Skip to content
Storgy

The Annotated Edition

Ave Atque Vale by Algernon Charles Swinburne

Summary, meaning, line-by-line analysis & FAQ.

Read aloud in ~13 minOpen reading mode →

Swinburne composed this lengthy elegy in memory of the French poet Charles Baudelaire, who passed away in 1867.

Core theme
Art
The PoemFull text

Ave Atque Vale

Algernon Charles Swinburne

Nous devrions pourtant lui porter quelques fleurs; Les morts, les pauvres morts, ont de grandes douleurs, Et quand Octobre souffle, émondeur des vieux arbres, Son vent mélancolique à l'entour de leurs marbres, Certe, ils doivent trouver les vivants bien ingrats. Les Fleurs du Mal. I. Shall I strew on thee rose or rue or laurel, Brother, on this that was the veil of thee? Or quiet sea-flower moulded by the sea, Or simplest growth of meadow-sweet or sorrel, Such as the summer-sleepy Dryads weave, Waked up by snow-soft sudden rains at eve? Or wilt thou rather, as on earth before, Half-faded fiery blossoms, pale with heat And full of bitter summer, but more sweet To thee than gleanings of a northern shore Trod by no tropic feet? II. For always thee the fervid languid glories Allured of heavier suns in mightier skies; Thine ears knew all the wandering watery sighs Where the sea sobs round Lesbian promontories, The barren kiss of piteous wave to wave That knows not where is that Leucadian grave Which hides too deep the supreme head of song. Ah, salt and sterile as her kisses were, The wild sea winds her and the green gulfs bear Hither and thither, and vex and work her wrong, Blind gods that cannot spare. III. Thou sawest, in thine old singing season, brother, Secrets and sorrows unbeheld of us: Fierce loves, and lovely leaf-buds poisonous, Bare to thy subtler eye, but for none other Blowing by night in some unbreathed-in clime; The hidden harvest of luxurious time, Sin without shape, and pleasure without speech; And where strange dreams in a tumultuous sleep Make the shut eyes of stricken spirits weep; And with each face thou sawest the shadow on each, Seeing as men sow men reap. IV. O sleepless heart and sombre soul unsleeping, That were athirst for sleep and no more life And no more love, for peace and no more strife! Now the dim gods of death have in their keeping Spirit and body and all the springs of song, Is it well now where love can do no wrong, Where stingless pleasure has no foam or fang Behind the unopening closure of her lips? Is it not well where soul from body slips And flesh from bone divides without a pang As dew from flower-bell drips? V. It is enough; the end and the beginning Are one thing to thee, who art past the end. O hand unclasped of unbeholden friend, For thee no fruits to pluck, no palms for winning, No triumph and no labour and no lust, Only dead yew-leaves and a little dust. O quiet eyes wherein the light saith nought, Whereto the day is dumb, nor any night With obscure finger silences your sight, Nor in your speech the sudden soul speaks thought, Sleep, and have sleep for light. VI. Now all strange hours and all strange loves are over, Dreams and desires and sombre songs and sweet, Hast thou found place at the great knees and feet Of some pale Titan-woman like a lover, Such as thy vision here solicited, Under the shadow of her fair vast head, The deep division of prodigious breasts, The solemn slope of mighty limbs asleep, The weight of awful tresses that still keep The savour and shade of old-world pine-forests Where the wet hill-winds weep? VII. Hast thou found any likeness for thy vision? O gardener of strange flowers, what bud, what bloom, Hast thou found sown, what gathered in the gloom? What of despair, of rapture, of derision, What of life is there, what of ill or good? Are the fruits grey like dust or bright like blood? Does the dim ground grow any seed of ours, The faint fields quicken any terrene root, In low lands where the sun and moon are mute And all the stars keep silence? Are there flowers At all, or any fruit? VIII. Alas, but though my flying song flies after, O sweet strange elder singer, thy more fleet Singing, and footprints of thy fleeter feet, Some dim derision of mysterious laughter From the blind tongueless warders of the dead, Some gainless glimpse of Proserpine's veiled head, Some little sound of unregarded tears Wept by effaced unprofitable eyes, And from pale mouths some cadence of dead sighs— These only, these the hearkening spirit hears, Sees only such things rise. IX. Thou art far too far for wings of words to follow, Far too far off for thought or any prayer. What ails us with thee, who art wind and air? What ails us gazing where all seen is hollow? Yet