts that Gatsby's tragic end reflects Fitzgerald's own disillusionment with the American Dream, interpreting the novel solely through Fitzgerald's biography. However, one should examine the symbolism of the green light, the role of wealth, and the social critiques within the text to understand its themes.
These examples illustrate how Intentional Fallacy can lead to flawed readings of literature by overly emphasizing the author's intent rather than engaging with the text itself. By concentrating on the text's language, structure, and themes, readers can uncover richer meanings and interpretations.
The Affective Fallacy:
The Affective Fallacy is another important concept introduced by William K. Wimsatt and Monroe Beardsley in their essay "The Affective Fallacy," published in 1949. This idea complements their earlier discussion of the Intentional Fallacy and plays a significant role in the field of New Criticism. The affective fallacy refers to the error of evaluating a literary work based on the emotional responses it elicits in readers. Wimsatt and Beardsley argue that such responses can lead to subjective interpretations that may not accurately reflect the text's meaning or value. They suggest that literary works are autotelic and that literary criticism should analyze the text itself—its form, structure, and language—rather than rely on the feelings it provokes in its audience. The essay is often considered a critique of ‘Reader-Response’ as Wilmsatt and Monroe contend that relying on emotional responses can lead to inconsistencies and subjective interpretations, as different readers may have vastly different reactions to the same text. They caution against allowing personal feelings to overshadow the text's inherent qualities. If a reader claims that a poem is "good" simply because it made them feel nostalgic, they are committing the affective fallacy. A more robust analysis would involve looking at the poem's language, form, and how those elements contribute to the overall meaning. In reading "Pride and Prejudice" by Jane Austen, a critic who focuses solely on how the novel's romantic elements make them feel happy or sad is overlooking the social critiques and character development present in the text. A reader claims that Keats's poem "Ode to a Nightingale" is profound simply because it evokes feelings of melancholy and nostalgia for lost youth. The reader's interpretation is based solely on personal emotional response rather than analyzing the poem’s rich imagery, themes of mortality, and the contrast between the ideal and the real. This causes an error in judgment or critique of the poem. While reading "Great Expectations" by Charles Dickens, a reader expresses that they love the novel because it makes them feel hopeful about life and personal transformation. While emotional engagement is valid, this analysis neglects the novel’s social commentary on class, crime, and rehabilitation, which are critical to understanding its themes.
The Verbal Icon:
The Verbal Icon: Studies in the Meaning of Poetry is a significant work authored by William K. Wimsatt and Monroe Beardsley that was published in 1954. This collection of essays focuses on the nature of poetry and the principles of literary criticism, particularly from the perspective of New Criticism. The book reintroduced two important essays "The Intentional Fallacy" and "The Affective Fallacy," both key texts of New Criticism. The book aims to analyze how meaning is constructed in poetry and to explore the relationship between language and artistic expression. It consists of several essays that discuss various aspects of poetry, including imagery, metaphor, and the role of the reader. The authors argue that poetry conveys meaning through language itself rather than through external references or authorial intention. They emphasize the importance of close reading to uncover the layers of meaning within a poem. In this book, Wimsatt and Beardsley theorize their concept of the intentional fallacy, asserting that a poem should be analyzed without considering the intentions of the poet. They encourage critics to focus on the text as an independent entity. They also discuss the affective fallacy, which suggests that the emotional responses of readers should not determine a poem's value or meaning, reinforcing the idea that meaning resides in the structure and language of the poem itself. The book explores how imagery and symbolism function in poetry, asserting that they are crucial for conveying complex meanings. The authors analyze how poetic devices contribute to the overall aesthetic experience of a poem. The book emphasizes the concept of Autotelic Text which refers to a work of art or literature that is self-contained and self-referential, meaning that its value and meaning are derived entirely from the text itself, rather than from external contexts such as the author's intentions or the audience's reactions. Autotelic texts encourage readers to appreciate the aesthetic qualities of literature, focusing on how language and structure create meaning and evoke emotions.
So this is it for today. We will continue to discuss literary theory and literary criticism. Please stay connected with the Discourse. Thanks and Regards!
Hello and welcome to the Discourse. Plato is considered one of the most influential thinkers and philosophers of the Ancient world. His ideas continue to have a profound influence on modern thought, particularly politics, education, and philosophy. Plato's ideas have influenced modern literature in many ways, including his views on poetry, rhetoric, and the role of art in society.
Plato was born around 428 B.C., during the declining years of the Golden Age of Pericles’ Athens. He witnessed the defeat of Athens by Sparta and the political chaos that followed. He was highly influenced by the pre-Socratic thinkers Pythagoras, Heraclitus, Homer, and Parmenides. His teachers included Cratylus and Socrates. As a youth, Plato observed the political change of the Oligarchic governmental setup of Athens shifting towards Direct Democracy. Socrates was condemned for corrupting the minds of the Athenian youth and Plato was one of his ardent students. Plato was disillusioned by the political turmoil and the consequences of democratic governance, particularly after the execution of his mentor, Socrates, which he attributed to the flaws of the democratic system. It was the end of the Golden Age and the wonderful flowering time of Greek art and literature was over. It was a period when philosophers and thinkers were criticizing dramas and poetry including that of Homer. Literature was considered immoral, corrupt, and degenerate and often faced hostile criticism. At the age of 40, Plato founded his Academy, the philosophical school in which he delivered lectures to students gathered from throughout the Greek world. Plato went against his own mentor Socrates's idea who questioned the very idea of a teacher’s ability to impart knowledge. Plato believed that the system of the Academy was going to lead to social progress. One of the students from northern Greece who joined the Academy was Aristotle. The Academy included an array of instructors teaching Geometry, History, Mathematics, Astronomy, and other subjects.
Important works of Plato:
His most important works include The Republic, Apology, Ion, Gorgias, Symposium, and Phaedrus. Plato wrote most of his works in the form of Dialogues, following the idea of the Socratic method. Scholars often group the works of Plato into three categories namely, Early, Middle, and Late. His works Apology, Georgia, and Ion are considered Early works while Republic, Phaedrus, and Symposium are considered Middle works.
Apology:
"Apology" is one of the dialogues written by Plato, which recounts the trial of Socrates in 399 BCE. Socrates was charged with corrupting the youth of Athens and impiety (not believing in the gods of the state). The "Apology" is divided into three main parts:
1) The Defense: Socrates addresses the charges against him.
2) The Verdict: The jury's decision on his guilt.
3) The Sentencing: Socrates proposes his own punishment and reflects on his fate.
Socrates argues that he is a seeker of truth and wisdom, not a corrupter. He believes that questioning and dialogue serve to enhance understanding and virtue. One of the most famous quotes from Socrates is: "The unexamined life is not worth living." He emphasizes the importance of self-reflection and philosophical inquiry. Socrates maintains his commitment to his principles, even in the face of death. He prioritizes his moral integrity over conformity to societal expectations. He cross-examines his accusers, questioning their knowledge and motives. He argues that he is being persecuted for his philosophical inquiries rather than any wrongdoing. Socrates claims that he is fulfilling a divine mission by encouraging others to seek wisdom and virtue.
After his defense, the jury finds Socrates guilty. In a dramatic turn, he suggests that he should be rewarded for his service to the city rather than punished, showing his unwavering commitment to his beliefs. Ultimately, he is sentenced to death by drinking hemlock.
Plato's "Apology" not only serves as a record of Socrates' trial but also presents profound philosophical reflections on ethics, knowledge, and the role of the philosopher in society. It highlights the tensions between individual conscience and societal norms, a theme that remains relevant today.
The Republic: The Republic is one of the most important works of Plato which is divided into ten sections or books. It is often placed in the middle period of Plato’s dialogues. In this work, Plato offers his arguments against Direct Democracy. He says that citizens often lack the necessary knowledge and expertise to make informed decisions on complex political issues. In a direct democracy, decisions are made by majority rule, which can lead to irrational choices. He also warns that charismatic leaders could manipulate public opinion and sway the masses, leading to decisions based not on reason but on emotional appeal. This can result in demagoguery, where leaders prioritize personal gain over the common good. Direct democracy can create instability as various factions vie for power and influence. Plato argued that this could lead to chaos and conflict, undermining the social order. In contrast to direct democracy, Plato proposed the idea of the philosopher-king in his work The Republic. He believed that the most qualified rulers should be wise philosophers who possess knowledge of the Forms, particularly the Form of the Good. Plato clearly supported Meritocracy over Popularity.
Allegory of the Ship:
In Books V-VI, Plato uses the Allegory of the Ship to illustrate his critique of democracy. He likens the state to a ship and the sailors to the citizens. Just as an untrained crew cannot successfully navigate a ship, an uneducated populace cannot effectively govern a state. Only those with navigational skills—knowledge of justice and governance—should steer the ship (the state).
Theory of Forms :
Plato’s ‘Theory of Forms’ is a framework for understanding reality, knowledge, and existence. He says that Forms are abstract, perfect, unchangeable concepts or ideals that transcend the physical world. The physical objects we encounter in everyday life are merely imperfect representations or copies of these ideal Forms. Forms represent the highest standard of quality. For example, the Form of Beauty itself is perfect, while beautiful objects in the physical world are only imperfect reflections of this Form. A beautiful object, say a rose, may appear beautiful to some people but some others may not find it beautiful, thus it is imperfect. However, beauty, an abstract idea, is perfect. Let’s take another example of Squares. If a group of students are asked to draw a square, each of the students will probably draw a different square. Some may draw a square with a side of 2 cm, and some may draw a square with a side of 10 cm. Some may not be so precise while drawing the angles to 90 degrees. Since each imitation of a square is different and depends on the individual drawing it, it is imperfect. The form, the abstract idea of square is perfect as it is the same and unchangeable for everyone. Unlike material objects, which are subject to change and decay, Forms are eternal and immutable. Forms are the essence of various properties, but they are separate from their physical manifestations. For instance, all circular objects share the Form of Circularity, which defines what it means to be a circle. The Form of Goodness, often regarded as the highest Form, represents the ultimate principle of goodness and the source of all other Forms. The Form of Beauty represents the essence of beauty, which all beautiful things attempt to emulate. Mathematical Forms are concepts such as numbers and geometrical shapes that exist as perfect Forms, separate from their physical manifestations. All tangible objects are imperfect copies of their respective Forms. For instance, a beautiful painting reflects the Form of Beauty but is not the Form itself. True knowledge, according to Plato, involves understanding the Forms rather than merely grasping the physical instances. This aligns with his belief that philosophers, who seek to understand the Forms, possess true knowledge. Plato suggested that the Forms represent the spiritual realm while the imitations or physical, tangible objects represent the Physical realm or the world of appearances based on those forms. Knowledge derived from the physical realm is considered inferior because it is based on perception and opinion rather than true understanding.
