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Stanza from a Translation of the Marseillaise Hymn by Percy Bysshe Shelley

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These two early poems by Shelley were composed during his teenage years.

Poet
Percy Bysshe Shelley
Core theme
Death
The PoemFull text

Stanza from a Translation of the Marseillaise Hymn

Percy Bysshe Shelley

[Published by Forman, “Poetical Works of P. B. S.”, 1876; dated 1810.] Tremble, Kings despised of man! Ye traitors to your Country, Tremble! Your parricidal plan At length shall meet its destiny... We all are soldiers fit to fight, _5 But if we sink in glory’s night Our mother Earth will give ye new The brilliant pathway to pursue Which leads to Death or Victory... *** BIGOTRY’S VICTIM. [Published (without title) by Hogg, “Life of Shelley”, 1858; dated 1809-10. The title is Rossetti’s (1870).] 1. Dares the lama, most fleet of the sons of the wind, The lion to rouse from his skull-covered lair? When the tiger approaches can the fast-fleeting hind Repose trust in his footsteps of air? No! Abandoned he sinks in a trance of despair, _5 The monster transfixes his prey, On the sand flows his life-blood away; Whilst India’s rocks to his death-yells reply, Protracting the horrible harmony. 2. Yet the fowl of the desert, when danger encroaches, _10 Dares fearless to perish defending her brood, Though the fiercest of cloud-piercing tyrants approaches Thirsting—ay, thirsting for blood; And demands, like mankind, his brother for food; Yet more lenient, more gentle than they; _15 For hunger, not glory, the prey Must perish. Revenge does not howl in the dead. Nor ambition with fame crown the murderer’s head. 3. Though weak as the lama that bounds on the mountains, And endued not with fast-fleeting footsteps of air, _20 Yet, yet will I draw from the purest of fountains, Though a fiercer than tiger is there. Though, more dreadful than death, it scatters despair, Though its shadow eclipses the day, And the darkness of deepest dismay _25 Spreads the influence of soul-chilling terror around, And lowers on the corpses, that rot on the ground. 4. They came to the fountain to draw from its stream Waves too pure, too celestial, for mortals to see; They bathed for awhile in its silvery beam, _30 Then perished, and perished like me. For in vain from the grasp of the Bigot I flee; The most tenderly loved of my soul Are slaves to his hated control. He pursues me, he blasts me! ’Tis in vain that I fly: _35 - What remains, but to curse him,—to curse him and die? ***

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Sourced from Project Gutenberg

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§01Quick summary

What this poem is about

These two early poems by Shelley were composed during his teenage years. The first one is a passionate translation of a line from the French revolutionary anthem, urging the oppressed to fight back against their tyrants. The second poem takes on a darker, more intimate tone, reflecting the anguish of being pursued by religious intolerance, culminating in a desperate cry from someone who feels trapped with no way out.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Tremble, Kings despised of man! / Ye traitors to your Country,

    Editor's note

    Shelley begins by directly challenging monarchs, labeling them as traitors instead of rulers. The term 'parricidal' — which refers to the act of killing one's own father or parent — depicts kings as murderers of the nation that granted them their power. This choice of language is bold and nearly theatrical, establishing a tone of revolutionary rage.

  2. We all are soldiers fit to fight, / But if we sink in glory's night

    Editor's note

    The speaker transitions to 'we,' transforming the poem into a shared battle cry. Even dying in combat is recast as noble—'glory's night'—and the earth is said to bring forth new warriors. The closing image of a path leading to 'Death or Victory' offers no compromise, which is precisely the intent.

  3. Dares the lama, most fleet of the sons of the wind, / The lion to rouse from his skull-covered lair?

    Editor's note

    Shelley begins 'Bigotry's Victim' by using a series of animal comparisons that evoke an exotic, almost mythical image of India. The llama (spelled 'lama' here) and the hind are swift and graceful creatures, yet they remain vulnerable to predators. The questions posed are rhetorical — the answer is clearly no — establishing a reality where the weak are merely prey for the strong.

  4. Yet the fowl of the desert, when danger encroaches, / Dares fearless to perish defending her brood,

    Editor's note

    Here, Shelley presents a counter-example: the mother bird that defends her young not for glory or revenge, but out of love. He uses this to make a clear moral point — the bird of prey kills from hunger, which is at least honest. In contrast, human tyrants kill for ambition and fame, which is far worse. This comparison subtly criticizes religious and political persecutors.

  5. Though weak as the lama that bounds on the mountains, / And endued not with fast-fleeting footsteps of air,

    Editor's note

    The speaker now sees himself as one of the vulnerable prey animals from the first stanza. He recognizes his weakness and that he can't escape what chases him. Still, he vows to strive for 'the purest of fountains' — whether it's truth, knowledge, or free thought — despite the presence of something even more frightening than a tiger standing guard. This guardian is bigotry, depicted almost as a supernatural force that darkens the sun.

  6. They came to the fountain to draw from its stream / Waves too pure, too celestial, for mortals to see;

    Editor's note

    Shelley expands the focus to encompass others who pursued the same untainted truth — free thinkers, maybe, or those who questioned established religion — and faced dire consequences for their beliefs. The line 'Then perished, and perished like me' is powerful: the speaker identifies himself with the deceased, or at least those who are fated to perish. The closing lines descend into stark hopelessness. The bigot holds sway over the people the speaker cares for deeply, leaving only a curse and death as the remaining choices.

§04Tone & mood

How this poem feels

The Marseillaise stanza is bold and powerful—it feels like a fist raised high. 'Bigotry's Victim' kicks off with that same intensity but slowly shifts into a more intimate and trapped feeling. By the last stanza, the tone transforms into a raw anguish, capturing the voice of someone who feels completely lost. Together, these two poems illustrate a young Shelley swinging between public outrage and personal sorrow, both stemming from a deep hatred of tyranny.

