The Annotated Edition
135, 136:— by Percy Bysshe Shelley
This isn't a poem in the usual sense; it's actually two prose notes (numbered 135 and 136) from Shelley's lengthy philosophical work *Queen Mab*, where he directly challenges organized Christianity.
- Themes
- faith, freedom, identity
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
I will beget a Son, and He shall bear / The sins of all the world.
Editor's note
This two-line epigraph, quoted directly as if from God, begins the notes with a clear sense of irony. Shelley presents the doctrine of atonement in the starkest terms to highlight its absurdity: a father punishing his son for the sins of everyone else. This choice establishes a combative, straightforward tone for all that follows.
A book is put into our hands when children, called the Bible...
Editor's note
Shelley summarizes the full story of Christian scripture — from Creation and the Fall to the Incarnation, Crucifixion, and the looming threat of hellfire — in one tight paragraph, without any sense of reverence. The use of the word 'children' is intentional: he implies that we receive this narrative before we have the ability to think critically about it, reflecting how indoctrination often operates. Describing God's plan as 'engendering with the betrothed wife of a carpenter' is a calculated choice, aimed at making the miraculous seem oddly mundane.
During many ages of misery and darkness this story gained implicit belief...
Editor's note
Here, Shelley portrays the institutional church as a power structure driven by self-interest. The clergy, who profit from people's beliefs, are the same ones who threaten damnation and persecute dissenters. His critique goes beyond theology; he's challenging the financial foundations of religion. The term 'immense emoluments' clearly highlights the profit motive and casts it in a negative light.
The belief in all that the Bible contains is called Christianity...
Editor's note
This is the centerpiece of the entire piece. Shelley distinguishes between the historical Jesus — a brave reformer who sacrificed his life in an effort to liberate his people from superstition — and the 'Son of God' shaped by later doctrine. Shelley holds the historical Jesus in genuine esteem, while the theological Christ falls short. The difference between 'a hypocritical Daemon' (the God of the Bible) and a 'true hero' (the human Jesus) stands out as the most striking distinction in the notes.
The vulgar, ever in extremes, became persuaded that the crucifixion of Jesus was a supernatural event.
Editor's note
Shelley explores the transformation of a political execution into a miracle story, then into dogma, ultimately becoming a death sentence for those who dared to question it. When he uses the word 'vulgar,' he refers to the common crowd rather than making a moral judgment — although it's clear that Shelley is frustrated by how quickly widespread belief can solidify into an unchallengeable orthodoxy. He illustrates how Platonic philosophy and Aristotelian logic were incorporated into Christian doctrine, giving it an intellectual credibility it didn't achieve on its own merits.
CHRISTIANITY is now the established religion: he who attempts to impugn it...
Editor's note
Shelley offers a bleakly ironic forecast: the bold freethinker who questions Christianity today will face social ruin, yet future generations may idolize him and persecute others in his name—similar to what occurred with Jesus. This reflects a cyclical, pessimistic perspective on how religious authority sustains itself, serving as a subtle reflection of Shelley's own experience as an ostracized atheist.
The same means that have supported every other popular belief have supported Christianity.
Editor's note
This is Shelley's clearest political critique. He identifies war, imprisonment, assassination, and falsehood as the true driving forces behind Christian expansion. The mention of a man being 'pilloried and imprisoned because he is a deist' likely references real cases Shelley was aware of at the time. He contends that when coercion replaces persuasion, it reveals that a belief system lacks the ability to justify itself rationally.
Analogy seems to favour the opinion that as, like other systems, Christianity has arisen and augmented, so like them it will decay and perish...
Editor's note
Shelley uses a historical analogy, suggesting that every religion that gained power through force has ultimately declined. He foresees Christianity meeting a similar fate as the myths of Jupiter and the miracles attributed to Catholic saints — likely to be laughed at by future generations. Referencing Milton's *Paradise Lost* serves as a backhanded compliment: while the poem will endure, it will stand as evidence of how ridiculous the beliefs behind it were.
Had the Christian religion commenced and continued by the mere force of reasoning and persuasion...
Editor's note
Shelley presents a hypothetical scenario: if Christianity had spread solely through rational debate, it might indeed warrant its longevity. However, that wasn't the case, and contingency serves as evidence—if Pontius Pilate had shown more courage or if the Jewish crowd hadn't been stirred into a frenzy, the religion might never have gained traction. He uses this argument to challenge the notion that Christianity's widespread presence proves its validity.
Either the Christian religion is true, or it is false: if true, it comes from God...
Editor's note
The final paragraph presents a logical dilemma that Shelley intentionally leaves unresolved — the text abruptly ends mid-sentence with the question 'IF GOD HAS SPOKEN, WHY IS THE' in block capitals. This truncation is intentional; it's a rhetorical strike. The suggested completion ('world in such dispute?') lingers in the air, and the silence itself serves as the argument. This suggests that either God is not omnipotent, not good, or hasn't spoken at all.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The forbidden tree
- Shelley interprets the Garden of Eden story not as a sacred myth but as proof of a cruel and arbitrary God — one who places temptation within reach and then punishes humanity eternally for succumbing to it. In this view, the tree represents divine entrapment instead of divine wisdom.
- The carpenter's betrothed wife
- By portraying Mary in strictly domestic and legal terms, Shelley removes the sacredness from the Incarnation. This phrasing aims to present the miracle as a social scandal, shifting the reader's focus from theological aspects to the human realities of the narrative.
- The blood-red hand
- Shelley's depiction of God reaching out with a 'blood-red hand wielding the sword of discord' serves as a stark contrast to the typical portrayal of a compassionate deity. This image embodies the violence he perceives as the real legacy of Christian history — crusades, inquisitions, and burnings.
- Milton's poem
- *Paradise Lost* serves as a reminder that art can endure beyond the belief systems that create it. Shelley suggests that the theology will eventually be ridiculed, but Milton's poetry will keep it alive like a museum keeps a dinosaur bone — a relic of something that no longer exists.
- The broken final sentence
- The text ends abruptly in block capitals, and this unfinished form serves as its own symbol. It illustrates the unanswerable challenge that Shelley presents: the question regarding God's silence doesn't need to be completed because the silence itself is the answer.
- The deist in the pillory
- This figure—a real person from Shelley's England—represents every freethinker who faced punishment through force rather than debate. He embodies Shelley's main point: that when a belief system can't justify itself, coercion takes the place of reason.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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