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Invocation to Misery by Percy Bysshe Shelley

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Shelley gives Misery the character of a cold, unwilling bride and asks her to sit with him, as he has endured suffering for so long that it feels like kin.

Poet
Percy Bysshe Shelley
Core theme
Death
The PoemFull text

Invocation to Misery

Percy Bysshe Shelley

Come, be happy!--sit near me, Shadow-vested Misery: Coy, unwilling, silent bride, Mourning in thy robe of pride, Desolation--deified! Come, be happy!--sit near me: Sad as I may seem to thee, I am happier far than thou, Lady, whose imperial brow Is endiademed with woe. Misery! we have known each other, Like a sister and a brother Living in the same lone home, Many years--we must live some Hours or ages yet to come. 'Tis an evil lot, and yet Let us make the best of it; If love can live when pleasure dies, We two will love, till in our eyes This heart's Hell seem Paradise. Come, be happy!--lie thee down On the fresh grass newly mown, Where the Grasshopper doth sing Merrily--one joyous thing In a world of sorrowing! There our tent shall be the willow, And mine arm shall be thy pillow; Sounds and odours, sorrowful Because they once were sweet, shall lull Us to slumber, deep and dull. Ha! thy frozen pulses flutter With a love thou darest not utter. Thou art murmuring--thou art weeping-- Is thine icy bosom leaping While my burning heart lies sleeping? Kiss me;--oh! thy lips are cold: Round my neck thine arms enfold-- They are soft, but chill and dead; And thy tears upon my head Burn like points of frozen lead. Hasten to the bridal bed-- Underneath the grave 'tis spread: In darkness may our love be hid, Oblivion be our coverlid-- We may rest, and none forbid. Clasp me till our hearts be grown Like two shadows into one; Till this dreadful transport may Like a vapour fade away, In the sleep that lasts alway. We may dream, in that long sleep, That we are not those who weep; E'en as Pleasure dreams of thee, Life-deserting Misery, Thou mayst dream of her with me. Let us laugh, and make our mirth, At the shadows of the earth, As dogs bay the moonlight clouds, Which, like spectres wrapped in shrouds, Pass o'er night in multitudes. All the wide world, beside us, Show like multitudinous Puppets passing from a scene; What but mockery can they mean, Where I am--where thou hast been?

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Sourced from Project Gutenberg

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§01Quick summary

What this poem is about

Shelley gives Misery the character of a cold, unwilling bride and asks her to sit with him, as he has endured suffering for so long that it feels like kin. Instead of resisting his despair, he suggests an unusual form of companionship — lying together in the grass, dreaming, and even laughing at the absurdity of life. The poem concludes with them merging into one shadow, discovering a bleak sense of peace in their shared oblivion.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Come, be happy!--sit near me, / Shadow-vested Misery:

    Editor's note

    The speaker begins with a stark command, instructing Misery to *be happy* and join him. The term "Shadow-vested" cloaks Misery in darkness like a piece of clothing. From the outset, the tone is ironic—happiness is being extended to the embodiment of unhappiness.

  2. Come, be happy!--sit near me: / Sad as I may seem to thee,

    Editor's note

    The refrain returns, but this time the speaker flips the script: he asserts he is *happier* than Misery herself. Misery wears her sorrow like a crown — "endiademed with woe" — making her pain feel both royal and unavoidable, while the speaker enjoys the freedom to confront her face-to-face.

  3. Misery! we have known each other, / Like a sister and a brother

    Editor's note

    The relationship transforms from courtship to kinship. Misery is no longer a bride but a sibling, someone the speaker has lived with for years. This familiarization with suffering is key to the poem — pain is not just a visitor; it’s a housemate.

  4. 'Tis an evil lot, and yet / Let us make the best of it;

    Editor's note

    The speaker openly admits that this situation is dire. However, he offers a wager: if love can endure beyond pleasure, then he and Misery can cherish each other until even Hell seems like Paradise. This is a profoundly bleak kind of optimism — acceptance masquerading as hope.

  5. Come, be happy!--lie thee down / On the fresh grass newly mown,

    Editor's note

    The scene transitions to the outdoors, revealing a pastoral landscape — lush grass and a singing grasshopper. This grasshopper stands out as the sole source of joy in an otherwise sorrowful world, evoking a sense of both charm and deep loneliness. The beauty of nature provides a fleeting, delicate contrast to the poem's darker themes.

