The Masque of Anarchy

1832 first edition, printed by Bradbury and Evans, Edward Moxon, London.

1842 title page, with added poems "Queen Liberty" and "Song-To the Men of England", J. Watson, London.

The Mask of Anarchy is a political poem written in 1819 (see 1819 in poetry) by Percy Bysshe Shelley following the Peterloo Massacre of that year. In his call for freedom, it is perhaps the first modern statement of the principle of nonviolent resistance.

The poem was not published during Shelley's lifetime and did not appear in print until 1832 (see 1832 in poetry), when published by Edward Moxon in London with a preface by Leigh Hunt.^[1] Shelley had sent the manuscript in 1819 for publication in The Examiner. Leigh Hunt withheld it from publication because he "thought that the public at large had not become sufficiently discerning to do justice to the sincerity and kind-heartedness of the spirit that walked in this flaming robe of verse." The epigraph on the cover of the first edition is from The Revolt of Islam (1818): "Hope is strong; Justice and Truth their winged child have found."

Synopsis

Written on the occasion of the massacre carried out by the British Government at St Peter's Field, Manchester 1819, Shelley begins his poem with the powerful images of the unjust forms of authority of his time "God, and King, and Law" - and he then imagines the stirrings of a radically new form of social action: "Let a great assembly be, of the fearless, of the free". The crowd at this gathering is met by armed soldiers, but the protestors do not raise an arm against their assailants:

"Stand ye calm and resolute,

Like a forest close and mute,

With folded arms and looks which are

Weapons of unvanquished war.

And if then the tyrants dare,

Let them ride among you there,

Slash, and stab, and maim and hew,

What they like, that let them do.

With folded arms and steady eyes,

And little fear, and less surprise

Look upon them as they slay

Till their rage has died away

Then they will return with shame

To the place from which they came,

And the blood thus shed will speak

In hot blushes on their cheek.

Rise like Lions after slumber

In unvanquishable number,

Shake your chains to earth like dew

Which in sleep had fallen on you-

Ye are many — they are few" ^[2]

Shelley elaborates on the psychological consequences of violence met with pacifism. The guilty soldiers he says, will return shamefully to society, where "blood thus shed will speak/In hot blushes on their cheek". Women will point out the murderers on the streets, their former friends will shun them, and honorable soldiers will turn away from those responsible for the massacre, "ashamed of such base company". A version was taken up by Henry David Thoreau in his essay Civil Disobedience, and later by Mohandas Karamchand Gandhi in his doctrine of Satyagraha.^[2] Gandhi's passive resistance was influenced and inspired by Shelley's nonviolence in protest and political action.^[3] It is known that Gandhi would often quote Shelley's Masque of Anarchy to vast audiences during the campaign for a free India.^[4][2]

The poem mentions several members of Lord Liverpool's government by name: the Foreign Secretary, Castlereagh who appears as a mask worn by Murder, the Home Secretary, Lord Sidmouth whose guise is taken by Hypocrisy, and the Lord Chancellor, Lord Eldon whose ermine gown is worn by Fraud. Led by Anarchy, a skeleton with a crown, they try to take over England, but are slain by a mysterious armored figure who arises from a mist. The maiden Hope, revived, then calls to the people of England:

"Men of England, heirs of Glory,

Heroes of unwritten story,

Nurslings of one mighty Mother,

Hopes of her, and one another;

What is Freedom? Ye can tell

That which Slavery is too well,

For its very name has grown

To an echo of your own

Let a vast assembly be,

And with great solemnity

Declare with measured words, that ye

Are, as God has made ye, free!

The old laws of England--they

Whose reverend heads with age are grey,

Children of a wiser day;

And whose solemn voice must be

Thine own echo--Liberty!

Rise like Lions after slumber

In unvanquishable number,

Shake your chains to earth like dew

Which in sleep had fallen on you-

Ye are many — they are few"

Political authors and campaigners such as Richard Holmes, Paul Foot among others describe it as "the greatest political poem ever written in English".^[5][6]

Notes

1. ^ Cox, Michael, editor, The Concise Oxford Chronology of English Literature, Oxford University Press, 2004, ISBN 0-19-860634-6
2. ^ ^{a b c} http://www.morrissociety.org/JWMS/SP94.10.4.Nichols.pdf
3. ^ Thomas Weber, "Gandhi as Disciple and Mentor," Cambridge University Press, 2004, pp. 28–29.
4. ^ Thomas Weber, "Gandhi as Disciple and Mentor," Cambridge University Press, 2004, pp. 28.
5. ^ Richard Holmes (2003 (1st ed. 1974)). Shelley: The Pursuit. New York Review of Books. pp. 532. ISBN 1590170377. http://books.google.com/books?id=_dC8_eLftKwC&pg=PA532. 
6. ^ Paul Foot (March–April 2006). "Shelley: Trumpet of Prophecy". International Socialist Review (46). http://www.isreview.org/issues/46/shelley.shtml. 

