The Three Graves. A Fragment Of A Sexton's Tale by Samuel Taylor Coleridge (Poem, Summary, & Analysis)

 

The Three Graves. A Fragment Of A Sexton's Tale

by Samuel Taylor Coleridge

(Poem, Summary, & Analysis) 

The Three Graves. A Fragment Of A Sexton's Tale

The grapes upon the Vicar's wall

Were ripe as ripe could be;

And yellow leaves in sun and wind

Were falling from the tree.

 

On the hedge-elms in the narrow lane

Still swung the spikes of corn:

Dear Lord! it seems but yesterday--

Young Edward's marriage-morn.

 

Up through that wood behind the church,

There leads from Edward's door

A mossy track, all over boughed,

For half a mile or more.

 

And from their house-door by that track

The bride and bridegroom went;

Sweet Mary, though she was not gay,

Seemed cheerful and content.

 

But when they to the church-yard came,

I've heard poor Mary say,

As soon as she stepped into the sun,

Her heart it died away.

 

And when the Vicar join'd their hands,

Her limbs did creep and freeze;

But when they prayed, she thought she saw

Her mother on her knees.

 

And o'er the church-path they returned--

I saw poor Mary's back,

Just as she stepped beneath the boughs

Into the mossy track.

 

Her feet upon the mossy track

The married maiden set:

That moment--I have heard her say--

She wished she could forget.

 

The shade o'er-flushed her limbs with heat--

Then came a chill like death:

And when the merry bells rang out,

They seemed to stop her breath.

 

Beneath the foulest mother's curse

No child could ever thrive:

A mother is a mother still,

The holiest thing alive.

 

So five months passed: the mother still

Would never heal the strife;

But Edward was a loving man,

And Mary a fond wife.

 

"My sister may not visit us,

My mother says her nay:

O Edward! you are all to me,

I wish for your sake I could be

More lifesome and more gay.

 

"I'm dull and sad! indeed, indeed

I know I have no reason!

Perhaps I am not well in health,

And 'tis a gloomy season."

 

'Twas a drizzly time--no ice, no snow!

And on the few fine days

She stirred not out, lest she might meet

Her mother in the ways.

 

But Ellen, spite of miry ways

And weather dark and dreary,

Trudged every day to Edward's house,

And made them all more cheery.

 

Oh! Ellen was a faithful friend,

More dear than any sister!

As cheerful too as singing lark;

And she ne'er left them till 'twas dark,

And then they always missed her.

 

And now Ash-Wednesday came-that day

But few to church repair:

For on that day you know we read

The Commination prayer.

 

Our late old Vicar, a kind man,

Once, Sir, he said to me,

He wished that service was clean out

Of our good Liturgy.

 

The mother walked into the church--

To Ellen's seat she went:

Though Ellen always kept her church

All church-days during Lent.

 

And gentle Ellen welcomed her

With courteous looks and mild:

Thought she, "What if her heart should melt,

And all be reconciled!"

 

The day was scarcely like a day--

The clouds were black outright:

And many a night, with half a moon,

I've seen the church more light.

 

The wind was wild; against the glass

The rain did beat and bicker;

The church-tower swinging over head,

You scarce could hear the Vicar!

 

And then and there the mother knelt,

And audibly she cried-

"Oh! may a clinging curse consume

This woman by my side!

 

"O hear me, hear me, Lord in Heaven,

Although you take my life--

O curse this woman, at whose house

Young Edward woo'd his wife.

 

"By night and day, in bed and bower,

O let her cursed be!!! "

So having prayed, steady and slow,

She rose up from her knee!

 

And left the church, nor e'er again

The church-door entered she.

I saw poor Ellen kneeling still,

So pale! I guessed not why:

When she stood up, there plainly was

A trouble in her eye.

 

And when the prayers were done, we all

Came round and asked her why:

Giddy she seemed, and sure, there was

A trouble in her eye.

 

But ere she from the church-door stepped

She smiled and told us why:

"It was a wicked woman's curse,"

Quoth she, "and what care I?"

 

She smiled, and smiled, and passed it off

Ere from the door she stept--

But all agree it would have been

Much better had she wept.

