Skip to content

The Annotated Edition

DEATH. by Percy Bysshe Shelley

Summary, meaning, line-by-line analysis & FAQ.

Read aloud in ~4 minOpen reading mode →

A reformed sinner named Peter Bell falls ill and is informed by his devout friends that he's surely bound for hell.

Poet
Percy Bysshe Shelley
Themes
death, faith, identity
The PoemFull text

DEATH.

Percy Bysshe Shelley

1. And Peter Bell, when he had been With fresh-imported Hell-fire warmed, Grew serious—from his dress and mien ’Twas very plainly to be seen Peter was quite reformed. _5 2. His eyes turned up, his mouth turned down; His accent caught a nasal twang; He oiled his hair; there might be heard The grace of God in every word Which Peter said or sang. _10 3. But Peter now grew old, and had An ill no doctor could unravel: His torments almost drove him mad;— Some said it was a fever bad— Some swore it was the gravel. _15 4. His holy friends then came about, And with long preaching and persuasion Convinced the patient that, without The smallest shadow of a doubt, He was predestined to damnation. _20 5. They said—‘Thy name is Peter Bell; Thy skin is of a brimstone hue; Alive or dead—ay, sick or well— The one God made to rhyme with hell; The other, I think, rhymes with you. _25 6. Then Peter set up such a yell!— The nurse, who with some water gruel Was climbing up the stairs, as well As her old legs could climb them—fell, And broke them both—the fall was cruel. _30 7. The Parson from the casement lept Into the lake of Windermere— And many an eel—though no adept In God’s right reason for it—kept Gnawing his kidneys half a year. _35 8. And all the rest rushed through the door And tumbled over one another, And broke their skulls.—Upon the floor Meanwhile sat Peter Bell, and swore, And cursed his father and his mother; _40 9. And raved of God, and sin, and death, Blaspheming like an infidel; And said, that with his clenched teeth He’d seize the earth from underneath, And drag it with him down to hell. _45 10. As he was speaking came a spasm, And wrenched his gnashing teeth asunder; Like one who sees a strange phantasm He lay,—there was a silent chasm Between his upper jaw and under. _50 11. And yellow death lay on his face; And a fixed smile that was not human Told, as I understand the case, That he was gone to the wrong place:— I heard all this from the old woman. _55 12. Then there came down from Langdale Pike A cloud, with lightning, wind and hail; It swept over the mountains like An ocean,—and I heard it strike The woods and crags of Grasmere vale. _60 13. And I saw the black storm come Nearer, minute after minute; Its thunder made the cataracts dumb; With hiss, and clash, and hollow hum, It neared as if the Devil was in it. _65 14. The Devil WAS in it:—he had bought Peter for half-a-crown; and when The storm which bore him vanished, nought That in the house that storm had caught Was ever seen again. _70 15. The gaping neighbours came next day— They found all vanished from the shore: The Bible, whence he used to pray, Half scorched under a hen-coop lay; Smashed glass—and nothing more! _75

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

A reformed sinner named Peter Bell falls ill and is informed by his devout friends that he's surely bound for hell. In a fit of rage and blasphemy, he dies, only for the Devil to appear in a storm and take him away. This darkly comic story-poem satirizes religious hypocrisy and the fire-and-brimstone preaching that frightens rather than comforts. Shelley narrates the tale with a serious tone but a mischievous grin.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. And Peter Bell, when he had been / With fresh-imported Hell-fire warmed,

    Editor's note

    We're thrown right into the heart of a story. Peter Bell has just experienced a religious conversion — Shelley's sarcastic phrase "Hell-fire warmed" captures the essence of evangelical preaching aimed at frightening people into piety. The term "fresh-imported" gives it a feel of a consumer product, which is already a jab at the absurdity of organized religion.

