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ENTER MAMM0N, THE ARCH-PRIEST, by Percy Bysshe Shelley: Summary, Meaning & Analysis

Percy Bysshe Shelley

This scene is from Shelley's satirical play *Swellfoot the Tyrant*, featuring two corrupt power-brokers: Mammon, representing money and greed, and Purganax, the embodiment of political spin.

The poem
AND PURGANAX, CHIEF OF THE COUNCIL OF WIZARDS.] PURGANAX: The future looks as black as death, a cloud, Dark as the frown of Hell, hangs over it— The troops grow mutinous—the revenue fails— There’s something rotten in us—for the level _100 Of the State slopes, its very bases topple, The boldest turn their backs upon themselves! MAMMON: Why what’s the matter, my dear fellow, now? Do the troops mutiny?—decimate some regiments; Does money fail?—come to my mint—coin paper, Till gold be at a discount, and ashamed _105 To show his bilious face, go purge himself, In emulation of her vestal whiteness. PURGANAX: Oh, would that this were all! The oracle!! MAMMON: Why it was I who spoke that oracle, And whether I was dead drunk or inspired, _110 I cannot well remember; nor, in truth, The oracle itself! PURGANAX: The words went thus:— ‘Boeotia, choose reform or civil war! When through the streets, instead of hare with dogs, A Consort Queen shall hunt a King with Hogs, _115 Riding on the Ionian Minotaur.’ MAMMON: Now if the oracle had ne’er foretold This sad alternative, it must arrive, Or not, and so it must now that it has; And whether I was urged by grace divine _120 Or Lesbian liquor to declare these words, Which must, as all words must, be false or true, It matters not: for the same Power made all, Oracle, wine, and me and you—or none— ’Tis the same thing. If you knew as much _125 Of oracles as I do— PURGANAX: You arch-priests Believe in nothing; if you were to dream Of a particular number in the Lottery, You would not buy the ticket? MAMMON: Yet our tickets Are seldom blanks. But what steps have you taken? _130 For prophecies, when once they get abroad, Like liars who tell the truth to serve their ends, Or hypocrites who, from assuming virtue, Do the same actions that the virtuous do, Contrive their own fulfilment. This Iona— _135 Well—you know what the chaste Pasiphae did, Wife to that most religious King of Crete, And still how popular the tale is here; And these dull Swine of Thebes boast their descent From the free Minotaur. You know they still _140 Call themselves Bulls, though thus degenerate, And everything relating to a Bull Is popular and respectable in Thebes. Their arms are seven Bulls in a field gules; They think their strength consists in eating beef,— _145 Now there were danger in the precedent If Queen Iona— NOTES: _114 the edition 1820; thy cj. Forman; cf. Motto below Title, and II. i, 153-6. ticket? edition 1820; ticket! edition 1839. _135 their own Mrs. Shelley, later editions; their editions 1820 and 1839. PURGANAX: I have taken good care That shall not be. I struck the crust o’ the earth With this enchanted rod, and Hell lay bare! And from a cavern full of ugly shapes _150 I chose a LEECH, a GADFLY, and a RAT. The Gadfly was the same which Juno sent To agitate Io, and which Ezekiel mentions That the Lord whistled for out of the mountains Of utmost Aethiopia, to torment _155 Mesopotamian Babylon. The beast Has a loud trumpet like the scarabee, His crooked tail is barbed with many stings, Each able to make a thousand wounds, and each Immedicable; from his convex eyes _160 He sees fair things in many hideous shapes, And trumpets all his falsehood to the world. Like other beetles he is fed on dung— He has eleven feet with which he crawls, Trailing a blistering slime, and this foul beast _165 Has tracked Iona from the Theban limits, From isle to isle, from city unto city, Urging her flight from the far Chersonese To fabulous Solyma, and the Aetnean Isle, Ortygia, Melite, and Calypso’s Rock, _170 And the swart tribes of Garamant and Fez, Aeolia and Elysium, and thy shores, Parthenope, which now, alas! are free! And through the fortunate Saturnian land, Into the darkness of the West. NOTES: (_153 (Io) The Promethetes Bound of Aeschylus.—[SHELLEY’S NOTE.]) (_153 (Ezekiel) And the Lord whistled for the gadfly out of Aethiopia, and for the bee of Egypt, etc.—EZEKIEL.