with some fancy, yet with some desire, Dreams pursue death as winds a flying fire, Our dreams pursue our dead and do not find. Still, and more swift than they, the thin flame flies, The low light fails us in elusive skies, Still the foiled earnest ear is deaf, and blind Are still the eluded eyes. X. Not thee, O never thee, in all time's changes, Not thee, but this the sound of thy sad soul, The shadow of thy swift spirit, this shut scroll I lay my hand on, and not death estranges My spirit from communion of thy song— These memories and these melodies that throng Veiled porches of a Muse funereal— These I salute, these touch, these clasp and fold As though a hand were in my hand to hold, Or through mine ears a mourning musical Of many mourners rolled. XI. I among these, I also, in such station As when the pyre was charred, and piled the sods, And offering to the dead made, and their gods, The old mourners had, standing to make libation, I stand, and to the gods and to the dead Do reverence without prayer or praise, and shed Offering to these unknown, the gods of gloom, And what of honey and spice my seedlands bear, And what I may of fruits in this chilled air, And lay, Orestes-like, across the tomb A curl of severed hair. XII. But by no hand nor any treason stricken, Not like the low-lying head of Him, the King, The flame that made of Troy a ruinous thing, Thou liest, and on this dust no tears could quicken There fall no tears like theirs that all men hear Fall tear by sweet imperishable tear Down the opening leaves of holy poets' pages. Thee not Orestes, not Electra mourns; But bending us-ward with memorial urns The most high Muses that fulfil all ages Weep, and our God's heart yearns. XIII. For, sparing of his sacred strength, not often Among us darkling here the lord of light Makes manifest his music and his might In hearts that open and in lips that soften With the soft flame and heat of songs that shine Thy lips indeed he touched with bitter wine, And nourished them indeed with bitter bread; Yet surely from his hand thy soul's food came, The fire that scarred thy spirit at his flame Was lighted, and thine hungering heart he fed Who feeds our hearts with fame. XIV. Therefore he too now at thy soul's sunsetting, God of all suns and songs, he too bends down To mix his laurel with thy cypress crown, And save thy dust from blame and from forgetting. Therefore he too, seeing all thou wert and art, Compassionate, with sad and sacred heart, Mourns thee of many his children the last dead, And hallows with strange tears and alien sighs Thine unmelodious mouth and sunless eyes, And over thine irrevocable head Sheds light from the under skies. XV. And one weeps with him in the ways Lethean, And stains with tears her changing bosom chill: That obscure Venus of the hollow hill, That thing transformed which was the Cytherean, With lips that lost their Grecian laugh divine Long since, and face no more called Erycine; A ghost, a bitter and luxurious god. Thee also with fair flesh and singing spell Did she, a sad and second prey, compel Into the footless places once more trod, And shadows hot from hell. XVI. And now no sacred staff shall break in blossom, No choral salutation lure to light A spirit sick with perfume and sweet night And love's tired eyes and hands and barren bosom. There is no help for these things; none to mend And none to mar; not all our songs, O friend, Will make death clear or make life durable. Howbeit with rose and ivy and wild vine And with wild notes about this dust of thine At least I fill the place where white dreams dwell And wreathe an unseen shrine. XVII. Sleep; and if life was bitter to thee, pardon, If sweet, give thanks; thou hast no more to live; And to give thanks is good, and to forgive. Out of the mystic and the mournful garden Where all day through thine hands in barren braid Wove the sick flowers of secrecy and shade, Green buds of sorrow and sin, and remnants grey, Sweet-smelling, pale with poison, sanguine-hearted, Passions that sprang from sleep and thoughts that started, Shall death not bring us all as thee one day Among the days departed? XVIII. For thee, O now a silent soul, my brother, Take at my hands this garland, and farewell. Thin is the leaf, and chill the wintry smell, And chill the solemn earth, a fatal mother, With sadder than the Niobean womb, And in the hollow of her breasts a tomb. Content thee, howsoe'er, whose days are done; There lies not any troublous thing before, Nor sight nor sound to war against thee more, For whom all winds are quiet as the sun, All waters as the shore.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