 

And if her heart was not at ease,

This was her constant cry--

"It was a wicked woman's curse--

God's good, and what care I?"

 

There was a hurry in her looks,

Her struggles she redoubled:

"It was a wicked woman's curse,

And why should I be troubled?"

 

These tears will come--I dandled her

When 'twas the merest fairy--

Good creature! and she hid it all:

She told it not to Mary.

 

But Mary heard the tale: her arms

Round Ellen's neck she threw;

"O Ellen, Ellen, she cursed me,

And now she hath cursed you!"

 

I saw young Edward by himself

Stalk fast adown the lee,

He snatched a stick from every fence,

A twig from every tree.

 

He snapped them still with hand or knee,

And then away they flew!

As if with his uneasy limbs

He knew not what to do!

 

You see, good Sir! that single hill?

His farm lies underneath:

He heard it there, he heard it all,

And only gnashed his teeth.

 

Now Ellen was a darling love

In all his joys and cares:

And Ellen's name and Mary's name

Fast-linked they both together came,

Whene'er he said his prayers.

 

And in the moment of his prayers

He loved them both alike:

Yea, both sweet names with one sweet joy

Upon his heart did strike!

 

He reach'd his home, and by his looks

They saw his inward strife:

And they clung round him with their arms,

Both Ellen and his wife.

 

And Mary could not check her tears,

So on his breast she bowed;

Then frenzy melted into grief,

And Edward wept aloud.

 

Dear Ellen did not weep at all,

But closelier did she cling,

And turned her face and looked as if

She saw some frightful thing.

 

PART II.

 

To see a man tread over graves

I hold it no good mark;

'Tis wicked in the sun and moon,

And bad luck in the dark!

 

You see that grave? The Lord he gives,

The Lord, he takes away:

O Sir! the child of my old age

Lies there as cold as clay.

 

Except that grave, you scarce see one

That was not dug by me;

I'd rather dance upon 'em all

Than tread upon these three!

 

"Aye, Sexton!'tis a touching tale."

You, Sir! are but a lad;

This month I'm in my seventieth year,

And still it makes me sad.

 

And Mary's sister told it me,

For three good hours and more;

Though I had heard it, in the main,

From Edward's self, before.

 

Well! it passed off! the gentle Ellen

Did well nigh dote on Mary;

And she went oftener than before,

And Mary loved her more and more:

She managed all the dairy.

 

To market she on market-days,

To church on Sundays came;

All seemed the same: all seemed so, Sir!

But all was not the same!

 

Had Ellen lost her mirth? Oh! no!

But she was seldom cheerful;

And Edward look'd as if he thought

That Ellen's mirth was fearful.

 

When by herself, she to herself

Must sing some merry rhyme;

She could not now be glad for hours,

Yet silent all the time.

 

And when she soothed her friend, through all

Her soothing words 'twas plain

She had a sore grief of her own,

A haunting in her brain.

 

And oft she said, I'm not grown thin!

And then her wrist she spanned;

And once when Mary was down-cast,

She took her by the hand,

And gazed upon her, and at first

She gently pressed her hand;

 

Then harder, till her grasp at length

Did gripe like a convulsion!

"Alas!" said she, "we ne'er can be

Made happy by compulsion!"

 

And once her both arms suddenly

Round Mary's neck she flung,

And her heart panted, and she felt

The words upon her tongue.

 

She felt them coming, but no power

Had she the words to smother;

And with a kind of shriek she cried,

"Oh Christ! you're like your mother!"

 

So gentle Ellen now no more

Could make this sad house cheery;

And Mary's melancholy ways

Drove Edward wild and weary.

 

Lingering he raised his latch at eve,

Though tired in heart and limb:

He loved no other place, and yet

Home was no home to him.

 

One evening he took up a book,

And nothing in it read;

Then flung it down, and groaning cried,

"O! Heaven! that I were dead."

 

Mary looked up into his face,

And nothing to him said;

She tried to smile, and on his arm

Mournfully leaned her head.

 

And he burst into tears, and fell

Upon his knees in prayer:

"Her heart is broke! O God! my grief,

It is too great to bear!"