Allegory of the Cave:
The Allegory of the Cave is one of the most famous passages in Plato's work, The Republic. It serves as a powerful metaphor for his Theory of Forms.
Imagine prisoners who have been chained inside a dark cave since birth. They face a blank wall and cannot see the outside world. The only light comes from a fire behind them, which casts shadows on the wall they are watching. The prisoners perceive these shadows as reality since they have never seen anything else. They hear echoes from the outside world but cannot see the actual objects or people that produce these sounds. One prisoner manages to break free from their chains and escapes the cave. Initially, he is blinded by the sunlight outside and struggles to adjust to this new reality. As the escaped prisoner’s eyes adjust, he sees the real objects, the vibrant colors of nature, and eventually the sun, which represents the ultimate source of truth and knowledge.
The enlightened prisoner returns to the cave to free the others. However, he is met with resistance and disbelief. The remaining prisoners are comfortable in their ignorance and are hostile to the idea of leaving the cave. The allegory illustrates how difficult it can be to accept new ideas and truths that challenge established beliefs. The prisoners prefer the familiar shadows to the unknown reality outside. The Allegory of the Cave reflects Plato’s Theory of Forms, where the shadows represent the imperfect physical world, while the objects outside the cave symbolize the perfect Forms or Ideas that represent true reality. The journey from the cave to the outside world symbolizes the philosopher's path from ignorance to knowledge. It emphasizes the importance of education and the philosopher's role in society. Plato suggests that philosophers, having seen the truth, must return to the cave (society) and help others achieve enlightenment, even if they face resistance or hostility.
Criticism of Poetry:
The Republic reveals Plato’s complex views on art, representation, and the nature of knowledge. Plato argues that art or poetry is a form of imitation or mimesis and therefore it is deceptive, it distorts reality. He believes that poets create representations of reality rather than reality itself. Since poets imitate the world of appearances, they are two steps removed from the truth (the Forms). To explain his mimetic criticism of art, he used the example of a chair. Let us say a painter draws a picture of a chair. Now the physical real chair itself is imperfect and different from the real Form of the chair and the picture of a chair is a further imitation of that imperfect thing and hence it is much more imperfect and impure. The same is the case with poetry. Let us say a good deed is done by a person. Now this good deed is imperfect and an imitation of the Form of Goodness. If a poet decides to describe this good deed that actually happened, the words will further imitate what did happen and will further push it away from the Form of Goodness. Mimetic criticism views literary works as Imitation. According to Plato, because poetry imitates the material world, it ultimately misleads people about the nature of reality. He emphasizes that the physical world is just a shadow of the true world of Forms, making poetry a mere shadow of a shadow. Art or poetry is not good. It is thrice removed from reality because it is a copy of a copy of Form. Plato criticizes poetry for appealing primarily to emotions rather than reason. He argues that poetry can provoke strong emotional responses, leading individuals to act irrationally or unethically. Poetry, in Plato's view, can undermine rational thought and self-control. He worries that exposure to emotional content can lead people away from virtuous behavior, as they may become consumed by their passions rather than guided by reason. Plato believes that poetry can shape a person's character negatively. He argues that if individuals are exposed to negative portrayals of gods and heroes—such as immoral behavior—this can influence their own actions and attitudes. Let us say a popular hero, or actor smokes on the screen and drinks alcohol, the viewers who like him will be prompted to imitate him and thus, such depiction will promote vices in society. To protect society, Plato suggests that poetry should be censored to ensure that only morally uplifting and truthful representations are allowed. He particularly criticizes the portrayal of the gods in Homeric epics for their immoral actions. Plato places philosophy above poetry in the hierarchy of knowledge. He argues that philosophers seek to understand the eternal truths and the Forms, whereas poets merely convey subjective experiences and illusions. Despite his criticisms, Plato acknowledges that poetry can have a role in education if it promotes virtue and truth. However, he emphasizes that the primary aim should be to foster rational thought and moral development. One may say that the idea of Poetic justice raised its head from Plato’s The Republic.
Apart from these, Plato discussed rhetoric and the art of persuasion in Phaedrus. He discussed rhetoric, ethics, and the nature of power in Gorgias while debating the merits of rhetoric versus philosophy.
So this is it for today. We will continue to discuss the concepts and theory of Literary Criticism. Please stay connected with the Discourse. Thanks and Regards!
Hello and welcome to the Discourse. The Colossus is a poem by Sylvia Plath first published in her poetry collection ‘The Colossus and Other Poems’ in 1960. ‘The Colossus and Other Poems’ is the only book of poetry by Plath that was published during her lifetime. The title of the poem ‘The Colossus’ refers to The Colossus of Rhodes, an ancient wonder of the world that was a giant statue of the Greek sun god Helios astride two islands. An earthquake rocked the Rhodes island and the structure trembled down. The poet used the Colossus as an extended metaphor for the speaker dealing with the loss of her father. When it was standing upright, the statue was a symbol of strength, victory, and a seemingly all-powerful sun god. Kids often see their fathers as invincible, all-powerful providers, like Helios. The speaker loves her father to the extent that she worships him, and seeing him defeated by death seems to have shattered her as much as it did him. Thus, the poet uses the fall of the Colossus of Rhodes as a significant allusion. It symbolizes the speaker's relationship with her father and the impossibility of reclaiming the past. The speaker makes the reader feel the hugeness of loss she suffers after the death of her father.
Sylvia Plath was a confessional poetess, often depicting her own struggles, issues, and shortcomings in her poetry. It is also a well-known fact that she lost her father at the age of eight. Thus, it is safe to assume that the speaker is the poet, Sylvia Plath herself.
Structure of The Colossus:
It is a 30-line poem set in six stanzas of five lines each (quintains). The poem is written in free verse and the stanzas follow no particular rhyming scheme. The poet has used apostrophes, extended metaphor, symbolism, imagery, alliteration, allusion, caesura, and enjambment in the poem. The poem follows a conversational tone as if the speaker is conversing with the reader.
Summary of The Colossus:
Stanza 1 Lines 1-5
“I shall never get you put together entirely,
Pieced, glued, and properly jointed.
Mule-bray, pig-grunt and bawdy cackles
Proceed from your great lips.
It’s worse than a barnyard.”
The speaker begins with an apostrophe, expressing her exasperation to “you”, the Colossus of Rhodes, as she tries to perform a huge project. She addresses the broken ‘colossus’ or statue directly. The speaker seems to be admitting defeat. She's sure she'll never get this job done. Words like "pieced" and "glued" also conjure the image of someone trying to put together the shattered remnants of a statue. The speaker hints at the extended metaphor she has begun to elucidate. The remnants of the statue represent the memories of her father, who is no more.
The vivid sounds of animals create a cacophony, symbolizing chaos and lack of dignity. This imagery suggests that the remnants of the Colossus, once grand, have become something grotesque and disorganized in the speaker’s mind. The degrading comparison of the remnants of the statue to ‘worse than a barnyard’ suggests a sense of disappointment and frustration. The barnyard symbolizes raw, uncultured chaos, contrasting sharply with the grandeur one might expect from the giant Colossus in its grandeur.
Stanza 2 Lines 6-10
“Perhaps you consider yourself an oracle,
Mouthpiece of the dead, or of some god or other.
Thirty years now I have labored
To dredge the silt from your throat.
I am none the wiser.”
The speaker continues to mock the fallen statue of the Colossus while expressing her frustration at her loss. The speaker alludes to the Oracle of Delphi, who was known to offer prophecies from Apollo. She speculates that the colossus views itself as some sort of ‘oracle’ able to transmit the words of the dead, or even the words of some god, to the living. The speaker has tried hard for thirty years to remove the ‘silt’ or sand from the statue’s throat, but still cannot make sense of what it is trying to say. She may be mocking the fallen statue, but she's "labored" for "thirty years" to try and clear out its silty throat. It seems like, even though she resents it, she must care for it deeply in some way. The speaker still does not clarify the significance of the remnants of the statue or her relationship with it. Though she does clarify that it is something she once expected to get wisdom from, but now just can't—no matter how hard she tries.
Stanza 3 Lines 11-15
“Scaling little ladders with glue pots and pails of lysol
I crawl like an ant in mourning
Over the weedy acres of your brow
To mend the immense skull plates and clear
The bald, white tumuli of your eyes.”
In the third stanza, the speaker describes the vastness of the statue. The speaker describes herself crawling over the ‘acres’ of its brow or forehead, carrying pails of glue and Lysol (a disinfectant) like an ant in ‘mourning’ for this broken colossus. She is trying to mend its skull and clear the ‘tumuli’ – mounds, but also burial mounds, specifically – from the statue’s eyes. ‘Ant in mourning’ offers an excellent simile. One may never see an ant ‘mourning.’ The idea is that the memories and the loss of the grandeur of the statue are so enormous that no matter how much she tries, she cannot cover it. The speaker is yet not ready to actually declare or reveal the essence of her extended metaphor.
Stanza 4 Lines 16-20
“A blue sky out of the Oresteia
Arches above us. O father, all by yourself
You are pithy and historical as the Roman Forum.
I open my lunch on a hill of black cypress.