Swinburne composed this lengthy elegy in memory of the French poet Charles Baudelaire, who passed away in 1867. In each stanza, he contemplates what the afterlife might offer a poet who dedicated his life to pursuing dark beauty, acknowledging that the living can never truly connect with the dead — only their words endure. The poem concludes with a symbolic garland placed on Baudelaire's grave, wishing him the peace that eluded him in life.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Shall I strew on thee rose or rue or laurel, / Brother, on this that was the veil of thee?

    Editor's note

    Swinburne begins his reflection at Baudelaire's grave, contemplating which flowers to leave as a tribute. He describes the body as a "veil"—merely a covering that conceals the true individual beneath. He considers various flowers, each with its own significance: roses symbolize love, rue represents grief, and laurel stands for poetic glory. Ultimately, the choice of flowers isn't the main concern; it centers on how to pay homage to someone whose art was both peculiar and profound.

  2. For always thee the fervid languid glories / Allured of heavier suns in mightier skies;

    Editor's note

    Swinburne captures Baudelaire's artistic nature: he preferred the intense, sultry sensations of the south over the cooler vibes of the north. His mentions of Lesbian promontories and the Leucadian grave call to mind Sappho, the ancient Greek poet known for her writings on deep passion. By doing this, Swinburne connects Baudelaire to a line of poets who lived fervently and faced the consequences.

  3. Thou sawest, in thine old singing season, brother, / Secrets and sorrows unbeheld of us:

    Editor's note

    This stanza celebrates Baudelaire's distinctive perspective — he noticed aspects that other poets either overlooked or shied away from: "fierce loves," toxic beauty, nameless sins, and pleasures that defy description. The line "as men sow men reap" ties all that vivid imagery to a straightforward moral truth: Baudelaire recognized the consequences inherent in every desire.

  4. O sleepless heart and sombre soul unsleeping, / That were athirst for sleep and no more life

    Editor's note

    Swinburne tackles Baudelaire's weariness head-on. The man longed for peace — from love, from conflict, from the very act of being aware. Now, death has granted him that rest. Swinburne softly wonders, without any real assurance, if it's truly better for Baudelaire in this state, where pleasure carries no pain and the soul has released itself from the body.

  5. It is enough; the end and the beginning / Are one thing to thee, who art past the end.

    Editor's note

    Death brings time to a standstill for the deceased — the past and future lose all significance. Swinburne enumerates what Baudelaire has lost: ambition, struggle, desire. What lingers are merely "dead yew-leaves and a little dust." The yew, known as a traditional graveyard tree, symbolizes this finality. The stanza conveys a gentle, yet unsentimental tone — Swinburne does not romanticize death.

  6. Now all strange hours and all strange loves are over, / Dreams and desires and sombre songs and sweet,

    Editor's note

    Swinburne envisions Baudelaire in the underworld, reclining at the feet of a magnificent, goddess-like figure — a "pale Titan-woman." This imagery reflects the mythological figures that permeate Baudelaire's poetry. The scene is vast and nurturing, implying that death embraces the poet like the earth embraces the dead: with a cold, grand indifference.

  7. Hast thou found any likeness for thy vision? / O gardener of strange flowers, what bud, what bloom,

    Editor's note

    Swinburne launches a barrage of unanswerable questions at the dead poet. The title *Les Fleurs du Mal* (Flowers of Evil) resonates in referring to Baudelaire as a "gardener of strange flowers." Does the afterlife hold anything resembling his vision? Are its fruits grey or vibrant? The questions accumulate without any answers — and that’s precisely the point.

  8. Alas, but though my flying song flies after, / O sweet strange elder singer, thy more fleet

    Editor's note

    Swinburne acknowledges that his poem falls short of capturing Baudelaire's essence. The only sounds from the underworld that the living can perceive are faint echoes: a "dim derision of mysterious laughter," a fleeting vision of Proserpine (the queen of the dead), and a few sighs from the departed. The references to Proserpine and the "blind tongueless warders of the dead" draw directly from classical mythology, emphasizing the true separation between the living and the dead.

