Introduction: “The Mask of Anarchy” by Percy Bysshe Shelley
“The Mask of Anarchy” by Percy Bysshe Shelley first appeared in 1832 as part of a posthumous collection of his works, though it was written in 1819 in response to the Peterloo Massacre in Manchester. The poem is celebrated for its vivid imagery, social critique, and passionate advocacy for nonviolent resistance against tyranny. Its popularity as a textbook poem stems from its enduring relevance and the power of its message. Shelley personifies injustice through figures like Murder, Fraud, and Anarchy, portraying a “ghastly masquerade” of societal corruption. The poem culminates in a rousing call to action, urging the oppressed to “Rise like lions after slumber / In unvanquishable number.” These stirring lines, alongside the refrain “Ye are many—they are few,” have made it a symbol of revolutionary spirit and collective empowerment. The poem’s blend of visionary poetics and political engagement cements its status as a masterpiece of Romantic literature and a timeless guide for activism.
Text: “The Mask of Anarchy” by Percy Bysshe Shelley
1
As I lay asleep in Italy
There came a voice from over the Sea,
And with great power it forth led me
To walk in the visions of Poesy.
2
I met Murder on the way–
He had a mask like Castlereagh–
Very smooth he looked, yet grim;
Seven blood-hounds followed him:
3
All were fat; and well they might
Be in admirable plight, 10
For one by one, and two by two,
He tossed them human hearts to chew
4
Which from his wide cloak he drew.
Next came Fraud, and he had on,
Like Eldon, an ermined gown;
His big tears, for he wept well,
Turned to mill-stones as they fell.
5
And the little children, who
Round his feet played to and fro,
Thinking every tear a gem, 20
Had their brains knocked out by them.
6
Clothed with the Bible, as with light,
And the shadows of the night,
Like Sidmouth, next, Hypocrisy
On a crocodile rode by.
7
And many more Destructions played
In this ghastly masquerade,
All disguised, even to the eyes,
Like Bishops, lawyers, peers, or spies.
8
Last came Anarchy: he rode 30
On a white horse, splashed with blood;
He was pale even to the lips,
Like Death in the Apocalypse.
9
And he wore a kingly crown;
And in his grasp a sceptre shone;
On his brow this mark I saw–
‘I AM GOD, AND KING, AND LAW!’
10
With a pace stately and fast,
Over English land he passed,
Trampling to a mire of blood 40
The adoring multitude.
11
And a mighty troop around,
With their trampling shook the ground,
Waving each a bloody sword,
For the service of their Lord.
12
And with glorious triumph, they
Rode through England proud and gay,
Drunk as with intoxication
Of the wine of desolation.
13
O’er fields and towns, from sea to sea, 50
Passed the Pageant swift and free,
Tearing up, and trampling down;
Till they came to London town.
14
And each dweller, panic-stricken,
Felt his heart with terror sicken
Hearing the tempestuous cry
Of the triumph of Anarchy.
15
For with pomp to meet him came,
Clothed in arms like blood and flame,
The hired murderers, who did sing 60
`Thou art God, and Law, and King.
16
We have waited, weak and lone
For thy coming, Mighty One!
Our purses are empty, our swords are cold,
Give us glory, and blood, and gold.’
17
Lawyers and priests, a motley crowd,
To the earth their pale brows bowed;
Like a bad prayer not over loud,
Whispering — `Thou art Law and God.’ —
18
Then all cried with one accord, 70
`Thou art King, and God, and Lord;
Anarchy, to thee we bow,
Be thy name made holy now!’
19
And Anarchy, the Skeleton,
Bowed and grinned to every one,
As well as if his education
Had cost ten millions to the nation.
20
For he knew the Palaces
Of our Kings were rightly his;
His the sceptre, crown, and globe, 80
And the gold-inwoven robe.
21
So he sent his slaves before
To seize upon the Bank and Tower,
And was proceeding with intent
To meet his pensioned Parliament
22
When one fled past, a maniac maid,
And her name was Hope, she said:
But she looked more like Despair,
And she cried out in the air:
23
`My father Time is weak and gray 90
With waiting for a better day;
See how idiot-like he stands,
Fumbling with his palsied hands!
