How does Coleridge generate terror and horror in this part of the poem? Is it more terrifying or horrifying?

How does Coleridge generate terror and horror in this part of the poem? Is it more terrifying or horrifying?

‘Christabel’ (1816) is a mystifying Gothic poem in its uncanniness, raising more questions than answers. The fragmentary nature is fundamental to the obscurity and uncertainty present with the female characters: Geraldine and Christabel. The passage employs horror and terror effects such as the supernatural concerning Geraldine’s identity and the setting of a forest, both of which produce a sinister atmosphere, revealing an impending sense of doom. Ann Radcliffe’s distinction between terror and horror is ‘the first expands the soul and awakens the faculties to a high degree of life; the other contracts, freezes, and nearly annihilates them’ (Radcliffe, 168). Terror thus is characterised by an emphasis on psychological suspense, hinting at the supernatural. The passage is more terrifying because of an omnipresent sense of ambiguity with Geraldine’s identity; Coleridge never explicates the events or reveals the truth with Geraldine and her supernatural nature, and this obscurity affects the exaggerated imagination.

In the passage, the length of stanzas reflects Geraldine as an enticing figure who visually dominates through structure, which shows her as a threatening force. Geraldine, at first, is not particularly menacing in appearance or speech and is characterised as a person of pity. Her sorrowful tone invites sympathy and horror because she creates an image of a defenceless, frail woman seeking assistance. However, in the third stanza, from lines 79 to 103, where she narrates parts of her story, her presence cannot be ignored–not for the reader or Christabel. The shorter stanzas echo the building, yet subtle tension between the women, however, the abruptness of the second lengthier stanza immediately strikes out, mirroring caution when encountering Geraldine, especially because of her mysteriousness as a stranger. Also, the third stanza visualises Christabel’s submissiveness as she is drawn into Geraldine’s influence. Geraldine, an object of terror, strikes forcibly; she overpowers through the stanzas, and thus her sudden, strong presence is difficult to disregard–she retains attention in a mesmerising approach that is terrifying.

The sense of vulnerability catches readers off-guard in using rhythm. The metre varies from seven to twelve beats, but there is a hypnotising, musical quality to the pace that has an ominous undertone. The musical rhythm is also enhanced through rhyme, for example, the phrases, ‘line’ (Coleridge, line 79) and ‘Geraldine’ (Coleridge, line 80), where the accents are stressed. This unusual effect lulls readers into vulnerability, creating a foreboding ambience that ignores the quality of danger. However, the passage, via the use of sound in language, provides warnings:

‘They choked my cries with forces and fright’ (Coleridge, line 83).

The harsh consonant sound ‘C’ and ‘F’ of ‘choked’, ‘cries’, ‘force’ and ‘fright’ attempts to warn readers; instead of being susceptible to vulnerability, the reader is cautioned not to be drawn in, and so there is a ‘strange mixture of horror, pity, and indignation produced’ (Radcliffe, p.166). Therefore, the shift between musical rhyme and harsh sounding words are jarring which stresses uncertainty. The sexual imagery evoked is horrific because the aggressiveness and power the men exhibit indicates Geraldine as a victim of sexual abuse. The gothic feature of the unprotected, abused woman rouses indignant fury, however, the vagueness with Geraldine’s identity generates conflicting emotions within the reader; this conflict is both horrifying because of her alarmingly violent story, yet also terrifying because of the hypnotic influence that draws in Christabel which has a sinister undertone. We fear for the alarming force awaiting Christabel that is undefinable throughout the poem.

The forest setting, where Christabel encounters Geraldine at night, signifies conventions of the Gothic, generating a profound sense of fear for its effect in obscuring danger and mystery. The forest is symbolic of a chaotic, wild and unruly area liable to strange and dark events. Hence, a phantasmagorical element is cast with the forest which is essential in inducing terror because the vastness of a wooded area means that supernatural occurrences are probable. The forest is likened to the sublime whereby despite its beauty in unruliness, the forest’s immensity is truly terrifying as Christabel is exposed to indefinite dangers with no form of defence. Also, for Geraldine to be discovered at night in the forest ascertains a small threat she may pose to Christabel because of the obscurity the forest shrouds–Geraldine is ‘working evil in the darkness of mystery’ (Radcliffe, p.165). Furthermore, the Romantic, natur