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

Context

• The Nymph Complaining for the Death of Her Fawn by Andrew Marvell was written in the mid-17th century, a period marked by political upheaval and intense religious conflict in England.

• Marvell was associated with the Metaphysical poets, known for their complex imagery, intellectual wit, and elaborate conceits.

• The poem reflects the pastoral tradition, which idealizes rural life and nature, while also engaging with deeper themes of innocence, violence, and loss.

  

• Marvell's work often explores the tension between the ideal and the real, and this poem is no exception, as it juxtaposes the innocence of the nymph and her fawn with the cruelty of the world.

Structure and Form

Form, Meter, and Rhyme

• The poem is written in rhymed couplets, with each pair of lines rhyming in an AABB pattern.
• The meter is primarily an iambic tetrameter, creating a rhythmic and flowing quality that mirrors the lamenting tone of the nymph.
• The structure of the poem is continuous, without division into stanzas, which contributes to the sense of an uninterrupted, sorrowful monologue.

Speaker and Setting

• The speaker is a nymph, a mythical creature associated with nature, who mourns the death of her beloved pet fawn, killed by "wanton troopers".
• The setting is pastoral and idyllic, likely in a forest or meadow, a place where the nymph and her fawn would have lived in peace before the violent intrusion of human forces.
• This pastoral setting contrasts with the violence described, highlighting the theme of innocence destroyed by external cruelty.

Poetic Devices

Personification:

• The nymph is personified as an emblem of nature and innocence, while her fawn represents purity and vulnerability.
• The death of the fawn is not just a literal event but a symbolic loss of innocence, with the nymph's grief reflecting the corruption of nature by human violence.

Allusion:

• The poem alludes to classical mythology, particularly the pastoral tradition, where nymphs are often depicted as gentle, nature-bound beings.
• This allusion reinforces the idealized vision of nature that is shattered by the fawn's death.

Imagery:

• Marvell uses rich and detailed imagery to evoke the beauty of the natural world and the tragedy of its destruction.
• The description of the fawn as "a little pretty, bonny fawn" evokes a sense of tenderness and vulnerability.

Irony:

• The poem employs irony in its depiction of the nymph's world, which should be a sanctuary of peace and innocence, but is instead violated by the "wanton troopers".
• The contrast between the nymph's pure, pastoral life and the brutal reality of human intrusion underscores the poem's tragic tone.

Symbolism:

• The fawn serves as a symbol of innocence, purity, and the delicate balance of nature, which is easily shattered by human actions.
  • The nymph's mourning is symbolic of a broader lament for the loss of harmony between humanity and nature.

Key Themes

Innocence and Loss

• The poem explores the theme of innocence, both in the form of the nymph and her fawn, and the tragic loss of this innocence through the intrusion of human violence.
• The nymph's grief is profound and all-encompassing, symbolizing the broader devastation caused by the loss of purity in a corrupted world.

Nature and Pastoral Ideal

• Marvell engages with the pastoral tradition, idealizing the natural world as a place of beauty and peace, but also acknowledging its fragility in the face of human cruelty.
• The fawn's death serves as a metaphor for the destruction of the pastoral ideal, a common theme in Marvell's work.

Violence and Corruption

• The poem contrasts the innocence of the nymph and her fawn with the violence of the "wanton troopers", highlighting the corrupting influence of humanity on the natural world.
  • This theme reflects the broader political and social turmoil of Marvell's time, where violence and corruption were pervasive.

Similar Poems

• "To His Coy Mistress" by Andrew Marvell: While focusing on different themes, this poem also juxtaposes idealized notions with the harsh realities of time and mortality, showcasing Marvell's skill in blending wit with deeper philosophical concerns.
• "A Valediction of Weeping" by John Donne: This poem, like Marvell's, uses rich imagery and a reflective tone to explore themes of loss, though it focuses more on personal grief and separation rather than a broader pastoral context.

Line by Line Analysis

Stanza 1

Lines 1-5

The wanton troopers riding by Have shot my fawn, and it will die. Ungentle men! they cannot thrive To kill thee. Thou ne'er didst alive Them any harm, alas, nor could

"The wanton troopers riding by / Have shot my fawn, and it will die."

