The Annotated Edition
THE DEVIL. by Percy Bysshe Shelley
The Devil appears not as a horned beast but as a typical, self-important businessman — and that’s the crux of the matter.
- Themes
- death, identity, sorrow
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
The Devil, I safely can aver, / Has neither hoof, nor tail, nor sting;
Editor's note
Shelley begins by tearing down the classic portrayal of the Devil as a horned, tailed creature. He also rejects the philosophical notion of the Devil as an abstract spirit that exists in all places and none. His tone is light and assured—he's setting the scene for his own, more disturbing interpretation.
He is—what we are; for sometimes / The Devil is a gentleman;
Editor's note
Here's the poem's main point: the Devil is human. He takes on familiar social roles—the charming gentleman, the poet who trades his talent for a drink, the cunning politician, the con artist. Evil isn’t something foreign; it dresses in a suit and holds a job title.
A thief, who cometh in the night, / With whole boots and net pantaloons,
Editor's note
The Devil-as-thief is depicted wearing strangely specific and trendy clothing—complete with boots and net pantaloons. The humor lies in the fact that this thief resembles a respectable individual, or even the very victim he steals from. The dash after 'mention' suggests a real contemporary figure that Shelley is hesitant to identify directly.
But in this case he did appear / Like a slop-merchant from Wapping,
Editor's note
Now the Devil takes on a specific form for this story: a low-end clothing dealer from Wapping, a working-class area of London. He’s smug, sharp-eyed, and surveying the surroundings — a picture of small-time commercial ambition that Shelley finds just as unsettling as any demon.
He had on an upper Benjamin / (For he was of the driving schism)
Editor's note
A 'Benjamin' refers to a specific style of overcoat. The joke in parentheses — that he wore it because he was part of the 'driving schism,' referring to coachmen — shows Shelley’s playful absurdity. The Devil dresses for practicality, concerned about rheumatism like any middle-aged man running errands on a rainy day.
He called the ghost out of the corse;— / It was exceedingly like Peter,—
Editor's note
The Devil calls forth Peter's ghost from his lifeless body. The ghost resembles Peter almost perfectly, but its voice is hollow, its appearance is odd, and — importantly — its clothes are a touch neater. That last detail carries a dark humor: death has given him a bit of a tidy-up.
The Devil knew not his name and lot; / Peter knew not that he was Bell:
Editor's note
Neither the Devil nor Peter truly understands who the other is. Both are navigating through a 'stream of thought' — a mental filter — that distorts their perception of reality. Shelley suggests that self-deception is a common trait shared by both the tempter and the tempted.
Peter thought he had parents dear, / Brothers, sisters, cousins, cronies,
Editor's note
Peter's inner world is shaped by nostalgic fantasy: a loving family in Lincolnshire and a childhood spent scrumping apples over orchard walls. The word 'perhaps' plays a crucial role — Shelley suggests that these memories might be completely made up. Peter's sense of self hinges on a narrative he creates for himself.
Solemn phiz in his own village; / Where he thought oft when a boy
Editor's note
This stanza keeps Peter lost in thoughts of his childhood in the village—scaling walls, snatching fruit, and feeling proud and happy. The vivid details create a warm atmosphere, which heightens the irony: this man, holding onto his innocent memories, is on the verge of being hired by Hell.
And the Devil thought he had, / 'Mid the misery and confusion
Editor's note
The Devil's own fantasy life is laid bare: he envisions himself as having earned his fortune honestly by supplying soldiers, while in reality, he sold them subpar rations during an unjust war. Shelley adds the comment 'The world is full of strange delusion' to emphasize that the Devil's self-image is as misleading as Peter's.
That he had a mansion planned / In a square like Grosvenor Square,
Editor's note
The Devil's ambitions are all about social status—a prestigious London address, stylish appearances, and a tourist jaunt through the picturesque landscapes of Westmoreland. He's a war profiteer pretending to be a gentleman. The satire targeting the newly wealthy is pointed and precise.
And all this, though quite ideal,— / Ready at a breath to vanish,—
Editor's note
Shelley takes a moment to reflect on how both men's inner lives — Peter's longing for family and the Devil's desire for social status — are mere illusions that could vanish at any moment. However, the true impact is in the final two lines: beneath the fantasy lies not peace but anxiety, and not comfort but an enduring sense of responsibility.
After a little conversation, / The Devil told Peter, if he chose,
Editor's note
The transaction is almost humorously ordinary: a job offer and a new uniform. The Devil doesn't resort to grand threats or seductive antics — he simply presents a job and a chance to upgrade one's wardrobe. Peter, feeling pleased and proud, accepts without hesitation.
And Peter bowed, quite pleased and proud, / And after waiting some few days
Editor's note
The ending hits like a flat tire. Peter spends a few days waiting for his new livery — a grimy yellow with black trim, colors that scream corruption and death — and then he's just driven to Hell in the Devil's carriage. There's no drama, no struggle, no moment of clarity. Just vanity and a fresh coat were all it took.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The Devil's overcoat (Benjamin)
- The Devil's stylish overcoat shows that the evil in this poem is grounded in reality, not just myth. He frets about rheumatism like anyone else, which is precisely what makes him so dangerous — he blends in with the respectable people around him.
- The livery (dirty yellow turned up with black)
- The uniform that Peter gets before being taken to Hell is the poem's strongest symbol. Yellow and black represent disease, decay, and death. By putting on the uniform, Peter embraces a new identity — he literally dresses in damnation, thinking it's a promotion.
- The ghost
- Peter's ghost closely resembles Peter, but with a hollow voice and tidier clothes. It symbolizes the self without any illusions — and the similarity to the living man hints that Peter was already half-dead, already empty, before the Devil showed up.
- The upper stream of thought
- Shelley's phrase captures the mental filter that both Peter and the Devil use to shape reality into something more palatable. It symbolizes self-deception as a common human trait — the way ordinary people can commit terrible acts while convincing themselves that everything is okay.
- Grosvenor Square mansion
- The Devil's dream of a prestigious London address highlights the empty ambitions of the newly wealthy — war profiteers and social climbers who confuse status with true significance. It stands as a reminder of the hollowness at the core of social aspiration.
- The Devil's chaise
- The carriage that takes Peter to Hell is just a regular vehicle — a rented coach, not something out of a fantasy. Damnation comes as a regular trip, which is Shelley's ultimate punchline: the road to Hell is simply the same path everyone else is already on.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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