SONG OF PROSERPINE WHILE GATHERING FLOWERS ON THE PLAIN OF ENNA. by Percy Bysshe Shelley: Summary, Meaning & Analysis
Proserpine, known as Persephone in Greek mythology, sings a heartfelt prayer to her mother, the Earth goddess.
The poem
[Published by Mrs. Shelley, “Poetical Works”, 1839, 1st edition. There is a fair draft amongst the Shelley manuscripts at the Bodleian Library. See Mr. C.D. Locock’s “Examination,” etc., 1903, page 24.] 1. Sacred Goddess, Mother Earth, Thou from whose immortal bosom Gods, and men, and beasts have birth, Leaf and blade, and bud and blossom, Breathe thine influence most divine _5 On thine own child, Proserpine. 2. If with mists of evening dew Thou dost nourish these young flowers Till they grow, in scent and hue, Fairest children of the Hours, _10 Breathe thine influence most divine On thine own child, Proserpine. ***
Proserpine, known as Persephone in Greek mythology, sings a heartfelt prayer to her mother, the Earth goddess. She asks for her blessings and protection, just as her mother nurtures the flowers blooming on the plain of Enna. This brief, tender moment between daughter and mother unfolds just before Proserpine is taken by Pluto, adding a layer of quiet heartbreak to the scene. Shelley beautifully conveys that delicate, innocent joy, teetering on the brink of disaster.
Line-by-line
Sacred Goddess, Mother Earth, / Thou from whose immortal bosom
If with mists of evening dew / Thou dost nourish these young flowers
Tone & mood
The tone is soft and reverent, resembling a quiet prayer rather than a loud proclamation. The rhythm has a lullaby-like feel — the short lines and repeating refrain create a soothing, almost childlike quality. However, understanding the myth adds a layer of dramatic irony: this tranquility is on the verge of being disrupted. Shelley maintains a perfectly calm surface, intensifying the impact of the implied tragedy.
Symbols & metaphors
- The flowers — The flowers Proserpine is gathering reflect her own essence — they’re beautiful, youthful, nurtured by the Earth, and at risk of being picked. They hint at her destiny: she will be taken from this field just like a flower is cut from the ground.
- Evening dew / mists — The dew symbolizes a mother’s quiet, unseen care—gentle nourishment that arrives softly, without pressure. This stands in stark contrast to the violent abduction that is about to unfold, highlighting what Proserpine is on the brink of losing.
- The Plain of Enna — Enna is the Sicilian meadow mentioned in the myth where Proserpine was abducted. Choosing this setting for the poem isn't just for show; it captures the song at the peak of innocence, right before everything shifts.
- Mother Earth's bosom — The earth as a nurturing figure—a source of warmth, life, and connection. For Proserpine, being separated from the surface world feels like losing her mother’s embrace, which is why this image holds such deep emotional significance.
Historical context
Shelley penned this short lyric around 1820 while living in Italy, where he was steeped in classical mythology. His wife, Mary Shelley, published it posthumously in 1839. The myth of Proserpine (known as Persephone in Greek) is one that Shelley revisited multiple times, particularly in his longer drama *Proserpine* (1820), for which this song was likely intended as an insert. The tale tells of Proserpine, the daughter of Ceres, the goddess of harvest, who was picking flowers on the plain of Enna in Sicily when Pluto, the god of the underworld, kidnapped her and made her his queen. Her mother's grief led to the neglect of the earth, ushering in winter. Shelley was captivated by the myth's exploration of lost innocence, the deep connection between mother and child, and the jarring intrusion of death into a beautiful world.
FAQ
Proserpine is the Roman equivalent of Persephone, the goddess of spring and daughter of Ceres, the harvest goddess. In the myth, she's collecting flowers on the plain of Enna in Sicily when Pluto, the god of the underworld, takes her. Shelley’s poem captures this very moment—the final seconds of her carefree existence.
On the surface, yes: it's a hymn that Proserpine sings to her mother, the Earth, seeking her blessing. But the deeper theme is innocence teetering on the brink of destruction. Proserpine remains unaware of what's ahead, and that disconnect between her trust and her impending fate is where the poem's emotional strength lies.
The repeated lines — "Breathe thine influence most divine / On thine own child, Proserpine" — create an atmosphere reminiscent of a ritual prayer or a folk song. This repetition underscores the urgency of her request: she asks twice, hinting that she instinctively feels a need for protection. It also reinforces the irony for the reader — we understand that the prayer won’t be answered in time.
Yes. Shelley created a verse drama titled *Proserpine* around 1820, and this song was included as a lyrical element in that play. After his death, it was published separately by Mary Shelley in 1839.
The Hours (Horae) in classical mythology were the goddesses of the seasons and the smooth flow of time. Referring to the flowers as "children of the Hours" suggests they are products of season and cycle — they bloom and fade as time passes. This subtly connects the flowers to Proserpine, who will eventually become the goddess overseeing the seasonal cycle following her abduction.
The mood is peaceful, almost dreamy, yet there's a quiet sadness lurking beneath the surface. Shelley crafts this atmosphere with short, lyrical lines, soft imagery like dew, mist, and blossoms, and the gentle repetition of the refrain. Our understanding of the myth adds to the experience, introducing the dread that the poem itself holds back.
It's more straightforward and concise than his grand pieces like *Ode to the West Wind* or *Prometheus Unbound*, yet it retains his signature elements: using classical mythology to express emotional truths, portraying nature as a dynamic force, and delivering a powerful lyricism within compact formal styles. The refrain-based structure is more musical than much of his other work, aligning well with the poem's title.