Sources

• Paley, Morton D. "Apocapolitics: Allusion and Structure in Shelley's Mask of Anarchy." Huntington Library Quarterly, 54 (1991): 91-109.
• Scrivener, Michael. Radical Shelley. Princeton: Princeton UP, 1982.
• Hendrix, Richard. "The Necessity of Response: How Shelley's Radical Poetry Works." Keats-Shelley Journal, Vol. 27, (1978), pp. 45-69.
• Thompson, E.P. The Making of the English Working Class. NY: Vintage Books, 1963.
• Franta, Andrew. "Shelley and the Poetics of Political Indirection." Poetics Today, Volume 22, Number 4, Winter 2001, pp. 765-793.
• Edwards, Thomas R. Imagination and Power: A Study of Poetry on Public Themes. NY: Oxford University Press, 1971.
• Frosch, Thomas. "Passive Resistance in Shelley: A Psychological View." Journal of English and Germanic Philology, 98.3 (1999): 373-95.
• Forman, H. Buxton. Shelley, 'Peterloo' and 'The Mask of Anarchy'. London: Richard Clay & Sons, 1887.
• Vargo, Lisa. "Unmasking Shelley's Mask of Anarchy." English Studies in Canada, 13.1 (1987): 49-64.
• Peterfreund, Stuart. "Teaching Shelley's Anatomy of Anarchy." Hall, Spencer (ed.). Approaches to Teaching Shelley's Poetry. New York: MLA, 1990. 90-92.
• Jones, Steven E. "Shelley's Satire of Succession and Brecht's Anatomy of Regression: 'The Mask of Anarchy' and Der anachronistische Zug oder Freiheit und Democracy." Shelley: Poet and Legislator of the World. Eds. Betty T. Bennett and Stuart Curran. Baltimore: Johns Hopkins UP, 1996. 193-200.
• Jones. Steven E. Shelley's Satire: Violence and Exhortation. DeKalb: Northern Illinois University Press, 1994.
• Scrivener, Michael Henry. "Reviewed work(s): Shelley's Satire: Violence and Exhortation by Steven E. Jones." Studies in Romanticism, Vol. 35, No. 3, Green Romanticism (Fall, 1996), pp. 471-473.
• Crampton, Daniel Nicholas. "Shelley's Political Optimism: 'The Mask of Anarchy' to Hellas." Ph.D. dissertation, University of Wisconsin-Madison, 1973.
• Keach, William. "Rise Like Lions? Shelley and the Revolutionary Left." International Socialism, 75, July, 1997.
• Kuiken, Kir. "Shelley’s ‘Mask of Anarchy’ and the Problem of Modern Sovereignty." Literature Compass, Volume 8, Issue 2, pages 95–106, February, 2011.
• Stauffer, Andrew M. "Celestial Temper: Shelley and the Masks of Anger." Keats-Shelley Journal. Vol. 49, (2000), pp. 138-161.
• Cross, Ashley J. "What a World we Make the Oppressor and the Oppressed": George Cruikshank, Percy Shelley, and the Gendering of Revolution in 1819." ELH, Volume 71, Number 1, Spring 2004, pp. 167-207.
• Dick, Alex J. "The Ghost of Gold": Forgery Trials and the Standard of Value in Shelley's The Mask of Anarchy." European Romantic Review, Volume 18, Number 3, July 2007 , pp. 381-400.
• Allen, Austin. "Shelley in Egypt: How a British Poem Inspired the Arab Spring." bigthink, July 5, 2011.

External links

• Online edition of the 1832 first edition by Edward Moxon.
• The Masque of Anarchy
• Audiorecording of "The Masque of Anarchy, A Poem"
• LibriVox recording, selection 32, read by Leonard Wilson.