• The speaker begins with a lament, mourning the cruel death of her fawn at the hands of reckless soldiers ("wanton troopers").
• The phrase "it will die" indicates the inevitability of the fawn's death, which adds a sense of helplessness and sorrow.

"Ungentle men! they cannot thrive / To kill thee."

• The speaker condemns the soldiers as "ungentle", meaning they lack the qualities of nobility and kindness.
• She asserts that they will not benefit ("thrive") from killing the fawn, suggesting that their act is both pointless and morally wrong.

"Thou ne'er didst alive / Them any harm, alas, nor could"

• The speaker emphasizes the innocence of the fawn, stating that it never harmed the soldiers and was incapable of doing so.
• This highlights the senselessness and injustice of the fawn's death, as it was an innocent creature.

Lines 6-10

Thy death yet do them any good. I'm sure I never wish'd them ill, Nor do I for all this, nor will; But if my simple pray'rs may yet Prevail with Heaven to forget

"Thy death yet do them any good."

• The speaker reflects that the death of the fawn will bring no benefit to those who killed it, reinforcing the futility of the act.
• This line suggests that the soldiers' cruelty serves no purpose.

"I'm sure I never wish'd them ill, / Nor do I for all this, nor will;"

• The speaker claims that she has never wished harm upon the soldiers, even after they have caused her such grief.
• Her refusal to hold a grudge shows her moral integrity and contrasts with the soldiers' cruelty.

"But if my simple pray'rs may yet / Prevail with Heaven to forget"

• The speaker hopes that her prayers might persuade Heaven to overlook the soldiers' sins.
• This plea reflects her desire for mercy and forgiveness, despite her suffering.

Lines 11-15

Thy murder, I will join my tears Rather than fail. But oh, my fears! It cannot die so. Heaven's King Keeps register of everything, And nothing may we use in vain.

"Thy murder, I will join my tears / Rather than fail."

• The speaker expresses her determination to pray and weep for the fawn, hoping that her efforts will not be in vain.
• Her tears are a testament to her deep grief and her commitment to seeking justice.

"But oh, my fears! / It cannot die so."

• The speaker suddenly fears that the fawn's death will not be overlooked or forgiven by Heaven.
• This line introduces a sense of dread and the inevitability of divine justice.

"Heaven's King / Keeps register of everything, / And nothing may we use in vain."

• The speaker acknowledges that God ("Heaven's King") records all actions, implying that the soldiers' deeds will not go unpunished.
• This line reflects the belief in divine justice, where every action has consequences.

Lines 16-20

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,

"Ev'n beasts must be with justice slain, / Else men are made their deodands;"

• The speaker asserts that even animals ("beasts") must be killed justly, otherwise, the act is a sin that requires atonement ("deodands").
• This suggests that the soldiers' killing of the fawn was unjust and will demand reparation.

"Though they should wash their guilty hands / In this warm life-blood, which doth part"

• The speaker imagines the soldiers attempting to cleanse themselves of guilt by washing their hands in the fawn's blood.
• The phrase "warm life-blood" evokes the immediate and visceral nature of the killing, emphasizing its brutality.

"From thine, and wound me to the heart,"

• The speaker describes how the fawn's death deeply affects her, wounding her emotionally ("to the heart").
• This line underscores the profound connection between the speaker and the fawn, making its loss all the more painful.

Lines 21-24

Yet could they not be clean, their stain Is dyed in such a purple grain. There is not such another in The world to offer for their sin.

"Yet could they not be clean, their stain / Is dyed in such a purple grain."

• The speaker asserts that the soldiers cannot cleanse themselves of the guilt ("stain") of their deed, as it is indelibly marked ("dyed") with the fawn's blood.
• The "purple grain" likely refers to the deep, royal colour of the blood, signifying the gravity of their sin.

"There is not such another in / The world to offer for their sin."

• The speaker laments that there is no other creature like the fawn to atone for the soldiers' sin.
• This line highlights the uniqueness and irreplaceability of the fawn, making its loss even more tragic.

Stanza 2

Lines 25-30

Unconstant Sylvio, when yet I had not found him counterfeit One morning (I remember well) Tied in this silver chain and bell, Gave it to me; nay, and I know What he said then; I'm sure I do.

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

• The speaker introduces Sylvio, who is described as "unconstant", suggesting his fickle nature.
• At the time, she did not yet realize that Sylvio was insincere or "counterfeit" in his affections.

