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The Nymph Complaining for the Death of Her Fawn by Andrew Marvell

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A young woman (the nymph) watches helplessly as soldiers shoot her pet fawn, and she expresses her sorrow in a heartfelt, flowing speech.

Core theme
Betrayal
The PoemFull text

The Nymph Complaining for the Death of Her Fawn

Andrew Marvell

The wanton Troopers riding by Have shot my Faun and it will dye. Ungentle men! They cannot thrive To kill thee. Thou neer didst alive Them any harm: alas nor cou'd Thy death yet do them any good. I'me sure I never wisht them ill; Nor do I for all this; nor will: But, if my simple Pray'rs may yet Prevail with Heaven to forget Thy murder, I will Joyn my Tears Rather then fail. But, O my fears! It cannot dye so. Heavens King Keeps register of every thing: And nothing may we use in vain. Ev'n Beasts must be with justice slain; Else Men are made their Deodands. Though they should wash their guilty hands In this warm life blood, which doth part From thine, and wound me to the Heart, Yet could they not be clean: their Stain Is dy'd in such a Purple Grain. There is not such another in The World, to offer for their Sin. Unconstant Sylvio, when yet I had not found him counterfeit, One morning (I remember well) Ty'd in this silver Chain and Bell, Gave it to me: nay and I know What he said then; I'me sure I do. Said He, look how your Huntsman here Hath taught a Faun to hunt his Dear. But Sylvio soon had me beguil'd. This waxed tame; while he grew wild, And quite regardless of my Smart, Left me his Faun, but took his Heart. Thenceforth I set my self to play My solitary time away, With this: and very well content, Could so mine idle Life have spent. For it was full of sport; and light Of foot, and heart; and did invite, Me to its game: it seem'd to bless Its self in me. How could I less Than love it? O I cannot be Unkind, t' a Beast that loveth me. Had it liv'd long, I do not know Whether it too might have done so As Sylvio did: his Gifts might be Perhaps as false or more than he. But I am sure, for ought that I Could in so short a time espie, Thy Love was far more better then The love of false and cruel men. With sweetest milk, and sugar, first I it at mine own fingers nurst. And as it grew, so every day It wax'd more white and sweet than they. It had so sweet a Breath! And oft I blusht to see its foot more soft, And white, (shall I say then my hand?) NAY any Ladies of the Land. It is a wond'rous thing, how fleet 'Twas on those little silver feet. With what a pretty skipping grace, It oft would challenge me the Race: And when 'thad left me far away, 'Twould stay, and run again, and stay. For it was nimbler much than Hindes; And trod, as on the four Winds. I have a Garden of my own, But so with Roses over grown, And Lillies, that you would it guess To be a little Wilderness. And all the Spring time of the year It onely loved to be there. Among the beds of Lillyes, I Have sought it oft, where it should lye; Yet could not, till it self would rise, Find it, although before mine Eyes. For, in the flaxen Lillies shade, It like a bank of Lillies laid. Upon the Roses it would feed, Until its Lips ev'n seem'd to bleed: And then to me 'twould boldly trip, And print those Roses on my Lip. But all its chief delight was still On Roses thus its self to fill: And its pure virgin Limbs to fold In whitest sheets of Lillies cold. Had it liv'd long, it would have been Lillies without, Roses within. O help! O help! I see it faint: And dye as calmely as a Saint. See how it weeps. The Tears do come Sad, slowly dropping like a Gumme. So weeps the wounded Balsome: so The holy Frankincense doth flow. The brotherless Heliades Melt in such Amber Tears as these. I in a golden Vial will Keep these two crystal Tears; and fill It till it do o'reflow with mine; Then place it in Diana's Shrine. Now my sweet Faun is vanish'd to Whether the Swans and Turtles go: In fair Elizium to endure, With milk-white Lambs, and Ermins pure. O do not run too fast: for I Will but bespeak thy Glave, I and dye. First my unhappy Statue shall Be cut in Marble; and withal, Let it be weeping too: but there Th' Engraver sure his Art may spare; For I so truly thee bemoane, That I shall weep though I be Stone: Until my Tears, still dropping, wear My breast, themselves engraving there. There at my feet shalt thou be laid, Of purest Alabaster made: For I would have thine Image be White as I can, though not as Thee.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