  2. His eyes turned up, his mouth turned down; / His accent caught a nasal twang;

    Editor's note

    Shelley illustrates the visible signs of Peter's newfound holiness: his eyes are rolled up towards the heavens, his mouth is set in a solemn grimace, and he has the nasal whine typical of Nonconformist preachers from that time. This portrayal is a clear caricature — each detail showcases a display of piety rather than genuine devotion.

  3. But Peter now grew old, and had / An ill no doctor could unravel:

    Editor's note

    Time goes by, and Peter becomes seriously ill. A mysterious condition—possibly kidney stones, often referred to as "the gravel"—kicks off the plot. The doctors are puzzled, creating an opportunity for his religious friends to offer their own diagnosis.

  4. His holy friends then came about, / And with long preaching and persuasion

    Editor's note

    Instead of offering comfort, Peter's devout companions pass down a harsh theological judgment: he is doomed to damnation. Shelley critiques Calvinist doctrine in this instance, particularly the notion that God has predetermined who will be saved and who will face eternal punishment. The friends are completely convinced and unforgiving.

  5. They said—'Thy name is Peter Bell; / Thy skin is of a brimstone hue;

    Editor's note

    The friends' argument is almost absurdly circular: his name rhymes with "hell," his skin is the color of brimstone, so he must be damned. Shelley turns predestination theology into a schoolyard rhyme game, highlighting how arbitrary and cruel such certainty can be when directed at a dying man.

  6. Then Peter set up such a yell!— / The nurse, who with some water gruel

    Editor's note

    Peter's scream—whether out of terror or rage—sets off a series of slapstick mishaps: the nurse tumbles and breaks her legs, while the parson jumps out a window. The humor is intentionally exaggerated and cartoonish, stripping away any seriousness the religious scene might have had. Shelley employs farce to poke fun at the self-importance of the holy friends.

  7. And the Parson from the casement lept / Into the lake of Windermere—

    Editor's note

    The parson's jump into Windermere and the following year of being chewed on by eels is darkly humorous. The fact that the eels were oblivious to "God's right reason" for gnawing at him is a clever jab: even nature doesn’t follow divine moral logic. The Lake District backdrop anchors this absurdity in a familiar English landscape.

  8. And all the rest rushed through the door / And tumbled over one another,

    Editor's note

    The remaining holy friends scramble in a chaotic pile, injuring themselves in the process. Meanwhile, Peter sits on the floor, cursing his parents. This contrast is striking: those who are supposed to be righteous flee in disarray, while the condemned sinner remains, filled with rage. There’s a grim sort of equality in the way everyone misbehaves.

  9. And raved of God, and sin, and death, / Blaspheming like an infidel;

    Editor's note

    Peter's dying speech radiates defiance—he curses, blasphemes, and imagines pulling the entire earth down to hell with him. Shelley grants this condemned man a haunting sense of grandeur. His rage makes sense: he’s been told, in his most vulnerable moment, that he is beyond redemption.

  10. As he was speaking came a spasm, / And wrenched his gnashing teeth asunder;

    Editor's note

    Death interrupts in the midst of a sentence, in the heat of a curse. The graphic detail — teeth forced apart by a spasm — is jarring and unexpected. The "silent chasm" between his jaws powerfully symbolizes the sudden halt of speech, life, and all that intense clamor.

  11. And yellow death lay on his face; / And a fixed smile that was not human

    Editor's note

    The death mask Peter wears — yellow skin and an unnerving fixed smile — confirms his friends' prediction in the most direct way. The narrator then undermines the entire scene with a nonchalant remark: "I heard all this from the old woman." This makes the story feel like secondhand gossip, subtly shaking the foundations of everything we've just learned.

  12. Then there came down from Langdale Pike / A cloud, with lightning, wind and hail;

    Editor's note

    The poem completely changes its tone. A true storm arrives from the Langdale Pikes, depicted with striking atmospheric intensity. After all the absurdity, Shelley writes in a way that reflects his identity as a Romantic poet—the storm is vast, overpowering, and drowns out the waterfalls. This shift in tone creates a genuinely foreboding atmosphere for what comes next.