24
`He has had child after child,
And the dust of death is piled
Over every one but me–
Misery, oh, Misery!’
25
Then she lay down in the street,
Right before the horses’ feet,
Expecting, with a patient eye, 100
Murder, Fraud, and Anarchy.
26
When between her and her foes
A mist, a light, an image rose,
Small at first, and weak, and frail
Like the vapour of a vale:
27
Till as clouds grow on the blast,
Like tower-crowned giants striding fast,
And glare with lightnings as they fly,
And speak in thunder to the sky,
28
It grew — a Shape arrayed in mail 110
Brighter than the viper’s scale,
And upborne on wings whose grain
Was as the light of sunny rain.
29
On its helm, seen far away,
A planet, like the Morning’s, lay;
And those plumes its light rained through
Like a shower of crimson dew.
30
With step as soft as wind it passed
O’er the heads of men — so fast
That they knew the presence there, 120
And looked, — but all was empty air.
31
As flowers beneath May’s footstep waken,
As stars from Night’s loose hair are shaken,
As waves arise when loud winds call,
Thoughts sprung where’er that step did fall.
32
And the prostrate multitude
Looked — and ankle-deep in blood,
Hope, that maiden most serene,
Was walking with a quiet mien:
33
And Anarchy, the ghastly birth, 130
Lay dead earth upon the earth;
The Horse of Death tameless as wind
Fled, and with his hoofs did grind
To dust the murderers thronged behind.
34
A rushing light of clouds and splendour,
A sense awakening and yet tender
Was heard and felt — and at its close
These words of joy and fear arose
35
As if their own indignant Earth
Which gave the sons of England birth 140
Had felt their blood upon her brow,
And shuddering with a mother’s throe
36
Had turnèd every drop of blood
By which her face had been bedewed
To an accent unwithstood,–
As if her heart had cried aloud:
37
`Men of England, heirs of Glory,
Heroes of unwritten story,
Nurslings of one mighty Mother,
Hopes of her, and one another; 150
38
`Rise like Lions after slumber
In unvanquishable number,
Shake your chains to earth like dew
Which in sleep had fallen on you —
Ye are many — they are few.
39
`What is Freedom? — ye can tell
That which slavery is, too well —
For its very name has grown
To an echo of your own.<
40
`’Tis to work and have such pay 160
As just keeps life from day to day
In your limbs, as in a cell
For the tyrants’ use to dwell,
41
`So that ye for them are made
Loom, and plough, and sword, and spade,
With or without your own will bent
To their defence and nourishment.
42
`’Tis to see your children weak
With their mothers pine and peak,
When the winter winds are bleak,– 170
They are dying whilst I speak.
43
`’Tis to hunger for such diet
As the rich man in his riot
Casts to the fat dogs that lie
Surfeiting beneath his eye;
44
`’Tis to let the Ghost of Gold
Take from Toil a thousandfold
More than e’er its substance could
In the tyrannies of old.
45
`Paper coin — that forgery 180
Of the title-deeds, which ye
Hold to something of the worth
Of the inheritance of Earth.
46
`’Tis to be a slave in soul
And to hold no strong control
Over your own wills, but be
All that others make of ye.
47
`And at length when ye complain
With a murmur weak and vain
‘Tis to see the Tyrant’s crew 190
Ride over your wives and you–
Blood is on the grass like dew.
48
`Then it is to feel revenge
Fiercely thirsting to exchange
Blood for blood — and wrong for wrong —
Do not thus when ye are strong.
49
`Birds find rest, in narrow nest
When weary of their wingèd quest;
Beasts find fare, in woody lair
When storm and snow are in the air,1 200
50
`Asses, swine, have litter spread
And with fitting food are fed;
All things have a home but one–
Thou, Oh, Englishman, hast none!
51
`This is Slavery — savage men,
Or wild beasts within a den
Would endure not as ye do–
But such ills they never knew.