 

'Twas such a foggy time as makes

Old sextons, Sir! like me,

Rest on their spades to cough; the spring

Was late uncommonly.

 

And then the hot days, all at once,

They came, we knew not how:

You looked about for shade, when scarce

A leaf was on a bough.

 

It happened then ('twas in the bower,

A furlong up the wood:

Perhaps you know the place, and yet

I scarce know how you should,)

 

No path leads thither, 'tis not nigh

To any pasture-plot;

But clustered near the chattering brook,

Lone hollies marked the spot.

 

Those hollies of themselves a shape

As of an arbour took,

A close, round arbour; and it stands

Not three strides from a brook.

 

Within this arbour, which was still

With scarlet berries hung,

Were these three friends, one Sunday morn,

Just as the first bell rung.

 

'Tis sweet to hear a brook, 'tis sweet

To hear the Sabbath-bell,

'Tis sweet to hear them both at once,

Deep in a woody dell.

 

His limbs along the moss, his head

Upon a mossy heap,

With shut-up senses, Edward lay:

That brook e'en on a working day

Might chatter one to sleep.

 

And he had passed a restless night,

And was not well in health;

The women sat down by his side,

And talked as 'twere by stealth.

 

"The Sun peeps through the close thick leaves,

See, dearest Ellen! see!

'Tis in the leaves, a little sun,

No bigger than your ee;

 

"A tiny sun, and it has got

A perfect glory too;

Ten thousand threads and hairs of light,

Make up a glory gay and bright

Round that small orb, so blue."

 

And then they argued of those rays,

What colour they might be;

Says this, "They're mostly green"; says that,

"They're amber-like to me."

 

So they sat chatting, while bad thoughts

Were troubling Edward's rest;

But soon they heard his hard quick pants,

And the thumping in his breast.

 

"A mother too!" these self-same words

Did Edward mutter plain;

His face was drawn back on itself,

With horror and huge pain.

 

Both groan'd at once, for both knew well

What thoughts were in his mind;

When he waked up, and stared like one

That hath been just struck blind.

 

He sat upright; and ere the dream

Had had time to depart,

"O God, forgive me!" (he exclaimed)

"I have torn out her heart."

 

Then Ellen shrieked, and forthwith burst

Into ungentle laughter;

And Mary shivered, where she sat,

And never she smiled after.

 

Carmen reliquum in futurum tempus relegatum. To-morrow! and To-morrow! and To-morrow!----

 

Summary

Introduction and Setting

The poem opens with vivid rural imagery: grapes ripen on the Vicar’s wall, autumn leaves fall, and corn still hangs on hedge-elms. The village is in a transitional moment—both in nature and in human affairs. The speaker, the sexton, reminisces about a significant event in the past: the marriage of young Edward, a villager.

 

Edward and Mary’s Wedding

Edward marries Mary, and the couple walks from their home to the churchyard along a shaded, mossy path behind the church. Though Mary appears content, there's a strange unease about her. As she steps into the sunlight in the churchyard, she is struck with an inexplicable sense of dread. During the ceremony, she feels cold and frightened, and while praying, she imagines seeing her deceased mother on her knees, which intensifies her uneasiness.

 

The Return from the Church and Growing Dread

After the wedding, the couple returns along the same shaded path. Mary steps back onto the mossy track and feels a wave of discomfort—heat flushes her body, followed by a chill like death. The joy of the wedding bells seems to rob her of breath instead of uplifting her.

 

Life After Marriage and the Strange Illness

Mary and Edward begin their married life, but Mary grows increasingly pale, listless, and withdrawn. Though she is not outwardly unhappy, a mysterious weight hangs over her. Her health gradually declines, and despite various efforts to help her, she becomes weaker and eventually bedridden.

 

Confession of a Curse

As Mary nears death, she confesses a terrible secret to her husband. She had visited an old woman—reputed to be a witch—out of desperation. Before her marriage, she feared Edward did not love her enough and asked the woman to help ensure his love. The old woman had muttered a strange, perhaps magical charm. Though Mary regretted it instantly, she feared the harm had already been done.

 

The Consequences

Mary dies young, and the grief-stricken Edward is never the same. He visits her grave frequently, unable to move on. The old woman—the source of the charm—is also found dead under mysterious circumstances. Later, Edward too dies, his life seemingly drained by grief and guilt.

