The Annotated Edition
Hell by Percy Bysshe Shelley
Shelley examines early 19th-century London and essentially declares, "this place is already Hell." He highlights the corrupt politicians, greedy lawyers, hypocritical churchmen, and the suffering poor to illustrate that damnation isn't a punishment from God after death — it's something people create for themselves, right here and now.
- Core theme
- Despair
Study actions
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Hell is a city much like London— / A populous and a smoky city;
Editor's note
Shelley starts with his main joke, presented without any hint of humor: London and Hell are one and the same. The 'smoky city' is a literal description—coal fires filled the air of Georgian London—but the smoke also represents moral decay. By making this comparison so directly, he provokes his audience; he aims for you to feel the sting of the insult.
There is a Castles, and a Canning, / A Cobbett, and a Castlereagh;
Editor's note
Shelley mentions actual public figures: Viscount Castlereagh (the Foreign Secretary), his rival George Canning, and the radical journalist William Cobbett. By referring to a government minister and a populist critic as 'caitiff corpses' — cowardly, morally dead bodies — he implies that the entire political class, both left and right, is corrupt. 'Cozening for trepanning' refers to plotting to deceive those who are only marginally less corrupt than they are.
There is a ***, who has lost / His wits, or sold them, none knows which;
Editor's note
The asterisks cover a name that Shelley decided not to include, likely to steer clear of a libel lawsuit. This figure is referred to as a 'double ghost' — hollow and almost unreal — who becomes wealthier as he becomes more malevolent. The ambiguity ('lost his wits, or sold them') hits hardest: it doesn't really matter if the man is insane or corrupt; the outcome is the same.
There is a Chancery Court; a King; / A manufacturing mob; a set
Editor's note
Shelley now names institutions instead of individuals: the notoriously slow and corrupt Court of Chancery, the monarchy, factory workers exhausted by industrialization, and a parliament of thieves voting for more thieves. This list format makes them seem interchangeable—all equally part of the machinery of Hell.
Which last is a scheme of paper money, / And means—being interpreted—
Editor's note
Shelley illustrates the national debt with a fable: the government acts like a beekeeper who collects honey and assures everyone that flowers will bloom in winter, but they never do. This vivid metaphor effectively shows how financial tools siphon genuine wealth from everyday people, leaving them with empty promises. The folksy tone of "being interpreted" adds to the audacity of the deception.
There is a great talk of revolution— / And a great chance of despotism—
Editor's note
This stanza presents a whirlwind of social disorder: revolutionary slogans, the looming danger of authoritarian repression, foreign soldiers, riots, gambling, gin, suicide, and evangelical Methodism all mixed together. The dashes create a sense of urgency and chaos. Shelley views both religious revival and gin consumption as equally desperate reactions to the same intolerable circumstances.
Taxes too, on wine and bread, / And meat, and beer, and tea, and cheese,
Editor's note
The Corn Laws and various taxes impact the poorest people the most, particularly when it comes to basic food items. In Shelley’s view, the “patriots pure” are the politicians who impose these burdens and then indulge in the very goods they’ve rendered unaffordable. The irony is striking: those who profess to serve the nation are, in reality, consuming it.
There are mincing women, mewing, / (Like cats, who amant misere,)
Editor's note
Shelley addresses women who monitor and judge other women's sexual behavior. The Latin phrase 'amant misere' translates to 'love wretchedly' — suggesting that these women, while appearing virtuous, are secretly unhappy. By 'pursuing their gentler sisters to ruin,' they uphold a chastity standard that ultimately harms the very women they intend to safeguard. Shelley's frustration is aimed at social hypocrisy, not at women themselves.
Lawyers—judges—old hobnobbers / Are there—bailiffs—chancellors—
Editor's note
Another list, this time focusing on the legal and clerical establishment. Shelley places bishops alongside 'great and little robbers' without a hint of irony — they are indeed robbers, no question. 'Rhymesters' and 'pamphleteers' are mentioned as well, showing a moment of self-awareness: even writers find their place in this corrupt ecosystem.
Things whose trade is, over ladies / To lean, and flirt, and stare, and simper,
Editor's note
The men who show courtly attention to women are referred to as 'Things' — not even considered people. Their empty flattery doesn't honor women; instead, it gradually erodes what is authentic in them, resulting in something 'cruel, courteous, smooth, inhuman.' The phrase 'crucified 'twixt a smile and whimper' stands out in Shelley's work: women find themselves caught between putting on a happy face and hiding their pain.
Thrusting, toiling, wailing, moiling, / Frowning, preaching—such a riot!
Editor's note
Everyone in this Hell is caught up in a frenzy of activity, yet this busyness only works against them. Each individual believes they're outsmarting their neighbor, but the true price is paid within: they rob themselves of any peace of mind. The stanza reflects the draining, futile energy of a society built on competition and mutual distrust.