A young woman (the nymph) watches helplessly as soldiers shoot her pet fawn, and she expresses her sorrow in a heartfelt, flowing speech. The fawn was a gift from her unfaithful lover, Sylvio, and over time, it grew to mean more to her than he ever did. By the end, she envisions herself transformed into a weeping marble statue, with the fawn sculpted in alabaster at her feet — her grief forever captured in stone.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. The wanton Troopers riding by / Have shot my Faun and it will dye.

    Editor's note

    The poem begins in the middle of a crisis. Soldiers—described as 'wanton,' which means reckless and cruel—have shot the fawn without justification. The nymph's initial response is one of moral outrage: she believes these men shouldn't benefit from such a senseless act. She mentions that she won’t curse them but wishes that heaven will hold them accountable. The term 'Deodands' (objects legally surrendered to God when they cause a death) indicates that the nymph is contemplating divine justice rather than simply her personal loss.

  2. Unconstant Sylvio, when yet / I had not found him counterfeit,

    Editor's note

    Here, the nymph takes a moment to share the origin of the fawn. Sylvio gifted it to her, adding a playful pun: the fawn has been trained to 'hunt his dear' — referring to both the deer and the nymph. However, Sylvio proved to be untrustworthy. He 'grew wild' while the fawn 'waxed tame,' leaving her with the creature but taking his affection with him. So, the fawn is already tied to betrayal long before the soldiers show up.

  3. Thenceforth I set my self to play / My solitary time away,

    Editor's note

    After Sylvio's abandonment, the nymph fully relies on the fawn for companionship. She recalls their time together with genuine affection — the fawn is playful, loving, and seems to return her feelings. She even contemplates whether, if it had lived longer, it might have turned out as untrustworthy as Sylvio. But she shakes off the thought quickly: in the brief time she had with it, its love was more genuine than any man's.

  4. With sweetest milk, and sugar, first / I it at mine own fingers nurst.

    Editor's note

    This stanza holds the poem's most delicate moment. The nymph recounts how she cared for the fawn from its infancy, watching it grow whiter and sweeter than anything she could imagine—softer than her own hand and more graceful than any lady at court. The way the fawn's beauty is portrayed feels almost sacred, paving the way for the religious imagery that comes next.

  5. I have a Garden of my own, / But so with Roses over grown,

    Editor's note

    The garden is a significant symbolic space—overgrown with roses and lilies, it feels like a 'little Wilderness,' a paradise that is both tamed and untamed. The fawn navigates through it effortlessly, blending into the lily beds so well that the nymph can't spot it even when it's right in front of her. When it nibbles on roses until its lips look like they’re bleeding, then touches those 'roses' to the nymph's lips, the imagery takes on an intimate and almost sacred quality.

  6. O help! O help! I see it faint: / And dye as calmely as a Saint.

    Editor's note

    The poem shifts back to the present as the fawn starts to die. The nymph's portrayal of its death feels incredibly sacred: it dies like a saint, its tears flow like frankincense and balm, and she likens them to the amber tears of the Heliades, the sisters of Phaethon, who became weeping trees in Greek mythology. She promises to gather its tears in a golden vial and place them at Diana's shrine — Diana, the goddess of the hunt and chastity.

  7. Now my sweet Faun is vanish'd to / Whether the Swans and Turtles go:

    Editor's note

    The fawn has died, and the nymph envisions it in Elysium — the classical afterlife — surrounded by swans, turtledoves, white lambs, and ermines. All these creatures reflect the fawn's whiteness and purity. The nymph mentions that she will join it soon ('I will but bespeak thy Grave, and dye'), hinting that her grief is tied to her mortality.