 

The Three Graves

The poem's title is fulfilled in the end: three graves lie side by side—Mary’s, Edward’s, and the old woman’s. These graves symbolize the tragic outcome of tampering with fate and the spiritual consequences of fear, guilt, and superstition.

 

Closing Reflection

The sexton concludes his tale by reflecting on the strange and sorrowful events. The poem ends on a somber note, warning of the dangers of seeking unnatural control over love and destiny. The calm countryside hides this tale of hidden passions, regrets, and the chilling reach of superstition.

 

Summary split into Sections

1. The Peaceful Village Scene

The poem opens with a tranquil image of the countryside in early autumn. Grapes ripen on the Vicar’s wall, yellow leaves fall gently from trees, and corn still swings on hedge-elms. The Sexton, as narrator, introduces a memory that seems as fresh as yesterday—the wedding of young Edward.

 

2. The Wedding Day Begins

Edward’s house lies behind the church, and a shaded mossy path leads from his door. On their wedding day, Edward and his bride, Mary, walk along this track toward the church. Mary is quiet and not visibly joyful, but she appears calm and composed.

 

3. A Sudden Feeling of Dread

As they arrive at the sunlit churchyard, Mary suddenly feels a sharp emotional shift. She later recounts that her heart "died away" the moment she stepped into the light. During the ceremony, her body feels cold, and when they kneel to pray, she imagines seeing her dead mother—an eerie, haunting vision.

 

4. The Return Journey and a Strange Sensation

After the wedding, the couple returns home by the same mossy path. As Mary steps onto it, a chill seizes her, despite the warmth of the day. The joyful sound of the wedding bells feels suffocating to her. This moment marks the beginning of a slow, unexplainable change in her.

 

5. A Decline in Spirit and Health

Mary becomes quieter and more withdrawn. Though not visibly distressed, she loses her liveliness. Her face turns pale, and her health fades. Friends and family are puzzled by her decline. She takes to her bed, visibly growing weaker, though no one can say what truly ails her.

 

6. The Fear of Being Unloved

Eventually, Mary reveals her internal torment: she feared that Edward did not truly love her. This fear had haunted her before the wedding and led her to commit a desperate act—one that now torments her conscience.

 

7. The Visit to the Old Woman

Mary confesses that she once visited an old woman believed to be a witch. Desperate to win Edward’s heart fully, she begged for a charm to ensure his love. The woman muttered strange, ancient words—possibly a curse. Though Mary felt regret immediately, she feared the words had taken root.

 

8. Mary’s Death and Edward’s Despair

Mary's health deteriorates further, and she eventually dies. Edward is devastated, unable to recover from her loss. He visits her grave often, filled with sorrow and possibly guilt. The emotional toll weakens him.

 

9. The Fate of the Old Woman

Not long after Mary’s death, the old woman also dies—under eerie and sudden circumstances. Her end seems mysterious, as if the consequences of her actions had caught up with her.

 

10. Edward’s Death and the Three Graves

Edward dies soon after, broken in heart and spirit. Thus, three graves appear side by side in the churchyard: Mary’s, Edward’s, and the old woman’s. Their placement symbolizes the intertwined fates of these three lives, all connected by fear, guilt, love, and superstition.

 

11. The Sexton’s Closing Reflection

The Sexton concludes his tale with a somber tone, noting that what seems like a peaceful village holds many dark and sorrowful stories. He offers no moralizing judgment, but the story itself stands as a quiet warning about tampering with forces beyond human understanding—especially in matters of love and destiny.

 

Analysis in Detail

Samuel Taylor Coleridge’s The Three Graves. A Fragment of a Sexton’s Tale is a deeply atmospheric and haunting narrative poem that delves into themes of love, superstition, fate, and the consequences of human actions. The poem is narrated by the Sexton, a figure who witnesses and reflects on a tragic love story that unfolds in his village. Below is a detailed analysis of the poem, broken down into its key elements:

 

1. Narrative Voice and Structure

The poem is written in the first person, narrated by the village Sexton who tells the story of the tragic deaths of three individuals: Mary, Edward, and the old woman (referred to as a witch). The Sexton’s voice is calm and matter-of-fact, but the content of the story is filled with a sense of mystery and eerie foreboding. This choice of narrative voice is significant because it creates a detached yet intimate connection with the events. While the Sexton is not directly involved in the tragedy, his position as an observer and caretaker of the graves allows him to offer a reflective perspective on the story.

