Skip to content

The Annotated Edition

93, 94. by Percy Bysshe Shelley

Summary, meaning, line-by-line analysis & FAQ.

Read aloud in ~3 minOpen reading mode →

Shelley contends that true wealth lies not in gold or silver but in human labor.

Poet
Percy Bysshe Shelley
Themes
anger, freedom, identity
The PoemFull text

93, 94.

Percy Bysshe Shelley

And statesmen boast Of wealth! There is no real wealth but the labour of man. Were the mountains of gold and the valleys of silver, the world would not be one grain of corn the richer; no one comfort would be added to the human race. In consequence of our consideration for the precious metals, one man is enabled to heap to himself luxuries at the expense of the necessaries of his neighbour; a system admirably fitted to produce all the varieties of disease and crime, which never fail to characterize the two extremes of opulence and penury. A speculator takes pride to himself as the promoter of his country’s prosperity, who employs a number of hands in the manufacture of articles avowedly destitute of use, or subservient only to the unhallowed cravings of luxury and ostentation. The nobleman, who employs the peasants of his neighbourhood in building his palaces, until ‘jam pauca aratro jugera regiae moles relinquunt,’ flatters himself that he has gained the title of a patriot by yielding to the impulses of vanity. The show and pomp of courts adduce the same apology for its continuance; and many a fete has been given, many a woman has eclipsed her beauty by her dress, to benefit the labouring poor and to encourage trade. Who does not see that this is a remedy which aggravates whilst it palliates the countless diseases of society? The poor are set to labour,—for what? Not the food for which they famish: not the blankets for want of which their babes are frozen by the cold of their miserable hovels: not those comforts of civilization without which civilized man is far more miserable than the meanest savage; oppressed as he is by all its insidious evils, within the daily and taunting prospect of its innumerable benefits assiduously exhibited before him:—no; for the pride of power, for the miserable isolation of pride, for the false pleasures of the hundredth part of society. No greater evidence is afforded of the wide extended and radical mistakes of civilized man than this fact: those arts which are essential to his very being are held in the greatest contempt; employments are lucrative in an inverse ratio to their usefulness (See Rousseau, “De l’Inegalite parmi les Hommes”, note

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

Shelley contends that true wealth lies not in gold or silver but in human labor. He believes that the economic system of his era compels the poor to toil not for sustenance or warmth but to satisfy the vanity of the wealthy. He outlines a connection from speculators to noblemen to extravagant court displays, illustrating how each link in this chain claims to "help" the poor while only exacerbating their suffering. The entire passage conveys a measured outrage: civilization, he argues, has it completely wrong, valuing unnecessary luxury while looking down on essential work.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. And statesmen boast / Of wealth!

    Editor's note

    Shelley begins with a sharp two-line statement that sets the stage for everything that comes next as a counterargument. Politicians *brag* — a term dripping with disdain — about national wealth, and Shelley is ready to tear apart their interpretation of it.

  2. There is no real wealth but the labour of man.

    Editor's note

    This is the thesis, presented as straightforwardly as a mathematical axiom. Gold and silver don't create value on their own; it's human effort that generates the resources necessary for sustaining life. Shelley is tapping into concepts from the labor theory of value that were already being discussed in radical political economy before Marx made them official.

  3. In consequence of our consideration for the precious metals, one man is enabled to heap to himself luxuries at the expense of the necessaries of his neighbour

    Editor's note

    Here, Shelley identifies the mechanism: the fetishization of money enables the concentration of wealth. One person's luxuries come at the cost of another person's hunger. The term 'necessaries' carries significant weight — these are not mere comforts, but essential elements for survival.

  4. A speculator takes pride to himself as the promoter of his country's prosperity, who employs a number of hands in the manufacture of articles avowedly destitute of use

    Editor's note

    The speculator is the first of three characters that Shelley critiques. He hires people, but only to produce things that aren't necessary. He refers to this as patriotism, while Shelley sees it as vanity disguised in civic terms.

  5. The nobleman, who employs the peasants of his neighbourhood in building his palaces, until 'jam pauca aratro jugera regiae moles relinquunt,'

    Editor's note

    The Latin quotation comes from Horace's *Odes* (II.15) and translates roughly to 'now royal piles leave little land for the plough.' Shelley references this classical source to highlight how this kind of aristocratic self-congratulation is nothing new and has always led to destruction. The nobleman believes he is a patriot; Horace recognized the truth long ago.