52
`What art thou Freedom? O! could slaves
Answer from their living graves 210
This demand — tyrants would flee
Like a dream’s dim imagery:
53
`Thou art not, as impostors say,
A shadow soon to pass away,
A superstition, and a name
Echoing from the cave of Fame.
54
`For the labourer thou art bread,
And a comely table spread
From his daily labour come
In a neat and happy home. 220
55
`Thou art clothes, and fire, and food
For the trampled multitude–
No — in countries that are free
Such starvation cannot be
As in England now we see.
56
`To the rich thou art a check,
When his foot is on the neck
Of his victim, thou dost make
That he treads upon a snake.
57
`Thou art Justice — ne’er for gold 230
May thy righteous laws be sold
As laws are in England — thou
Shield’st alike the high and low.
58
`Thou art Wisdom — Freemen never
Dream that God will damn for ever
All who think those things untrue
Of which Priests make such ado.
59
`Thou art Peace — never by thee
Would blood and treasure wasted be
As tyrants wasted them, when all 240
Leagued to quench thy flame in Gaul.
60
`What if English toil and blood
Was poured forth, even as a flood?
It availed, Oh, Liberty,
To dim, but not extinguish thee.
61
`Thou art Love — the rich have kissed
Thy feet, and like him following Christ,
Give their substance to the free
And through the rough world follow thee,
62
`Or turn their wealth to arms, and make 250
War for thy belovèd sake
On wealth, and war, and fraud–whence they
Drew the power which is their prey.
63
`Science, Poetry, and Thought
Are thy lamps; they make the lot
Of the dwellers in a cot
So serene, they curse it not.
64
`Spirit, Patience, Gentleness,
All that can adorn and bless
Art thou — let deeds, not words, express 260
Thine exceeding loveliness.
65
`Let a great Assembly be
Of the fearless and the free
On some spot of English ground
Where the plains stretch wide around.
66
`Let the blue sky overhead,
The green earth on which ye tread,
All that must eternal be
Witness the solemnity.
67
`From the corners uttermost 270
Of the bonds of English coast;
From every hut, village, and town
Where those who live and suffer moan
For others’ misery or their own.2
68
`From the workhouse and the prison
Where pale as corpses newly risen,
Women, children, young and old
Groan for pain, and weep for cold–
69
`From the haunts of daily life
Where is waged the daily strife 280
With common wants and common cares
Which sows the human heart with tares–
70
`Lastly from the palaces
Where the murmur of distress
Echoes, like the distant sound
Of a wind alive around
71
`Those prison halls of wealth and fashion,
Where some few feel such compassion
For those who groan, and toil, and wail
As must make their brethren pale– 290
72
`Ye who suffer woes untold,
Or to feel, or to behold
Your lost country bought and sold
With a price of blood and gold–
73
`Let a vast assembly be,
And with great solemnity
Declare with measured words that ye
Are, as God has made ye, free–
74
`Be your strong and simple words
Keen to wound as sharpened swords, 300
And wide as targes let them be,
With their shade to cover ye.
75
`Let the tyrants pour around
With a quick and startling sound,
Like the loosening of a sea,
Troops of armed emblazonry.
76
`Let the charged artillery drive
Till the dead air seems alive
With the clash of clanging wheels,
And the tramp of horses’ heels. 310
77
`Let the fixèd bayonet
Gleam with sharp desire to wet
Its bright point in English blood
Looking keen as one for food.
78
`Let the horsemen’s scimitars
Wheel and flash, like sphereless stars
Thirsting to eclipse their burning
In a sea of death and mourning.
79
`Stand ye calm and resolute,
Like a forest close and mute, 320
With folded arms and looks which are
Weapons of unvanquished war,
80
`And let Panic, who outspeeds
The career of armèd steeds
Pass, a disregarded shade
Through your phalanx undismayed.
81
`Let the laws of your own land,
Good or ill, between ye stand
Hand to hand, and foot to foot,
Arbiters of the dispute, 330
82
`The old laws of England — they
Whose reverend heads with age are gray,
Children of a wiser day;
And whose solemn voice must be
Thine own echo — Liberty!
83
`On those who first should violate
Such sacred heralds in their state
Rest the blood that must ensue,
And it will not rest on you.
