The Annotated Edition
AN APARTMENT IN THE CASTLE OF PETRELLA. by Percy Bysshe Shelley
This scene from Shelley’s verse drama *The Cenci* depicts the monstrous Count Cenci as he schemes to ruin his daughter Beatrice—physically, mentally, and socially—while his wife Lucretia tries unsuccessfully to intervene.
- Themes
- anger, death, family
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
She comes not; yet I left her even now / Vanquished and faint.
Editor's note
Cenci waits alone, frustrated by Beatrice's absence. He considers various ways to force her—dragging her by the hair, keeping her awake, using chains, starving her—but quickly finds them lacking. What he truly desires isn't merely her physical submission; he wants her *will* to shatter and agree to her own humiliation. This distinction drives the entire scene.
Thou loathed wretch! / Hide thee from my abhorrence: fly, begone!
Editor's note
Lucretia enters, and Cenci immediately directs his disdain at her, telling her to leave but then demanding she bring Beatrice. Lucretia gives a practical, almost motherly warning: Cenci is aging, his misdeeds are closing in on him, and marrying Beatrice would eliminate the temptation that leads him to worse behavior. It's a rational, thoughtful appeal — which Cenci dismisses right away.
What! like her sister who has found a home / To mock my hate from with prosperity?
Editor's note
Cenci dismisses Lucretia's suggestion, highlighting Beatrice's sister, who managed to escape him by getting married and now lives out of his reach. This escape infuriates him. He vows to bring 'strange ruin' to everyone who stays and insists that Beatrice's fate is already determined — and will come before he dies.
She sent me to thee, husband. At thy presence / She fell, as thou dost know, into a trance;
Editor's note
Lucretia makes a desperate bluff, asserting that Beatrice experienced a divine vision where a voice ordered Cenci to confess before he dies. For a brief moment, it nearly succeeds — Cenci hesitates, half-convinced, and concedes that he may need to give up his 'greater point' of corrupting Beatrice's soul. However, he quickly shifts to a chilling monologue detailing the fates he has orchestrated or desires for each of his children.
Ay...Rocco and Cristofano my curse / Strangled: and Giacomo, I think, will find
Editor's note
Cenci enumerates his children as if they were items on a ledger. Two of his sons have already succumbed to his curse. Giacomo is destined to endure a life more dreadful than hell. Beatrice will perish in despair, cursing the heavens. Bernardo — too innocent to harbor direct hatred — will inherit only the *memory* of Cenci's actions, his youth transformed into 'the sepulchre of hope.' The depiction of evil thoughts sprouting like weeds on a forsaken tomb stands out as one of Shelley's most powerful passages in the play.
When all is done, out in the wide Campagna, / I will pile up my silver and my gold;
Editor's note
Cenci presents a climactic moment of nihilistic theatre: he sets fire to all his wealth and possessions, reducing them to ashes while leaving behind only his name — which he hopes will become synonymous with infamy. He envisions returning his soul to God like a battered whip, having used it until its last lash. This paints a picture of a man who has completely embraced destruction and perceives his own damnation as integral to his scheme.
Oh, stay! It was a feint: / She had no vision, and she heard no voice.
Editor's note
Lucretia admits that the vision was a fabrication meant to scare him. Cenci reacts with icy anger, cursing her for the deception and quickly turning his attention back to Beatrice, declaring that even greater horrors await her. When Lucretia asks him about the sufferings he refers to, he outlines a plan of public humiliation so complete that Beatrice will come to see herself as everything she loathes the most.
The Lady Beatrice... / My Lord, 'twas what she looked; she said:
Editor's note
The servant Andrea brings Beatrice's message: she feels like there's 'the gulf of Hell' separating her from her father and refuses to cross it. It's a bold, almost spiritual rejection. Cenci sends Lucretia back with a warning: coming means consent, and if she doesn't comply, he'll curse her. He then reflects on the strength of a father's curse, pointing to the deaths of his sons as evidence that God respects such pleas.
She said, 'I cannot come; / Go tell my father that I see a torrent
Editor's note
Beatrice's second refusal — as she sees a flood of Cenci's own blood separating them — carries an even darker weight than the first. It foreshadows the assassination plot that will unfold later in the play. In response, Cenci kneels and delivers the scene's most disturbing speech: a formal prayer to God, pleading for Beatrice to suffer from illness, physical deformity, and a monstrous child.
God, / Hear me! If this most specious mass of flesh,
Editor's note
The curse prayer serves as the emotional and rhetorical peak of the scene. Cenci calls out to God, Earth, Heaven, and the Sun, asking each to mar Beatrice with leprous skin, blistered lips, warped limbs, and blinded eyes. The prayer takes on a liturgical structure, heightening its unsettling nature: Cenci employs the language of worship to sanctify an act of pure hatred. Lucretia's interruptions are ignored.
He does his will, I mine! This in addition, / That if she have a child...
Editor's note
Cenci adds a final, almost unbearable twist to his curse: that Beatrice will bear a child who becomes more and more wicked and deformed, turning her love into misery and eventually hunting her down to a dishonored grave. This curse twists Beatrice's ability to love into a tool for her own ruin. He then contemplates revoking it — but ultimately chooses not to.
I do not feel as if I were a man, / But like a fiend appointed to chastise
Editor's note
In the scene's closing soliloquy, Cenci reveals his psychological state with unsettling honesty: he sees himself as a demon rather than a human, his blood tingling with 'fearful pleasure' and 'horrid joy.' When Lucretia comes back with Beatrice's final refusal, he declares that he will just take what he wants by force and then manipulate her into giving consent afterward. He brushes off conscience as a deception, asserts he will sleep peacefully, and leaves with a promise that even Hell will mock what he is about to do.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The father's curse
- Cenci's curses aren't merely emotional outbursts; he views them as legally binding contracts with God, pointing to the deaths of his sons as evidence of their effectiveness. The curse symbolizes a twisted form of paternal authority: the power a father has over his children, directed entirely toward destruction instead of their protection.
- The bonfire of possessions
- Cenci's plan to burn all his wealth and leave only his name embodies pure nihilism. To him, wealth, art, and life records hold no value; he aims to leave behind infamy itself — a name that leaves its bearer exposed. It's a representation of a man who has opted for a legacy that is a wound rather than a gift.
- The sepulchre of hope
- Cenci's vision for Bernardo's youth — a tomb where hope is buried and evil thrives like weeds — encapsulates his project in a nutshell. He doesn't merely wish to hurt his children; he aims to turn their inner lives into graveyards.
- The tiger and his prey
- Cenci's warning to Lucretia not to cross his path paints him as a predator on the prowl. It removes any last shred of pretense about their human connection: in this moment, he is neither a husband nor a father, but rather a creature driven by instinct toward his prey.
- The gulf and torrent of blood
- Beatrice's two refusals evoke images of unbridgeable distance—a chasm of Hell, a rush of Cenci's own blood. These symbols are hers, not his, and they indicate that she anticipates what lies ahead and has established a moral boundary she won't cross, even if it costs her life.
- The broken whip / scourge
- Cenci envisions his soul as a scourge—a whip—that God has given him to punish an unnamed transgression, which he will return only after it has inflicted its final wound. This perspective casts his cruelty as a form of divine tool, providing the self-justification that makes him so perilous.
§06Historical context
Historical context
§07FAQ
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