Comparison Between ‘Christabel’ from S.T.Coleridge’s Christabel and Madeline in John Keats ‘the Eve of St. Agnes’

Hameed Khan Topic Comparison between Christabel from S. T. Coleridges Christabel and Madeline in John Keats The eve of St. Agnes Christabel from Samuel Taylor Coleridges Christabel and Madeline from John Keats The eve of St. Agnes turn in some(prenominal) striking similarities. Throughout two poems, the two women argon always referred to as pure, aboveboard, gener tout ensembley substanti everyy little lady friends. They ar praised by the other characters and by the cashiers. However, both women engage in behaviour that defies their descriptions.Occasionally, this behaviour even disrupts gender agencys, and the present of the girls in their individual texts in question. The topic of concern is with a grumpy text in question so there is a pose to what extent this topic expands. The comparison is between the two jumper lead fe mannishs of their respective texts. The similarities that I want to point out to are limited to the leading female characters only and not to th e entire Poems in concern. On the ass of the review of both the poems and a complete study of individual characters, this effectuate is an attempt to point to the fact that Madeline in The Eve of St.Agnes shows character similarities in nature and behaviour to that of Christabel in Christabel by S. T. Coleridge. When we start analyzing the text of Christabel the showtime fore diddleeng that we come to k straight nigh her character is that there are many instances when Christabel is draw as good. First of all, she is constantly called manialy, or referred to as the beautiful brothel keeper Christabel whom her father loves so well (Coleridge 3). Christabel is adored by her father. The narrator calls Christabel her fathers joy, his pride, So fair, so naive, so moderate (Coleridge 16).Another aspect of Christabels goodness is that she is a devout Christian. The girl is described as a youthful hermitess Who, praying always, prays in sleep (Coleridge 10). There is adept insta nce where Christabel devoutly cried/To the Lady by her side,/Praise we the Virgin all divine/Who hath rescued thee from thy distress (Coleridge 6). By giving us enlarge that Christabel is a good Christian, the lector can assume that she is a good soulfulness in general. Later, after Christabel takes Geraldine back into her room and Geraldine undresses, the narrator yells O shield her shield sweet Christabel (Coleridge 8). Christabel is apparently not allowed to look at Geraldines body, perhaps in fear of corrupting her innocence. Yet the subscriber sees that Christabel is not as innocent as she is portrayed. Christabels behaviour end-to-end the poem is far from innocent, and at times could be called inappropriate. The ratifier is offset introduced to Christabel as she is sneaking out of the castle. It is said that she in the mid nighttime wood go away pray (Coleridge 3). Automatically, there is something strange approximately her behaviour. Why would a unfledged woman who presumably has a church in her home go outside to pray?Yet the narrator says that she goes To make her gentle vows (Coleridge 9), so she cant be doing anything alike bad. As Christabel is leaving, the narrator mentions that She had hallucinations all yesternight/Of her own betrothed knight (Coleridge 3). Not much is said about these dreams, further they can be perceived as either innocent or suspicious. As Christabel meets Geraldine, she is afraid scarce welcoming to the stranger. When Geraldine appears scared, Then Christabel stretched frontward her hand /And comforted fair Geraldine (Coleridge 5). Christabel comforts Geraldine and offers to take her to her house and have her father take her home.Yet Christabel stretching out her hand can withal be referring to Eve stretching out her hand and winning the orchard apple tree from the snake. By stretching out her hand, Christabel is perhaps accepting evil and sin. Later, when Christabel is taking Geraldine home, Geraldine se ems to faint. Christabel therefore with might and main/Lifted her up, a weary weight,/ all everywhere the threshold of the gate (Coleridge 5). This image of one person carrying another all over a threshold and into a home is suspiciously reminiscent of a husband carrying a wife into their new life together.As Christabel is the carrier, she takes on the role of the man. Although she does not do it intentionally, Christabel is already crossing some gender boundaries. once she finally gets Geraldine inside of her room, one of the first-year things that Christabel does is offer her some vino-coloured O weary lady, Geraldine,/I pray you, drink this cordial wine /It is a wine of virtuous powers (Coleridge 7). What are Christabels intentions here? Is she plain being friendly, or is she perhaps hoping that she can use the alcohol to falsify her guest? Then, Christabel undresses, sits own, And on her elbow did recline/To look at the lady Geraldine (Coleridge 8) as she undresses. This interest in watching Geraldine undress seems instead atypical of Christabel, and in fact, that is when the narrator promptly jumps in to shield Christabels innocent eyes. After a rather questionable evening, where it can be pretended that the two women did more than hardly sleep, Christabel awakens and Grows sad and soft the smooth thin lids/Close oer her eyes and tears she sheds (Coleridge 9-10). There are many different business relationships for why she is crying.Perhaps it is because she knows that she has sinned, which she admits Sure I have sinnd (Coleridge 11). These sins can include bringing Geraldine back into the castle, trying to manipulate her, sleeping with her, etc. So she did perform an uncharacteristic deed, but she feels bad about it so she is crying. But at the same time that she is crying, she seems to smile/As infants at a sudden light (Coleridge 10). The to the highest degree likely explanation for this unusual conduct is that Christabel is still under Geraldines spell.As she begins to cry, the spell kicks in forcing her to smile dumbly. On the next page, Christabel hopes that her sin will stay transcendental and having prayed/That He, who on the cross did groan,/Might wash away her sins unknown (Coleridge 11). Yes she is praying for forgiveness, but she is also praying that no one finds out about what she did. Would this be considered taking responsibility for her actions? Christabel