  9. Thou art far too far for wings of words to follow, / Far too far off for thought or any prayer.

    Editor's note

    This is the emotional core of the poem. Poetry, thought, and prayer can't bridge the divide between the living and the dead. Dreams pursue death like the wind pursues fire, always close but never quite reaching. The stanza candidly acknowledges the limitations of elegy: you write it for your own sake, not for the one who's passed away.

  10. Not thee, O never thee, in all time's changes, / Not thee, but this the sound of thy sad soul,

    Editor's note

    Swinburne highlights an important point: while he can't connect with Baudelaire directly, he can engage with Baudelaire's *work* — the "shut scroll," the melodies, the memories. Holding the book brings him as close as possible to holding the man's hand. This stanza reshapes the entire elegy: it becomes a communion with a body of writing, rather than a spirit.

  11. I among these, I also, in such station / As when the pyre was charred, and piled the sods,

    Editor's note

    Swinburne aligns himself with the tradition of ancient mourners who made offerings at funeral pyres. He engages in a ritual devoid of prayer — he doesn't hold faith in the gods he's calling upon, yet the act still holds significance. By cutting a lock of hair and placing it on the tomb, he directly references Orestes mourning his father Agamemnon at his grave in Aeschylus.

  12. But by no hand nor any treason stricken, / Not like the low-lying head of Him, the King,

    Editor's note

    Baudelaire's death wasn't marked by violence or betrayal, unlike Agamemnon, "the King," whose demise gave significance to the Trojan War. Instead, his passing was quieter and more intimate. Swinburne notes that even the Muses, the goddesses of art, grieve for Baudelaire, offering him a tribute that surpasses any human sorrow. This mourning transcends the personal, reaching a cosmic depth.

  13. For, sparing of his sacred strength, not often / Among us darkling here the lord of light

    Editor's note

    Apollo, the god of poetry and the sun, seldom inspires a human poet with true passion. Swinburne suggests that Baudelaire was one of those exceptional few—nourished by "bitter wine" and "bitter bread," which resonates with both the Eucharist and the sorrow found in *Les Fleurs du Mal*. The gift of poetry brings pain, yet it remains a sacred blessing.

  14. Therefore he too now at thy soul's sunsetting, / God of all suns and songs, he too bends down

    Editor's note

    Apollo mourns Baudelaire at his death, blending laurel (symbolizing poetry) with cypress (representing mourning). The sight of a god bowing to honor a mortal is poignant because it flips the typical act of worship. Swinburne suggests that Baudelaire's art was so impactful that even the divine feels compelled to recognize it.

  15. And one weeps with him in the ways Lethean, / And stains with tears her changing bosom chill:

    Editor's note

    Venus — yet a changed, fallen version of herself — also grieves for Baudelaire by the river Lethe (the river of forgetting in the underworld). This is the Venus from Tannhäuser, the "obscure Venus of the hollow hill," a character Swinburne referenced in other works: a goddess of love transformed into something darker and more perilous, no longer just a Greek figure but medieval and ominous. She captivated Baudelaire in life through his obsessions; now she mourns him in death.

  16. And now no sacred staff shall break in blossom, / No choral salutation lure to light

    Editor's note

    No miracle will bring Baudelaire back. The "sacred staff" that blossoms refers to the legend of Tannhäuser's staff flowering as a sign of forgiveness — but no such sign appears here. Swinburne acknowledges the finality of death directly: songs can't clarify death or extend life. All he can do is fill the grave with wild notes and wild vines.

  17. Sleep; and if life was bitter to thee, pardon, / If sweet, give thanks; thou hast no more to live;

    Editor's note

    Swinburne gives Baudelaire a straightforward and kind farewell: if life was tough, let it go; if it was joyful, appreciate it. In the end, it’s all in the past. The "mystic and the mournful garden," where Baudelaire spun "sick flowers of secrecy and shade," represents both his actual creations and the inner landscape of *Les Fleurs du Mal*. Ultimately, death leads us all to the same destination.