  6. The show and pomp of courts adduce the same apology for its continuance; and many a fete has been given, many a woman has eclipsed her beauty by her dress, to benefit the labouring poor

    Editor's note

    The third figure represents the court itself — the whole system of aristocratic show. Shelley adopts a sardonic tone here: extravagant parties and costly gowns are framed as acts of charity, serving as economic support for the poor. He views this reasoning as grotesque, describing it as a 'remedy which aggravates whilst it palliates.'

  7. The poor are set to labour,—for what? Not the food for which they famish: not the blankets for want of which their babes are frozen

    Editor's note

    The rhetorical question and the repetition of 'not' create one of the passage's most emotionally charged moments. Shelley enumerates the essentials the poor truly require — food, warmth, basic comfort — and then takes each one away. They function, but not for any of this.

  8. those arts which are essential to his very being are held in the greatest contempt; employments are lucrative in an inverse ratio to their usefulness

    Editor's note

    The closing argument feels almost like a saying: the more essential a job, the less it pays. Shelley references Rousseau's *Discourse on Inequality* as a foundation for this thought, grounding his radical economics in Enlightenment philosophy. The reversal — where vital work is undervalued and trivial luxury is celebrated — is the 'radical mistake' of civilization that he aimed to demonstrate.

§04Tone & mood

How this poem feels

The tone reflects a controlled anger. Shelley isn’t ranting; he constructs his argument carefully, addressing each point one at a time, yet the anger is always just beneath the surface. Words like 'boast,' 'pride,' 'vanity,' and 'miserable isolation' elevate the moral stakes. A hint of bitter irony runs through the court-and-fete passage, where Shelley imitates the self-serving reasoning of the wealthy before tearing it apart. By the end, the tone sharpens into something resembling a verdict.

§05Symbols & metaphors

Symbols & metaphors

Gold and silver mountains
Shelley employs this intentionally absurd image — mountains of gold and valleys of silver — to illustrate just how worthless precious metals really are. You can't eat them, wear them, or use them to keep warm. This depiction makes the obsession with money seem utterly ridiculous.
The nobleman's palace
The palace represents the epitome of aristocratic excess: it takes up land, labor, and resources to create something that caters solely to vanity. The quote from Horace emphasizes this point — the palace actually displaces the cultivated fields that provide food for people.
Frozen babes
One of the passage's most striking images is the infant dying of cold in a hovel, representing the human cost behind the entire system of luxury and speculation. This image breaks through the economic abstraction, making the argument feel personal and urgent.
The fete and the dress
Court celebrations and expensive clothing reflect the belief in trickle-down economics during Shelley's time—the notion that lavish spending by the aristocracy somehow benefits the poor. Shelley views this as a self-serving fiction, a superficial remedy that exacerbates the underlying issues.
Labour
Labour goes beyond a mere economic concept in this context — it stands as Shelley's opposing symbol to gold. It is the sole force that genuinely creates value, sustains life, and links humans to the tangible world. The disdain it receives from society represents the core injustice highlighted in the passage.

§06Historical context

Historical context

These numbered notes (93 and 94) are from the prose annotations that Shelley wrote to accompany his lengthy philosophical poem *Queen Mab* (1813), which he composed at the age of just twenty. Because *Queen Mab* was too radical for conventional publication—taking aim at monarchy, organized religion, and capitalism—Shelley opted for private printing. The notes often match the poem in length and intensity. By 1813, Britain was grappling with the economic turmoil of the Napoleonic Wars: food prices were soaring, the Luddite movement faced violent repression, and discussions around political economy were urgent. Shelley had been influenced by thinkers like William Godwin, Thomas Paine, and Jean-Jacques Rousseau, and the notes to *Queen Mab* serve as a space for him to articulate his own economic and political philosophy in prose. His argument regarding the labor theory of value here foreshadows concepts that David Ricardo would formalize in 1817 and that Marx would later expand upon.

§07FAQ

Questions readers ask

It’s a prose note that accompanies a poem. Shelley wrote *Queen Mab* as a verse poem and included lengthy prose annotations—some even longer than the stanzas they discuss—to elaborate on his political and philosophical ideas. Notes 93 and 94 are examples of these annotations. They are examined together with the poem because they are essential to understanding Shelley’s message.

Read next

Poems in the same key