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Chorus of Priests, Accompanied by the Court Porkman on Marrow-Bones by Percy Bysshe Shelley

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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.

Poet
Percy Bysshe Shelley
Core theme
Anger
The PoemFull text

Chorus of Priests, Accompanied by the Court Porkman on Marrow-Bones

Percy Bysshe Shelley

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

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§01Quick summary

What this poem is about

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.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. AND CLEAVERS: / GODDESS bare, and gaunt, and pale,

    Editor's note

    The stage direction reveals that the chorus is joined by a court butcher clashing marrow-bones and cleavers — a genuine street-music tradition in Georgian England, often performed to mock or celebrate. Presenting Famine as a goddess who is "bare, and gaunt, and pale" instantly gives her the appearance of the starving poor she embodies, rather than a glorious deity. The irony is evident right from the first line.

  2. What though Cretans old called thee / City-crested Cybele?

    Editor's note

    Cybele was the ancient mother-goddess of Phrygia, frequently depicted with a crown of city towers, symbolizing abundance and civilization. The priests dismiss her with a wave: they’re not interested in old tales of prosperity, so they've renamed her Famine. It’s a biting commentary on how those in power reshape narratives to fit their agendas.

  3. Goddess of fasts and feasts, starving and cramming!

    Editor's note

    The contrast between fasts and feasts, starving and cramming, sums up the satirical argument perfectly in just one line. The same goddess oversees both, highlighting how the same economic system creates luxury for some while others face starvation. The exclamation mark adds a cheerful tone, which only intensifies the underlying horror.

  4. Through thee, for emperors, kings, and priests and lords, / Who rule by viziers, sceptres, bank-notes, words,

    Editor's note

    Shelley outlines all the instruments of power: military force (viziers), royal authority (sceptres), financial control (bank-notes), and propaganda (words). This list is intentionally comprehensive—no ruling mechanism escapes scrutiny. He argues that all of them rely on Famine to maintain a desperate and obedient population.

  5. The earth pours forth its plenteous fruits, / Corn, wool, linen, flesh, and roots—

    Editor's note

    The earth is genuinely productive — there is plenty available. Shelley is highlighting a political-economic argument that scarcity is created, not inherent. The list of goods (corn, wool, linen, flesh, roots) sounds like a harvest song, which makes the following two lines hit even harder.

  6. Those who consume these fruits through thee grow fat, / Those who produce these fruits through thee grow lean,

    Editor's note

    This is the poem's moral core, expressed with a stark and almost mathematical clarity. Producers go hungry while consumers feast. The parallel structure — "those who consume" / "those who produce" — highlights the injustice in a way that's hard to ignore. Shelley keeps it straightforward.

  7. Whatever change takes place, oh, stick to that! / And let things be as they have ever been;

    Editor's note

    The priests pray for stasis. No matter how the world shifts, they want to keep the fundamental inequality intact. "Let things be as they have always been" perfectly mocks conservative ideology: tradition disguising self-interest. At least the priests are upfront about their motives, making them both amusing and condemnable.

  8. At least while we remain thy priests, / And proclaim thy fasts and feasts.

    Editor's note

    The phrase "at least while we remain thy priests" serves as the satirical punchline. Their worship of Famine depends entirely on their own comfort. They aren't genuine believers; instead, they're cynical manipulators who leverage religion and ceremony to safeguard their status.

  9. Through thee the sacred SWELLFOOT dynasty / Is based upon a rock amid that sea / Whose waves are Swine—so let it ever be!

    Editor's note

    "Swellfoot" refers to George IV, a figure often ridiculed for his obesity. The "sea of Swine" represents the British population, dehumanized by poverty and oppression—reminiscent of Circe's pigs in the *Odyssey*. The ruling dynasty remains perched on its rock above the swine-sea, unscathed. The final phrase, "so let it ever be!" echoes a liturgical response, giving the entire chorus the tone of a corrupt church service.

§04Tone & mood

How this poem feels

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.

§05Symbols & metaphors

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.

§06Historical context

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.

§07FAQ

Questions readers ask

What is this poem actually from?

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.

Who is Swellfoot?

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.

What is Cybele and why does Shelley mention her?

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.

What does the 'sea of Swine' mean?

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.

Is this poem serious or is it a joke?

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.

What is the main political argument Shelley is making?

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.

Why are marrow-bones and cleavers mentioned in the title?

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.

How does this poem fit into Shelley's wider work?

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.

Citation

Cite this poem

MLA

Shelley, Percy Bysshe. "Chorus of Priests, Accompanied by the Court Porkman on Marrow-Bones." Storgy, https://storgy.com/poems/chorus-of-priests-accompanied-by-the-court-porkman-on-marrow-bones-percy-bysshe-shelley/.

APA

Shelley, P. B. (n.d.). Chorus of priests, accompanied by the court porkman on marrow-bones. Storgy. https://storgy.com/poems/chorus-of-priests-accompanied-by-the-court-porkman-on-marrow-bones-percy-bysshe-shelley/

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In Percy Bysshe Shelley's mock-liturgical satire 'Chorus of Priests, Accompanied by the Court Porkman on Marrow-Bones and Cleavers,' the speaker employs the machinery of sacred ritual — invocation, epithet, and communal refrain — to expose …

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