Your fluted bones and acanthine hair are littered”
In the 16th line, the poet uses caesura, breaking the line, and using a full stop in the middle of the line. And then she reveals the extended metaphor. She addresses “you”, the Colossus, as ‘O father,’ her dead father. The speaker also alludes to Electra mourning her murdered father, Agamemnon, from the trilogy of Greek tragedies by Aeschylus, Oresteia.
The word "pithy" implies substance and conciseness, suggesting that the father's essence is significant yet perhaps overshadowed by the passage of time. Comparing the father to the Roman Forum, a place of public life and history, suggests that he has left a lasting impact on the speaker's life. However, it also implies that he is now a relic of the past, revered yet distant.
The speaker takes a break and tries to go away from the colossus, the memories of her father. But as she sits to take her lunch, she notices, the ‘fluted bones’ and ‘acanthine hair’ of the colossus, her father littered here and there. This suggests that even if the speaker tries to get rid of the memories and grief of her father’s loss, she is unable to. It suggests that the speaker is left to sift through the remnants of their relationship.
Stanza 5 Lines 21-25
“In their old anarchy to the horizon-line.
It would take more than a lightning-stroke
To create such a ruin.
Nights, I squat in the cornucopia
Of your left ear, out of the wind,”
The poet used enjambment in between the two stanzas while using the first line of the fifth stanza to complete the sentence of the previous line in stanza four. The old "fluted bones and acanthine hair" appear everywhere stretching out to the horizon. Escaping from the memories and the sense of loss because of her father’s demise is impossible for her. The use of ‘old anarchy’ offers a sense of just how long the speaker has suffered this loss. A cornucopia symbolizes abundance and nourishment, suggesting that the speaker is seeking solace or understanding from her father's memory. The ear represents listening and communication, indicating that the speaker wishes to express or communicate her fears, troubles, and feelings of loss to her father, in death, out of the troubled life.
Stanza 6 Lines 26-30
“Counting the red stars and those of plum-color.
The sun rises under the pillar of your tongue.
My hours are married to shadow.
No longer do I listen for the scrape of a keel
On the blank stones of the landing.”
Stars often symbolize hope, guidance, or the remnants of what once was. The act of counting suggests a yearning for order or understanding amidst chaos. The speaker feels or desires to communicate with her father as he could offer some guidance and recluse from the troubles of life to her. The sun often represents enlightenment, rebirth, or clarity. Here, it rising "under the pillar of your tongue" suggests that the speaker associates her father’s voice or words with enlightenment or a source of strength. However, she notices that her hopes are futile, her father is no more, and he will never come back and thus, she asserts that her ‘hours are married to shadow.’ Despite the sun rising, the sun that could clarify her darkness will never rise. She feels forever bound by the depression caused by the death of her father.
In the last lines, the poet expresses her exasperation and hopelessness. The keel of a boat represents balance and steadiness which she lacks. She is no longer waiting to hear the arrival of a boat or wondering if her father is going to turn up. She knows she can’t put her father, the colossus back together again but she can’t stop trying. She has no escape.
So this is it for today. We will continue to discuss the history of American English literature. Please stay connected with the Discourse. Thanks and Regards!
Hello and welcome to the Discourse. Christabel is an unfinished long narrative poem by Samuel Taylor Coleridge published in 1816. Coleridge wrote the poem in two parts and planned to complete it in five. The first part was written in 1797 and the second was completed in 1800. Coleridge wished to publish the first part in the first volume of the Lyrical Ballads, his poetic collection in collaboration with William Wordsworth. However, Wordsworth advised him not to publish the poem as it was incomplete. The poem clearly shows the stark difference between the writing styles of William Wordsworth and Samuel Taylor Coleridge. Wordsworth's poetry is characterized by its simplicity, directness, and focus on the natural world. Coleridge's style is more complex and ornate. He favored a more elevated, almost mystical tone, often employing vivid imagery and elaborate metaphors. His poems frequently delve into supernatural themes, exploring the boundaries between the real and the unreal, dreams and reality. ‘Christabel’ is an uncompleted long narrative that tells the story of Christabel and Geraldine, featuring supernatural gothic elements. Though incomplete, it is Coleridge’s longest poem with almost 700 lines.
He completed the second part in 1800 and wrote a conclusion to it but the poem was considered incomplete and wasn’t published in the second edition of Lyrical Ballads. The poem remained unpublished for several years and was first published in the collection of three poems: Christabel; Kubla Khan: A Vision; and The Pains of Sleep, by the John Murray Press on 25 May 1816.
Structure of Christabel:
Christabel is written in two parts, each consisting of multiple sections and stanzas. The stanzas vary in length, contributing to the poem’s lyrical and narrative quality. Coleridge used an accentual metrical system or accentual verse, focusing on the number of stressed syllables per line rather than a fixed syllabic pattern. He maintained tetrameter (four accentuated syllables) throughout the poem, though there are some variations, there are some trimeter lines. The poem has an irregular rhyme scheme. Coleridge employed rhyming couplets and alternative rhyming lines at various places in the poem. The inconsistent rhyming scheme increases the mystery and ambiguity of the poem. Imagery, symbolism, metaphors, personification, apostrophe, irony, juxtaposition, and enjambment have been used in the poem. The speaker of Samuel Taylor Coleridge's poem is an unnamed third-person omniscient narrator who creates mystery, ambiguity, and suspense while offering a Gothic setting to the story. The speaker can also be seen as a universal voice, echoing the poem's exploration of good versus evil and the mysterious nature of women.
Summary of Christabel:
Part 1:
Stanza 1 Lines 1-13
“'Tis the middle of night by the castle clock,
And the owls have awakened the crowing cock;
The speaker immediately immerses the reader in a nocturnal setting, evoking feelings of mystery and suspense. The contrast between the "castle clock" and the "owls" creates a vivid picture of a secluded, possibly foreboding place. Owls are often associated with wisdom and omens, adding to the poem's mystical quality.
Tu—whit! Tu—whoo!
And hark, again! the crowing cock,
How drowsily it crew.
The onomatopoeic "Tu—whit! Tu—whoo!" replicates the sounds of owls, enhancing the sensory experience and creating an auditory landscape that draws the reader in. The "crowing cock" signifies the transition from night to day, often representing vigilance and the presence of truth. However, the phrase "drowsily it crew" suggests a sense of lethargy and perhaps apprehension, indicating that not everything is as it seems. It is midnight, and the crowing cock not only adds ambiguity but also suggests that ‘truth’ and ‘light’ are lethargic at the hour.
Sir Leoline, the Baron rich,
Hath a toothless mastiff bitch;
The speaker introduces “Sir Leoline! The Baron rich,” a character of importance, emphasizing his wealth and status. The phrase establishes a sense of nobility. The "toothless mastiff bitch" symbolizes vulnerability and decay, perhaps reflecting the state of the baron's household. The Mastiff is typically a guardian dog, but its toothlessness suggests ineffectiveness in protection.
From her kennel beneath the rock
She 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;
The description of the dog’s rhythmic howling echoes the structure of time and adds an ominous tone, suggesting an unsettling presence in the night.
Some say, she sees my lady's shroud.”
A shroud is a cloth or sheet that is put around a dead body before it is buried. The line adds an element of eeriness and death, suggesting ominous supernatural elements.
Stanza 2 Lines 14-22
“Is the night chilly and dark?
The night is chilly, but not dark.
The speaker questions and answers to set up the ambiguity and contrast, further increasing the tension. While the night is cold, there is still a presence of light, albeit muted.
The thin gray cloud is spread on high,
It covers but not hides the sky.
He creates a visual image that conveys a sense of gloom. The clouds are described as thin, suggesting that while they are present, they do not entirely obscure the sky—a metaphor for hope or illumination amidst darkness.
The moon is behind, and at the full;
And yet she looks both small and dull.
This imagery suggests that even when full, the moon lacks its usual vibrancy, reflecting perhaps feelings of melancholy or disillusionment.
The night is chill, the cloud is gray:
'Tis a month before the month of May,
And the Spring comes slowly up this way.”
It is early spring, a time often associated with renewal and growth however, there is a delay in the season's arrival in this part of the world, symbolizing a struggle for renewal and the persistence of winter’s chill. The stanza conveys a sense of melancholy, yet the presence of the moon and the anticipation of spring hints at an underlying hope for change and brighter days ahead.
Stanza 3 Lines 23-30
“The lovely lady, Christabel,
Whom her father loves so well,
The speaker introduces Christabel, the central character evoking a sense of beauty and purity. The reference to her father’s love suggests a protective familial bond.
What makes her in the wood so late,
A furlong from the castle gate?
The questions create a sense of mystery, implying a departure from safety and comfort, enhancing the poem's tension. She is quite far away from the castle and alone, in the middle of the night.
She had dreams all yesternight
Of her own betrothèd knight;
And she in the midnight wood will pray
For the weal of her lover that's far away.”
The speaker answers and sets the theme of love and longing. Christabel's dreams reflect her emotional state and connection to her beloved, highlighting her innocence and devotion. The act of praying not only shows her piety but also her vulnerability, as she seeks protection for her lover, who is distant and possibly in danger. It also adds to the mystery. There must be a church or a prayer hall within the castle, so why is she outside in the woods?
Stanza 4 Lines 31-36
“She stole along, she nothing spoke,
The sighs she heaved were soft and low,
These lines suggest a sense of caution and stealth. She is aware of her surroundings and possibly the dangers that lurk in the woods.
And naught was green upon the oak
But moss and rarest misletoe:
There was nothing green on the tree, spring had yet to come. The moss and mistletoe symbolize life and fertility but also imply decay, creating a contrast between beauty and desolation.
She kneels beneath the huge oak tree,
And in silence prayeth she.”
The oak tree is the symbol of the strength and endurance of nature. The Oak tree is considered sacred and adobe of gods in various Pagan tribes. It is like the Peepal tree in Hinduism, and Buddhism. Christabel’s act of kneeling beneath the huge oak tree signifies humility and reverence.
Stanza 5 Lines 37-42
“The lady sprang up suddenly,
The lovely lady Christabel!
