The Annotated Edition
INFERNO 33, 22-75. by Percy Bysshe Shelley
This is Shelley's revised translation of a section from Dante's *Inferno*, where Count Ugolino recounts his harrowing experience of being imprisoned in a tower with his sons and grandsons, ultimately left to die of starvation.
- Themes
- death, despair, family
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Now had the loophole of that dungeon, still / Which bears the name of Famine's Tower from me,
Editor's note
Ugolino begins by naming the tower where he was locked away — it’s known as Famine's Tower *because of him*, due to the events that unfolded there. This detail is haunting: his agony defined the tower's identity. He recounts the narrow window through which he observed the moon shift month by month, counting the days in a cell without any hope of freedom.
'Moon after moon slow waning', when a sleep, / 'That of the future burst the veil, in dream / Visited me.
Editor's note
A prophetic dream visits Ugolino. The phrases in quotes are taken straight from Dante (through Medwin's draft), and Shelley retains them for their significance. The dream is called 'deep and evil' — it offers no solace; instead, it reveals the grim fate awaiting his family.
To see, 'that' tyrant Lord his revels keep / The leader of the cruel hunt to them,
Editor's note
In the dream, Archbishop Ruggieri — the man who locked up Ugolino — leads a hunt. The targets are wolves and wolf-cubs, symbolizing Ugolino and his children. Joining the hunt are the Gualandi, Sismondi, and Lanfranchi families, who are Ugolino's political rivals. The image of a pack of lean hounds pursuing their prey adds a brutal, animalistic edge to the political persecution.
The father and 'his whelps' to flag at once, / And then the sharp fangs gored their bosoms deep.
Editor's note
The wolves — the father and his cubs — tire quickly and are overwhelmed by the hounds. The term 'whelps' is intentionally demeaning, reflecting the oppressor's language used against Ugolino's children. The dream concludes in a massacre, and Ugolino awakens to the sound of his sons crying out for bread in their sleep, marking the moment when the dream turns into reality.
Ere morn I roused myself, and heard my sons, / For they were with me, moaning in their sleep,
Editor's note
The transition from dream to waking is harsh yet smooth—the nightmare and reality blend together. His sons are hungry and in pain. Ugolino speaks directly to the listener: 'Right cruel art thou, if thou dost not weep.' He demands an emotional reaction, making it clear that this story must evoke sorrow.
They were already waked, as wont drew nigh / The allotted hour for food, and in that hour / Each drew a presage from his dream.
Editor's note
The children wake up at their regular mealtime, but there’s no food in sight. Each one has experienced a nightmare, and they all feel the impending dread. When Ugolino hears the sound of the tower door locking below—an unmistakable sign that no one is coming—he looks at his children's faces, choosing silence over words. Inside, he feels himself turning to stone. He’s unable to cry.
They wept aloud, and little Anselm mine, / Said—'twas my youngest, dearest little one,— / 'What ails thee, father? Why look so at thine?'
Editor's note
The youngest child, Anselm, asks his father why he’s looking at them in such a strange way. This moment is one of the most heartbreaking in the poem—the child’s innocence adds to the unbearable tension, as he doesn’t yet grasp the gravity of the situation. Ugolino remains silent throughout that day and the night that follows, unable to find the words or even shed tears.
Upon the world, not us, came forth the light / Of the new sun, and thwart my prison thrown / Gleamed through its narrow chink, a doleful sight,
Editor's note
The sun rises, but it’s not for them — that phrase, 'not us,' carries a quiet devastation. The light filtering through the crack in the wall reveals Ugolino’s own face mirrored in the faces of his starving children. In agony, he gnaws at his own hands, and his children, believing he is driven by hunger, offer their own bodies for him to consume. This is an act of complete, selfless love from the children.
I 'hushed' myself. That day is at its close,— / Another—still we were all mute. Oh, had / The obdurate earth opened to end our woes!
Editor's note
Ugolino holds his tongue, trying not to add to his children's suffering. Days go by in quiet sorrow. He wishes the earth would just engulf them. The term 'obdurate' — meaning stubborn and unyielding — is used to describe the earth, as if even the ground is unwilling to grant them any mercy.
The fourth day dawned, and when the new sun shone, / Outstretched himself before me as it rose / My Gaddo, saying, 'Help, father! hast thou none'
Editor's note
On the fourth day, Gaddo, his son, collapses at his feet, pleading for help. Ugolino feels helpless. Gaddo dies right there on the floor. One by one, the others follow suit. Ugolino watches each death with a detached demeanor, as if he’s simply recounting facts — this flatness in the narration makes the situation even more heart-wrenching than any emotional outburst could.
Between the fifth and sixth day, ere twas dawn, / I found 'myself blind-groping o'er the three.' / Three days I called them after they were gone.
Editor's note
By the fifth or sixth day, Ugolino has lost his sight due to starvation. He crawls over the lifeless bodies of his children. For three more days, he calls out their names. The vision of a blind father crawling through the darkness over his deceased sons stands as the poem's most heart-wrenching moment.
Famine of grief can get the mastery.
Editor's note
This closing line sparks the most debate among readers. It suggests that grief, much like famine, ultimately leads to death — or that grief was more powerful than hunger, leaving Ugolino to endure the pain of loss instead of succumbing to starvation. In either interpretation, grief emerges as the central force in the poem, overshadowing political enemies, the locked door, and even the hunger itself.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The wolf and wolf-cubs
- In the dream, Ugolino and his children take on the form of wolves being hunted. While wolves are typically seen as predators, in this vision, they become the prey — this portrayal diminishes their power and dignity. It also mirrors how Ugolino's enemies perceived his family: as a threatening lineage that needed to be wiped out, rather than as human beings.
- The tower and its loophole
- The narrow window is the sole link to the outside world; it shows the passage of months and allows a faint light to touch the children's waning faces. It offers just enough to make their confinement more brutal: you can watch time pass, see the sun rise for everyone else, but you can't touch it.
- The locked door
- The sound of the door locking below tells Ugolino that rescue isn’t coming. He doesn’t need to explain this to his children; he simply looks at them. The door signifies a point of no return, where hope fades away, marked by silence instead of words.
- Gnawing his own hands
- Ugolino bites his own hands in agony, and his children mistake it for hunger, offering themselves to be eaten. This moment lies at the crossroads of grief and the instinct to survive, prompting the poem's most selfless act. It also resonates with the image of Ugolino gnawing on Ruggieri's skull in Hell — the poem is enveloped by acts of consumption.
- The reflected faces
- When the light filters through the crack in the wall, Ugolino catches a glimpse of his own face mirrored in the faces of his starving children. They resemble him — sharing his features, his fate, and his guilt. This image erases the distance between parent and child, creating a feeling that's nearly unbearable.
- Famine
- Famine appears in both literal and metaphorical ways. The tower carries its name, the children plead for bread, yet the final line shifts the perspective, suggesting that grief can equal or even exceed famine's power. Ultimately, it's ambiguous whether Ugolino succumbs to hunger or heartbreak — famine evolves into a term for any overwhelming, relentless loss.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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