—[SHELLEY’S NOTE.]) MAMMON: But if _175 This Gadfly should drive Iona hither? PURGANAX: Gods! what an IF! but there is my gray RAT: So thin with want, he can crawl in and out Of any narrow chink and filthy hole, And he shall creep into her dressing-room, _180 And— MAMMON: My dear friend, where are your wits? as if She does not always toast a piece of cheese And bait the trap? and rats, when lean enough To crawl through SUCH chinks— PURGANAX: But my LEECH—a leech Fit to suck blood, with lubricous round rings, _185 Capaciously expatiative, which make His little body like a red balloon, As full of blood as that of hydrogen, Sucked from men’s hearts; insatiably he sucks And clings and pulls—a horse-leech, whose deep maw _190 The plethoric King Swellfoot could not fill, And who, till full, will cling for ever. MAMMON: This For Queen Jona would suffice, and less; But ’tis the Swinish multitude I fear, And in that fear I have— PURGANAX: Done what? MAMMON: Disinherited _195 My eldest son Chrysaor, because he Attended public meetings, and would always Stand prating there of commerce, public faith, Economy, and unadulterate coin, And other topics, ultra-radical; _200 And have entailed my estate, called the Fool’s Paradise, And funds in fairy-money, bonds, and bills, Upon my accomplished daughter Banknotina, And married her to the gallows. [1] NOTE: (_204 ‘If one should marry a gallows, and beget young gibbets, I never saw one so prone.—CYMBELINE.—[SHELLEY’S NOTE.] PURGANAX: A good match! MAMMON: A high connexion, Purganax. The bridegroom _205 Is of a very ancient family, Of Hounslow Heath, Tyburn, and the New Drop, And has great influence in both Houses;—oh! He makes the fondest husband; nay, TOO fond,— New-married people should not kiss in public; _210 But the poor souls love one another so! And then my little grandchildren, the gibbets, Promising children as you ever saw,— The young playing at hanging, the elder learning How to hold radicals. They are well taught too, _215 For every gibbet says its catechism And reads a select chapter in the Bible Before it goes to play. [A MOST TREMENDOUS HUMMING IS HEARD.] PURGANAX: Ha! what do I hear? [ENTER THE GADFLY.] MAMMON: Your Gadfly, as it seems, is tired of gadding. GADFLY: Hum! hum! hum! _220 From the lakes of the Alps, and the cold gray scalps Of the mountains, I come! Hum! hum! hum! From Morocco and Fez, and the high palaces Of golden Byzantium; _225 From the temples divine of old Palestine, From Athens and Rome, With a ha! and a hum! I come! I come! All inn-doors and windows _230 Were open to me: I saw all that sin does, Which lamps hardly see That burn in the night by the curtained bed,— The impudent lamps! for they blushed not red, _235 Dinging and singing, From slumber I rung her, Loud as the clank of an ironmonger; Hum! hum! hum! Far, far, far! _240 With the trump of my lips, and the sting at my hips, I drove her—afar! Far, far, far! From city to city, abandoned of pity, A ship without needle or star;— _245 Homeless she passed, like a cloud on the blast, Seeking peace, finding war;— She is here in her car, From afar, and afar;— Hum! hum! _250 I have stung her and wrung her, The venom is working;— And if you had hung her With canting and quirking, She could not be deader than she will be soon;— _255 I have driven her close to you, under the moon, Night and day, hum! hum! ha! I have hummed her and drummed her From place to place, till at last I have dumbed her, Hum! hum! hum! _260 NOTE: _260 Edd. 1820, 1839 have no stage direction after this line. [ENTER THE LEECH AND THE RAT.] LEECH: I will suck Blood or muck! The disease of the state is a plethory, Who so fit to reduce it as I? RAT: I’ll slily seize and _265 Let blood from her weasand,— Creeping through crevice, and chink, and cranny, With my snaky tail, and my sides so scranny. PURGANAX: Aroint ye! thou unprofitable worm! [TO THE LEECH.] And thou, dull beetle, get thee back to hell! _270 [TO THE GADFLY.] To sting the ghosts of Babylonian kings, And the ox-headed Io— SWINE (WITHIN): Ugh, ugh, ugh! Hail! Iona the divine, We will be no longer Swine, But Bulls with horns and dewlaps. RAT: For, _275 You know, my lord, the Minotaur— PURGANAX (FIERCELY): Be silent! get to hell! or I will call The cat out of the kitchen. Well, Lord Mammon, This is a pretty business. [EXIT THE RAT.] MAMMON: I will go And spell some scheme to make it ugly then.— _280 [EXIT.] [ENTER SWELLFOOT.] SWELLFOOT: She is returned! Taurina is in Thebes, When Swellfoot wishes that she were in hell! Oh, Hymen, clothed in yellow jealousy, And waving o’er the couch of wedded kings The torch of Discord with its fiery hair; _285 This is thy work, thou patron saint of queens! Swellfoot is wived! though parted by the sea, The very name of wife had conjugal rights; Her cursed image ate, drank, slept with me, And in the arms of Adiposa oft 290 Her memory has received a husband’s— [A LOUD TUMULT, AND CRIES OF ‘IONA FOR EVER —NO SWELLFOOT!