The Annotated Edition
ENTER SWELLFOOT, IN HIS ROYAL ROBES, WITHOUT PERCEIVING THE PIGS. by Percy Bysshe Shelley
A proud king named Swellfoot admires his own hefty figure and prays to a goddess of excess.
- Themes
- anger, identity, justice
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Thou supreme Goddess! by whose power divine / These graceful limbs are clothed in proud array
Editor's note
Swellfoot begins with a self-praising prayer, but the humor kicks in right away: he's not addressing a noble god but rather the goddess of excess and indulgence. His "graceful limbs" are plump with fat, his "kingly paunch" billows like a sail, and his cheeks are likened to the Egyptian pyramids — which, as Shelley's footnote points out, were constructed on the backs of enslaved workers. The king's self-satisfaction is absolute and utterly unaware. Each lofty image he attempts to conjure turns into a punchline about obesity and vanity.
Ha! what are ye, / Who, crowned with leaves devoted to the Furies,
Editor's note
Swellfoot suddenly sees the pigs surrounding the shrine and is taken aback. He speaks to them with exaggerated indignation, using the language of sacred ritual — "leaves devoted to the Furies," "sacred shrine" — which makes his disdain for them even more ridiculous. The pigs can only grunt in response, which Shelley captures phonetically ("Eigh! aigh! ugh!") to illustrate how their suffering has left them unable to speak.
What! ye that are / The very beasts that, offered at her altar
Editor's note
Swellfoot sees the pigs as the same animals that are ritually sacrificed to sustain both the goddess and the state—they pay taxes, they bleed, they die. He then shifts to blaming them for eating his potatoes and oats, which adds a darkly comic twist: the leftovers they allegedly take are the very scraps he acknowledges his cooks boil down from "bones, and rags, and scraps of shoe-leather." The king's reasoning is that even the most wretched refuse is too good for the poor.
The same, alas! the same; / Though only now the name / Of Pig remains to me.
Editor's note
The pigs express themselves in a formal chorus, and the tone changes from farce to real emotion. They recall a golden age under past rulers when they lived like "nightingales on myrtle sprigs" — an intentionally ridiculous image that resonates as a true lament. Now their sties are in ruins, disease spreads among them, the royal dogs tear apart their roofs, and they haven't received anything since this king took over. The chorus is the emotional heart of the scene.
My Pigs, 'tis in vain to tug. / I could almost eat my litter.
Editor's note
The distinct sounds of sows and piglets create a more personal and haunting atmosphere. One sow has no milk. A piglet tries to nurse from a dry teat. Another pig reflects that their own bones would taste bitter — a sign of their starvation, making them unfit to eat. The boars battle over a piece of rug. These short, grim moments pierce through the satire and reveal genuine hunger.
Happier Swine were they than we, / Drowned in the Gadarean sea—
Editor's note
The pigs reference the biblical tale of the Gadarene swine, where demons were cast into a herd of pigs that subsequently drowned. Their message is striking: even those pigs, crazed and drowning, were better off than their current situation. They urge the king to allow compassion to replace the "devils" in his own heart. The closing couplet — "besides it is the law!" — ties their plea to practical politics: feeding your people is not only an act of kindness but also a legal duty.
This is sedition, and rank blasphemy! / Ho! there, my guards!
Editor's note
Swellfoot reacts to the pigs' perfectly reasonable petition by labeling it treason. He calls in guards and then three figures — Solomon, Moses, and Zephaniah — whose names sharply criticize the king's habit of using marginalized groups as tools for state violence. He commands that the sows be spayed, the hogs be slaughtered, and recounts the population-control methods he's already employed: "prostitution," "starvation, typhus-fever, war, or prison." The chilling part is that these are actual government policies from Shelley's time, mentioned without hesitation.
'Tis all the same, / He'll serve instead of riot money, when
Editor's note
When informed that a hog is diseased and unfit for meat, Swellfoot simply shrugs, suggesting the soldiers can feast on the carcass after a day of quelling riots. He then proposes to sell the entire herd to Solomon for free—just kill them and end the racket. The scene concludes with the pigs being driven offstage, their fate sealed. The king's ultimate motivation isn't cruelty for its own sake but rather sheer bureaucratic convenience: to him, silence holds more value than lives.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- Swellfoot's body
- His bulging belly, thick limbs, and pyramid-shaped cheeks reflect a life of aristocratic indulgence. Every part of him is a testament to the labor and suffering of others, much like the pyramids — a connection that Shelley highlights in his footnote.
- The Pigs
- The pigs represent the British working class and the Irish poor during Shelley's era, who were oppressed by taxation, enclosure, famine, and political repression. Referring to them as pigs flips the ruling class's own insult back at them.
- Hog-wash and clean straw
- These humble demands—basic food and shelter—are the bare minimum any government should provide for its people. The reality that even these necessities are denied shows that the king's cruelty cannot be justified in any way.
- The Gadarean sea
- The biblical story of the swine driven into the sea by demons flips the typical moral on its head. In this case, the pigs seem to envy the drowned animals, implying that death might be more merciful than living under Swellfoot's rule.
- Ceres / the Goddess
- Ceres is the goddess of grain and harvest, yet in this realm, she rules over a kingdom plagued by starvation. The king reveres her as a symbol of his own indulgence, even as his people suffer from hunger — a stark contradiction to what the goddess stands for.
- The slaughter order
- Swellfoot's orders to spay, cut, and kill the pigs reflect the genuine population-control discussions of the early 19th century, including Malthusian views that suggested reducing the poor's numbers. Shelley explicitly names these policies — war, prison, starvation — to ensure the allegory is clear.
§06Historical context
Historical context
§07FAQ
Questions readers ask
Read next