The stanza introduces fear of the unknown. Christabel is startled or alarmed, creating a sense of urgency and anticipation.
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.”
Christabel notices something, someone ominous, she is not sure what it is. The moaning sounds evoke a feeling of dread and uncertainty. The "huge, broad-breasted, old oak tree" reinforces the divinity of the Oak tree, it is the boundary between safety and the unknown, highlighting the contrast between the familiar (the oak) and the mysterious forces that surround her.
Stanza 6 Lines 43-52
“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—
Christabel is alone in the stark environment and the moan appears mysterious and dreadful. She wonders if it is the wind that created the sound? The speaker mentions that the air is silent, and the wind is feeble, even not strong enough to move her hair curls spread across her face, evoking a delicate image of Christabel, highlighting her beauty and vulnerability. The stillness and quietude of the scene are obvious, but there were moans.
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.”
She wonders again and notices that the wind can’t even flutter the single red lead still intact on the barren oak. The ‘one red leaf’ introduces a poignant image of solitude and fragility. It is not green, nothing is green, and it is the last of the leaves of oak that has yet not fallen in the cold. The loneliness and struggle of the leaf against the stillness mirror Christabel’s own plight. The imagery increases the tension, highlighting her isolation and vulnerability.
Stanza 7 Lines 53-57
“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?”
The speaker mentions that Christabel notices the source of the moaning and she is afraid. Her beating heart symbolizes her fear and vulnerability. The appeal for protection from Jesus and Mary suggests a reliance on faith in moments of peril. She is frightened, and curious as she tries to locate the source of the moaning and ascertain what it is.
Stanza 8 Lines 58-68
“There she sees a damsel bright,
Drest 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 unsandl'd were,
And wildly glittered here and there
The gems entangled in her hair.
I guess, 'twas frightful there to see
A lady so richly clad as she—
Beautiful exceedingly!”
The word "damsel" is an old-fashioned term that means a young unmarried girl. It is often used in the idiom "damsel in distress" to describe a woman who needs to be rescued.Christabel sees a girl, a bright maiden, dressed in a white silk robe, symbolizing purity, beauty, and richness. Because of clouds, the moonlight is dim and she appears as a shadow, adding to the mystery. ‘Stately neck’ emphasizes the damsel’s richness and nobility. However, her neck and arms are bare which adds to ambiguity, she appears rich but not well dressed. She didn’t have sandals on her feet, the veins in her foot were visible, but her curled hair had gems, and she appeared rich but disarrayed. The ambiguity reflects the duality of beauty and danger.Her presence invokes fear, suggesting that beauty can be both captivating and menacing.
Stanza 9 Lines 69-70
“Mary mother, save me now!
(Said Christabel) And who art thou?”
Christabel realizes her vulnerability, loneliness, and strangeness of the richly appearing girl in the forest in the middle of the night. She asks for protection from Mother Mary before inquiring about the damsel. She is instinctively cautious.
Stanza 10 Lines 71-78
“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:—”
The strange lady notices Christabel’s fears and offers an appropriate yet enigmatic response. Her voice appears weak but pleasing. The damsel begets an emotional connection between her and Christabel by appealing for help and trust amidst uncertainty, as the lady seeks to establish a connection. She begs for Christabel’s pity, actually presenting herself as ‘a damsel in distress.’ Now there are two characters in states of need and uncertainty and both are vulnerable. Or is it a deception? The lady’s voice is faint and enticing. Christabel shows empathy, vulnerability, and bravery as she asks how did the damsel reach there? The strange lady judges Christabel’s inquisitiveness before answering appropriately.
Stanza 10 Lines 79-89
“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.”
The damsel affirms that she belongs to nobility as her father (sire) is of a noble line, like that of Christabel. She mentions her name is Geraldine and tells her story evoking Christabel’s sympathy. She informs that she was abducted by five strong warriors. This offers a contrast between nobility and vulnerability, women are vulnerable irrespective of their social status. She was abducted yesterday in the morning time. The warriors forcefully traumatized her and tied her to a white palfrey, a kind of horse often used by rich noblemen during the period. The warriors were in urgent as they drove furiously. All the horses of the warriors were white, suggesting a juxtaposition. The white palfrey symbolizes purity, innocence, and good intentions, but they were abducting ‘a maid forlorn.’ The damsel further says what happened at night.
Stanza 10 Lines 90-99
“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;”
The five warriors forcibly took the damsel Geraldine in the morning and ran on their horses throughout the day. As the night approached, one of the warriors, the tallest one, took her off the back of the white palfrey and kept her under the oak tree. He mentioned that they will return soon. Why did they abduct her if not to exploit her, and if they wished to exploit her, why did they leave her underneath the oak tree as the night approached? Were they afraid of something? Why did they choose the sacred divine oak tree? And now when Geraldine is free of any bound, why can’t she rescue herself and flee away.
Stanza 10 Lines 100-104
“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.”
Geraldine says that she heard the castle bell and thought of asking for help from Christabel while depicting herself as a ‘wretched maid.’
Stanza 11 Lines 105-112
“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.”
Geraldine succeeds in making the connection and trust with Christabel as Christabel stretches her hand to help Geraldine empathize with her. She shows compassion and solidarity and assures her by mentioning her father’s name ‘Sir Leoline’. This changes the scenario as the ‘damsel in distress’ is now empowered Geraldine, suggesting that she is not just a victim but a figure of authority. Christabel accepts Geraldine’s nobility and says that if she commands, her father will be happy to send the best of his noble knights to return Geraldine to her father’s castle with protection and honor. Christabel assures of "guiding and guarding" Geraldine, emphasizing the theme of hope. It instills a sense of optimism that rescue and safety are within reach, contrasting the earlier feelings of fear and helplessness.
Stanza 12 Lines 113-123
“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 as 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.”
Geraldine accepted Christabel’s helping hand and rose up, but she was weak as she walked past the oak tree. They walked back towards the castle cautiously. Geraldine, depicted as a ‘damsel in distress’ now appears blessed by her lucky stars, as if she got what she wished for. Christabel informs that her father, who is now old, is not healthy these days, and it wouldn’t be appropriate to wake him up at this odd hour of the night. This clarifies why Christabel came out of the castle stealthily, she didn’t wish to disturb her father, nor did she wish to do so now. She asks Geraldine to walk silently so that nobody gets disturbed in the castle hall which is all silent. She further requests Geraldine to share her room, and her bed to sleep for the night as she doesn’t wish to disturb her father. The request signifies a growing intimacy between the two women. This invitation implies trust and a desire for companionship, as well as a sense of vulnerability.
Stanza 13 Lines 124-135
“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.”
‘Crossing the moat’ symbolizes a transition from safety to danger. It refers to crossing a defensive trench around a castle. The enemy cannot cross the trench without using a drawbridge controlled by the castle owners. Without Christabel’s help, Geraldine couldn’t have crossed the moat. Christabel has the key to the huge iron gate of the castle. Instead of opening the gate, which would have caused a huge sound, she prefers opening a small door in the gate that may allow passage for one or two people at a time. The castle gate was well-ironed and protected. In folklore, iron is considered a bane for supernatural creatures. It is believed that iron would repel evil or otherwise ward off unwanted creatures. Geraldine fails to cross over the iron door, the little opening in the iron gate as she feels intense pain and sinks on the ground. Christabel, who now fully trusts her, feels that Geraldine is weak and tired and helps her, lifting her up and crossing the threshold of the gate with her. Geraldine had crossed the threshold now and she appeared rejuvenated as if she was never in pain.
Stanza 14 Lines 136-145
“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.”
It is a moment of triumph for both the girls as they feel they are away from any danger now in the safety of the castle. Christabel devotedly thanks the Virgin Mary and asks Geraldine to pray with her. But Geraldine expresses her inability to speak the prayer as she is weary and tired. This further increases the ambiguity. She appeared just fine and rejuvenated as she crossed the moat and the iron threshold. Without Christabel’s help, she couldn’t have crossed the sacred oak, the protecting moat, and the iron threshold. Is she really a damsel in distress?
Stanza 15 Lines 146-154
“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 ail the mastiff bitch?”
The old watch bitch, the old toothless mastiff notices Christabel and the stranger. It doesn’t get up however, its "angry moan" indicates that something is amiss, introducing an element of tension. This behavior is unusual, hinting at an underlying disturbance. The otherwise calm mastiff now moans angrily, Christabel notices and wonders why is the bitch disturbed. Maybe the owlet scratched the bitch, she thinks. The mastiff's sudden agitation raises questions about what has disturbed her, foreshadowing potential danger, while Christabel is totally unaware of the impending danger. Owls are often associated with omens or the supernatural, enhancing the sense of foreboding and suggesting that something unsettling is happening in the night.
Stanza 16 Lines 155-166
“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.”
As the girls pass through the hall, the eerie silence of the castle is noticeable. Everyone is sleeping. The fire is dying amid the "white ashes" symbolizing the remnants of warmth and life, reinforcing the idea of a once vibrant place now shrouded in stillness and darkness. However, as Geraldine crosses through, a fit of flame sparks. This light could symbolize her otherworldly presence or a connection to something greater, contrasting starkly with the dying embers around them. In that light, Christabel notices her enchanting eyes and she fails to notice anything else. The "boss of the shield of Sir Leoline tall" further connects the narrative to themes of chivalry and protection. The shield tucked away in a "murky old niche" symbolizes both heritage and the potential for conflict, hinting at the history and safety that may be at risk. Christabel is concerned for her father as she requests Geraldine in a low voice to walk cautiously, avoiding any unnecessary sound. She mentions her unwell father is sleeping and she doesn’t wish him to get disturbed. It suggests the responsible nature of Christabel.
Stanza 17 Lines 167-175
“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.”