‘] Hark! How the Swine cry Iona Taurina; I suffer the real presence; Purganax, Off with her head! PURGANAX: But I must first impanel A jury of the Pigs. SWELLFOOT: Pack them then. _295 PURGANAX: Or fattening some few in two separate sties. And giving them clean straw, tying some bits Of ribbon round their legs—giving their Sows Some tawdry lace, and bits of lustre glass, And their young Boars white and red rags, and tails _300 Of cows, and jay feathers, and sticking cauliflowers Between the ears of the old ones; and when They are persuaded, that by the inherent virtue Of these things, they are all imperial Pigs, Good Lord! they’d rip each other’s bellies up, _305 Not to say, help us in destroying her. SWELLFOOT: This plan might be tried too;—where’s General Laoctonos? [ENTER LAOCTONOS AND DAKRY.] It is my royal pleasure That you, Lord General, bring the head and body, If separate it would please me better, hither _310 Of Queen Iona. LAOCTONOS: That pleasure I well knew, And made a charge with those battalions bold, Called, from their dress and grin, the royal apes, Upon the Swine, who in a hollow square Enclosed her, and received the first attack _315 Like so many rhinoceroses, and then Retreating in good order, with bare tusks And wrinkled snouts presented to the foe, Bore her in triumph to the public sty. What is still worse, some Sows upon the ground _320 Have given the ape-guards apples, nuts, and gin, And they all whisk their tails aloft, and cry, ‘Long live Iona! down with Swellfoot!’ PURGANAX: Hark! THE SWINE (WITHOUT): Long live Iona! down with Swellfoot! DAKRY: I Went to the garret of the swineherd’s tower, _325 Which overlooks the sty, and made a long Harangue (all words) to the assembled Swine, Of delicacy mercy, judgement, law, Morals, and precedents, and purity, Adultery, destitution, and divorce, _330 Piety, faith, and state necessity, And how I loved the Queen!—and then I wept With the pathos of my own eloquence, And every tear turned to a mill-stone, which Brained many a gaping Pig, and there was made _335 A slough of blood and brains upon the place, Greased with the pounded bacon; round and round The mill-stones rolled, ploughing the pavement up, And hurling Sucking-Pigs into the air, With dust and stones.— [ENTER MAMMON.] MAMMON: I wonder that gray wizards _340 Like you should be so beardless in their schemes; It had been but a point of policy To keep Iona and the Swine apart. Divide and rule! but ye have made a junction Between two parties who will govern you _345 But for my art.—Behold this BAG! it is The poison BAG of that Green Spider huge, On which our spies skulked in ovation through The streets of Thebes, when they were paved with dead: A bane so much the deadlier fills it now _350 As calumny is worse than death,—for here The Gadfly’s venom, fifty times distilled, Is mingled with the vomit of the Leech, In due proportion, and black ratsbane, which That very Rat, who, like the Pontic tyrant, _355 Nurtures himself on poison, dare not touch;— All is sealed up with the broad seal of Fraud, Who is the Devil’s Lord High Chancellor, And over it the Primate of all Hell Murmured this pious baptism:—‘Be thou called _360 The GREEN BAG; and this power and grace be thine: That thy contents, on whomsoever poured, Turn innocence to guilt, and gentlest looks To savage, foul, and fierce deformity. Let all baptized by thy infernal dew _365 Be called adulterer, drunkard, liar, wretch! No name left out which orthodoxy loves, Court Journal or legitimate Review!— Be they called tyrant, beast, fool, glutton, lover Of other wives and husbands than their own— _370 The heaviest sin on this side of the Alps! Wither they to a ghastly caricature Of what was human!—let not man or beast Behold their face with unaverted eyes! Or hear their names with ears that tingle not _375 With blood of indignation, rage, and shame!’— This is a perilous liquor;—good my Lords.— [SWELLFOOT APPROACHES TO TOUCH THE GREEN BAG.] Beware! for God’s sake, beware!-if you should break The seal, and touch the fatal liquor— NOTE: _373 or edition 1820; nor edition 1839. PURGANAX: There, Give it to me. I have been used to handle _380 All sorts of poisons. His dread Majesty Only desires to see the colour of it. MAMMON: Now, with a little common sense, my Lords, Only undoing all that has been done (Yet so as it may seem we but confirm it), _385 Our victory is assured. We must entice Her Majesty from the sty, and make the Pigs Believe that the contents of the GREEN BAG Are the true test of guilt or innocence. And that, if she be guilty, ‘twill transform her _390 To manifest deformity like guilt. If innocent, she will become transfigured Into an angel, such as they say she is; And they will see her flying through the air, So bright that she will dim the noonday sun; _395 Showering down blessings in the shape of comfits. This, trust a priest, is just the sort of thing Swine will believe. I’ll wager you will see them Climbing upon the thatch of their low sties, With pieces of smoked glass, to watch her sail _400 Among the clouds, and some will hold the flaps Of one another’s ears between their teeth, To catch the coming hail of comfits in. You, Purganax, who have the gift o’ the gab, Make them a solemn speech to this effect: _405 I go to put in readiness the feast Kept to the honour of our goddess Famine, Where, for more glory, let the ceremony Take place of the uglification of the Queen. DAKRY (TO SWELLFOOT): I, as the keeper of your sacred conscience, _410 Humbly remind your Majesty that the care Of your high office, as Man-milliner To red Bellona, should not be deferred. PURGANAX: All part, in happier plight to meet again. [EXEUNT.]