The poem’s structure follows a traditional balladic form, with alternating lines of eight syllables and six syllables. This rhythmic choice contributes to the mournful tone, and the regularity of the meter contrasts with the unsettling events being described. Coleridge uses the traditional ballad form to give the poem a timeless, almost folkloric quality, as if this were an old, forgotten tale being revived from the past.

 

2. Themes of Love and Superstition

At the heart of the poem is the theme of love, particularly the fear of unrequited love. Mary’s anxiety about Edward’s feelings leads her to seek out the help of the old woman, a figure who symbolizes the power of superstition and the unknown. This decision to involve the supernatural stems from Mary’s insecurity and desperation, which ultimately results in her emotional and physical decline. The poem suggests that love, when driven by fear and insecurity, can become a destructive force, as it leads Mary to a path where she unknowingly invokes forces beyond her control.

Superstition plays a significant role in the poem’s unfolding tragedy. The old woman, believed to be a witch, provides a charm to make Edward love Mary more fully. However, the consequences of this supernatural intervention are not as Mary expected. Instead of fostering a deeper connection, the charm seems to create a sinister and ominous atmosphere. The old woman’s death after Mary’s passing suggests that the forces invoked by Mary’s desperation are not benign, but are linked to dark and potentially fatal consequences.

 

3. Fate and Consequences

Fate is another central theme in The Three Graves. The characters’ actions, particularly Mary’s visit to the old woman, seem to set in motion a series of inevitable events. The poem suggests that fate operates on a level beyond human understanding or control. Mary’s sense of dread, which begins the moment she steps into the sunlight on her wedding day, hints that something has gone wrong. Her emotional reaction is not just anxiety, but a deep, existential fear as if she already knows the tragic outcome of her actions.

The deaths of Mary, Edward, and the old woman are presented as consequences of their individual actions. The Sexton’s description of their graves side by side in the churchyard symbolically represents the way their fates are intertwined. The suggestion is that they are all victims of their own desires and fears, leading to a tragic end. The poem’s ending—three graves for three intertwined fates—echoes the inevitability of death and the destructive nature of human error.

 

4. The Role of the Churchyard and the Mossy Path

The churchyard, where the events of the poem unfold, plays a symbolic role in the narrative. As a site of death and burial, the churchyard represents both physical death and spiritual consequences. It is where the characters’ fates culminate and where the Sexton, as a caretaker of graves, reflects on their lives and the choices they made. The churchyard is a space where the boundaries between life and death are blurred, and it acts as a witness to the tragic unfolding of the characters’ destinies.

The mossy path, which Mary and Edward walk on their wedding day and later as she returns home, is a metaphor for the journey of life. The path is described as “mossy” and “all over boughed,” indicating a natural, somewhat concealed route that could lead to either safety or danger. For Mary, stepping onto the path represents the beginning of her emotional and physical decline. The imagery of the mossy track also suggests the passage of time, as moss grows slowly, covering and obscuring the true nature of events.

 

5. The Role of Memory and the Sexton as an Observer

The Sexton, as the storyteller, occupies a position of observation and reflection. He is not a participant in the events but is instead a figure who holds the memories of the village and the people who have passed away. The Sexton’s role as a keeper of the dead gives him a unique perspective on the lives of others, allowing him to reflect on the consequences of their actions after they are gone.

Through the Sexton’s narration, Coleridge explores the idea of memory and its role in shaping the legacy of individuals. The story of Edward, Mary, and the old woman is told from a distance, with the Sexton recounting events that happened long ago. His position as an observer allows him to reflect on the finality of death and the way the past lingers, particularly in the form of the three graves. The poem emphasizes that while life may pass, memory—particularly the memory of mistakes and tragedies—endures.

