It is very noticeable that the first part of Christabel lacks a distinct male presence. The poem introduces "the lovely lady, Christabel" (23), but when the second prominent character is introduced into the poem, the expectation that Christabel will encounter a male suitor is ruptured by the introduction of the "lovely damsel bright" (58). Both Geraldine and Christabel are introduced as "lovely," which is already a feminized description, but the feminine description is enhanced when Christabel is then referenced as a "lady" and Geraldine as a "damsel." In both cases the reader is told what these women look like and how they present themselves before either of their names is given.
As Geraldine is further described, the poem goes into great detail about Geraldine's "silken robe of white"(59) that in the "moonlight shone" (60). The narrator of the poem makes a "guess" (66) that "t'was frightful there to see / a lady so richly clad as she / beautiful exceedingly!" (66-68). While this description seems to come from the narrator, it can be read that the narrator is describing what Geraldine looks like through the eyes of the only person who is actually seeing Geraldine, and that person is Christabel. Though there is no explicit statement of attraction, there is certainly a tension between these two female characters, because in the absence of a male character, Christabel seems to assume the role of the more masculine figure in this newly formed relationship. It is typically within the male gaze that a woman is described, so Chirtabel's viewing of Geraldine as Geraldine is first presented, evokes a certain masculine undertone. Later when Geraldine needs help she calls on Christabel to "help a wretched maid to flee" (103). Though Christabel does make reference to Sir Leoline as being the person who will ultimately help Geraldine, Christabel "comforted fair Geraldine" (104), once again leaving the terms of this relationship somewhat open. Christabel then informs Geraldine (and therefore the reader) that Sir Leoline is "weak in health" (118), marking him as a passive agent in the poem. It is at this point that Christabel seems to be the most powerful force in the poem, and she becomes a pseudo guardian for Geraldine. This reaffirms the initial feeling that Christabel has assumed this more masculine role, but it also adds another vague dimension to this relationship that has not been clearly defined.
My question about this analysis is whether my observation of Christabel's evolving masculinity is actually occurring, or whether I have been conditioned to search for a masculine presence in when reading a story involving a "damsel." Is it wrong of me to assume masculinity merely because Christabel exhibits agency? Am I then limiting the potential of the female character by insinuating that a female character only remains feminine if she presents herself as passive and weak?
I don't think your analysis is wrong in any way especially since you're applying historical context. In the time that this was written as well as the time period that the poem is set in, women are supposed to be feminine and portrayed as the damsels in distress. The fact that Christabel is the one doing the saving presents her in the more masculine role.
ReplyDeleteIf you think about a female role in a contemporary setting though, the analysis would be different. Take Uma Thurman's character in "Kill Bill". When analyzing her, I would describe her as a strong female character but I wouldn't necessarily consider her femininity and her masculinity. But then again, maybe that's just how I see lead women because I myself am a woman.