Christabel is barefoot, avoiding any unwanted noise as she moves. By being barefoot, she is physically exposed, enhancing the atmosphere of secrecy and caution as they move through the house. The line "jealous of the listening air" personifies the air, suggesting that even the atmosphere is attentive to their movements. They continue to move up the staircase towards Christabel’s room and as they pass through various doors, they face light coming through the doors. The line "now in glimmer, and now in gloom"—captures the contrast between light and darkness, symbolizing the blend of safety and danger. As they pass the Baron’s room, they act more cautious, This heightened awareness of their surroundings intensifies the suspense, suggesting that any noise could lead to discovery. As they reach Christabel’s chamber door, Geraldine pushes in, suggesting her assertiveness over Christabel and their deeper connection.
Stanza 18 Lines 176-184
“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 speaker describes Christabel’s chamber and mentions that the moon though full, is shadowed by clouds and it is dim. Anyhow, no moonlight enters her room, which signifies her isolation and privacy, it is Christabel’s chamber, her domain. However, the two girls can see around the room which has been beautified and decorated by Carvings. The figures strange and sweet reflect a blend of beauty and peculiarity, capturing the essence of the mystical world in which Christabel and Geraldine find themselves. The craftsman carved the room while considering all the needs and tastes appropriate for a lady chamber. There is a lamp fastened to an angel’s feet. This imagery suggests a connection between the divine and the earthly as if the lamp's light is blessed or protected by celestial forces. It also reinforces the theme of sanctity in what should be a private space.
Stanza 19 Lines 185-190
“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.”
The silver lamp was burning but its light was dim as there was no one in the room before. As Christabel trimmed the lamp, it became brighter and the room lightened up as the lamp swung to and fro through the air. Trimming the lamp signifies her desire to bring light and clarity to the situation, both literally and metaphorically. It is Christabel's attempt to dispel the fears and uncertainties surrounding her and Geraldine. However, Geraldine suffered a negative impact, the light from the lamp fastened to the angel’s feet weakened her. Her descent to the floor signifies a loss of strength and agency, contrasting sharply with Christabel’s proactive nature.
Stanza 20 Lines 191-194
“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.”
Christabel notices Geraldine’s struggle against the light from the lamp. Unaware and innocent, she thinks of how weary, tired, and weak Geraldine must have been feeling and offers her a drink, a cordial wine with ‘virtuous powers’ made by her mother from the wildflowers, suggesting her mother too had an interest in mystique heathen ways.
Stanza 21 Lines 195-204
“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 grey-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!”
Geraldine notices the virtuous innocence and caring nature of Christabel and further tries to overpower her by again expressing herself as the damsel in distress, a 'maiden most forlorn.’ She asks if Christabel’s mother will allow her in the castle if she comes to know. It shows her desperation and vulnerability against virtue. Christabel informs that her mother died while giving birth to her. "Woe is me!” signifies a profound sense of loss, not only personal grief but also the impact of her mother’s absence on her life. The old friar told her how her mother wished to live and see Christabel grow up and get married while she was on her deathbed. Christabel expresses her longing for maternal guidance and support. Geraldine too expresses sympathy with Christabel and says she too yearns for motherly guidance, reinforcing the bond between her and Christabel.
Stanza 22 Lines 205-210
“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?”
Geraldine shows her deception as she sympathizes with Christabel on one hand while thinking otherwise in her own mind, saying so quietly that Christabel couldn’t understand what she was saying. The omniscient narrator could hear her though. She notices the virtuous spiritual presence of Christabel’s mother and she uses her power to flee her away and thus remove the protective layer from Christabel and the castle. This shows that Geraldine has some control over the spectral realm, which raises questions about her true nature. She sees here and there with ‘unsettled eyes’. The speaker raises the question if Geraldine can converse and force the ‘bodiless dead’ spirits to her cause.
Stanza 23 Lines 211-214
“And why with hollow voice cries she,
'Off, woman, off! this hour is mine—
Though thou her guardian spirit be,
Off, woman, off! 'tis given to me.'”
The ‘hollow voice’ suggests a disembodied or ghostly quality to Geraldine’s words. This imagery evokes a sense of eeriness. She asserts her authority over the situation, suggesting that she has a claim to the moment or space that transcends the influence of Christabel’s mother. Geraldine acknowledges that the spirit is Christabel’s protective guardian spirit but she asserts that it is her hour. This assertion of power raises questions about her true nature and motivations, suggesting that she may have ulterior motives or a deeper connection to the supernatural world.
Stanza 24 Lines 215-220
“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, ' 'tis over now!'”
Christabel hears her murmuring. Unaware of Geraldine’s intentions, Christabel expresses her empathy and kneels beside her, saying that the ‘ghastly ride’, the abduction must have weakened her and that is why she isn’t speaking clearly. The imagery of "moist cold brow" connotates fear and exhaustion. It paints a vivid picture of Geraldine’s vulnerability, adding to the emotional weight of the scene. Geraldine's faint assertion, "'tis over now!" suggests a sense of relief, but it also carries an air of ambiguity. This phrase may imply that while the immediate danger has passed, underlying tensions and unresolved issues remain.
Stanza 25 Lines 221-226
“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 countrèe.”
Geraldine took some more of the wild-flower wine and she appeared to regaining her strength. The "wild-flower wine" serves as a potent symbol. It suggests a connection to nature and the supernatural, hinting at the transformative and rejuvenating power of the drink. She stood up and Christabel noticed her beautiful figure. The transformation from a "sank" position to a "lofty lady" evokes a sense of elevation and empowerment, Geraldine begins taking control of the scene. The speaker describes her otherworldliness, highlighting her enchanting and exotic beauty, which is both alluring and potentially dangerous.
Stanza 26 Lines 227-235
“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 befel,
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.'”
Geraldine continues to grab the dominating power and praises Christabel, saying she is pure and innocent, loved by the celestial beings. She mentions how empathetically Christabel treated her in her moment of need and promises to return the favor well. And then she commands her to ‘unrobe’ herself and lay beside her in the bed as she will pray. The command carries a dual connotation. On the surface, it suggests a physical act of preparing for rest, but it may also symbolize vulnerability and trust, as she prepares for a moment of intimacy and prayer.
Stanza 27 Lines 236-239
“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.”
Christabel shows her trust in Geraldine and accepts her request, surrendering herself to Geraldine’s enchantment and to the mystical atmosphere surrounding them. As she undresses, her gentle limbs symbolize her physical and emotional vulnerability. She lays down “in her loveliness”, and evokes a sense of innocence, suggesting that she is enveloped in a state of grace.
Stanza 28 Lines 240–245
“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.”
It might be the first time Christabel was sharing her bed with someone while Geraldine didn’t lie down yet. Though she lay down, Christabel was unable to sleep as she kept thinking of the mysterious, enchanting presence of Geraldine. She couldn’t close her eyes as she wished to see her again. She rose ‘half-way from the bed’ symbolizing her reluctance to fully engage in the intimacy of the moment while also wanting to remain close to Geraldine. This physical posture reflects her emotional ambivalence and the struggle between desire and caution. By reclining on her elbow to look at Geraldine, Christabel adopts a position of both curiosity and vulnerability.
Stanza 29 Lines 246-255
“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,
Dropt 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!”
The speaker describes Geraldine who is still standing beside the couch. She bowed her head beneath the lamp to open up her robe but she waited and rolled her eyes to ensure that Christabel was watching her. The slow movement can evoke a feeling of seduction as if she is preparing to reveal something significant. Then she made a significant noise of her breath as if to draw attention before revealing herself. One by one she dropped all her clothes on the ground. Christabel was behind her, reclining on her elbow as she could see her bosom or breasts from the side, and she was enchanted. As her silken robe and inner vest drop to her feet, the imagery becomes strikingly sensual.
It is a sight to dream of, not to tell!’ suggests the allure and danger of the moment. What is being revealed is both enchanting and potentially perilous. The speaker makes an urgent plea to ‘shield’ Christabel, It underscores the overarching theme of innocence threatened by the seductive yet potentially dangerous darkness represented by Geraldine. Christabel now knows the truth of Geraldine, which is implied perilous, dangerous, and evil.
Stanza 30 Lines 256-265
“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 wel-a-day!”
Despite being revealed to Christabel, Geraldine acknowledges her control over the situation. Her silence created a haunting atmosphere. Despite her intentions, she appears reluctant as she realizes the purity and innocence of Christabel. She is caught between two states—perhaps between desire and fear, or vulnerability and strength. She attempts to look at Christabel but hesitates. Her hesitation suggests a moment of contemplation. This action indicates that she is weighing her next move, highlighting the complexity of her feelings toward Christabel. She promised she would take care of sweet innocent Christabel but her intentions appear otherwise. It appears she is in two minds but then she takes a decision with a sense of defiance and confidence, she lays down beside Christabel, taking her in her arms. She says it was a significant day.
Stanza 30 Lines 266-274
“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,
After taking Christabel in her arms, Geraldine reveals why Christabel is so meek in her presence. She says that as Christabel comes in contact with her breasts, a spell works upon her, taking away her autonomy. The spell, and hence Geraldine herself is now the ‘lord of thy utterance, Christabel!’ Geraldine’s magic controls or influences Christabel's ability to speak. Geraldine has acquired control over the relationship and the power dynamics suggests power dynamics and manipulation suggest that Christabel’s voice—her agency—is compromised. Now Christabel is bound to say only that which pleases Geraldine or favors her. This spell is necessary because Christabel has seen Geraldine in her nakedness, in her full bloom, in her true self. She is something that shouldn’t be in the castle, she is something that had been stopped and barricaded by the sacred oak, she couldn’t cross the moat, she had no power to surpass the iron gate’s threshold, the mastiff wouldn’t have allowed her to overshadow the castle. But now she is here with the help of Christabel. Geraldine controls Christabel’s words because she now knows the truth about Geraldine and will know much more by the morning. Being aware of her truth, Christabel holds the power to reveal Geraldine’s truth in front of everyone else and thus, Geraldine circumvents her power by the spell.
Stanza 30 Lines 275-279
“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.'”