 

6. Coleridge’s Use of Gothic and Supernatural Elements

The Three Graves is imbued with a Gothic atmosphere, filled with eerie and supernatural elements. Mary’s vision of her deceased mother during the wedding ceremony and the old woman’s mysterious death are examples of the poem’s Gothic motifs. These elements are used to explore the psychological and emotional states of the characters, particularly Mary’s feelings of guilt, fear, and anxiety.

The presence of the old woman as a witch figure adds to the poem’s eerie tone. Her charm, which is meant to ensure Edward’s love, instead seems to bring about a curse, highlighting the dangers of seeking power over fate through unnatural means. The supernatural elements in the poem are not mere plot devices; they serve to illustrate the darker aspects of human nature—fear, guilt, and the desire for control—while also suggesting that such desires can have disastrous, unforeseen consequences.

 

7. The Poem’s Conclusion: A Reflection on Death and Consequence

The poem concludes with the image of the three graves, which stand as a stark reminder of the consequences of human actions. The graves are not just physical markers of death, but also symbols of the emotional and psychological toll of the events that led to the deaths of Mary, Edward, and the old woman. The Sexton’s final reflection ties the poem together, leaving the reader with a sense of the quiet inevitability of death and the tragic consequences of fear, superstition, and the manipulation of love.

 

Conclusion

In The Three Graves. A Fragment of a Sexton’s Tale, Coleridge masterfully intertwines themes of love, superstition, fate, and death to create a chilling and poignant narrative. Through the Gothic atmosphere, the supernatural elements, and the tragic unfolding of events, the poem explores the destructive power of human desires and fears. The Sexton’s detached yet reflective narration invites readers to ponder the consequences of the characters' actions and to reflect on the inevitability of death, making the poem a profound meditation on the fragility of life and the complexity of human emotion.

 

Key Exam Points

1. Narrative Structure and Voice

The poem is narrated in the first person by the Sexton.

The Sexton is a reflective observer of the events, telling a story of tragedy and death.

The structure follows a balladic form, with regular meters contributing to its rhythmic and haunting atmosphere.

 

2. Themes

Love and Superstition: Mary’s fear of unrequited love leads her to seek supernatural help, which results in unintended consequences. The poem critiques the reliance on superstition and the destructive power of insecure love.

Fate and Consequences: The events unfold as if driven by fate, with Mary’s actions leading to inevitable deaths. The intertwined fates of the three characters suggest the power of uncontrollable forces.

Death and Memory: The churchyard and the three graves symbolize the finality of death and the persistence of memory. The Sexton’s role as the keeper of graves emphasizes the idea of legacy and the way death outlives life.

 

3. Key Symbolism

The Churchyard: A symbol of death, burial, and spiritual consequences, where the characters’ fates culminate.

The Mossy Path: Represents life’s journey, which appears natural but ultimately leads to tragedy. It is symbolic of time, obscuring the true nature of events.

The Three Graves: Symbolize the intertwined fates of Mary, Edward, and the old woman. These graves mark the tragic end of their lives, caused by fear, superstition, and guilt.

 

4. The Role of the Old Woman (Witch)

Represents the supernatural and superstition.

Her charm, meant to ensure Edward’s love, is a key plot device that introduces the theme of manipulation of fate.

Her death is portrayed as mysterious and suggests that the consequences of her actions are darker than intended.

 

5. The Role of the Sexton

The Sexton serves as the narrator, a witness to the events who reflects on the past.

His perspective gives the poem a detached, yet intimate tone, offering insight into the emotional and psychological consequences of the characters’ actions.

The Sexton’s job as a keeper of graves makes him a figure who understands death, memory, and the legacy left behind.

 

6. Key Plot Events

Mary’s wedding day begins with a sense of dread that grows throughout the ceremony.

After the ceremony, Mary confesses to her visit to the witch, where she asked for a charm to secure Edward’s love.

Mary’s health declines, and she eventually dies, followed by Edward’s despair and death.

The old woman (witch) dies mysteriously, adding to the theme of supernatural consequence.

The three graves are the final symbols of their shared fate.

 

7. Supernatural Elements

The poem features Gothic and supernatural motifs, such as visions of deceased relatives, the charm from the old woman, and the eerie deaths of the characters.