84
`And if then the tyrants dare 340
Let them ride among you there,
Slash, and stab, and maim, and hew,–
What they like, that let them do.
85
`With folded arms and steady eyes,
And little fear, and less surprise,
Look upon them as they slay
Till their rage has died away.
86
`Then they will return with shame
To the place from which they came,
And the blood thus shed will speak 350
In hot blushes on their cheek.
87
`Every woman in the land
Will point at them as they stand–
They will hardly dare to greet
Their acquaintance in the street.
88
`And the bold, true warriors
Who have hugged Danger in wars
Will turn to those who would be free,
Ashamed of such base company.
89
`And that slaughter to the Nation 360
Shall steam up like inspiration,
Eloquent, oracular;
A volcano heard afar.
90
`And these words shall then become
Like Oppression’s thundered doom
Ringing through each heart and brain,
Heard again — again — again–
91
`Rise like Lions after slumber
In unvanquishable number–
Shake your chains to earth like dew 370
Which in sleep had fallen on you–
Ye are many — they are few.’
Annotations: “The Mask of Anarchy” by Percy Bysshe Shelley
| Stanza | Text | Annotation |
| 1-4 | The speaker hears a voice and meets Murder with a mask. | Introduces the allegorical figures representing societal evils. Murder wears the mask of Lord Castlereagh, symbolizing oppressive government actions. The imagery of bloodhounds fed human hearts critiques violence and exploitation. |
| 5-7 | Fraud and Hypocrisy appear in disguise. | Fraud (dressed as Eldon) and Hypocrisy (on a crocodile) symbolize corruption and deception, often cloaked in religion or law. The grotesque imagery reflects their destructive impact on society, particularly on vulnerable groups. |
| 8-10 | Anarchy arrives with a kingly crown and bloodied horse. | Anarchy personifies chaos and tyranny masquerading as divine authority. The inscription “I AM GOD, AND KING, AND LAW” critiques absolutism and the subversion of justice by those in power. |
| 11-15 | Anarchy’s followers wreak havoc across England. | The “trampling” of the land represents unchecked violence and oppression. The servile adoration of Anarchy’s followers highlights complicity in sustaining tyranny. |
| 16-18 | Worship of Anarchy by society. | Lawyers, priests, and others bow to Anarchy, symbolizing the surrender of ethics and justice to power. The grotesque imagery of servitude critiques societal submission to unjust rulers. |
| 19-21 | Anarchy seizes power over England’s institutions. | Anarchy claims ownership of palaces, the Bank, and Parliament, representing the corruption of governance and finance. The imagery emphasizes the systemic reach of oppression. |
| 22-25 | Hope appears as a desperate, fragile figure. | Hope, though weak and desolate, symbolizes the possibility of redemption and resistance. Her despair reflects the suffering of the oppressed, yet her presence suggests resilience. |
| 26-33 | A figure of justice emerges, defeating Anarchy. | A luminous, armored figure symbolizes hope, freedom, or revolutionary justice. The death of Anarchy signifies the triumph of collective resistance and the renewal of social order. |
| 34-36 | England personified as a grieving mother. | England’s “indignant Earth” represents the collective consciousness of the oppressed. The imagery of a mother’s pain evokes the nation’s sorrow over the bloodshed of its people. |
| 37-38 | Call to action for the oppressed. | The famous lines “Rise like Lions after slumber” urge unity and resistance against tyranny. This stanza encapsulates the poem’s central message of empowerment and nonviolent revolution. |
| 39-46 | Defining freedom and its absence. | Freedom is portrayed as essential for human dignity, contrasting with the dehumanizing effects of slavery, poverty, and exploitation. The “Ghost of Gold” critiques capitalism’s role in oppression. |
| 47-51 | Consequences of oppression. | Describes the physical and spiritual degradation caused by tyranny. The lament for the Englishman’s lack of a “home” highlights the alienation of the oppressed in their own land. |
| 52-57 | True freedom defined. | Freedom is depicted as justice, wisdom, and equity, contrasting with the hypocrisy of contemporary systems. This critique underscores the moral imperatives of liberty. |
| 58-62 | The transformative power of liberty. | Freedom is associated with enlightenment, peace, and compassion. These ideals contrast with the corruption and violence of tyrannical rule. |
| 63-70 | A call for collective action. | Advocates for a “great Assembly” of the oppressed to peacefully assert their rights. The imagery of unity and solemnity highlights the moral strength of collective resistance. |