And all these meet at levees;— / Dinners convivial and political;—
Editor's note
The social calendar of the ruling class — levees, dinners, suppers, teas, breakfasts, lunches — feels like just another circle of Hell. The detail about how 'small talk dies in agonies' at teas is hilariously spot-on. The phrase 'Cretan-tongued panic' at lunch refers to the stereotype of Cretans as liars: everyone at the table is lying, and there's a palpable fear about financial news coming from Russia, the Netherlands, or Germany.
At conversazioni—balls— / Conventicles—and drawing-rooms—
Editor's note
The list of venues goes on, blending the chic (balls, drawing-rooms) with the spiritual (conventicles) and the grim (tombs). Ending with 'tombs' right after 'masquerades' creates a striking contrast — the social scene and death are merely different stops on the same journey. Note: this stanza is numbered '45' in the original text, which is a recognized printing error in the poem.
And this is Hell—and in this smother / All are damnable and damned;
Editor's note
Shelley makes his point clear: everyone is both damned and damning. The term 'smother' captures it well — it’s not about fiery damnation but rather a slow suffocation. The quick repetition of 'damned' and 'damning' creates a closed loop with no way out. Importantly, there’s no external God carrying out the damning; it’s something people do to one another.
'Tis a lie to say, 'God damns'! / Where was Heaven's Attorney General
Editor's note
Shelley clearly states his atheist argument. He describes the notion that God condemns people as a 'sham' — a convenient falsehood that keeps people complacent. Referring to God's representative as 'Heaven's Attorney General' is intentionally belittling: it turns divine judgment into a legal system and questions the absence of that system when the lie was first presented.
Statesmen damn themselves to be / Cursed; and lawyers damn their souls
Editor's note
Each class brings about its own downfall through its choices: statesmen through cruelty, lawyers by sacrificing their integrity for fees, and churchmen by twisting God's love into a threat of hellfire. The structure has a liturgical feel with the repeated phrase 'damn themselves,' parodying the religious language that Shelley is critiquing.
The rich are damned, beyond all cure, / To taunt, and starve, and trample on
Editor's note
The wealthy are 'beyond all cure' not due to divine condemnation, but because their actions have turned compulsive. In contrast, the poor are condemned to suffer 'stripe on stripe, with groan on groan'—this imagery of repeated flogging highlights the class system's violence in a visceral and physical way.
Sometimes the poor are damned indeed / To take,—not means for being blessed,—
Editor's note
Even the resistance of the poor—represented here by Cobbett's angry populism, dubbed 'revenge' and likened to snuff—provides no genuine escape. The worms consuming that weed end up with even less than they had before. Shelley critiques easy radicalism: righteous anger that fails to alter material conditions is merely another trap.
And some few, like we know who, / Damned—but God alone knows why—
Editor's note
Shelley turns to idealists—people like him—who are 'damned' to believe they can transform this Hell into a Heaven. The tone changes here: there's warmth and a touch of self-deprecating humor in 'we know who.' These folks might seem absurd, but they're the only ones who die with a sense of purpose. This is the poem's closest nod to hope.
Thus, as in a town, plague-stricken, / Each man be he sound or no
Editor's note
The plague metaphor illustrates that Hell isn't a place for moral judgment — it affects everyone, no matter their guilt. Just like you can't tell a pigeon from a crow at dusk, you can't differentiate between the good and the bad when the social disease has spread widely enough. The system corrupts everyone without discrimination.
So good and bad, sane and mad, / The oppressor and the oppressed;
Editor's note
Shelley presents the complete spectrum of humanity — from oppressors to the oppressed, those who mourn cruelty to those who perpetrate it, lovers to haters — asserting that they are all equally damned. This isn't about moral equivalence; it's a structural argument. The system ensnares everyone, including those who despise it.
All are damned—they breathe an air, / Thick, infected, joy-dispelling:
Editor's note
The final stanza revisits the mood set at the beginning — smoke, heaviness, infection. Each individual burrows deep, 'mining like moles, through mind,' creating a sprawling underground palace where Care reigns. It's a powerful closing image: the true Hell isn't the city beyond but the inner depths of anxiety and ambition that everyone digs out for themselves.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- London as Hell
- The main idea of the poem is clear: London isn't just compared to Hell — it *is* Hell. This shifts the religious notion of damnation, which typically occurs after death, into a political argument: the suffering and corruption we see in the city today is what truly matters.
- Smoke and thick air
- The poem begins and ends with imagery of smoke and contaminated air, which literally refers to the coal pollution of industrial London. On a symbolic level, it reflects a moral climate that permeates everyone’s existence, regardless of choice — portraying corruption as an environmental condition rather than just a personal shortcoming.
- The honey and the bees
- Shelley's fable about the national debt illustrates how bees (taxpayers) create honey (real wealth), which the beekeeper (the state) takes, all while promising flowers in winter that never come. This analogy transforms a complex financial concept into a clear and straightforward example of theft.