Geraldine’s spell bounds Christabel to reveal only this much about Geraldine that when she was alone in the dim dark forest, she heard low sorrowful moaning and found a bright lady of enigmatic, ethereal beauty. Geraldine’s beauty juxtaposed with her low moaning signifies the duality of appearances. She brought her home because she was enchanted by her and wished to help her against the damp air of the cold night. Christabel isn’t even allowed to say anything about the five warriors who brought Geraldine on a white palfrey. Geraldine will herself tell her story to the Baron and others whom she will encounter in the morning and Christabel can do nothing else but affirm her story, despite knowing the truth of Geraldine.
The First Part of Christabel ends with these lines. He wrote a conclusion to Part 1 and then began writing Part 2
THE CONCLUSION TO PART I
Stanza 1 Lines 1-13
“It was a lovely sight to see
The lady Christabel, when she
Was praying at the old oak tree.
The opening line sets a tone of admiration. The speaker uses ‘lovely’ to emphasize the aesthetic and emotional appeal of Christabel’s decision to go out in the dark and pray at the old oak tree for the safety of her fiance. Oaks are often seen as sacred in various cultures, enhancing the spiritual atmosphere.
Amid the jaggèd shadows
Of mossy leafless boughs,
Kneeling in the moonlight,
To make her gentle vows;
The imagery of "jaggèd shadows" and "mossy leafless boughs" creates a contrast between the beauty of Christabel and the dark, eerie surroundings. This juxtaposition heightens the sense of mystery and foreshadows potential danger lurking in the shadows. Christabel’s act of kneeling signifies humility and devotion. The moonlight serves as a source of illumination, symbolizing clarity and enlightenment.
Her slender palms together prest,
Heaving sometimes on her breast;
The description of her "slender palms" and the act of pressing them together conveys a sense of delicacy and grace. The heaving indicates that she is emotionally invested in her prayer, possibly reflecting her inner turmoil or longing.
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.”
‘Bliss or bale’, Christabel is open to whatever outcomes may come—joy or sorrow. This acceptance reveals her strength and vulnerability, illustrating a profound emotional depth.
Stanza 2 Lines 14-23
“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.”
The speaker contemplates the situation, (ah woe is me!)" indicates his distress and despair. This juxtaposition creates a sense of helplessness, as the speaker feels trapped in the painful reality. Christabel is sleeping beside Geraldine. He wonders if she is the same pious devout lady who knelt and prayed at the ‘old oak tree.’ The speaker is grappling with feelings of sorrow and shame regarding the identity of the lady. There’s a sense of disbelief or confusion about how the pure, innocent Christabel praying at the oak tree could be associated with the current distress, she is with the ‘worker of these harms,’, she is in the embrace of Geraldine and they are sleeping as a 'mother with her child.’ Geraldine is now perceived as a source of danger or distress and she is in control of sweet innocent Christabel under her spell.
Stanza 3 Lines 24-32
“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 tairn and rill,
The night-birds all that hour were still.
But now they are jubilant anew,
From cliffand tower, tu—whoo! tu—whoo!
Tu—whoo! tu—whoo! from wood and fell!”
Christabel was under the protection of her mother’s spirit but Geraldine overpowered her mother’s spirit and made her flee. Now she controls Christabel. She holds Christabel in her sensuous, seductive arms which are no less than a prison to the innocent sweet Christabel. Geraldine had an hour of hers in which she overpowered and forced Christabel’s guardian spirit to flee away. Everything was still at that hour, no night bird made any noise, and the lake and the streams were quiet as if frozen for the hour. But now when the hour is over, the night birds, the ominous owls are jubilant, signifying the victory of evil Geraldine over pious, lovely Christabel. The ominous owls are singing songs of this victory from cliffs and towers, woods and mountains.
Stanza 4 Lines 33-40
“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!”
The speaker describes Christabel as she wakes up. She is aware of what happened, she knows fully well the true nature of Geraldine now but she is under her spell. Her awareness brings sorrow to her as her eyes feel the heaviness of tears but the spell makes her appear smile. The bright lashes suggest that even in her sorrow, there is an element of purity and light, reinforcing the complexity of her emotions. The paradox of smiling amidst tears suggests a nuanced emotional state. It reflects a flicker of hope or joy, perhaps amid her pain, akin to the joy seen in "infants at a sudden light." Infants also signify helplessness and dependence, the spell made her dependent, and she has lost control over herself to Geraldine.
Stanza 5 Lines 41-
“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, 'tis but the blood so free
Comes back and tingles in her feet.
No doubt, she hath a vision sweet.
What if her guardian spirit 'twere,
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!”
The juxtaposition of smiling and weeping captures the duality of Christabel’s emotional state. The comparison to a "youthful hermitess" evokes an image of purity, suggesting that Christabel's journey is both introspective and solitary. She knows the reality, the impending danger that Geraldine signifies but she has no control over herself, she can’t speak of Geraldine’s secret that only she knows, but she can pray, and she prays always, even in her sleep. The stanza describes Christabel’s helplessness against the spell. She wonders if her mother’s spirit could help her out. She is helpless but she has faith and she knows that if she prays for good, her call for help won’t go unheard. The belief in a guardian spirit and the presence of saints reflects a sense of hope and protection. It conveys the idea that love and support exist even in times of struggle.
Coleridge concluded the first part on this hopeful note.
So this is it for today. We will continue to discuss the history of English Literature. Please stay connected with the Discourse. Thanks and Regards!
Christabel Part II
Geraldine is a central character in this narrative poem. She is an enigmatic female figure who embodies temptation and darkness. Her character challenges traditional gender roles and highlights the complexities of female power. Part II introduces Sir Lioline, the rich Baron. He is the father of Christabel. He is an old, strong nobleman, and a protective father who cares deeply for Christabel’s well-being. His paternal instincts drive much of his behavior, particularly regarding Christabel's safety. Despite his strength, Sir Leoline is susceptible to influence, especially from Geraldine. His willingness to believe Geraldine’s fabricated story showcases his naivety and highlights the theme of vulnerability in men. He experiences a conflict between his love for Christabel and his attraction to Geraldine. This internal struggle illustrates the tension between duty and desire, emphasizing the poem's exploration of moral ambiguity. Sir Leoline's susceptibility to Geraldine's charms suggests that even the strongest figures can be compromised, adding depth to the theme of manipulation.
Stanza 1 Lines 1-6
“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!”
The "matin bell" refers to the morning bell, traditionally rung to call for morning prayers. It symbolizes the beginning of a new day, yet here it carries a heavy association with mourning. The word "knells" evokes the sound of a funeral bell, indicating sorrow and the finality of death. It conveys the idea that the ringing of the bell serves as a reminder of mortality and the inevitability of loss. The mention of Sir Leoline personalizes the grief. His words are not just a reflection of sorrow but a testament to his enduring pain. The abrupt transition from waking to discovering his lady's death underscores the trauma and shock of loss. The repetition of his words suggests a cycle of grief that will haunt him indefinitely. It implies that his sorrow will be ever-present, a burden he must carry each morning. The phrase "to his dying day" emphasizes the permanence of his grief and the lasting impact of this loss on his life.
Stanza 2 Lines Lines 7-13
“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.”
Since the Baron is mourning, it becomes a custom and law that the sacristan pulling the bell will tell a ‘warning knell’ between each stroke of the bell. "Sacristan" is another word for the sexton, the man who takes care of the church, rings the bells, and sometimes even serves as the gravedigger. "Five and forty beads" suggests a structured approach to mourning, where each bead represents a moment of contemplation. This custom reflects Sir Leoline's profound impact on his community, extending his personal sorrow into a collective experience. It highlights how his grief shapes not only his identity but also the cultural practices surrounding death and remembrance. This custom also suggests the interconnectedness of human experience. Because of the sorrow of the Baron, mourning each morning becomes a law for everyone from Bratha Head to Wyndermere, "not a soul" can escape the sound of the bell. It implies that the pain of loss is a shared experience. It signifies the tyranny of feudalism. The morning bell is turned to a mourning bell. Since the Baron is sulked or sad, melancholy is the norm for all. Bratha Head and Wyndermere are real places in a region of England then called the Lake Country. Coleridge, Wordsworth, and Robert Southey were the primary Lake Poets.
Stanza 3 Lines 14-21
“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”
The speaker introduces ‘Bracy’ the bard of Sir Leoline. The command "Let it knell!" signifies an acceptance of the new law, the regular mourning process. The church bell is used for celebrations and social gatherings but now every knell of the bell is a reminder of grief, death, and loss. The sacristan is described as "drowsy," which may reflect a sense of weariness or resignation and suggests the toll of grief and monotonic melancholy on individuals. The Baron’s mourning has been forced upon everyone to suffer. The bard acknowledges that there is no dearth of such people who have suffered their own loss and they mourn. Langdale Pike and Witch's Lair suggest a mystical or haunted quality, linking the landscape to the supernatural. The metaphor ‘ropes of rock and bells of air’ suggests the solidarity and permanence of melancholy throughout the area.
Stanza 3 Lines 22-28
“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 Borodale.”
The imagery of "three sinful sextons' ghosts" suggests a sense of confinement or punishment for their earthly deeds. "Sinful" indicates that their actions in life were questionable, and now, in death, they are bound to a consequence. The tales of these sinful, probably criminal sextons are a lesson for their living brothers, the people of the castle. Yet, the knell of the mourning bell often offends the three ghosts because while their tales were the prime reminder of the inevitability of death, the bell’s knell has now taken the role. The idea of being "offended" by the knell speaks to the discomfort that the sound of the bell brings, perhaps signaling regret or sorrow. It highlights the emotional weight that accompanies the rituals of mourning, but that has been the law of the land and no one can escape it. The contrast between the mournful knell and the devil’s mockery represents the dual nature of existence. The devil often brings ‘merry peal’ in the castle of mourning to mock the sorrow of the rich Baron. Life continues even in the face of death, and there are moments of levity amidst sorrow.
Stanza 4 Lines 29-38
“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.'”