"One morning (I remember well) / Tied in this silver chain and bell,"

• The speaker recalls a specific morning when Sylvio gave her a fawn, which was tied with a silver chain and bell.
• The detailed memory of this moment highlights its significance to her, and the chain and bell symbolize the fawn's tameness and charm.

"Gave it to me; nay, and I know / What he said then; I'm sure I do."

• The speaker remembers Sylvio giving her the fawn and insists she recalls exactly what he said at the time.
• This line suggests that the memory of this event and Sylvio's words have stayed with her, perhaps with some bitterness or regret.

Lines 31-36

Said he, "Look how your huntsman here Hath taught a fawn 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 fawn, but took his heart.

"Said he, "Look how your huntsman here / Hath taught a fawn to hunt his dear.""

• Sylvio's words suggest a playful comparison between the fawn and the speaker, implying that just as the fawn has been trained, so too has she been "hunted" or won over.
• This line reflects the lighthearted, yet possibly manipulative, nature of Sylvio's affection.

"But Sylvio soon had me beguil'd, / This waxed tame, while he grew wild;"

• The speaker reveals that Sylvio deceived her ("had me beguil'd"), as the fawn became tame while Sylvio's behaviour became wild and unpredictable.
• This contrast between the fawn's tameness and Sylvio's increasing wildness highlights his untrustworthiness and the pain he caused her.

"And quite regardless of my smart, / Left me his fawn, but took his heart."

• Sylvio, indifferent to the speaker's suffering ("regardless of my smart"), abandoned her emotionally, leaving her only the fawn while taking his heart with him.
• This line conveys the speaker's sense of betrayal and loss, as Sylvio's actions leave her with a physical reminder of him (the fawn) but without his love.

Stanza 3

Lines 37-41

Thenceforth I set myself 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

"Thenceforth I set myself to play / My solitary time away,"

• After Sylvio's departure, the speaker chooses to spend her time in solitude, playing with the fawn.
• The word "solitary" emphasizes her loneliness, while "play" suggests an attempt to find some joy or distraction despite her circumstances.

"With this, and very well content / Could so mine idle life have spent;"

• The speaker reflects that she found contentment in her idle life with the fawn, suggesting that it brought her peace and happiness.
• This line conveys a sense of acceptance and tranquility, as she reconciles herself to a simpler, quieter existence.

"For it was full of sport, and light"

• The fawn is described as being full of "sport" (playfulness) and "light" (joy), indicating that it brought a sense of liveliness and happiness to the speaker's life.
• This line highlights the mutual affection between the speaker and the fawn, as it became a source of joy for her.

Lines 42-46

Of foot and heart, and did invite Me to its game; it seem'd to bless Itself in me. How could I less Than love it? Oh, I cannot be Unkind t' a beast that loveth me.

"Of foot and heart, and did invite / Me to its game; it seem'd to bless"

• The fawn, lively in both "foot and heart," invites the speaker to join in its playful activities, symbolizing its affection and desire to share joy with her.
• The phrase "it seem'd to bless / Itself in me" suggests that the fawn found happiness and comfort in the speaker's company.

"How could I less / Than love it? Oh, I cannot be"

• The speaker rhetorically asks how she could do anything but love the fawn, given its affection and joyfulness.
• This line expresses the deep bond and mutual love between the speaker and the fawn.

"Unkind t' a beast that loveth me."

• The speaker concludes by affirming that she could never be unkind to a creature that loves her.
• This final line encapsulates the central theme of the stanza: the reciprocal love and kindness between the speaker and the fawn, contrasting with the betrayal and cruelty she experienced from others.

Stanza 4

Lines 47-54

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 aught that I Could in so short a time espy, Thy love was far more better then The love of false and cruel men.

"Had it liv'd long, I do not know / Whether it too might have done so / As Sylvio did; his gifts might be"

• The speaker reflects on the uncertainty of the fawn's future had it lived longer, questioning whether it might have betrayed her as Sylvio did.
• This comparison introduces doubt, suggesting that the fawn, like Sylvio, might have proved unfaithful over time.

"Perhaps as false or more than he."

• The speaker speculates that the fawn's affection could have been as deceitful, or even more so, than Sylvio's.
• This line conveys the speaker's deep distrust born from her experience with Sylvio, projecting it onto the fawn's potential behaviour.

