CHORUS OF PRIESTS, ACCOMPANIED BY THE COURT PORKMAN ON MARROW-BONES by Percy Bysshe Shelley: Summary, Meaning & Analysis
A group of priests and court officials chant a hymn of praise to "Famine" — a goddess they've created to explain why the rich continue to thrive while the poor suffer.
The poem
AND CLEAVERS: GODDESS bare, and gaunt, and pale, Empress of the world, all hail! What though Cretans old called thee City-crested Cybele? We call thee FAMINE! _5 Goddess of fasts and feasts, starving and cramming! Through thee, for emperors, kings, and priests and lords, Who rule by viziers, sceptres, bank-notes, words, The earth pours forth its plenteous fruits, Corn, wool, linen, flesh, and roots— _10 Those who consume these fruits through thee grow fat, Those who produce these fruits through thee grow lean, Whatever change takes place, oh, stick to that! And let things be as they have ever been; At least while we remain thy priests, _15 And proclaim thy fasts and feasts. Through thee the sacred SWELLFOOT dynasty Is based upon a rock amid that sea Whose waves are Swine—so let it ever be! [SWELLFOOT, ETC., SEAT THEMSELVES AT A TABLE MAGNIFICENTLY COVERED AT
A group of priests and court officials chant a hymn of praise to "Famine" — a goddess they've created to explain why the rich continue to thrive while the poor suffer. It's Shelley at his most satirical: the ruling class openly acknowledges that the system is rigged, and they're perfectly content as long as they remain in power. This excerpt comes from his political play *Swellfoot the Tyrant*, which serves as a fierce critique of King George IV and the British establishment.
Line-by-line
AND CLEAVERS: / GODDESS bare, and gaunt, and pale,
What though Cretans old called thee / City-crested Cybele?
Goddess of fasts and feasts, starving and cramming!
Through thee, for emperors, kings, and priests and lords, / Who rule by viziers, sceptres, bank-notes, words,
The earth pours forth its plenteous fruits, / Corn, wool, linen, flesh, and roots—
Those who consume these fruits through thee grow fat, / Those who produce these fruits through thee grow lean,
Whatever change takes place, oh, stick to that! / And let things be as they have ever been;
At least while we remain thy priests, / And proclaim thy fasts and feasts.
Through thee the sacred SWELLFOOT dynasty / Is based upon a rock amid that sea / Whose waves are Swine—so let it ever be!
Tone & mood
Savagely comic and mock-ceremonial. Shelley presents the entire piece as a serious hymn, featuring liturgical repetitions and exclamations, yet each line oozes disdain for those singing it. The tone resembles a political cartoon more than a lyric poem—it's broad, loud, and crafted to elicit laughter before the anger kicks in.
Symbols & metaphors
- Famine as goddess — By elevating Famine to the level of a deity, Shelley highlights how the ruling class's ideology obscures economic exploitation. Labeling starvation as sacred makes it appear natural and unavoidable instead of stemming from intentional political decisions.
- Cybele / city-crested crown — The ancient goddess of abundance has been replaced by Famine, showing how civilization has turned its purpose upside down. Cities and states, which were meant to support people, now focus on taking from them.
- The sea of Swine — The phrase "common people reduced to pigs" refers to Circe's enchantment in Homer's tale. It highlights how poverty and oppression can strip away humanity, reflecting the ruling class's disdain for those under their control.
- The rock — The Swellfoot dynasty rests on a rock overlooking the swine-sea, giving an illusion of permanence and stability. This imagery reflects the biblical idea of building on rock, but in this case, the foundation is rooted in exploitation rather than virtue.
- Marrow-bones and cleavers — A genuine Georgian street custom involved butchers making raucous music using bones and cleavers, often poking fun at disliked figures. Shelley employs this tradition right from the beginning to indicate that the work is street satire rather than noble commendation.
- Fasts and feasts — The two sides of the same corrupt system. Fasting is meant for the poor, while feasting is reserved for the rich. The priests oversee both, highlighting how religion and ceremony are employed to legitimize inequality.
Historical context
Shelley wrote *Swellfoot the Tyrant* in 1820 amid the scandal surrounding King George IV's effort to divorce Queen Caroline by pushing the Bill of Pains and Penalties through Parliament. The trial turned into a public spectacle that revealed the hypocrisy of both the monarchy and the political establishment. While living in exile in Italy, Shelley quickly composed the play as an angry burlesque, drawing inspiration from Aristophanes' *The Wasps*. "Swellfoot" pokes fun at George IV's famous obesity. The play was published anonymously in London but was quickly suppressed after the Society for the Prevention of Vice threatened legal action. One of the sharpest moments in the play is its chorus, which compresses Shelley's lifelong argument that poverty is a political choice rather than a natural condition into nineteen lines of mock-liturgical verse.
FAQ
It's a chorus from Shelley's satirical play *Swellfoot the Tyrant* (1820), a burlesque that responds to the trial of Queen Caroline. The play was quickly suppressed after its release. In this chorus, priests and court officials sing praises to Famine, whom they regard as their goddess.
Swellfoot serves as Shelley's satirical representation of King George IV, whose weight was a frequent subject for caricaturists and satirists of the era. The name also references Oedipus, which translates to "swollen foot" in Greek, suggesting that the king's rule is destined to conclude in disaster, much like a Greek tragedy.
Cybele was a Phrygian mother-goddess linked to nature, fertility, and urban life. She is typically depicted wearing a crown of towers. Shelley mentions her to highlight the contrast with Famine: while Cybele symbolizes abundance, the priests have substituted her with a goddess of starvation. This contrast suggests that civilization has taken a troubling turn.
The swine symbolize the everyday people, dehumanized by poverty and oppression. Shelley references the myth of Circe from Homer's *Odyssey*, who transformed men into pigs. This imagery implies that the ruling class views ordinary individuals as beneath humanity, and that the system works to diminish their worth.
Both occur simultaneously. The form parodies a religious hymn, featuring call-and-response rhythms and solemn exclamations. However, the content presents a serious argument about economic inequality. Shelley employs humor to convey messages that might be difficult to accept if expressed directly.
That poverty is not a natural or inevitable condition — the earth produces enough resources for everyone, including corn, wool, linen, meat, and roots. Scarcity arises because those who create wealth are systematically deprived of it by those who consume it. The priests pray for this system to endure indefinitely, revealing it as a conscious political decision rather than a divine act.
In Georgian England, butchers would clank marrow-bones and cleavers together to create a kind of gritty street music, often mocking unpopular public figures. By highlighting this as the musical background, Shelley indicates that it’s a popular, grassroots satire targeting the powerful — rather than refined drawing-room poetry.
It stands next to poems such as *The Masque of Anarchy* and *Song to the Men of England* as part of Shelley's ongoing critique of political oppression during 1819–1820. While those poems are filled with passion and lyricism, this one takes on a comic and theatrical style, yet the target remains the same: a ruling class that employs every possible means—religion, law, money, and force—to maintain control over the poor.