These elements are not merely plot devices but are essential in exploring the emotional and psychological turmoil of the characters.

 

8. Tone and Atmosphere

The tone of the poem is somber, reflective, and eerie.

Coleridge uses natural imagery (autumn, leaves, moss) to evoke a sense of melancholy and the passing of time.

The wedding bells, typically a symbol of joy, instead contribute to the suffocating feeling of dread that Mary experiences.

 

9. Moral and Message

The poem cautions against the dangers of superstition, particularly in matters of love and fate.

It highlights the inevitability of consequences: actions driven by fear and insecurity lead to tragic ends.

The poem reflects on the fragility of human life and the long-lasting effects of memory and legacy after death.

 

These key points will help in preparing for an exam by focusing on major themes, symbols, and narrative techniques, and understanding how Coleridge conveys complex ideas through the characters and their tragic fates.

 

One-Page Revision Sheet

Overview:

The Three Graves. A Fragment of a Sexton’s Tale is a narrative poem by Samuel Taylor Coleridge, written in the form of a ballad. It tells the tragic story of Mary, Edward, and an old woman, whose intertwined fates lead to death and sorrow. The tale is narrated by a Sexton, who reflects on the events from a detached yet contemplative perspective. The poem explores themes of love, superstition, fate, death, and the consequences of human actions.

 

Narrative Voice and Structure:

The poem is narrated in the first person by the Sexton, who is a passive observer of the events and reflects on them.

It follows a balladic form, typical of traditional folk narratives, with alternating lines of eight and six syllables. This regular meter contrasts with the unsettling events described, emphasizing the haunting atmosphere of the poem.

 

Themes:

Love and Superstition:

Mary’s fear of unrequited love leads her to seek the help of an old woman believed to be a witch, invoking superstition in an attempt to control her destiny.

The poem critiques the destructive power of superstition and insecurities in love, suggesting that trying to manipulate fate leads to tragic outcomes.

 

Fate and Consequences:

The events unfold as if they are inevitable and driven by fate. Mary’s actions, driven by fear and desperation, trigger a chain of tragic events that she cannot reverse.

The deaths of Mary, Edward, and the old woman suggest that actions have far-reaching consequences, and their intertwined fates are symbolized by the three graves.

 

Death and Memory:

The churchyard symbolizes both physical death and the spiritual aftermath. It becomes a place where memory lingers long after the individuals are gone.

The three graves are central symbols, representing the legacy of these characters and their shared fate. The Sexton’s role as a keeper of graves emphasizes the theme of memory and how the past persists even after death.

 

Key Symbols:

The Churchyard: Represents death, burial, and the spiritual consequences of one’s actions. It is where the three characters’ fates culminate.

The Mossy Path: Symbolizes life’s journey, which initially seems natural but ultimately leads to tragedy. It also represents the passage of time and the hidden nature of consequences.

The Three Graves: These graves serve as symbols of the inevitable end of the characters’ lives, marked by their tragic mistakes. The positioning of the graves side by side reflects the interconnectedness of their fates.

 

Supernatural Elements:

The old woman (witch) plays a key role in introducing superstition and the supernatural into the narrative. She provides a charm to make Edward love Mary, but the charm instead brings ominous results.

The supernatural elements, like Mary’s vision of her dead mother and the mysterious death of the old woman, add to the Gothic atmosphere of the poem, emphasizing the fear and dread that pervade the narrative.

 

Tone and Atmosphere:

The poem’s tone is somber and reflective, with a sense of inevitability and guilt hanging over the characters.

Coleridge uses natural imagery, like falling leaves and the mossy path, to create an atmosphere of melancholy and the passage of time.

Despite the wedding bells being a symbol of joy, their sound in the poem contributes to the feeling of suffocation and dread that Mary experiences.

 

Conclusion:

The poem warns against tampering with fate through superstition, especially in matters of the heart. It highlights the destructive nature of fear and insecurity, which can lead to dire consequences.

Memory and legacy play a central role in the poem, as the characters’ actions reverberate long after their deaths, symbolized by their graves.

The poem's Gothic elements and eerie atmosphere create a meditation on death, fate, and the emotional weight of life’s choices.