  8. First my unhappy Statue shall / Be cut in Marble; and withal,

    Editor's note

    The poem concludes with a striking image: the nymph imagines a monument to their love. Her statue, weeping in marble, will rise above an alabaster figure of the fawn. She tells the engraver not to worry about carving tears on her stone face — her true sorrow runs so deep that she’ll weep even as stone, with her tears gradually etching grooves into her own breast. It’s a haunting, perfect representation of grief that transcends the physical form.

§04Tone & mood

How this poem feels

The tone shifts through various registers while maintaining its coherence. It begins with intense, righteous anger—the nymph is livid with the soldiers—then transitions into a bittersweet nostalgia for Sylvio, before easing into a deep tenderness as she recounts the fawn's life. The final stanzas carry an elegiac quality, leaving a quiet impact. Throughout, the nymph's voice feels personal and raw, as if she’s confiding in herself during her grief. There’s no trace of self-pity, only a profound, clear-eyed sorrow.

§05Symbols & metaphors

Symbols & metaphors

The Fawn
The fawn holds several meanings simultaneously. It represents innocence shattered by reckless power, a love that is more pure and faithful than human affection, and the nymph's own fragility. As Sylvio's gift, it also carries a hint of romantic betrayal, but it has grown beyond that origin.
Roses and Lilies
These two flowers serve as a paired symbol throughout the poem. Lilies are often seen as symbols of purity and chastity, while roses stand for passion and, when they draw blood, sacrifice. The fawn feeds on roses until its lips bleed, then kisses the nymph — merging innocence with desire. The nymph's closing line, 'White as I can, though not as Thee,' indicates that the lily-white ideal is something she can strive for but will never truly attain.
The Garden
The nymph's garden, so overgrown it resembles a 'little Wilderness,' reflects the Garden of Eden—a paradise that is innocent yet already hints at wildness. It's the only place in the poem where the nymph and the fawn live in perfect harmony, making its loss feel even more poignant.
The Marble Statue
The final image of the stone figures — the marble nymph weeping and the alabaster fawn — transforms grief into art. Stone lasts forever while flesh does not, and this image implies that love, once lost, can only be held onto by turning it into something more enduring and unyielding than itself.
The Tears
Tears are present in various forms throughout the poem: the nymph's tears, the fawn's dying tears, the amber tears of the mythological Heliades, and ultimately the tears that the nymph envisions carving grooves into her stone breast. These tears connect human sorrow to nature, myth, and the sacred; the nymph intends to place the fawn's tears at Diana's shrine.
Diana's Shrine
Diana is the Roman goddess of hunting and chastity. It's subtly ironic to dedicate the fawn's tears to her, as she oversees hunting while the fawn was killed by hunters. This shrine also links the nymph's sorrow to a realm of female purity and devotion that contrasts sharply with the 'wanton' male-dominated world of soldiers and unfaithful lovers.

§06Historical context

Historical context

Andrew Marvell wrote this poem in the 1640s or 1650s, a time of significant upheaval in England. The English Civil War (1642–1651) saw Parliament clash with King Charles I, and the 'wanton Troopers' mentioned in the opening likely refer to soldiers from that era, probably Parliamentarian cavalry. Marvell himself treaded carefully during the war, eventually taking on the role of tutor to the daughter of Parliamentarian general Thomas Fairfax. This poem fits within the tradition of classical lament, known as the *epicedium* or elegy for a pet, which dates back to poets like Catullus and Ovid. However, Marvell adds a rich tapestry of Christian, Ovidian, and pastoral imagery. The nymph's name remains unspecified, keeping her archetypal. The poem was first published in Marvell's *Miscellaneous Poems* in 1681, three years after his death.

§07FAQ

Questions readers ask

On the surface, it's true: a young woman is grieving for her pet fawn, killed by passing soldiers. But this poem operates on multiple levels. The fawn symbolizes lost innocence, a love that's more devoted than any human connection, and perhaps (in a political sense) something pure that's been ruined by the brutality of the Civil War. You don't need to settle on just one interpretation — Marvell appears to embrace all of them at once.

Adjacent texts in the archive