  13. And I saw the black storm come / Nearer, minute after minute;

    Editor's note

    The narrator observes the storm drawing near. The line "Its thunder made the cataracts dumb" captures the moment well—the thunder drowns out the sound of the waterfalls. The tension rises with the repeated phrase "minute after minute," and the parenthetical "as if the Devil was in it" is on the verge of being confirmed in a very real way.

  14. The Devil WAS in it:—he had bought / Peter for half-a-crown;

    Editor's note

    The punchline: the Devil bought Peter's soul for half-a-crown — a laughably small amount, about what you'd spend on a cheap meal. Once the storm passes, Peter and everything it affected have disappeared. Shelley treats the supernatural seriously here, making it both funnier and weirder at once.

  15. The gaping neighbours came next day— / They found all vanished from the shore:

    Editor's note

    The final stanza offers a flat list of what remains: a half-burned Bible beneath a hen coop, shattered glass, and little else. The Bible's survival—charred yet still there—adds a touch of irony. The neighbors stare, the narrator shrugs, and the poem concludes with "nothing more," resembling a door softly shutting after a raucous celebration.

§04Tone & mood

How this poem feels

The tone is consistently satirical and darkly comic, with Shelley maintaining a straight narrative face as the events become more absurd. The final storm stanzas carry a genuine sense of menace, which gives the comedy real weight—it's not just mockery; it's mockery that bites. The narrator's casual remark at the end that he heard everything from an old woman adds a layer of ironic detachment, keeping the entire poem at a distance from sincerity.

§05Symbols & metaphors

Symbols & metaphors

The storm from Langdale Pike
The storm is a genuine weather event in the Lake District and also serves as the Devil's vehicle. It embodies the supernatural outcome that the holy friends foresaw but couldn't manage — divine or diabolical judgment coming on its own terms, rather than theirs.
The half-scorched Bible
Left behind under a hen-coop after the Devil's storm, the Bible symbolizes the divide between outward religious practices and true faith. It survived, but just barely, in a rather undignified spot — a fitting representation of the hollow piety the poem critiques.
Peter's fixed inhuman smile
The death-mask grin suggests damnation, yet it also reflects the face of someone who has ceased to pretend. After a life of feigned holiness and a death marked by raw honesty, Peter's final expression remains ambiguous — neither saved nor merely lost.
The nasal twang and oiled hair
These physical details represent the entire system of outward religious conformity. Shelley uses them to illustrate that Peter's reform was merely a performance, not a genuine belief — which intensifies the friends' cruelty at his deathbed.
Half-a-crown
The price the Devil pays for Peter's soul is shockingly low. It turns the serious theological struggle of damnation into a trivial deal, suggesting that Peter — and, by extension, the entire fire-and-brimstone system that influenced him — was never worth much at all.

§06Historical context

Historical context

Shelley wrote this poem as a satirical addition to his longer mock-epic *Peter Bell the Third* (1819), which parodies Wordsworth's serious narrative poem *Peter Bell*. A committed atheist and radical, Shelley held a strong disdain for what he perceived as the coercive, fear-driven religion of his time—especially Calvinist predestination and the evangelical revival that was gaining momentum in early nineteenth-century England. The poem’s setting in the Lake District (Windermere, Langdale Pike, Grasmere) directly references Wordsworth's region, making the satire both geographical and literary. Shelley was also reacting to the political conservatism he associated with the older Romantic poets, whom he believed had strayed from their initial radical ideals. This poem was not published during his lifetime; Shelley drowned in 1822 at the young age of 29.

§07FAQ

Questions readers ask

Peter Bell is a character from a poem by William Wordsworth, published in 1819. Shelley had issues with Wordsworth's political views and the poem's moralizing tone, which led him to create *Peter Bell the Third* as a parody. The short poem titled *Death* serves as the final section of that longer work — it presents Peter's demise in a darkly comic tale of damnation.

Read next

Poems in the same key