"But I am sure, for aught that I / Could in so short a time espy,"

• Despite these doubts, the speaker acknowledges that in the brief time she had with the fawn, she could only see its pure affection.
• "Espying" refers to her observation, which suggests that she found nothing but goodness in the fawn during its short life.

"Thy love was far more better then / The love of false and cruel men."

• The speaker concludes that the fawn's love, however brief, was far superior to the love of deceitful men like Sylvio.
• This final line contrasts the purity of the fawn's love with the cruelty she has experienced from men, affirming her preference for the innocent creature.

Stanza 5

Lines 55-62

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 blush'd to see its foot more soft And white, shall I say than my hand? Nay, any lady's of the land.

"With sweetest milk and sugar first / I it at mine own fingers nurst;"

• The speaker recalls how she lovingly nurtured the fawn with milk and sugar, emphasizing her deep care and affection.
• The phrase "mine own fingers" suggests a personal, tender relationship, highlighting the intimacy of their bond.

"And as it grew, so every day / It wax'd more white and sweet than they."

• As the fawn grew, it became even more beautiful ("white") and delightful ("sweet"), surpassing even the milk and sugar with which it was fed.
• This line indicates that the fawn's physical beauty and sweetness increased as it matured, symbolizing purity and innocence.

"It had so sweet a breath! And oft / I blush'd to see its foot more soft"

• The speaker remembers the fawn's "sweet breath", a detail that underscores its innocence and endearing qualities.
• She also notes how she blushed when she saw its soft, delicate feet, which she compares favourably to her own.

"And white, shall I say than my hand? / Nay, any lady's of the land."

• The speaker suggests that the fawn's feet were not only softer but also whiter than her own hands, or even those of any lady in the land.
• This comparison elevates the fawn's beauty to an idealized level, emphasizing its unmatched purity and grace.

Stanza 6

Lines 63-70

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 't had left me far away, 'Twould stay, and run again, and stay, For it was nimbler much than hinds, And trod, as on the four winds.

"It is a wond'rous thing how fleet / 'Twas on those little silver feet;"

• The speaker marvels at how swift ("fleet") the fawn was on its small, delicate feet, which she describes as "silver", adding an element of ethereal beauty.
• This description conveys the fawn's grace and agility, making it seem almost magical.

"With what a pretty skipping grace / It oft would challenge me the race;"

• The speaker recalls the fawn's playful nature, as it would gracefully skip and challenge her to a race.
• The word "grace" emphasizes the fawn's elegance, while "challenge" suggests a playful bond between them.

"And when 't had left me far away, / 'Twould stay, and run again, and stay,"

• The fawn, being much faster, would often run far ahead of the speaker, but it would wait for her and then resume the race.
• This behaviour illustrates the playful, affectionate relationship they shared, with the fawn showing consideration by waiting for her.

"For it was nimbler much than hinds, / And trod, as on the four winds."

• The speaker notes that the fawn was even more agile than adult deer ("hinds") and seemed to move as lightly as if it were carried by the wind.
• This comparison to the "four winds" highlights the fawn's exceptional speed and ethereal lightness, almost as if it were not bound by the earth.

Stanza 7

Lines 71-76

I have a garden of my own, But so with roses overgrown And lilies, that you would it guess To be a little wilderness; And all the spring time of the year It only loved to be there.

"I have a garden of my own, / But so with roses overgrown"

• The speaker describes her garden, which is lush and overgrown with roses, suggesting a place of natural beauty and abundance.
• The overgrowth of roses may also symbolize an uncontrolled, wild beauty, mirroring the fawn's untamed nature.

"And lilies, that you would it guess / To be a little wilderness;"

• Along with roses, the garden is filled with lilies, to the point that it resembles a "little wilderness".
• This description creates an image of a garden that is wild and untamed, yet beautiful, much like the fawn's playful and free-spirited nature.

"And all the spring time of the year / It only loved to be there."

• The speaker recalls how the fawn loved to spend all its time in the garden during spring, indicating a strong connection between the fawn and this natural space.
• Spring, often associated with life and renewal, reflects the fawn's youthful energy and joy.