Public domain · sourced from Project Gutenberg

Quick summary
This scene is from Shelley's satirical play *Swellfoot the Tyrant*, featuring two corrupt power-brokers: Mammon, representing money and greed, and Purganax, the embodiment of political spin. They conspire to bring down Queen Iona through slander, rigged juries, and a magical "Green Bag" filled with poison. This plot serves as a thinly veiled critique of the real-life trial of Queen Caroline of England in 1820, where King George IV attempted to remove her title by accusing her of adultery. Shelley employs grotesque comedy, with characters like pigs, gadflies, leeches, and rats, to illustrate how governments create scandals to eliminate those who are inconvenient.
Themes

Line-by-line

PURGANAX: The future looks as black as death, a cloud, / Dark as the frown of Hell, hangs over it—
Purganax starts off in a state of panic: the troops are getting restless, funds are dwindling, and the entire political system seems to be on shaky ground. His words are exaggerated and dramatic — Shelley is already poking fun at the way politicians inflate everyday corruption into a grand crisis.
MAMMON: Why what's the matter, my dear fellow, now? / Do the troops mutiny?—decimate some regiments;
Mammon's reply is casual and sardonic: mutiny? Just eliminate a few soldiers. Short on cash? Print more paper currency until gold loses its value. He views every crisis as a technical issue that can be solved with a corrupt solution. The quip about gold going to 'purge himself' in embarrassment over paper money is a biting critique of the Bank of England's monetary policy after the Napoleonic Wars.
PURGANAX: Oh, would that this were all! The oracle!!
Purganax exposes the true issue: a prophecy that endangers the regime. Mammon nonchalantly confesses that he delivered the oracle himself, perhaps while under the influence, and can't even recall what he said. This undermines the notion of divine authority — prophecy is merely a political instrument, and not one that's managed with much care.
PURGANAX: 'Boeotia, choose reform or civil war! / When through the streets, instead of hare with dogs,
The oracle foretells that a 'Consort Queen' will chase a King with hogs — a clear reference to Queen Caroline (Iona Taurina) and King George IV (Swellfoot). 'Boeotia' represents England, and the Minotaur imagery connects to the play's ongoing joke about the populace as swine evolved from bulls. The prophecy presents the political crisis as a decision between true reform and violent upheaval.
MAMMON: Now if the oracle had ne'er foretold / This sad alternative, it must arrive,
Mammon offers a cynical take on philosophy: prophecies tend to fulfill themselves, no matter where they come from. Once people believe in them, they start acting in line with those beliefs. He brushes aside the question of whether he was inspired by a higher power or merely intoxicated — either way, his words are out in the world and will take effect. This reflects Shelley's critique of organized religion's assertion of unique authority.
PURGANAX: You arch-priests / Believe in nothing; if you were to dream / Of a particular number in the Lottery, / You would not buy the ticket?
Purganax calls out Mammon for his blatant cynicism — if you don’t believe in anything, what’s behind your consistent success? Mammon's response ('our tickets are seldom blanks') is the most genuine statement made in the scene: the powerful succeed not due to any beliefs, but because they dictate the rules.
PURGANAX: I have taken good care / That shall not be. I struck the crust o' the earth / With this enchanted rod, and Hell lay bare!
Purganax conjures three hellish creatures to torment Iona: a Gadfly, a Leech, and a Rat. Each serves as a sharp political allegory — the Gadfly symbolizes the press and government spies that relentlessly pursued the real Queen Caroline throughout Europe; the Leech stands for financial parasites; and the Rat embodies informers and agents who invade personal spaces. The mythological references (Io, Ezekiel) add a mock-epic flair to the persecution, enhancing its absurdity.
