The Annotated Edition
AN APARTMENT IN THE CASTLE. by Percy Bysshe Shelley
This intense moment from Shelley's verse play *The Cenci* depicts Beatrice Cenci as she plots to kill her abusive father, Count Cenci.
- Themes
- fear, identity, justice
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
LUCRETIA: They are about it now. / BEATRICE: Nay, it is done.
Editor's note
The scene begins in the thick of action, with Lucretia and Beatrice caught in a tense silence. Their clipped, overlapping dialogue—each finishing the other's thoughts—creates an atmosphere of barely contained panic. Beatrice's assertion ('Nay, it is done') reveals her effort to view the murder as a done deal, a mental strategy to steady her nerves.
LUCRETIA: I have not heard him groan. / BEATRICE: He will not groan.
Editor's note
The exchange maintains its staccato rhythm. Beatrice's flat certainty ("He will not groan") sends a chill down the spine—she's thought this through enough to ensure the method will be silent. The victim's silence takes on a horror of its own.
BEATRICE: O, fear not / What may be done, but what is left undone: / The act seals all.
Editor's note
Beatrice reframes fear itself: the real danger lies not in committing the act but in leaving it unfinished. "The act seals all" is a pivotal line in the scene—it presents murder as a necessary legal or moral closure, the only thing capable of ending years of abuse. This line also hints at how Beatrice will rationalize the killing throughout the play.
OLIMPIO: We dare not kill an old and sleeping man; / His thin gray hair, his stern and reverend brow,
Editor's note
Olimpio's speech serves as a moral counterbalance to Beatrice's determination. He portrays Count Cenci with a surprisingly gentle touch—gray hair, hands crossed, and a peaceful sleep—and this vivid image of frail old age undermines the resolve of his hired assassin. Shelley intentionally draws the audience into this moment of doubt, even while we are aware of Cenci's actions toward Beatrice.
MARZIO: But I was bolder; for I chid Olimpio, / And bade him bear his wrongs to his own grave
Editor's note
Marzio pushes past Olimpio but is halted by something even more bizarre: the sleeping count mumbles a father's curse, and Marzio recognizes the voice of his deceased father within it. This moment blurs the lines between the two men — the abuser and the hired killer — leaving Marzio unable to distinguish between them. It stands out as one of Shelley's most insightful psychological nuances.
BEATRICE: Miserable slaves! / Where, if ye dare not kill a sleeping man,
Editor's note
Beatrice erupts. Her rage goes beyond mere impatience — it embodies the fury of someone who has lived through what the men have only fleetingly imagined. She flips their moral scruple on its head: the conscience that prevents them from killing has remained quiet amid "a thousand daily acts disgracing men." She seizes a dagger, making it clear she will take action alone if necessary. This moment marks the emotional climax of the scene.
BEATRICE: Even whilst / That doubt is passing through your mind, the world / Is conscious of a change.
Editor's note
After the killers leave to finish their task, Beatrice talks to Lucretia in a way that feels almost prophetic. She describes the world changing — darkness being pulled back into hell, her own blood flowing freely. The language blends the physical and the cosmic. Shelley gives Beatrice a form of ecstatic relief that is profoundly unclear: is this the tranquility of justice, or the dullness of someone who has crossed a line they can't return from?
BEATRICE [GIVING THEM A BAG OF COIN]: Here, take this gold, and hasten to your homes.
Editor's note
The act of paying the killers brings the scene back to a stark reality after Beatrice's inspiring speech. However, Shelley introduces a notable gesture: she hands Marzio her grandfather's mantle, the clothing of a man who was envied for his success. It's an unusual gift — both a reward and a symbolic transfer of status — and her last words to him, "This deed is none," declare that the murder isn't a crime, but rather a righteous act.
LUCRETIA: Hark, 'tis the castle horn: my God! it sounds / Like the last trump.
Editor's note
The horn announcing a visitor hits Lucretia like a thunderclap. Her comparison to the last trump — the trumpet of Judgment Day — suggests that the world of consequences is already tightening around her. The murder is complete, but the reckoning is just starting.
BEATRICE: Let us retire to counterfeit deep rest; / I scarcely need to counterfeit it now:
Editor's note
The scene ends with Beatrice's most haunting line. She intended to pretend to sleep as an alibi, but discovers she hardly needs to act — she truly feels at ease. Shelley leaves the audience pondering rather than providing a conclusion: is this the tranquility of someone who has done what was necessary and just, or the unsettling calm of someone who has turned off their own conscience?
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The sleeping old man
- Count Cenci asleep serves as the scene's key moral image. His vulnerability while sleeping — with gray hair, crossed hands, and an innocent expression — is what unsettles the killers. Shelley employs this moment to compel the audience to grapple with two conflicting truths: this man is utterly helpless at this moment, and he has committed horrific acts.
- The dagger
- When Beatrice grabs the dagger from one of the hired men, it symbolizes her reclaiming agency. Throughout the play, she has been a victim, but this moment marks her refusal to accept that role. It also shows that she is ready to take full moral responsibility for her actions.
- The grandfather's mantle
- The rich mantle Beatrice gives Marzio carries deep significance. It symbolizes inherited status and wealth, yet it also serves as a reminder of a family history marred by the very abuse she is working to end. Putting it on a hired killer could either be a true gesture of honor or an indication that the Cenci legacy of violence merely shifts from one person to another.
- The castle horn
- The horn that sounds after the murder is heard by Lucretia as the final trump — a call for divine judgment. It signals the moment when the world of consequences emerges, transforming the private act of killing into something that will be witnessed, examined, and evaluated.
- Darkness and Hell swallowed up
- Beatrice's vision of darkness and hell pulling back into themselves portrays the murder as a cosmic correction instead of just a crime. In her eyes, Cenci represented the evil that tainted the world, and his death brings back a sense of natural order. Shelley presents this idea with empathy, while still allowing room for doubt about its truth.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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