The Annotated Edition
The Daemon Goes Out at One Door, by Percy Bysshe Shelley
This scene comes from Shelley's translation of Calderón's Spanish play, where a young woman named Justina is swept away by an inexplicable feeling of love.
- Core theme
- Faith
Study actions
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
THE FIRST VOICE: There is no form in which the fire / Of love its traces has impressed not.
Editor's note
An unseen, chorus-like voice begins by stating that love leaves its imprint on everything — every creature, every form in the earth, sea, or sky. This voice introduces the main idea of the scene: love is essential. It fuels life itself, and resisting it is like resisting existence. This philosophical weight will hang over Justina as the scene unfolds.
JUSTINA: Thou melancholy Thought which art / So flattering and so sweet, to thee
Editor's note
Justina addresses the emotion swelling within her as though it's an unwanted guest. She hasn’t given it a name yet, but she senses it has intruded without her consent. The term 'melancholy' is significant — she feels love not as joy but as a beautiful torment, something that both delights and troubles her. The chorus responds to her silent inquiry with the word 'Love,' affirming her suspicions.
JUSTINA: 'Tis that enamoured Nightingale / Who gives me the reply;
Editor's note
Justina looks to the natural world and notices how everything around her seems to conspire to teach her about love. The nightingale sings of passion and loyalty to its mate. The vine coils around a tree trunk in a botanical embrace that reflects human entanglement. The sunflower faithfully turns its face toward the sun, only to be left behind when the sun shifts. Each image offers a small lesson about love's power — and its risks. Justina pleads with each creature to pause, as their examples stir feelings she wishes to avoid.
JUSTINA: It cannot be!—Whom have I ever loved? / Trophies of my oblivion and disdain,
Editor's note
Justina attempts to rationalize her feelings. She names the men she has turned down — Floro, Lelio, and Cyprian — to prove that she isn't vulnerable to love. However, as soon as she mentions Cyprian, stage directions indicate she becomes uneasy. Her own words reveal her true feelings: she acknowledges that her aloofness toward Cyprian might have intensified his desire, and she confesses she is unsure about her own emotions. This self-reflection is both sincere and painful.
[ENTER DAEMON.] DAEMON: Follow, and I will lead thee where he is.
Editor's note
The Daemon appears as the physical representation of Justina's temptation. He asserts that he was summoned by her own thoughts of Cyprian, suggesting that desire is what unlocks the door to evil. The interaction between Justina and the Daemon unfolds like a fast-paced debate: he presents pleasure, peace, joy, and glory, while she responds with captivity, torment, shame, and despair. The Daemon's most perilous claim is that imagination is already halfway to action — that merely thinking about sin is almost equivalent to committing it.
JUSTINA: By my free-will. / DAEMON: I / Must force thy will.
Editor's note
This is the philosophical core of the scene. The Daemon claims he can impose his will on Justina by force. Justina responds with a sharp logical trap: if her will can be coerced, then it isn't truly free will. She then invokes her ultimate defense—God—and the Daemon finds himself unable to act against her. Defeated, he declares that he will instead send a spirit that looks like her to tarnish her reputation, moving from a direct attack to slander.
JUSTINA: I / Appeal to Heaven against thee; so that Heaven / May scatter thy delusions,
Editor's note
Left alone, Justina prays that the damage to her reputation will vanish like a flame in the air or frost on a flower. But her prayer soon shifts to confusion — she starts to wonder if the Daemon was real or just a figment of her scared imagination. This moment of doubt is crucial: it raises the question of whether the supernatural encounter was something external or just internal, a true visitation or a striking hallucination triggered by her emotional turmoil.
JUSTINA: In this, as in a shroud of snow, may I / Quench the consuming fire in which I burn,
Editor's note
Justina wraps herself in her cloak, calling it a 'shroud of snow' — a powerful image that blends purity, coldness, and death. She's heading to the temple to seek refuge. The closing lines are a heartfelt plea to God, asking Him to support her cause. The scene concludes not with triumph but with a delicate sense of determination: she has defeated the Daemon, yet she still feels the heat of uncertainty and remains in need of protection.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The Nightingale
- The nightingale symbolizes intense and sometimes painful love. It sings its 'enamoured tale' to its mate, and Justina perceives in its song a reflection of human desire. She urges it to be quiet because its melody makes her consider what a man might feel for her — precisely the thought she wishes to avoid.
- The Vine
- The vine wrapping around a tree trunk symbolizes the entangling and possessive aspects of love. In Shelley’s Justina, it's called a 'sophist' — a clever deceiver — since its attractive green embrace also burdens and harms the tree it clings to. It represents love as something that appears devoted but can ultimately destroy what it holds.
- The Sunflower
- The sunflower, which faithfully turns toward the sun but is ultimately left behind when it moves, symbolizes unrequited or unequal love. Its 'faded countenance' reflects the pain of someone who has poured their heart into a love that doesn’t reciprocate. Justina worries about becoming this — devoted, faithful, and yet abandoned.