  6. There our tent shall be the willow, / And mine arm shall be thy pillow;

    Editor's note

    The willow, long seen as a symbol of grief, becomes their refuge. The speaker extends his arm as a pillow, creating an intimate, tender moment. Sounds and smells that used to be sweet now carry a sense of sorrow, precisely *because* they were sweet — the recollection of joy intensifies the current pain.

  7. Ha! thy frozen pulses flutter / With a love thou darest not utter.

    Editor's note

    The speaker notices Misery displaying emotion — her still pulse flickers, and she both murmurs and weeps. There’s an odd erotic tension in the air: Misery feels cold and icy, while the speaker feels a burning heat. This contrast between his warmth and her chill carries through the next two stanzas.

  8. Kiss me;--oh! thy lips are cold: / Round my neck thine arms enfold--

    Editor's note

    The embrace of Misery is depicted with cold lips, soft yet lifeless arms, and tears that sting like frozen lead. The contradiction of "frozen lead" that *burns* illustrates how grief can be both numbing and painfully intense. The bridal imagery peaks in its physicality at this moment.

  9. Hasten to the bridal bed-- / Underneath the grave 'tis spread:

    Editor's note

    The bridal bed turns out to be a grave. Oblivion serves as their blanket. This marks the poem's darkest moment — the union with Misery also means a union with death, and the speaker embraces it as a space where they cannot be disturbed.

  10. Clasp me till our hearts be grown / Like two shadows into one;

    Editor's note

    The speaker desires a complete union with Misery — two shadows merging into one. The term "transport" here refers to a deep, overwhelming emotion, and he wishes for it to dissipate like mist into eternal rest. This isn’t quite suicide, but rather a yearning for the end of all feeling.

  11. We may dream, in that long sleep, / That we are not those who weep;

    Editor's note

    In death or oblivion, they can imagine being people free from suffering. Even Misery might envision Pleasure. It's a quietly heartbreaking thought: the only way to escape sorrow is to dream of its opposite, and that escape is accessible only in the slumber of death.

  12. Let us laugh, and make our mirth, / At the shadows of the earth,

    Editor's note

    The poem turns to bitter laughter. The rest of humanity are just puppets or spectres — shadows flitting across a stage. The speaker and Misery, through their deep connection to suffering, have stepped out of the ordinary world and now watch it with contempt and dark amusement.

  13. All the wide world, beside us, / Show like multitudinous

    Editor's note

    The final stanza deepens the sense of alienation. The world appears as a parade of hollow puppets. The last line — "Where I am--where thou hast been?" — leaves us with a riddle: the speaker finds themselves in a state of current suffering, while Misery has always been present everywhere. Together, they exist beyond the mockery of the ordinary world.

§04Tone & mood

How this poem feels

The tone is a mix of bitterness, tenderness, and dark irony. Shelley speaks to Misery with the same warmth you’d offer a loved one, making the despair feel personal instead of dramatic. There are moments of grim humor — urging Misery to "be happy," or laughing at the world like dogs barking at clouds — but beneath it all lies a deep sense of weariness. By the end, the mood shifts toward resignation, even hinting at a peculiar kind of peace.

§05Symbols & metaphors

Symbols & metaphors

The cold bride
Misery takes on the role of a hesitant, icy bride in the poem. Her coldness — frozen pulses, cold lips, and chill arms — symbolizes the numbness that comes with deep suffering, while the bridal frame indicates that the speaker has chosen to commit to her as a lifelong partner.
The willow
The willow tree has symbolized grief and mourning in English poetry for centuries. In this context, it transforms into the couple's tent or shelter, suggesting that their home is literally constructed from sorrow.
The grasshopper
The grasshopper is described as "one joyous thing / In a world of sorrowing," symbolizing those small, almost unexpected moments of happiness that persist even amid great despair. Its cheerfulness is genuine, yet it stands apart.
The bridal bed beneath the grave
The marriage bed buried underground merges the ideas of love and death into a single image. Joining with Misery means entering oblivion—the only place where suffering truly ends.
Shadows merging into one
When the speaker asks to be held until their hearts become "like two shadows into one," the shadow imagery represents the disappearance of individual identity. To truly embrace Misery means losing oneself completely.
Puppets and spectres
The rest of humanity is portrayed as puppets and ghosts cloaked in shrouds, drifting like clouds in the night. They symbolize the emptiness of everyday life from the perspective of deep suffering — the world appears as a poorly acted play.