§05Symbols & metaphors

Symbols & metaphors

The fountain
In 'Bigotry's Victim', the fountain symbolizes truth, free thought, or maybe even the spiritual and intellectual purity that traditional religion claims to possess but often corrupts. Those who attempt to drink from it face destruction.
Predator and prey animals
The lion, tiger, and birds of prey symbolize institutional power — like the monarchy, the church, and political tyrants. In contrast, the llama, hind, and desert fowl represent ordinary people or free thinkers who are hunted just for being outside the predator's control.
Mother Earth (Marseillaise stanza)
The earth that nurtures new soldiers represents both a physical manifestation of regeneration and a powerful symbol of the revolutionary belief that the people are limitless. Eliminate one generation of fighters, and the land will cultivate another.
Death or Victory
This binary from the Marseillaise stanza isn't merely a battle slogan — it captures Shelley's belief that you can't make a noble compromise with tyranny. You either achieve freedom or die in the attempt; anything less is just giving up.
The Bigot
Capitalized and personalized, the Bigot is more than just a type of person; it's a force—almost like a demon that blasts, pursues, and controls. While Shelley probably had religious orthodoxy in mind, this figure is broad enough to encompass any authority that punishes free thought.

§06Historical context

Historical context

Shelley wrote both of these pieces around 1809–1810, when he was about seventeen and still attending Eton. By then, he had developed a strong aversion to organized religion and monarchy, influenced in part by reading radical Enlightenment thinkers like Paine and Godwin. His translation of the Marseillaise captures his enthusiasm for the French Revolution as a blueprint for toppling kings. 'Bigotry's Victim' is believed to connect to real persecution that Shelley either witnessed or faced himself — he was already being bullied at school for his unconventional beliefs, and he had friends who endured pressure from religious norms. Neither poem was published during his lifetime: the stanza from the Marseillaise came out in 1876, while 'Bigotry's Victim' was published in 1858, long after his drowning in 1822 at age twenty-nine. While these works are part of his youthful writing, they already hint at the themes — tyranny, free thought, and martyrdom — that would characterize his later, more mature work.

§07FAQ

Questions readers ask

What is the 'parricidal plan' mentioned in the Marseillaise stanza?

'Parricidal' literally refers to the act of killing one's own parent. Shelley uses this term to accuse kings of killing the nation—the 'parent' body—that granted them their power and legitimacy. This concept suggests that tyranny not only destroys the people but also represents a form of self-destruction.

Who is the 'Bigot' in 'Bigotry's Victim'?

Shelley doesn't mention a specific individual. The Bigot represents religious orthodoxy and the social authority it wielded to punish, ostracize, or ruin anyone who dared to question it. While some scholars link it to particular events in Shelley's time at Eton, the poem fundamentally serves as a broad critique of intolerance.

Why does Shelley use animals from India in 'Bigotry's Victim'?

Exotic animal imagery from India and Africa was popular in Romantic-era poetry, evoking a sense of wild, untamed nature governed by harsh yet straightforward rules. Shelley contrasts the straightforward violence of predators (who kill for food) with the corrupt violence of human bigots (who destroy for power and pride).

What does 'the purest of fountains' mean?

The fountain represents truth and the pursuit of free intellectual and spiritual inquiry. The speaker expresses a determination to continue striving for it, despite a terrifying guardian standing in the way. This suggests that the church or state has positioned itself as a barrier between everyday people and authentic understanding.

Is the speaker of 'Bigotry's Victim' actually dying at the end?

Not literally — the poem wraps up with a threat and a curse instead of a death scene. However, the final line, 'What remains, but to curse him,—to curse him and die?', conveys a sense of resignation from someone who realizes they can't win. It's a rhetorical death, reflecting a voice that sees no future.

Why were these poems not published during Shelley's lifetime?

Shelley passed away at the young age of twenty-nine, leaving much of his work unpublished or dispersed. His widow, Mary Shelley, along with later editors such as Forman and Rossetti, dedicated decades to gathering and publishing what remained. The early pieces, viewed as minor juvenilia, were released well after his death.

How do these two poems connect to Shelley's later, more famous work?

Both poems showcase the themes that permeate all of Shelley's work: a disdain for kings and priests, compassion for the oppressed, and a tendency to view political conflict through a cosmic lens. The rebellious tone found in the Marseillaise stanza resurfaces in 'Prometheus Unbound' and 'The Mask of Anarchy', while the voice of the persecuted speaker in 'Bigotry's Victim' resonates in 'Adonais'.

What is the metre and form of 'Bigotry's Victim'?

The poem employs a loose anapestic meter—lines made up of two unstressed syllables followed by a stressed one—creating a rushing, breathless feel that matches the chase imagery. The stanzas vary in length, and Shelley mixes rhyme schemes instead of sticking to a fixed pattern, which helps maintain an urgent tone rather than a formal one.

Citation

Cite this poem

MLA

Shelley, Percy Bysshe. "Stanza from a Translation of the Marseillaise Hymn." Storgy, https://storgy.com/poems/stanza-from-a-translation-of-the-marseillaise-hymn-percy-bysshe-shelley/.

APA

Shelley, P. B. (n.d.). Stanza from a translation of the marseillaise hymn. Storgy. https://storgy.com/poems/stanza-from-a-translation-of-the-marseillaise-hymn-percy-bysshe-shelley/

TeacherAP Lit Q1 scaffold — preview

Row A — Thesis

1 pt

In 'Bigotry's Victim,' Shelley constructs a speaker whose mounting desperation, tracked through a sequence of animal analogies that progressively collapse, ultimately indicts not merely religious intolerance but the broader human appetite …

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