- The Daemon
- The Daemon represents the external manifestation of internal temptation. He is called forth by Justina's thoughts of Cyprian, meaning he is, in a very real way, shaped by her desire. His failure to impose his will on her isn't merely a supernatural loss — it underscores the essence of moral agency: evil can entice but cannot force.
- The Cloak as Shroud of Snow
- When Justina wraps herself in her cloak to head to the temple, she refers to it as a 'shroud of snow.' Snow evokes purity and coldness — the very qualities she wants to reclaim over the flames of desire. The term 'shroud' also carries a somber weight: it implies that her chastity is something she would die for, or that it demands a kind of emotional death to uphold.
- The Locked Doors
- The locked doors of Justina's chamber, which the Daemon passes through without a word, symbolize the futility of trying to keep temptation at bay with physical barriers. No lock can shut out a thought. The doors meant to safeguard her are ineffective against an adversary that invades through the mind.
§06Historical context
Historical context
§07FAQ
Questions readers ask
What is this poem actually from — is it a poem or a play?
It's a scene from a play — specifically, Shelley's translation of the Spanish Golden Age drama El mágico prodigioso by Pedro Calderón de la Barca. Shelley translated it into verse, giving it a poetic feel. The full play follows Cyprian, a pagan scholar who strikes a deal with the Devil to win Justina's love, but ultimately converts to Christianity. This scene highlights Justina's inner struggle with her desires and her confrontation with the Daemon.
Who is the Daemon and what does he want?
The Daemon is a devil-like figure who tries to lure Justina into pursuing her desire for Cyprian. In the larger context of the play, Cyprian has made a deal with this Daemon to win Justina's affection. The Daemon's role is to persuade Justina to approach Cyprian on her own terms. When he can't coerce her, he shifts tactics and threatens to send a spirit that looks like her to ruin her reputation — moving from temptation to defamation.
What does Justina mean when she says 'By my free-will'?
This is the scene's key philosophical moment. The Daemon insists he can make Justina act against her wishes. She counters that if her will could be imposed upon, it wouldn't truly be free will—it would simply be coercion. Her defense relies not on physical strength or cunning, but on the logical and theological stance that true moral choice cannot be overridden by external forces. The Daemon cannot physically move her, as confirmed by the stage direction.
Why does Justina talk to the nightingale, the vine, and the sunflower?
She is reflecting her own emotions onto nature and then attempting to suppress them. Each creature appears to express a unique facet of love — the nightingale's fervent song, the vine's supportive grip, the sunflower's loyal yet unreciprocated affection. When she asks them to cease, Justina is actually pleading for her own feelings to quiet down. This acts as a way of dramatizing her internal conflict by projecting it onto the surroundings.
What is the significance of Cyprian's name making Justina 'troubled'?
Justina has been naming the men she turned down as evidence that she’s immune to love. When she reaches Cyprian, the stage direction interrupts her — she visibly tenses at the sound of his name. This moment reveals a flaw in her reasoning. She understands that her harshness toward him, which pushed him away, might have intensified her feelings for him. Sometimes, the absence of someone you've rejected can feel stronger than having them around.
What does the 'shroud of snow' image mean at the end?
When Justina wraps her cloak around herself to go to the temple, she calls it a 'shroud of snow' that might soothe the fire burning within her. Snow is cold and pure, contrasting sharply with the fire of desire. A shroud evokes burial cloth, adding a darker tone—her purity is something she seems willing to sacrifice everything for, or that demands a sort of emotional death to maintain. It's a powerful, somewhat unsettling way to conclude the scene.
Did Shelley write this or translate it?
Shelley translated it from Calderón's Spanish, but his version is so uniquely influenced by his poetic instincts that it feels like a creative piece on its own. He condensed certain sections, refined the philosophical arguments, and infused the entire work with a lyrical intensity that unmistakably reflects his style. He worked on it in 1822, the final year of his life, and it was published posthumously in 1824.
Is the Daemon real or is Justina imagining him?
The play treats him as real — he's a supernatural figure sent by Cyprian's pact. However, Shelley's translation introduces a hint of ambiguity. After the Daemon departs, Justina wonders if she actually saw a real figure or if her 'heated mind' created an image born from fear. Her father proposes it was simply a product of her melancholy imagination. The text doesn't completely shut that door, allowing the scene to function on two levels: as supernatural drama and as a glimpse into a mind grappling with intense emotional pressure.
Citation
Cite this poem
MLA
Shelley, Percy Bysshe. "The Daemon Goes Out at One Door,." Storgy, https://storgy.com/poems/the-daemon-goes-out-at-one-door-percy-bysshe-shelley/.
APA
Shelley, P. B. (n.d.). The daemon goes out at one door,. Storgy. https://storgy.com/poems/the-daemon-goes-out-at-one-door-percy-bysshe-shelley/
Row A — Thesis
1 ptIn Shelley's dramatic lyric, Justina's confrontation with the Daemon enacts the Romantic argument that spiritual will is not merely a moral brake on desire but the very faculty that constitutes selfhood: the moment Justina declares 'It is …
- Row B — Evidence + Commentary4 pts
- Row C — Sophistication1 pt
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