also ponders the idea that her deceased set about is watching over her in Heaven. She asks What if she knew her mother near? But this she knows, in joys and woes,/For the blue shift bends over all (Coleridge 10). She is both happy and upset that her mother is watching her. She is probably worried that her mother would not approve of her actions and be ashamed by them. Christabels mother wanted her daughter to link up and have children. That was her duty as a woman of that time. Yet Christabel has just had this potentially lesbian encounter. Lat er, the girls go to see Sir Leoline and Bard Bracy. Bracy says that he dreamt of a dove who he called Christabel with a snake coiled around its neck.This piece of imagery has both the positive aspect of the girl as the dove, and the shun aspect of the dove being possessed by evil. It further adds to the astonishment of the conflicting occurrences and mentions of Christabels character. This confusion centers on the collocation of the positive way the narrator describes the girl and her seemingly bad behaviour. The reader receives mixed messages, which are unfortunately not passed up by the end of the poem. These mixed messages also occur in the poem The Eve of St.Agnes. The main female character, Madeline, is depicted as a good, innocent girl. The first detail that Keats gives the reader is that Madeline is still a virgin. The ceremony that Madeline is performing that night only applies to virgins, so the reader knows that Madeline is not experienced in matters of love making. Ne xt, Madeline is caring and gentle towards her maid, Angela. When Madeline sees that Angela is on the stairs, With pious care,/She turned, and down the venerable gossip led/To a safe level matting (Keats 23).Yet although the girl is performing an action here, and elsewhere in the poem, she does not really call except for about two stanzas when she is talking to Porphyro. This silence makes her seem reticent and passive. The reader is also allowed access into Madelines room, which is described in broad detail A casement high and triple-archd there was, All garlanded with sliced imagries Of fruits, and flowers, and bunches of knot-grass, And diamonded with panes of quaint device, Innumerable of stains and splendid dyes, As are the tiger-moths deep-damaskd wings And in the midst, mong thousand heraldries,And twilight saints, and dim emblazonings, A screen scutcheon blushd with blood of queens and kings. (Keats 23) A persons room should somehow reflect that persons personality, an d fit in to Madelines room, she is religious, wealthy, feminine, and loyal to her family. She basically sounds like she is everything that a girl in that time period is mantic to be. Later, as Madeline is shown praying, she is described as a saint a splendid angel so pure a thing, so free from mortal taint (Keats 24). So Madeline, like Christabel, seems to be a rule-abiding, loyal girl.However, there are things that Madeline thinks and does that makes the reader rethink the praises birdcall of the girl. On one hand, Madeline is just a curious, naive girl who wishes to dream of her future husband, to have visions of delight,/And soft adorings from their loves Hoodwinkd with faery dream (Keats 19). On the other hand, she hopes to dream of more than that Full of this whim her fondness was otherwhere/She sighd for Agness dreams Anxious her lips, her breathing quick and short And all the bliss to be (Keats 19). What kind of dreams is Madeline hoping to have?In the cancelled stanza that Keats was forced to take out, he describes these dreams as consisting of More pleasures followd in a dizzy stream (Keats). That is in fact how Madelines night ends up turning out, as it is implied that her and Porphyro have sex. But the reader cannot be sure exactly what happens and how it happens. The details are so vague, that it is perplexing as to who initiated it, if there was consent, and if the act even did happen. The reader does know, nevertheless, that Madeline thinks Porphyro will bring her Porphyro will leave me here to fade and pine. /CruelWhat traitor could thee here bring? (Keats 27). By saying this, Madeline entraps Porphyro in a situation where he really has no choice but to stay with her. She even calls herself A dove forlorn and lost with sick unpruned wing (Keats 27), making herself seem helpless. She clearly is able to manipulate the situation so that Porphyro, if leaving was his intention, feels too guilty to go. She then says that she would curse him, but my heart is lost in thine (Keats 27), which suggests that if it were not, Madeline would have cursed him. What kind of a good Christian girl would curse someone?After their interaction, the two lovers flee the castle. Although Madeline is beset with fears (Keats 27) as she is running away with Porphyro, she still consents to go with him. This does show that she is passive and non-confrontational, but if she fully was a pure, innocent character, she would have refused to go with Porphyro and stayed with her family like she was supposed to. However, it can also be interpreted that since she lost her virginity to Porphyro, she must now marry him. Porphyro is therefore like a husband to her, and she must copy her husband. The messages that the author sends in this poem are mixed as well.It is constantly unclear who is controlling the situation in any given moment. In both of these poems, the two leading characters are described by the narrator as being stereotypically female. They obey the rules, they are quiet and passive, and they are lovely and gentle. It is quite a shock, to see how these girls behave often, their behaviour could even be called stereotypically male. They manipulate and control others, they have thoughts that young girls should not be having, and they are quite independent. But how is the reader supposed to interpret these complicated details?Perhaps the authors are trying to say that women can still be good women even if they do male things, or have male thoughts. Or maybe they are trying to say that even the most feminine girls have some male aspects, and that is completely natural. Either way, it is clear that both of these authors were progressive men who understood that gender boundaries could be quite flexible. Bibliography Coleridge, Samuel T. Christabel. 1907. Keats, John. The Eve of St. Agnes. 1885. Rosemarie Maier, The Journal of English and Germanic Philology Vol. 70, No. 1 (Jan. , 1971)