GADFLY: Hum! hum! hum! / From the lakes of the Alps, and the cold gray scalps / Of the mountains, I come!
The Gadfly's entrance song stands out as the most creatively structured part of the excerpt. It transitions into a buzzing, persistent lyrical meter that captures the creature's unyielding noise. The Gadfly claims to have tracked Iona across Europe, observing her private life ('all that sin does'), and pushing her back toward England. The repeated phrases 'hum' and 'far, far, far' evoke a feeling of relentless, mechanical harassment — the press doesn't have a personal vendetta against her; it just keeps buzzing on.
LEECH: I will suck / Blood or muck! / The disease of the state is a plethory,
The Leech and Rat present themselves through short, unappealing couplets. The Leech describes its blood-sucking as a matter of medical urgency — the state is overflowing with blood (wealth, vitality) and needs to be trimmed down. This serves as a sharp satire on the lawyers and financial interests that gained from the Queen's trial. Meanwhile, the Rat's claim about sneaking through cracks and slitting throats ('weasand') highlights the role of the informer.
PURGANAX (FIERCELY): Aroint ye! thou unprofitable worm! / [TO THE LEECH.] And thou, dull beetle, get thee back to hell!
Having served their purpose, the creatures are dismissed, but the Swine (the people) are already chanting for Iona. Purganax's sudden anger at his own creations reveals the ruling class's fear of losing control over the forces it unleashes. The Swine's chant ('We will be no longer Swine, / But Bulls with horns and dewlaps') hints at a potential uprising.
SWELLFOOT: She is returned! Taurina is in Thebes, / When Swellfoot wishes that she were in hell!
King Swellfoot (George IV) storms in, enraged by the return of his estranged wife to England. He complains that her 'cursed image' occupied his bed even when she was away—while he was with his mistress Adiposa—creating a humorous twist: he is the one being unfaithful, not her. Shelley highlights the king's hypocrisy in just one speech.
PURGANAX: Pack them then. / Or fattening some few in two separate sties.
The discussion on how to manipulate the jury of Pigs serves as a sharp satire on jury-packing and swaying public opinion. Purganax's approach — using ribbons, lace, colorful rags, and jay feathers — highlights the low cost of the bribes. The Pigs, believing they are 'imperial Pigs' because of these trinkets, will turn on each other and the Queen without needing substantial payment. Shelley portrays the idea of manufactured consent with striking clarity.
DAKRY: I / Went to the garret of the swineherd's tower, / Which overlooks the sty, and made a long / Harangue (all words) to the assembled Swine,
Dakry's speech — labeled as 'all words' — is a catalog of every lofty idea used to rationalize the Queen's persecution: mercy, law, morals, purity, faith. His tears of 'pathos' become heavy burdens that crush the Pigs. This illustrates Shelley's view of political rhetoric as a form of violence: the more articulate the speech, the more lives it takes.
MAMMON: I wonder that gray wizards / Like you should be so beardless in their schemes;
Mammon returns with the Green Bag — a container filled with distilled slander, made from the Gadfly's venom, the Leech's vomit, and rat poison, sealed with the 'broad seal of Fraud.' The baptism speech that follows serves as a twisted parody of a religious ceremony: rather than bestowing grace, it bestows guilt, deformity, and social death. Shelley is likening the legal proceedings of the Queen's trial to a black mass.
MAMMON: Now, with a little common sense, my Lords, / Only undoing all that has been done
Mammon's last scheme is both the most cunning and the most unsettling: he persuades the Pigs that the Green Bag is a test of innocence. If she is guilty, it will distort the Queen; if she is innocent, it will change her into an angel. Mammon is aware that the bag holds nothing but poison — there’s no way for her to come out innocent. Yet he knows the Pigs will buy into it, picturing them perched on rooftops with smoked glass to catch a glimpse of her 'fly.' The sight of the gullible public is both amusing and heartbreaking.