§06Historical context

Historical context

Shelley wrote this poem around 1818, a time marked by deep personal sorrow. His daughter Clara passed away in September 1818, followed by his son William the next year. At the same time, he was in self-imposed exile from England, feeling disconnected from much of his family and social circle, and his marriage to Mary Shelley was facing serious challenges. This poem is part of a collection of works from this period—including "Stanzas Written in Dejection" and "Lines Written Among the Euganean Hills"—where Shelley deals with despair not by trying to conquer it but by learning to coexist with it. While he draws on the Romantic tradition of personifying abstract emotions (as Keats does with Melancholy and Blake with Urizen), Shelley's approach is notably more personal and domestic, steering clear of the grand or allegorical.

§07FAQ

Questions readers ask

Who is the speaker talking to in this poem?

The speaker addresses Misery — not an individual, but the emotion of misery personified as a cold, hesitant woman. Shelley engages with this abstract feeling as if it were a genuine companion sitting next to him.

Why does Shelley tell Misery to 'be happy'? Isn't that a contradiction?

Yes, and that's exactly the point. The opening line is intentionally ironic—you can't just tell Misery to be happy any more than you can tell grief to cheer up. Shelley uses this contradiction to highlight how absurd and draining his situation feels. He’s poking fun at both himself and his suffering simultaneously.

Is this poem about wanting to die?

It approaches that territory. The "bridal bed" under the grave and the yearning for a "sleep that lasts alway" vividly depict death as a form of relief. However, Shelley presents it as a longing for forgetfulness and the cessation of feeling instead of just a simple wish for death. The poem conveys more about fatigue than about destruction.

What does 'endiademed with woe' mean?

"Endiademed" refers to being crowned with a diadem, which is a kind of royal headband. In this sense, Misery adorns herself with her sorrow like a queen dons her crown. This gives suffering an air of regality and permanence, signifying that Misery cannot remove it; it is a part of her very identity.

Why is the grasshopper mentioned?

The grasshopper stands out as a small, unexpected spark of happiness in a world filled with sadness. Shelley refers to it as "one joyous thing" — that word "one" carries significant weight, suggesting it's the sole source of joy. It makes the natural world seem both lovely and painfully inadequate.

What does the willow tree represent?

The willow has long represented mourning in English literature—Shakespeare employs this symbolism in Othello and Hamlet. Shelley transforms it into a tent or shelter for the speaker and Misery, indicating that their home is essentially constructed from grief.

Why does Shelley compare the rest of humanity to puppets and dogs barking at the moon?

By the end of the poem, the speaker is so consumed by his suffering that everyday life seems pointless and somewhat absurd. The puppet imagery hints at individuals merely going through the motions without true awareness, while the dogs barking at clouds represents instinctive, pointless actions. This conveys the idea that when you're engulfed in deep misery, the ordinary world loses its meaning.

Is this poem autobiographical? Was Shelley really this miserable?

There is compelling biographical evidence to support this. Shelley wrote it around 1818, a time when he had lost two children in quick succession, was living in exile in Italy, and felt profoundly isolated. Several poems from this period convey a similar mood. However, the poem is also a carefully crafted literary work — Shelley molds his grief into a structured form, using it as a means to cope.

Citation

Cite this poem

MLA

Shelley, Percy Bysshe. "Invocation to Misery." Storgy, https://storgy.com/poems/invocation-to-misery-percy-bysshe-shelley/.

APA

Shelley, P. B. (n.d.). Invocation to misery. Storgy. https://storgy.com/poems/invocation-to-misery-percy-bysshe-shelley/

TeacherAP Lit Q1 scaffold — preview

Row A — Thesis

1 pt

In 'Invocation to Misery,' Shelley constructs a courtship ritual with death itself as the beloved, arguing that when suffering becomes intimate enough to resemble love, the only remaining freedom is the willful surrender to oblivion — a …

  • Row B — Evidence + Commentary4 pts
  • Row C — Sophistication1 pt
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