The Annotated Edition
Arethusa by Percy Bysshe Shelley
Arethusa is a water nymph who runs across mountains and oceans to evade Alpheus, the river-god pursuing her out of love.
- Core theme
- Freedom
Study actions
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Arethusa arose / From her couch of snows
Editor's note
Stanza 1 presents Arethusa as a mountain spring-nymph awakening and flowing down the slopes. Shelley uses a flurry of action words — leaping, gliding, springing, singing — to convey her liveliness and joy. Both Earth and Heaven appear to celebrate her presence, creating a stark contrast with the violent chase that ensues.
Then Alpheus bold, / On his glacier cold,
Editor's note
Stanza 2 introduces the antagonist: Alpheus, a river-god who violently tears the mountains apart with his trident in pursuit of Arethusa. The earthquake, thunder, and rushing snowmelt all highlight his immense power. The stanza concludes with a striking image of his beard and hair caught in the rushing water — a vivid, somewhat monstrous portrayal of a god who embodies the river itself.
'Oh, save me! Oh, guide me! / And bid the deep hide me,
Editor's note
Stanza 3 depicts the crisis. Arethusa calls out to the Ocean, which opens up to protect her—a moment reminiscent of the parting of the Red Sea, but with a mythological twist. She plunges beneath the surface like a beam of sunlight, maintaining a barrier between her fresh waters and the surrounding saltwater. Alpheus pursues her like an eagle hunting a dove, a beautiful image that also highlights the predator-prey dynamic at play.
Under the bowers / Where the Ocean Powers
Editor's note
Stanza 4 takes us on an underwater journey, and Shelley eases the pace to allow us to take in the surroundings: thrones made of pearls, coral forests, and colored light streaming through the murky water, with caves as green as a nighttime forest. Arethusa evades both sharks and swordfish. The stanza concludes with both rivers emerging together at their home in Sicily — the pursuit has finished, but what happens next remains uncertain.
And now from their fountains / In Enna's mountains,
Editor's note
Stanza 5 brings a bittersweet resolution to the myth. Arethusa and Alpheus now follow a daily rhythm — waking at sunrise, flowing through meadows of asphodel (the flower of the underworld), and resting at night in the sea. They are called 'friends once parted / Grown single-hearted,' which transforms the earlier violence into a sense of companionship. The closing image — spirits who love but no longer live — casts them as something between lovers and ghosts, evoking a beauty that carries a touch of sadness.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- Arethusa's flowing water
- Arethusa is a nymph as well as a freshwater spring, so her journey in the poem embodies natural freedom and the relentless flow of water carving its own way. Her capacity to maintain her waters 'unblended' with the salty sea symbolizes the preservation of identity even under pressure.
- Alpheus's trident and earthquake
- Alpheus's violent cracking open of the mountains shows desire as a raw, destructive force — love that doesn’t seek permission and alters the landscape to fulfill its needs.
- The meadows of asphodel
- Asphodel is known as the flower of the Greek underworld, where ordinary souls roam after death. Its placement along the rivers' daily path subtly indicates that Arethusa and Alpheus inhabit a threshold between the living and the dead, a notion that the final lines clearly convey.
- The eagle and the dove
- Shelley's comparison of an eagle chasing a dove portrays the chase as a predator-prey dynamic, which diminishes any romantic interpretation of Alpheus's pursuit and ensures that the reader remains sympathetic to Arethusa.
- The parting of the Ocean
- The sea parting at Arethusa's prayer represents divine protection and the strength of a heartfelt call for help. It also signifies the shift from the visible world of mountains and rivers to the mysterious, unseen realm beneath the waves.
§06Form & structure
Form & structure
- Meter
- free verse
- Rhyme
- AABCCB AABCCB AABCCB AABCCB AABCCB AABCCB AABCCB AABCCB AABCCB AABCCB
§07Historical context
Historical context
§08FAQ
Questions readers ask
Who is Arethusa and is she a real figure from mythology?
Yes. Arethusa is a nymph from Greek and Roman mythology, with her story most famously recounted in Ovid's Metamorphoses (Book 5). She was a huntress and companion of Artemis, who was changed into a freshwater spring to flee from the river-god Alpheus. In ancient times, a freshwater spring located on the island of Ortygia in Syracuse, Sicily, was recognized as her and it still exists today.
Why do Arethusa and Alpheus end up together if she was running away from him?
In the original myth, Alpheus's waters were said to flow underground and blend with Arethusa's spring in Sicily—ancient writers used this to explain why the Alpheus river in Greece appeared to 'disappear' and reemerge. Shelley retains this ending but softens it: the two rivers share a daily rhythm and are described as 'friends once parted / Grown single-hearted,' creating ambiguity about whether this is a joyful reunion or simply an unavoidable closeness.
What does the final image — 'spirits that lie / In the azure sky / When they love but live no more' — mean?
It likens Arethusa and Alpheus to the souls of those who have died still loving someone — lingering in spirit, floating in the sky, yet no longer truly alive. This gives the entire poem a ghostly quality: the rivers are lovely and timeless, but they inhabit a realm between life and death, which is why the asphodel meadows (flowers of the underworld) feature along their daily journey.
What is the Acroceraunian mountains and where is it?
The Acroceraunian mountains, also known as the Ceraunian mountains, are a coastal range located in present-day southern Albania and northwestern Greece. The name translates to 'thunder-peaks' in Greek. Shelley employs this reference to ground the poem in a vivid, dramatic setting as Arethusa moves toward the sea.
Why does Shelley use such short, bouncy lines?
The metre is primarily anapestic — two unstressed syllables followed by a stressed one — producing a rushing, tumbling rhythm that mirrors water cascading down a hill. It evokes the sensation of a fast stream over rocks: light, quick, and difficult to halt. Shelley excelled at aligning sound with subject matter, and this poem showcases that skill more clearly than many of his others.
Is this poem about love or about escape?
Both readings create a tension that sharpens the poem’s impact. Alpheus's pursuit represents desire, while Arethusa's reaction is clear: she feels genuine terror—she pleads to be concealed and escapes like a dove evading an eagle. Shelley doesn't wrap this up in a neat romance. The conclusion offers companionship rather than conquest, yet it’s a companionship that Arethusa never desired.
What other poems did Shelley write around the same time?
Arethusa is part of an impressive group of 1820 poems created in Pisa, including Ode to the West Wind, To a Skylark, The Cloud, and Hymn of Pan, which connects to this poem through themes from Greek mythology. These works all explore natural elements—like wind, water, and sky—as ways to consider concepts such as freedom, power, and the connection between humanity and the divine.
What is the Dorian deep?
The Dorian Sea is an old name for the part of the Ionian Sea that lies off the western coast of Greece and Sicily. Shelley mentions it twice: first as the sea where Arethusa dives to escape from Alpheus, and then as the 'Dorian home' where both rivers finally surface. This connection helps unify the poem's geography and adds a feeling of return at the end.
Citation
Cite this poem
MLA
Shelley, Percy Bysshe. "Arethusa." Storgy, https://storgy.com/poems/arethusa-percy-bysshe-shelley/.
APA
Shelley, P. B. (n.d.). Arethusa. Storgy. https://storgy.com/poems/arethusa-percy-bysshe-shelley/
Row A — Thesis
1 ptIn 'Arethusa,' Percy Bysshe Shelley transforms the Ovidian pursuit myth into a sustained meditation on the paradox of desire: the pressure of pursuit does not destroy the pursued but instead propels her into an ever-more-radiant form of …
- Row B — Evidence + Commentary4 pts
- Row C — Sophistication1 pt
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