Lines 77-81

Among the beds of lilies I Have sought it oft, where it should lie; Yet could not, till itself would rise, Find it, although before mine eyes; For, in the flaxen lilies' shade,

"Among the beds of lilies I / Have sought it oft, where it should lie;"

• The speaker often searched for the fawn among the beds of lilies, knowing that it would be resting there.
• This indicates a habitual bond, where the speaker expects to find the fawn in familiar, comforting surroundings.

"Yet could not, till itself would rise, / Find it, although before mine eyes;"

• Despite her efforts, the speaker could not always find the fawn until it chose to reveal itself, even if it was right in front of her.
• This suggests the fawn's ability to blend seamlessly with its surroundings, emphasizing its connection to the natural world.

"For, in the flaxen lilies' shade,"

• The speaker explains that the fawn blended into the "flaxen lilies' shade", making it difficult to spot.
• The lilies' pale colour ("flaxen") matches the fawn's light, delicate appearance, symbolizing its harmony with nature.

Lines 82-87

It like a bank of lilies laid. Upon the roses it would feed Until its lips ev'n seemed to bleed, And then to me 'twould boldly trip And print those roses on my lip.

"It like a bank of lilies laid."

• The fawn is described as lying among the lilies, so perfectly still and harmonious with its surroundings that it resembles a "bank of lilies" itself.
• This imagery highlights the fawn's innocence and purity, blending seamlessly with the natural beauty around it.

"Upon the roses it would feed / Until its lips ev'n seemed to bleed,"

• The speaker notes how the fawn would feed on roses until its lips appeared stained with the red of the petals, creating a vivid and slightly unsettling image.
• This action symbolizes the fawn's deep engagement with the beauty of the garden, yet the mention of "bleeding" introduces a hint of mortality and foreshadowing.

"And then to me 'twould boldly trip / And print those roses on my lip."

• After feeding on the roses, the fawn would approach the speaker and transfer the red colour from its lips to hers, as if kissing her.
• This gesture symbolizes a loving, intimate connection between the speaker and the fawn, with the roses representing beauty and affection.

Lines 88-92

But all its chief delight was still On roses thus itself to fill, And its pure virgin limbs to fold In whitest sheets of lilies cold. Had it liv'd long it would have been Lilies without, roses within.

"But all its chief delight was still / On roses thus itself to fill,"

• The speaker reflects that the fawn's greatest joy was to feast on the roses, symbolizing its love for beauty and the sweetness of life.
• This line emphasizes the fawn's deep connection to the roses, representing a pure and almost sensual pleasure.

"And its pure virgin limbs to fold / In whitest sheets of lilies cold."

• The speaker describes how the fawn would rest its "pure virgin limbs" among the "whitest sheets of lilies cold", suggesting innocence and purity.
• The "cold" lilies may foreshadow the fawn's untimely death, with the imagery of white lilies often associated with purity and mourning.

"Had it liv'd long it would have been / Lilies without, roses within."

• The speaker imagines that if the fawn had lived longer, it would have embodied the purity of lilies on the outside, with the passion of roses within.
• This final line suggests a balance of innocence and sensuality, indicating the fawn's potential for growth into something even more beautiful and complex had it not died so young.

Stanza 8

Lines 93-100

O help, O help! I see it faint, And die as calmly as a saint. See how it weeps! The tears do come, Sad, slowly dropping like a gum. So weeps the wounded balsam, so The holy frankincense doth flow; The brotherless Heliades Melt in such amber tears as these.

"O help, O help! I see it faint, / And die as calmly as a saint."

• The speaker cries out for help as she witnesses the fawn fainting and dying, comparing its peaceful death to that of a saint.
• The comparison to a saint emphasizes the fawn's innocence and purity, suggesting that its death is serene and holy despite the tragedy.

"See how it weeps! The tears do come, / Sad, slowly dropping like a gum."

• The speaker observes the fawn's tears, which fall slowly and sorrowfully, likened to the steady flow of gum from a tree.
• This imagery evokes a sense of deep sadness and inevitability, as the fawn's tears mirror the natural, slow exudation of a tree's sap.

"So weeps the wounded balsam, so / The holy frankincense doth flow;"

• The speaker draws a parallel between the fawn's tears and the resinous sap of a balsam tree or frankincense, both substances that flow when the tree is wounded.
• This comparison enhances the sacredness of the fawn's suffering, suggesting its death is as precious and revered as the flow of these sacred resins.

