The Annotated Edition
CLARIN AND MOSCON AS POOR SCHOLARS, WITH BOOKS. by Percy Bysshe Shelley
This is the opening scene of Shelley's translation of Calderón de la Barca's play *El mágico prodigioso*.
- Themes
- doubt, faith, identity
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
CYPRIAN: In the sweet solitude of this calm place, / This intricate wild wilderness of trees
Editor's note
Cyprian begins by asking his servants to give him some space in the forest with his books. He compares the loud public festival for Jupiter taking place in Antioch to the quiet, studious tranquility he values more. The description of the sun setting "among the billows" like "white plumes upon a hearse" carries a subtly ominous tone — beauty and death are intertwined even before anything dramatic unfolds.
MOSCON: I cannot bring my mind, / Great as my haste to see the festival
Editor's note
Moscon and Clarin bring comic relief to the scene. Moscon is baffled that anyone would choose to miss a festival for books, while Clarin flatters Cyprian by pretending to share his views. Their playful arguments about honesty and flattery, with Moscon saying, "You lie — under a mistake," create a lighter atmosphere that highlights Cyprian's intellectual seriousness even more.
CYPRIAN: Enough, you foolish fellows! / Puffed up with your own doting ignorance
Editor's note
Cyprian waves off the servants with a hint of irritation, instructing them to come back at nightfall when the universe is "veiled in shadows wide." When he refers to "this glorious fabric of the universe," it shows that he's thinking on a grand scale—he's not merely a bookworm; he’s deeply engaged with life’s most profound questions.
MOSCON: Would that my feet were wings, / So would I fly to Livia.
Editor's note
Both servants rush out after Livia, a woman they both seem to like—a humorous reflection of the intense rivalry between Lelio and Floro that unfolds later. Their desire for love and pleasure stands in stark contrast to Cyprian's withdrawal into philosophy.
CYPRIAN: Now, since I am alone, let me examine / The question which has long disturbed my mind
Editor's note
Alone at last, Cyprian shares his true thoughts: a quote from Pliny the Elder that describes God in a way no current deity seems to fulfill. His doubt is genuine and thoughtful, not jaded. The stage direction then introduces the Daemon, dressed like a stylish gentleman — this disguise is significant, as the Daemon appears embodying worldly success itself.
DAEMON: Search even as thou wilt, / But thou shalt never find what I can hide.
Editor's note
The Daemon's opening aside reveals the play's central irony: he knows Cyprian is heading in the right direction and plans to sidetrack him not by arguing, but by stirring up desire. His cover story—an exhausted traveler with a tired horse and no friends in Antioch—serves as an ideal ordinary disguise for a supernatural tempter.
DAEMON: And such is ignorance! Even in the sight / Of knowledge, it can draw no profit from it.
Editor's note
The Daemon cleverly transforms his feigned confusion into a philosophical insight about ignorance, quickly earning Cyprian's intellectual admiration. He asserts that he understands various sciences without having studied them, which piques Cyprian's interest. The ensuing debate is truly intense: Cyprian contends that the pagan gods cannot be the ultimate God due to their morally inconsistent actions.
CYPRIAN: That there must be a mighty God / Of supreme goodness and of highest grace
Editor's note
Cyprian logically concludes that there is one God who is all-good, all-knowing, the cause of everything, and the effect of nothing. This argument is a strikingly clear case for monotheism derived from pure reasoning. He wins the debate decisively. The Daemon concedes but quickly devises a plan for revenge: instead of using weak arguments, he will distract Cyprian with the allure of Justina.
DAEMON: Since thus it profits him / To study, I will wrap his senses up
Editor's note
The Daemon's aside unveils his plan: unable to outsmart Cyprian, he intends to weaponize erotic obsession. He points out that he already controls Justina's soul, which creates the play's main conflict. This results in two forms of vengeance from a single action — Cyprian being drawn away from God and Justina being put at risk — showcasing the Daemon's cunning malevolence.
LELIO: Here stop. These toppling rocks and tangled boughs, / Impenetrable by the noonday beam
Editor's note
Floro and Lelio meet in secret to duel, selecting the same forest where Cyprian is reading. What was once a tranquil place for study now turns into a battleground. Their motive for fighting — their shared love for the same woman — brings Justina into the picture before she arrives, presenting her as someone whose value is being determined by the swords of men instead of her own decisions.
CYPRIAN: Be silent, fellows! What! two friends who are / In blood and fame the eyes and hope of Antioch
Editor's note
Cyprian moves between the duellists without a weapon, relying on words instead of violence. He delivers a pointed speech about honour, reputation, and how society would view one of them killing the other and then marrying the woman. His arguments are both clear and practical. He convinces them to allow him to mediate—unwittingly stepping into the Daemon's trap, as this means he will now confront Justina directly.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The forest
- The wild wood is Cyprian's escape from society, a place for him to think freely. Yet, it's also where the Daemon discovers him, where their duel unfolds, and where his fate begins to take shape. Solitude and danger coexist in the same spot.
- Books
- Cyprian's books embody the search for truth through reason. They serve as his "best society" — yet the Daemon appears just as Cyprian is reading, using Pliny, the book in his hands, as a hook to initiate their conversation. Knowledge acts as both a route to God and the vulnerability that the Daemon takes advantage of.
- The Daemon's court dress
- The Daemon shows up looking like a stylish gentleman rather than a monster. His facade of worldly sophistication — complete with wealth, comfort, and social grace — represents the true nature of temptation. He doesn't appear evil; instead, he embodies success.
- The setting sun / hearse plumes
- Cyprian's image of the sun sinking like white plumes on a hearse brings a sense of mortality and unease into what initially appears to be a tranquil pastoral scene. From the very first speech, beauty and death are intertwined.
- The duel
- The clash between Lelio and Floro over Justina foreshadows Cyprian's own impending obsession. It illustrates how unchecked desire can drive men to harm one another — and it's also the way Cyprian encounters the woman the Daemon plans to exploit against him.
- Justina (named but absent)
- Justina is introduced prior to her appearance—"trembles to gaze on her," "her virtue is her dowry"—making her more of a symbol representing an ideal that men impose on her than a person they genuinely understand. The Daemon intends to use this projection as a weapon against Cyprian.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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