Tone & mood

The tone is darkly humorous—imagine a political cartoon transformed into a stage play. Shelley maintains an elevated, mock-heroic style even when describing unsavory subjects (leeches, rat poison, pig-sties), which sharpens the satire. Beneath the humor lies genuine anger, particularly in the Green Bag sequence, where the comedy edges toward horror. The Gadfly's song stands out as a rare moment of true lyrical energy, yet it serves to illustrate the relentless and dehumanizing nature of persecution.

Symbols & metaphors

  • The Green BagThe Green Bag stands as the main symbol of the piece. It embodies the legal case against Queen Caroline — a container of fabricated slander disguised as evidence. In history, the government's evidence against Caroline was actually brought to Parliament in a green bag, and Shelley transforms this factual element into a magical object of sheer corruption: sealed by Fraud, blessed by Hell, and solely capable of annihilating innocence.
  • The SwineThe Swine represent the English people — kept in the dark, fed on scraps, and manipulated by those in power. Shelley's portrayal of them is complex: while they are degraded by the system that oppresses them, they also display moments of true loyalty to Iona and defiance against Swellfoot. Their desire to become Bulls, symbolizing liberty in the play's mythology, highlights their potential for transformation.
  • The Gadfly, Leech, and RatThese three creatures symbolize the key tools of state persecution: the press and spy network (Gadfly), the financial and legal parasites (Leech), and the informers (Rat). Each creature is inspired by classical mythology and scripture, providing a mock-epic context for Shelley's satire that portrays the actual political machinery as both ancient and sinister.
  • Paper money / coinMammon's idea to 'coin paper' until gold feels ashamed directly targets the Bank of England's halt on gold payments and the inflation that emerged after the Napoleonic Wars. Paper money embodies the deceptive promises of a corrupt government — its value is unsupported, much like the Green Bag's misleading claim of innocence.
  • The OracleThe oracle — perhaps delivered while inebriated — symbolizes the emptiness of any assertions of divine authority. Mammon's disregard for whether he was truly inspired or merely drunk removes the mystique from prophecy, exposing it as just another means of political control, akin to a press release.
  • The Gallows / Banknotina's marriageMammon's daughter Banknotina (symbolizing paper money and debt) is married to the gallows, illustrating the tight connection between financial power and state violence. The 'grandchildren'—gibbets that are learning their catechism—demonstrate how institutional violence is perpetuated through religion and education.

Historical context

Shelley wrote *Swellfoot the Tyrant* in 1820 as a reaction to the trial of Queen Caroline, who was separated from King George IV. When George became king, he tried to divorce Caroline by pushing a Bill of Pains and Penalties through Parliament, claiming she had an affair with her Italian servant Bartolomeo Pergami. The government's evidence was delivered in a green bag — a detail that Shelley highlighted. The trial turned into a national scandal, with much of the public supporting Caroline and opposing the notoriously reckless king. From his home in Italy, Shelley penned the play in just a few days, drawing inspiration from Aristophanes' political comedies. It was published anonymously in 1820 but was quickly suppressed after the Society for the Suppression of Vice threatened the publisher. Caroline passed away in 1821, the year after the bill was withdrawn, having been excluded from George's coronation.

FAQ

Swellfoot represents King George IV, who was often ridiculed in the media for his obesity. Iona Taurina stands for Queen Caroline — 'Iona' alludes to her exile on several Mediterranean islands, while 'Taurina' ties her to the bull and Minotaur imagery present in the play. Purganax symbolizes Lord Castlereagh, the Foreign Secretary and a key figure in the legal efforts against Caroline. Mammon embodies the broader financial and ecclesiastical establishment, with some scholars linking him to the Archbishop of Canterbury.

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