After describing Sir Leoline and the general mood of the castle, the speaker notices the change that the arrival of Geraldine has brought. She wakes up in the morning while the air is still and the sun is hidden in the mist and clouds. The bell tolls but the knell appears ‘merry peal’ rather than a melancholic warning. Geraldine rises up, braids her hair, and prepares for the morning. Braiding is important because it reminds she's an unmarried woman. Only married women wore their hair loose in public in the Middle Ages. She gently awakens Christabel sleeping beside her. The mourning bells instill a bit of fear in Geraldine but she soon gains confidence. Geraldine knows that she fully controls the situation and she has nothing to fear. Her confidence in her spell hints at her possibly supernatural nature. Geraldine's inquiry shows a sense of care and concern, yet it can also be interpreted as a manipulative gesture, given the context of the poem. This duality adds complexity to their relationship. The last night, she corrupted the innocent devout Christabel through her spell.
Stanza 5 Lines 39-51
“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 sinn'd!' said Christabel,
'Now heaven be praised if all be well!'”
The act of awakening signifies a transition from unconsciousness to consciousness, both physically and metaphorically. Christabel wakes up and notices Geraldine who appears fairer and more impressive than how she appeared under the oak tree. Geraldine's demeanor exudes a sense of gratitude and warmth, indicating her appreciation for Christabel. She appears more accentuated and seductive, suggesting a physical manifestation of her beauty and vitality. She thinks that the night's rest has rejuvenated Geraldine. Geraldine’s girded vests appeared tight as if her breasts were heaving or swelling up. Christabel feels the feeble seduction again and immediately is hit with the feeling that she has sinned. Because of the magic spell, she doesn’t exactly remember what actually happened. Yet, she has a feeling that she committed some sin and prays not to face any ill consequences of the wrong she has already committed in her sleep.
Stanza 6 Lines 52-55
“And in low faltering tones, yet sweet,
Did she the lofty lady greet
With such perplexity of mind
As dreams too lively leave behind.”
Christabel could feel the burden of what she did the last night, and she believed it was a sin. From a virgin devoted loyal innocent girl betrothed to her fiance, she now knows much more than an innocent girl. While she couldn’t recognize the evil predatory nature of Geraldine, her mind was disturbed by her own implicitness in the sin. She greeted Geraldine in a ‘low faltering tone’ further suggesting her submissive role to her. Christabel is experiencing a mix of emotions, combining both tenderness and uncertainty.
Stanza 7 Lines 56-61
“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.”
Christabel soon left the bed and the very first thing she did was to pay and ask for forgiveness for what she did. Her prayer was so earnest and innocent that the speaker alludes to Christ on the cross who appears to sigh and ‘wash away her sins’ or redeems her. Then Christabel as a responsible and dutiful daughter of her father, led Geraldine to meet the Baron.
Stanza 8 Lines 62-65
“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 speaker describes the two girls as they move toward the Baron’s room or hall. He describes Christabel as ‘lovely’, signifying her innocent, dutiful, and earnest essence. Geraldine on the other hand is described as ‘the lady tall,’ suggesting her regal, commanding, and domineering figure and position. The boys and men of all classes (page and groom) observe them in awe as they enter the Baron’s hall.
Stanza 9 Lines 66-71
“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!”
As the Baron saw her daughter approaching, he cheerfully left his seat and rose to greet her. He took her in his arms with fatherly love however, he was amazed by the presence of the other girl, Geraldine, and noticed her with interest too. He welcomed her and took her to his chest too. The phrase "might beseem" implies that the Baron's reaction is fitting for someone of Geraldine's stature, suggesting her nobility and allure. However, it also marks Geraldine’s entrance into the Baron's world. This moment is critical as it establishes her position within the family.
Stanza 10 Lines 72-81
“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”
Geraldine repeated the same story that she had told to Christabel. When Geraldine talked about her father, the Baron was unsettled. He asked again if Geraldine’s father was ‘Lord Roland de Vaux of Tryermaine’? The speaker informs that Sir Leoline and Lord Roland were close friends in their youth but rumors or falsehoods have tarnished their relationship. The speaker suggests the ephemeral nature of the human world and changing relationships, mentioning that true loyalty and commitment are rare and perhaps unattainable in the mortal realm.
Stanza 10 Lines 82-91
“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;”
The speaker further reveals the relationship between Sir Leoline and Lord Roland during their youthful days. Because of misunderstanding, rumor, lack of trust, and feelings of betrayal, the two close friends had some heated arguments. They insulted each other to such an extent and from that moment to now, they have never met again. However, none of them have yet come over to the loss they have felt while losing a close friend, as close as a brother. The "hollow heart" symbolizes an emotional void left by the absence of their friendship. It conveys the idea that true bonds are irreplaceable.
Stanza 10 Lines 92-95
“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.”
The speaker mentions that Sir Leoline and Lord Roland are aloof, like two cliffs far away from each other. A huge roaring sea is in between them. Yet both of them feel the mark they have left on each other’s hearts. The imagery of scars serves as a metaphor for the lasting effects of emotional pain, illustrating how past grievances can linger and shape future relationships.
Stanza 11 Lines 96-99
“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.”
Geraldine doesn't need to be telling any truth. Her own personality is enigmatic, enchanting, and menacing and she already has impressed Sir Leoline with her presence. However, mentioning Lord Roland’s name as her father has increased her strength and impression manifolds. As the Baron sees her, he remembers his old friend. The act of gazing and reflecting on Geraldine’s face ties the present to the past, illustrating how memories can influence current emotions and decisions. Sir Leoline's thoughts about Lord Roland reveal the lasting impact of past relationships.
Stanza 12 Lines 100-107
“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,”
Sir Leoline has been presented as a strong chivalrous and loyal widowed husband and father. Geraldine’s story, which could have been false and deceptive, moves him. He vows that he will do everything possible to track down the men who disrespected Geraldine and abducted her. Geraldine succeeds in establishing herself as the ‘dame in distress.’ Sir Leoline's outrage stems from a desire to defend Geraldine's honor, which he perceives as a reflection of his own values. The old and ill Baron of Part I shows his rage now as a young chivalrous knight, suggesting the ominous effects of Geraldine and her heaving breasts.
Stanza 12 Lines 107-115
“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!”
Sir Leoline declares that he will send trumpets and heralds in all directions and that the five warriors who abducted Geraldine are terrible criminals and will be punished as such. If these criminals deny the charges, his herald will offer them a week to justify themselves and face his ‘tourney court’ suggesting a martial or competitive setting (duel) where honor can be defended through combat. He declares that he will be glad to ‘dislodge’ their reptilian souls ‘from the bodies and form of men!’ suggesting that he sees the offenders not as honorable men but as lesser beings unworthy of their forms. This rage appears genuine as he sees his old friend’s daughter in Geraldine.
Stanza 13 Lines 116- 125
“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?)”
Geraldine is having her effect as Sir Leoline, the somber thoughtful man suddenly feels a rush of emotions and begins crying as he hugs the ‘damsel in distress’. Geraldine willfully goes in his embrace and jubilantly prolongs it, working up her charming spell again. Christabel sees all this and suddenly, she had visions of the past night, though they were not clear but foreboding. She remembers Geraldine in her bed, but in the vision, Geraldine is no longer young and beautiful. Christabel saw Geraldine’s true self in her bed. She remembers how fearful she was and how intensely painful the experience was. Christabel shudders at the thought and looks at Geraldine again and wonders with pain ‘Ah, woe is me!’, the noble gentle maid, were you that dreadful ominous creature that I saw on my bed?, she gasps in fear and looks up in heaven for guidance.
Stanza 14 Lines 126-131
“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.”
She sees Geraldine in her father’s embrace and the memories from the past become clearer. She clearly remembers the dreadful breasts of Geraldine who could be an old ominous witch, she felt the touch of her bosom and remembers how deadly, how cold it was, as if she was a vampire, a half-dead, a zombie. Geraldine suddenly sees a frightening vision fall upon Christabel’s soul. Geraldine shrinks, shudders, and breathes heavily, producing a hissing sound. This startles Sir Leoline and he turns to check what happened. He finds nothing ill at his back but sees Christabel, his sweet daughter staring at the sky as if she is praying to the lord.
Stanza 15 Lines 132-138
“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!”
Geraldine immediately recovers and regains her control and shifts the dark memories of Christabel to the pleasant sinful feelings she instilled in her mind the previous night. The spell had made Christabel forget about the painful experience and dreadful reality of being with Geraldine in the same bed and shifted it with a sensuous, pleasant feeling that appeared sinful to her but stilled a smile of pleasure on her face.
Stanza 16 Lines 139-144
“With new surprise,
'What ails then my belovèd 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.”
Sir Leoline observes Christabel and asks Christabel what's wrong, but she's unable to answer because of that pesky spell in Geraldine's bosom. She answers ‘All will yet be well.’ The omniscient narrator himself doesn’t exactly know what happened as he uses the word ‘ween’ to suggest that he is not sure if Christabel is too ashamed to tell ( no power to tell); or if she is answering pleasantly because of the effects of Geraldine's spell.
Stanza 17 Lines 145-152
“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.”
Meanwhile, Sir Leoline is under the mesmerizing effect of Geraldine, the ‘damsel in distress.’ He believes Geraldine is innocent and divine to whom the five warriors have done a great wrong. Christabel realizes that her father is in control of that otherworldly thing. Geraldine reacts to control the situation and pretends as if she might have offended sweet Christabel by being so close to her father. She requests in a low voice that she might be sent to her father’s mansion as soon as possible.
Stanza 17 Lines 153-163
“ 'Nay!
Nay, by my soul!' said Leoline.
'Ho! Bracy the bard, the charge be thine!
Go thou, with sweet music 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.”
Sir Leoline is in no mood to hurry about it. He rather have another plan. He decides that this is a really good excuse to offer his old friend Lord Roland, an olive branch and mend their friendship. He wishes to keep Geraldine for now in his own castle. He calls his trusted bard Barcy and tells him to pick his best horses and his best apprentice and deck them all out like a circus parade. Leoline wants them to look their best and move as swiftly as possible to Roland's castle, composing a song along the way.