| 71-77 | Facing armed oppression with nonviolence. | Encourages resolute, peaceful defiance in the face of violence. The metaphor of laws as shields emphasizes adherence to justice and moral principles even under attack. |
| 78-91 | The inevitability of tyranny’s fall. | Predicts the shame and downfall of oppressors as the oppressed rise in unison. The concluding lines reaffirm the power of collective action: “Ye are many—they are few.” |
Literary And Poetic Devices: “The Mask of Anarchy” by Percy Bysshe Shelley
| Device | Example | Explanation |
| Alliteration | “Murder, Fraud, and Anarchy” | Repetition of consonant sounds at the beginning of words emphasizes the destructive figures and creates a rhythmic effect. |
| Allegory | The entire poem as a representation of societal injustice and oppression. | The poem uses personified figures like Murder, Fraud, and Anarchy to symbolize corruption and tyranny, creating a broader critique of the political system. |
| Anaphora | “Rise like Lions after slumber / Shake your chains to earth like dew…” | Repetition of phrases at the beginning of successive lines enhances the urgency and emotional power of the call to action. |
| Apostrophe | “Men of England, heirs of Glory…” | Direct address to the people of England engages the audience and makes the poem’s appeal more personal and immediate. |
| Assonance | “See how idiot-like he stands…” | Repetition of vowel sounds (e.g., “i” in “idiot” and “like”) creates a melodious effect that contrasts with the harsh imagery. |
| Contrast | Hope described as a frail maiden amidst violent imagery. | Juxtaposition of Hope’s fragility against the chaos around her emphasizes the power of resilience in the face of destruction. |
| Enjambment | “For with pomp to meet him came, / Clothed in arms like blood and flame…” | Lines flow into the next without pause, reflecting the relentless nature of the chaos described. |
| Epistrophe | “Ye are many—they are few.” | Repetition of the same phrase at the end of a clause emphasizes the power of the majority over the oppressors. |
| Hyperbole | “Drunk as with intoxication / Of the wine of desolation.” | Exaggeration illustrates the extent of chaos and moral corruption among Anarchy’s followers. |
| Imagery | “On a white horse, splashed with blood…” | Vivid descriptions evoke powerful visual impressions, making the themes of violence and oppression tangible for readers. |
| Irony | Anarchy wearing a “kingly crown” and declaring “I AM GOD.” | Highlights the contradiction of chaos and tyranny assuming the guise of authority and divinity. |
| Metaphor | “The Ghost of Gold” | Represents capitalism and greed as an intangible but oppressive force exploiting the laboring class. |
| Onomatopoeia | “The clash of clanging wheels…” | The use of sound words mimics the chaotic noises of armed conflict, immersing the reader in the scene. |
| Oxymoron | “Glorious triumph” paired with “wine of desolation.” | Contrasts positive and negative imagery to underline the hollow nature of triumph built on destruction. |
| Personification | “Hope, that maiden most serene…” | Giving human qualities to Hope emphasizes its role as a beacon of resistance amidst despair. |
| Repetition | “Thou art God, and Law, and King.” | Reiteration reinforces the hypocritical deification of Anarchy by his followers. |
| Rhetorical Question | “What is Freedom?” | Provokes thought and engages the reader to reflect on the nature of freedom and oppression. |
| Simile | “Like a shower of crimson dew.” | Compares the light from the figure’s plumes to crimson dew, enhancing the image of hope and redemption. |
| Symbolism | “White horse, splashed with blood.” | The white horse symbolizes conquest or apocalypse, while the blood suggests violence and tyranny. |
| Tone | Alternates between accusatory, despairing, and hopeful. | The shifts in tone reflect the poem’s complex emotional landscape, from critique to inspiration, urging action against oppression. |
Themes: “The Mask of Anarchy” by Percy Bysshe Shelley
1. Oppression and Tyranny: One of the central themes of “The Mask of Anarchy” is the critique of oppression and tyranny. Shelley personifies systemic corruption and societal evils through allegorical figures such as Murder, Fraud, and Anarchy, which represent the violent and unjust governance of his time. The depiction of Murder “with a mask like Castlereagh” and Fraud cloaked in “an ermined gown” underscores the hypocrisy of those in power who exploit their positions under the guise of legality or morality. Anarchy, riding “on a white horse, splashed with blood,” symbolizes the devastating effects of unchecked despotism masquerading as divine authority. Through these images, Shelley vividly portrays the destruction wrought by oppressive leaders, culminating in a critique of their deification as “God, and King, and Law.”