"The brotherless Heliades / Melt in such amber tears as these."

• The speaker references the Heliades, sisters in Greek mythology who were transformed into poplar trees and wept amber tears for their brother Phaethon.
• By likening the fawn's tears to the amber of the Heliades, the speaker underscores the profound grief and the eternal nature of the mourning for the fawn.

Stanza 9

Lines 101-104

I in a golden vial will Keep these two crystal tears, and fill It till it do o'erflow with mine, Then place it in Diana's shrine.

"I in a golden vial will / Keep these two crystal tears, and fill"

• The speaker vows to preserve the fawn's "crystal tears" in a golden vial, a gesture that signifies the immense value she places on its sorrow.
• The use of "golden vial" suggests a sacred or precious container, emphasizing the importance of the fawn's tears.

"It till it do o'erflow with mine, / Then place it in Diana's shrine."

• The speaker plans to add her tears to the vial until it overflows, showing her deep grief and connection to the fawn's suffering.
• By placing the vial in Diana's shrine, the speaker invokes the goddess of the hunt and chastity, suggesting a desire to sanctify the memory of the fawn and seek divine protection or reverence for it.

Stanza 10

Lines 105-110

Now my sweet fawn is vanish'd to Whither the swans and turtles go, In fair Elysium to endure With milk-white lambs and ermines pure. O do not run too fast, for I Will but bespeak thy grave, and die.

"Now my sweet fawn is vanish'd to / Whither the swans and turtles go,"

• The speaker mourns the fawn's departure to a place where "swans and turtles" (symbols of purity and love) reside, implying that the fawn has passed into a peaceful afterlife.
• This imagery connects the fawn with other gentle, pure creatures, reinforcing the idea that it belongs in a serene and sacred realm.

"In fair Elysium to endure / With milk-white lambs and ermines pure."

• The speaker envisions the fawn in Elysium, the paradise of Greek mythology, where it will exist alongside "milk-white lambs" and "ermines pure", animals that symbolize innocence and purity.
• This line elevates the fawn's status to one of eternal peace and purity, dwelling in a heavenly place reserved for the innocent and virtuous.

"O do not run too fast, for I / Will but bespeak thy grave, and die."

• The speaker pleads with the fawn not to move on too quickly, as she wishes to arrange its grave and then join it in death.
• This line expresses her overwhelming grief and desire to reunite with the fawn in death, indicating the depth of her attachment and sorrow.

Stanza 11

Lines 111-116

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 bemoan That I shall weep though I be stone;

"First my unhappy statue shall / Be cut in marble, and withal"

• The speaker imagines a statue of herself being carved in marble, symbolizing the permanence of her grief and sorrow.
• The choice of marble suggests durability and the eternal nature of her mourning.

"Let it be weeping too; but there / Th' engraver sure his art may spare,"

• The speaker wishes for the statue to depict her weeping, but she notes that the engraver's skill may not be necessary.
• This implies that her grief is so profound and real that it will manifest itself even in the cold, unfeeling stone.

"For I so truly thee bemoan / That I shall weep though I be stone;"

• The speaker claims that her mourning is so genuine and intense that even if she were turned to stone, she would still weep.
• This line underscores the depth of her sorrow, suggesting that her grief is an intrinsic part of her being, unaltered by time or transformation.

Lines 117-122

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.

"Until my tears, still dropping, wear / My breast, themselves engraving there."

• The speaker imagines her continual weeping wearing away her marble breast, engraving her sorrow directly into the stone.
• This vivid imagery emphasizes the relentless nature of her grief, which is so powerful that it shapes and erodes even marble.

"There at my feet shalt thou be laid, / Of purest alabaster made;"

• The speaker envisions the fawn being laid at her feet, sculpted from "purest alabaster", a white, translucent stone symbolizing purity and innocence.
• This line reflects her desire to honour the fawn's memory with the finest materials, preserving its purity in death.

"For I would have thine image be / White as I can, though not as thee."

• The speaker wishes for the fawn's image to be as white and pure as possible, though she acknowledges that no material can fully capture the fawn's true purity.
• This final line highlights the speaker's reverence for the fawn's innocence, suggesting that its purity surpasses anything that can be represented in art or stone.