It's even more interesting in the face of Coleridge's history of unease with women (Grossberg 152). The two main characters in this piece are Christabel and Geraldine. Geraldine's appearance coincides with a mysterious sound that is never identified, and is but one indication of her supernatural origins. It has been suggested that Geraldine is the first appearance of a vampire in literature, though she is referred to as a witch in the text itself. She has a strongly homoerotic connection to Christabel, one of Sir Leoline's, the baron who owns the castle where the poem takes place, daughters. Christabel is enchanted by Geraldine, whether literally or figuratively, though she is terrified as well. Essentially Christabel and Geraldine set up a clear dichotomy of good and evil in the work. Of course it isn't just the words and characters that lend any meaning to the poem.

The physical structure itself of the poem seems to communicate a number of things. The first part of the poem seems to be very mysterious, almost tentative in that neither the reader nor the narrator seem very sure whether Geraldine is in fact evil. The beginning of the tale unfolds much like the tender youth of Christabel, though we already see signs of her independence in that she is out alone at night to encounter Geraldine. Still, things are not nearly as dark in the first part as they are in the second. This serves to illustrate several things through this structure; one is for the reader to see the passage of time. It is necessary to understand that these events did not happen quickly, and that Christabel grows...

Also, this shows the spiraling of the situation at the castle. The suspense is created by the more tentative beginning that slowly disturbs the reader with questions, but then as part I comes to a close and part II is beginning, the disturbance is much keener. This makes the poem extremely effective as a Gothic piece as well.
Coleridge's "Christabel," though initially unpopular with critics at the time of its release, is an excellent illustration of the Gothic genre in its infancy. Both the characters and the various dark elements that are presented within the poem are innovative and interesting and clearly have a long-lasting appeal. The fantastic and taboo topics that Coleridge presents in this piece also serve to demonstrate Coleridge's dedication to the revitalization and redirecting of literature at the end of the 18th century.

Works Cited

Abrahms, M.H. (ed). "Introduction to the Gothic." Norton Anthology of English

Literature. London: W.W. Norton, 2000.

Coleridge, Samuel Taylor. "Christabel." British Literature 1780-1830. Ed. Anne K.

Mellor and Richard E. Matlak. Boston: Heinle & Heinle, 1996. 721-729.

Grossberg, Benjamin Scott. "Making Christabel: Sexual Trangression and Its

Implications in Coleridge's 'Christabel'." Journal of Homosexuality 41 (2001): 145-165.

Taylor, Anya. "Coleridge's "Christabel" and the Phantom Soul" Studies in English

Literature, 1500-1900. Baltimore:Autumn 2002, 42 (4), p. 707-730.