2. Hope and Resistance: Despite the bleak portrayal of tyranny, the poem transitions to a hopeful vision of resistance. The figure of Hope, initially frail and desolate, emerges as a symbol of resilience and the potential for renewal. Her “quiet mien” amidst the chaos represents the calm yet powerful force of perseverance. The triumphant appearance of a “Shape arrayed in mail,” radiating light and inspiration, further signifies the rise of justice and the inevitability of revolution. This theme culminates in the iconic rallying cry: “Rise like Lions after slumber / In unvanquishable number.” Here, Shelley calls for collective action through nonviolent resistance, inspiring the oppressed to recognize their strength and overthrow tyranny through unity and moral fortitude.
3. Economic Exploitation and Class Struggle: Shelley critiques economic inequality and the exploitation of the working class, a recurring theme in “The Mask of Anarchy.” The “Ghost of Gold” represents capitalism, draining the lifeblood of the laboring masses for the benefit of a privileged few. The imagery of children weakened by hunger and their mothers “pine and peak” highlights the dire consequences of systemic poverty and neglect. The poet contrasts the ideal of freedom with the harsh reality of servitude, where workers are “Loom, and plough, and sword, and spade” for their oppressors. This exploration of class struggle reflects Shelley’s deep concern for the plight of the disenfranchised and his belief in the need for a more equitable society.
4. Justice and Nonviolent Revolution: Shelley advocates for justice achieved through nonviolence rather than revenge. He warns against the cycle of violence in the lines, “Do not thus when ye are strong,” urging the oppressed to avoid bloodshed even when reclaiming their rights. The poem envisions a peaceful uprising where the “laws of your own land” stand as arbiters of justice. The vivid imagery of the oppressors retreating “with shame” after their actions highlights the moral superiority of nonviolent resistance. Shelley envisions a transformed society where justice, wisdom, and peace prevail, emphasizing that true freedom comes not from vengeance but from steadfast adherence to principles of equality and fairness.
Literary Theories and “The Mask of Anarchy” by Percy Bysshe Shelley
| Literary Theory | Explanation | References from the Poem |
| Marxist Criticism | Examines class struggle, economic inequality, and the critique of capitalist systems. | Shelley critiques the exploitation of the working class, describing them as “Loom, and plough, and sword, and spade” for their oppressors. The “Ghost of Gold” symbolizes the destructive greed of capitalism that dehumanizes and enslaves the laboring masses. |
| Postcolonial Theory | Focuses on power dynamics, imperialism, and resistance against hegemonic structures. | The oppressive figures of Murder, Fraud, and Anarchy represent imperial authority that enforces subjugation. Shelley’s call to “Rise like Lions after slumber” can be read as a rallying cry for the colonized or oppressed to resist exploitation and reclaim autonomy. |
| Feminist Criticism | Explores representations of gender, power dynamics, and the role of women in resistance and hope. | The figure of Hope, personified as a “maniac maid,” signifies the resilience and transformative potential of women. Despite her fragile appearance, she is pivotal in inspiring change and stands in contrast to the destructive forces represented by male figures. |
| Romanticism | Emphasizes emotion, imagination, and resistance to societal constraints and industrialization. | The poem’s visionary and allegorical style, with vivid imagery like “a Shape arrayed in mail” and the rallying cry of freedom, exemplifies Romantic ideals. Shelley’s appeal to nature (“flowers beneath May’s footstep”) reflects Romanticism’s faith in renewal and justice. |