Stanza 18 Lines 164-168
“'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.”
In these lines, the Baron gives the directions of Lord Roland’s castle to Barcy, suggesting that he is familiar with the route as if he visited Roland’s land many times in the past. Hence, affirming his old friendship with him. He mentions many real places in England and says that Roland’s castle is on the border of Scotland.
Stanza 19 Lines 169-176
“'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”
Sir Leoline expects the bard to race to Lord Roland's castle and sing loudly and jubilantly that Geraldine is safe and sound with Sir Leoline. He also wants Bracy to pass along Leoline's wishes to make this situation into a happy reunion of the two old friends. He asks Barcy to invite Lord Roland to Longdale hall where his daughter is eagerly waiting for him with Sir Leoline.
Stanza 19 Lines 177-189
“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 honour! 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.”
Sir Leoline plans to make use of the situation to make amends for the mistakes the two friends have committed in their youth. He asks Barcy to invite Lord Roland with all his knights and supporters to come to Langdale hall to receive his beloved daughter and Sir Leoline himself with all his respected courtesans will greet them on the way and will ask forgiveness for the ill words he ever used in the past. He also charges Barcy with delivering Sir Leoline’s apology to Lord Roland to resolve their differences.
Stanza 20 Lines 190-198
“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,”
Geraldine pretends to be overwhelmed with emotions and falls to Sir Leoline’s feet and thanks him. The imagery of her upturned face and overflowing eyes conveys deep emotions.
Barcy, the bard realizes the situation. He understands the urgency of the matter at hand and the emotional inclination of Sir Leoline attached to it. However, he has his own apprehensions, and it appears as if he too noticed the ‘hissing sound’ that Geraldine produced to subdue the truthful visions of Christabel. With a ‘faltering voice’, he praises Sir Leoline’s emotional monologue for his estranged friend and says that his words are more powerful and heart-touching than the music his instrument can produce. Yet, he asks for forgiveness and suggests that he shouldn’t begin his journey to Lord Roland’s land on the very same day. He asks for a ‘boon’ or favor of forgiveness for daring to alter Sir Leoline’s command, and the reason he offers for this delay in his journey towards Sir Roland’s castle is a strange dream that he had the last night. The dream concerns the Baron’s beloved daughter.
Stanza 20 Lines 199-212
“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 wonder'd what might ail the bird;
For nothing near it could I see
Save the grass and green herbs underneath the old tree.”
Barcy conveys his dream which according to him, is an ominous warning that must be eradicated without delay. He believes that there is an ‘unblest’, ominous, evil, foreboding thing in the woods nearby and he has ‘vowed with music loud’ to find out and end that unknown yet dangerous thing. For a bard or musician, vowing with music is a pretty serious thing, considering his whole life depends on it. He further reveals that in his dream, he saw an ailing bird named Christabel. The bird appeared frightened and trying to hide away from a potential danger in the green forest. Barcy heard the fearful cries of the bird and looked towards the tree where the bird perched underneath an old tree. However, he was unable to see any potential danger. The tree Barcy mentions is the same old tree where Christabel found Geraldine.
Stanza 20 Lines 213-222
“'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.”
Yet, the bird was crying desperately, so Barcy decided to go near the old tree and look closely. He was yet unable to point out the lurking danger. He decided to stoop down and look clearly and then he was surprised and frightened by the sight. A large bright green snake had captured the ‘dove’ and coiled around its wings and neck, trying to devour it.
Stanza 20 Lines 223-231
“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!”
The lethal snake crouched on the dove’s head and it was dark green like the moss and mistletoe and hence was difficult to be seen. The snake was trying to devour the bird by swelling its neck, however, the dove was resisting by swelling its own head. Before the bard could see anything more or could do to avoid it, the bells from the tower broke his sleep. He was unable to sleep again as the dream continued to frighten him and he got too worried about Christabel, the dove, and sweet daughter of Sir Leoline.
Stanza 21 Lines 232-235
“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.'”
The Bard further says that he was so worried by his dream that he vowed that he would go and search the woods to find out what ‘unholy’ danger lurks there.
Stanza 22 Lines 236-247
“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”
The Baron wasn’t too attentive towards the Bard and he failed to ascertain the true danger lurking on his daughter and estate. He smiles and ignores what he's been told about the dove in the dream representing Christabel. He rather believes that the dove in the bard’s dream represents Geraldine, and the green snake represents those five warriors who abducted her and left her under the oak tree. He turns to Geraldine and addresses her as ‘Lord Roland’s beauteous dove’. He claims that the bard may not be able to face the green snake with his harp and song, but he and Lord Roland will ascertain to crush the head of the snake. Geraldine, who actually represents the green snake, casts her eyes down and pretends to show courtesy with her blushing cheek.
Stanza 22 Lines 248-254
“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!”
Geraldine bows her head down as if in courtesy towards Sir Leoline and gazes at her heaving breasts, and then she turns her gaze towards Christabel, realizing that the bard’s dream may alert Sir Leoline towards Christabel, she decides to use her spell again. The speaker prays for the protection of Christabel.
Stanza 23 Lines 255-268
“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.”
As Geraldine looked at Christabel, her eyes shrunk and changed as if they were a serpent’s eyes. For a moment, Christabel could see that Geraldine was the serpent, the lurking danger trying to devour her. However, she is not the only target of Geraldine. She looked at Christabel with a sense of jealousy and disapproval for a moment. Christabel was astonished, she felt dizzy, stumbled on the ground, and made a hissing sound. Geraldine then turned towards Sir Leoline and her eyes and attitude again changed. She rolled her eyes which appeared so huge and bright as if filled with emotions and looked ‘wildly’ at Sir Leoline. Her intentions appear clear as if she is seducing Sir Leoline who is already so impressed with her beauty and presence and the prospects of a possible amend with his estranged friend that he appears an easy prey. While Sir Leoline believes that Geraldine represents the dove, Geraldine prepares to make him see Christabel as the lurking danger.
Stanza 24 Lines 269-284
“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 she had 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!”
Christabel feels the effect of Geraldine’s spell again encroaching on her but her innocence and truthfulness somehow try to defend her. She comes back to her senses, however, she just can’t forget the image of the serpent that he saw in Geraldine’s eyes. Yet, the spell forces her to remain unconsciously sympathetic towards Geraldine, whom she knows is a danger to her, her father, and the whole estate. She innocently, with urging eyes looks at her father.
Stanza 25 Lines 285-292
“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.”
As soon as Christabel got away from the serpentine effect of Geraldine’s spell, she devotedly prayed and then fell upon her father’s feet, begging her to send Geraldine away as soon as possible. She begs him on her mother’s soul to send Geraldine away but Sir Leoline finds himself confused. He not only wishes to use Geraldine as a means to amend his broken ties with Lord Roland, but he also is under the seductive effect of Graldine’s presence. Christabel begins to see Geraldine's true form—that of the snake in Bard Bracy's dream—more and more clearly, but she still can't speak about it. Christabel tried to make him aware of the lurking danger but she could tell no more because of the strong spell she was under.
Stanza 26 Lines 293-307
“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?”
The bard Barcy notices what is happening. He observes the confusion in the Baron’s eyes and realizes that the Baron may favor Geraldine over Christabel. He bravely decides to intervene and pleads to Sir Leoline not to be angry with Christabel. He reminds him how Sir Leoline’s late wife, in memory of whom, Sir Leoline still forces the church bells to remain mourning bells, prayed and begged him to take good care of Christabel and never let any wrong happen to her.
Stanza 26 Lines 308-317
“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,
Dishonoured thus in his old age;
Dishonoured by his only child,
And all his hospitality
To the wronged daughter of his friend”
The Baron appears in a different mood though. He appears to forget his love for his dead wife and their beloved daughter. He appears to forget his duty towards her only daughter and his estate. What he could think of is the ‘damsel in distress,’ and his long-lost estranged friend, her father. Moreover, he is already angry at the bard for ignoring his command to go to Sir Roland’s land. He believes that Christabel and the bard have dishonored him. He believes that his daughter is being inhospitable to Geraldine, his friend’s daughter who has been wronged by those five treacherous men. And while thinking about all this, his eyes go wild with rage.
Stanza 26 Lines 318-327
“By more than woman's jealousy
Brought thus to a disgraceful end—
He rolled his eye with stern regard
Upon the gentle minstrel 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 agèd knight, Sir Leoline,
Led forth the lady Geraldine!”
Sir Leoline feels that Christabel is jealous of Geraldine because he is so attentive towards her and this enraged him further. He commands the Bard to take a leave and then he leaves Christabel on the floor, ignoring her requests, he takes Lady Geraldine in his arms and leads her to his chamber.
Part 2 of Christabel ends here on this rather pessimist note which suggests that evil has overpowered goodness and innocence. The green serpent is continuing to widen her mouth and devour the very existence of Christabel, the dove, and much more. Christabel, and hence the goodness appears on her knees, begging for her father’s help but is overlooked.
Coleridge added a conclusion to the Second Part.
The Conclusion to Part II
Stanza 1 Lines 1-22
“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.”
Unlike the conclusion to Part I, in which Coleridge offers a short summary and a few explanations of the story, Coleridge chooses a different tone for the conclusion of Part 1. He doesn’t mention the story of Christabel at all, rather he concentrates on how and why fathers do cruel things to their children—even when they love them dearly. The speaker describes a fairy-like child who delights its father; the child represents Christabel. The speaker notes that the father experiences such an overflow of delight in his child that this excessive love can quickly turn into excessive bitterness and unkindness. The speaker then notes the close connection between opposing emotions, such as happiness and pain. The speaker appears to suggest that Sir Leoline realizes that it is Christabel’s own fight. Though he loves her immensely and is a dutiful father, he realizes he will not be there to protect Christabel forever. He wishes Christabel to face the lurking danger by herself and realize her own powers. It suggests that the world is full of dangers and cruel things and if the child is always remained protected, she will never be able to face the real world.
So this is it for today. We will continue to discuss the history of English literature.