  18. For thee, O now a silent soul, my brother, / Take at my hands this garland, and farewell.

    Editor's note

    The final stanza presents the moment of laying down the garland — the culmination of everything the poem has been leading up to. The earth is referred to as a "fatal mother," with a tomb in her breast, reminiscent of Niobe, the mythological figure who mourned the loss of all her children. The poem concludes with a vision of complete stillness: no wind, no sound, no struggle. It reflects the peace that Baudelaire sought, and Swinburne captures it beautifully in words.

§04Tone & mood

How this poem feels

The tone is mournful yet restrained — grief maintained at a distance through ritual and classical references. Swinburne feels a true sadness, but he expresses that feeling through ceremony instead of unfiltered emotion. There’s also a sense of genuine futility woven into the poem: he understands that his words cannot reach the dead, and he openly acknowledges this. By the end, the tone shifts into something resembling tenderness, even tranquility.

§05Symbols & metaphors

Symbols & metaphors

Flowers (rose, rue, laurel, yew)
Each flower holds its own meaning: roses symbolize love, rue represents grief and regret, laurel stands for poetic achievement, and yew signifies death and mourning. Collectively, they illustrate the breadth of Baudelaire's identity and the significance of his loss. The garland Swinburne ultimately places down is delicate and cold — a sincere tribute, rather than a victorious one.
The shut scroll / the book
Baudelaire's collected poems, *Les Fleurs du Mal*, serve as the sole tangible link between the living Swinburne and the deceased Baudelaire. Holding the book is like grasping the man's hand. It symbolizes how art endures even after the artist has passed away.
Proserpine
Proserpine, the Roman goddess of the underworld, is often seen shrouded in mystery, appearing only faintly. She embodies the definitive line between the living and the dead — you can sense her presence, but never fully see her. This elusive quality also ties into Baudelaire's deep interest in dark, forbidden beauty.
The severed curl of hair
The lock of hair, drawn from the scene in Aeschylus where Orestes grieves at his father's tomb, serves as a tangible remnant of the mourner left with the deceased. It transforms grief into something physical and genuine, rather than merely literary. Swinburne is engaging in an ancient ritual to pay tribute to a contemporary poet.
Apollo (the lord of light)
The Greek god of poetry and the sun embodies the divine inspiration for poets. Swinburne uses him to suggest that Baudelaire's talent — no matter how somber the themes — was truly sacred. Even Apollo stoops to grieve for him.
The obscure Venus of the hollow hill
This is a medieval, fallen version of the goddess of love — the Venus from the Venusberg legend, linked to dangerous and consuming desire. She embodies the erotic and rebellious energies that fueled Baudelaire's poetry, and her presence at his death implies that those forces took him over entirely.

§06Historical context

Historical context

Charles Baudelaire passed away in Paris in August 1867 at the age of 46, following a long battle with illness exacerbated by syphilis and drug use. Swinburne, who was just 30 and already significantly influenced by Baudelaire's *Les Fleurs du Mal* (1857), composed this elegy shortly after his death. The poem's Latin title, "Ave Atque Vale," translates to "Hail and Farewell" — a phrase borrowed from Catullus's elegy for his deceased brother, which Swinburne mirrors directly. The epigraph is drawn from Baudelaire's own poem "La Servante au grand coeur," which speaks to the duty of the living to honor those who have passed. Swinburne was among the first English poets to advocate for Baudelaire's work, and this elegy serves as both a tribute to Baudelaire's artistic legacy and a personal mourning. The poem is rich in classical mythology — referencing Sappho, Proserpine, Apollo, and Orestes — positioning Baudelaire within a lineage of poets and tragic figures that stretches back to ancient Greece.

§07FAQ

Questions readers ask

The poem is directed toward the French poet Charles Baudelaire, known for *Les Fleurs du Mal*. Swinburne refers to him as "brother" throughout, signifying a bond of shared poetic spirit rather than familial ties. Baudelaire passed away in 1867, and Swinburne composed this elegy to honor him.

Adjacent texts in the archive