Critical Questions about “The Mask of Anarchy” by Percy Bysshe Shelley
1. How does Shelley use allegory in “The Mask of Anarchy” to critique societal and political systems?
Shelley employs allegory throughout “The Mask of Anarchy” to represent societal corruption and political oppression. Figures like Murder, Fraud, and Hypocrisy are personified evils symbolizing the flaws within governance and institutions. For instance, Murder is described as wearing “a mask like Castlereagh,” linking him to British politician Lord Castlereagh, notorious for his role in suppressing dissent. Similarly, Fraud is portrayed as cloaked in an “ermined gown,” representing the judiciary’s complicity in maintaining injustice. Anarchy, riding “on a white horse, splashed with blood,” symbolizes chaos disguised as legitimate authority. These allegorical figures allow Shelley to expose systemic abuses while appealing to the moral conscience of his audience. The poem’s allegory extends to its hopeful ending, where the triumph of justice and freedom over tyranny signifies the possibility of societal renewal.
2. What is the significance of Shelley’s depiction of Hope in “The Mask of Anarchy”?
In “The Mask of Anarchy,” Hope is a central symbol of resilience and transformation, emerging amidst the desolation wrought by Murder, Fraud, and Anarchy. Initially introduced as a “maniac maid,” Hope appears fragile and despairing, reflecting the dire conditions of the oppressed. Yet her presence disrupts the reign of Anarchy, as she becomes an embodiment of endurance and the potential for change. The image of Hope walking “ankle-deep in blood” with a “quiet mien” demonstrates her strength in adversity. This juxtaposition emphasizes that even in the darkest circumstances, hope can inspire collective resistance. By personifying Hope, Shelley underscores the necessity of belief in a better future, making her a powerful counterpoint to the destruction depicted earlier in the poem.
3. How does “The Mask of Anarchy” reflect Shelley’s vision of nonviolent resistance?
Shelley advocates for nonviolent resistance as a moral and effective means of combating tyranny in “The Mask of Anarchy.” He urges the oppressed to “Stand ye calm and resolute,” emphasizing the strength of unity and moral conviction over physical retaliation. This is further reinforced in the lines, “Folded arms and steady eyes, / And little fear, and less surprise,” which suggest the power of dignity and courage in the face of aggression. Shelley warns against revenge with the admonition, “Do not thus when ye are strong,” highlighting his belief that true justice cannot be achieved through violence. The ultimate downfall of Anarchy and his followers occurs not through bloodshed, but through the collective resolve of the oppressed, illustrating the transformative potential of peaceful resistance.
4. What role does nature play in “The Mask of Anarchy”?
Nature serves as a recurring motif in “The Mask of Anarchy,” symbolizing renewal, justice, and the innate harmony that stands in contrast to human corruption. For instance, the poem describes “flowers beneath May’s footstep” awakening, suggesting the potential for societal rejuvenation akin to the cycles of nature. Similarly, the imagery of the “light of sunny rain” and “clouds grow[ing] on the blast” during the rise of justice highlights nature’s alignment with freedom and resistance. Shelley also uses the metaphor of shaking “chains to earth like dew” to evoke the liberating power of natural forces, encouraging the oppressed to reclaim their rights. By intertwining the themes of resistance and nature, Shelley underscores his Romantic belief in the interconnectedness of humanity and the natural world, suggesting that justice is as inevitable as the changing of the seasons.