- The palace-cavern of Care
- In the final stanza, each individual delves into their own thoughts and constructs a sprawling underground palace where 'Care' — anxiety, worry, ambition — reigns supreme. This serves as the poem's depiction of psychological Hell: the outside city has been internalized, and the true prison is the one people create within themselves.
- The plague
- Used in stanzas 21–22 to suggest that Hell's corruption isn't just a punishment for personal sins but rather a contagion. A plague doesn't discriminate between the deserving and the undeserving. This shift in imagery transforms Shelley's argument from a moral focus to a structural one: the system infects everyone.
- Self-damnation
- Each class — whether statesmen, lawyers, churchmen, the rich, or the poor — brings about its own downfall through its actions. There is no higher authority to judge. Shelley uses the term damnation to describe how individuals undermine their own ability to find happiness and justice while chasing power or mere survival.
§06Historical context
Historical context
§07FAQ
Questions readers ask
Is this poem actually called 'Hell,' or is it part of something longer?
It's a part of a longer satirical poem titled Peter Bell the Third, which was written in 1819 and published after the author's death. Shelley divided the poem into sections, with 'Hell' being the third part. While it can stand alone because its argument is complete, understanding that it's from a larger satirical piece helps clarify some of the dense references within it.
Who are Castlereagh, Canning, and Cobbett?
Viscount Castlereagh served as the British Foreign Secretary and played a significant role in shaping the conservative order in Europe after Napoleon — Shelley held a deep disdain for him. George Canning was another Tory and a political rival. William Cobbett, on the other hand, was a radical journalist and pamphleteer who fought for the rights of the poor and opposed the political establishment. By referring to all three as 'caitiff corpses,' Shelley implied that he viewed the entire political spectrum, from government officials to populist critics, as part of the same corrupt system.
What does Shelley mean when he says people damn themselves rather than God damning them?
Shelley was an atheist, and this forms the core of his theological argument in the poem. He dismisses the notion that God punishes sinners with Hell after death. Instead, he contends that damnation arises from the choices people make, both for themselves and others: statesmen opt for cruelty, lawyers compromise their integrity, and the wealthy choose to take advantage of the poor. The Hell of London is a product of human action, not a divine decree. This positions it as a political argument as well as a religious one — if people can create Hell, they also have the power to change it.
Why does Shelley include idealists in the list of the damned?
In stanza 20, he mentions 'some few, like we know who' — individuals who are 'damned' for believing they can transform this Hell into a Heaven. This likely reflects a self-portrait and possibly depicts his circle. They’re 'damned' because they’re caught in an impossible endeavor, yet Shelley’s tone is warm and even admiring. They are the only characters in the poem who die for a cause truly worth dying for. This moment represents the poem's closest approach to hope.
What is the 'scheme of paper money' Shelley is attacking?
The British national debt grew significantly during the Napoleonic Wars. Shelley viewed government bonds and paper currency as tools for taking real wealth from everyday people and substituting it with mere promises. In stanza 5, his bee-and-honey fable illustrates this point clearly: the state takes what workers create and hands out financial instruments that enrich the wealthy while leaving the poor empty-handed.
Why is stanza 14 numbered '45' in the original text?
This is a well-known quirk of the original publication of Peter Bell the Third. The poem came out after Shelley's death, and some editions have irregular numbering or printing errors. Most editors see it as either a typo or a playful joke by Shelley — given the poem's satirical nature, a randomly wrong stanza number adds to its chaotic energy.
What is the 'palace-cavern of Care' at the end of the poem?
It's Shelley's depiction of the psychological landscape of someone influenced by this society. He suggests that each person digs through their own mind like a mole, creating a deep underground space where 'Care' — representing anxiety, worry, and ambition — reigns like a monarch. The external Hell of London has become part of their inner experience. The true prison isn't the city itself; it's the impact the city has had on people's inner lives.
Is Shelley saying the poor are just as bad as the rich?
Not exactly. When he says 'all are damned,' he's making a structural argument rather than a moral one. The plague metaphor is crucial: a plague doesn't selectively punish the guilty; it spreads to everyone. The poor are condemned to suffer exploitation, while the rich are trapped in a cycle of perpetuating it. Shelley emphasizes that the rich actively 'taunt, and starve, and trample' the weak, while the poor 'endure stripe on stripe.' The system ensnares everyone, but it doesn't treat everyone equally.
Citation
Cite this poem
MLA
Shelley, Percy Bysshe. "Hell." Storgy, https://storgy.com/poems/hell-percy-bysshe-shelley/.
APA
Shelley, P. B. (n.d.). Hell. Storgy. https://storgy.com/poems/hell-percy-bysshe-shelley/
Row A — Thesis
1 pt'HELL.' by Percy Bysshe Shelley constructs a sustained satirical equation between London's political machinery and eternal damnation to indict the living: the poem argues that social institutions—parliament, church, courts, finance—are …
- Row B — Evidence + Commentary4 pts
- Row C — Sophistication1 pt
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