Literary Works Similar to “The Mask of Anarchy” by Percy Bysshe Shelley
- “London” by William Blake
Similarity: Both poems critique societal injustice and oppression, with Blake focusing on the plight of the poor in the city and Shelley addressing systemic corruption and tyranny. - “The Prelude (Book 10: Residence in France)” by William Wordsworth
Similarity: Wordsworth reflects on the French Revolution’s turmoil and its impact on human freedom, much like Shelley’s exploration of the fight against political tyranny. - “Prometheus Unbound” by Percy Bysshe Shelley
Similarity: Like “The Mask of Anarchy,” this Shelley work champions resistance against oppressive authority, using mythological and allegorical elements to symbolize freedom and hope. - “Ode to the West Wind” by Percy Bysshe Shelley
Similarity: Both poems emphasize renewal and transformation, with “Ode to the West Wind” using natural imagery to inspire change, paralleling the revolutionary spirit in “The Mask of Anarchy.” - “The Song of the Shirt” by Thomas Hood
Similarity: Hood critiques the exploitation of labor and the suffering of the working class, echoing Shelley’s condemnation of economic inequality and systemic oppression.
Representative Quotations of “The Mask of Anarchy” by Percy Bysshe Shelley
| Quotation | Context | Theoretical Perspective |
| “Rise like Lions after slumber / In unvanquishable number.” | A rallying cry urging the oppressed to unite and overthrow tyranny. | Marxist Criticism: Highlights the collective power of the proletariat against oppressive rulers. |
| “Ye are many—they are few.” | Emphasizes the numerical strength of the oppressed compared to their rulers. | Political Theory: Reflects democratic ideals and the principle of popular sovereignty. |
| “I met Murder on the way— / He had a mask like Castlereagh.” | Critiques oppressive political figures, specifically Lord Castlereagh. | Historical Criticism: Examines the poem’s context in relation to British political events of the early 19th century. |
| “Clothed with the Bible, as with light, / And the shadows of the night.” | Depicts Hypocrisy, cloaked in religious justification for immoral acts. | Postcolonial Theory: Explores how religion is used as a tool to legitimize power and control. |
| “What is Freedom?—ye can tell / That which Slavery is, too well.” | Challenges the audience to define freedom by contrasting it with their experience of oppression. | Feminist and Marxist Criticism: Addresses systemic inequality and the denial of autonomy for marginalized groups. |
| “Paper coin—that forgery / Of the title-deeds, which ye / Hold to something of the worth.” | Critiques capitalism and the manipulation of economic systems. | Marxist Criticism: Explores the alienation and exploitation inherent in economic hierarchies. |
| “Thou art God, and King, and Law!” | The false deification of Anarchy as a divine ruler. | Religious and Political Theory: Critiques the manipulation of divine authority to justify autocratic rule. |
| “Hope, that maiden most serene, / Was walking with a quiet mien.” | Represents resilience and the possibility of renewal amidst chaos. | Romanticism: Focuses on the emotional and symbolic power of hope as a force of transformation. |
| “Let the laws of your own land, / Good or ill, between ye stand.” | Advocates for adherence to justice and moral principles. | Legal Theory: Reflects ideas about the rule of law and justice as central to societal governance. |
| “Like the vapour of a vale: / Till as clouds grow on the blast.” | Describes the rise of justice and collective action like a natural phenomenon. | Ecocriticism: Connects human struggles for justice to the cycles and metaphors of nature, a hallmark of Romantic thought. |
Suggested Readings: “The Mask of Anarchy” by Percy Bysshe Shelley
- RENO, SETH T. “The Violence of Form in Shelley’s ‘Mask of Anarchy.'” Keats-Shelley Journal, vol. 62, 2013, pp. 80–98. JSTOR, http://www.jstor.org/stable/24396081. Accessed 6 Jan. 2025.
- Paley, Morton D. “Apocapolitics: Allusion and Structure in Shelley’s ‘Mask of Anarchy.'” Huntington Library Quarterly, vol. 54, no. 2, 1991, pp. 91–109. JSTOR, https://doi.org/10.2307/3817106. Accessed 6 Jan. 2025.
- BORUSHKO, MATTHEW C. “Violence and Nonviolence in Shelley’s ‘Mask of Anarchy.'” Keats-Shelley Journal, vol. 59, 2010, pp. 96–113. JSTOR, http://www.jstor.org/stable/41409533. Accessed 6 Jan. 2025.
- Shelley, Percy Bysshe. The mask of anarchy. Strelbytskyy Multimedia Publishing, 2022.