Faustine

By Algernon Charles Swinburne

Ave Faustina Imperatrix, morituri te salutant.     Lean back, and get some minutes peace;     Let your head lean     Back to the shoulder with its fleece     Of locks, Faustine.     The shapely silver shoulder stoops,     Weighed over clean     With state of splendid hair that droops     Each side, Faustine.     Let me go over your good gifts     That crown you queen;     A queen whose kingdom ebbs and shifts     Each week, Faustine.     Bright heavy brows well gathered up:     White gloss and sheen;     Carved lips that make my lips a cup     To drink, Faustine,     Wine and rank poison, milk and blood,     Being mixed therein     Since first the devil threw dice with God     For you, Faustine.     Your naked new-born soul, their stake,     Stood blind between;     God said let him that wins her take     And keep Faustine.     But this time Satan throve, no doubt:     Long since, I ween,     Gods part in you was battered out;     Long since, Faustine.     The die rang sideways as it fell,     Rang cracked and thin,     Like a mans laughter heard in hell     Far down, Faustine,     A shadow of laughter like a sigh,     Dead sorrows kin;     So rang, thrown down, the devils die     That won Faustine.     A suckling of his breed you were,     One hard to wean;     But God, who lost you, left you fair,     We see, Faustine.     You have the face that suits a woman     For her souls screen     The sort of beauty thats called human     In hell, Faustine.     You could do all things but be good     Or chaste of mien;     And that you would not if you could,     We know, Faustine.     Even he who cast seven devils out     Of Magdalene     Could hardly do as much, I doubt,     For you, Faustine.     Did Satan make you to spite God?     Or did God mean     To scourge with scorpions for a rod     Our sins, Faustine?     I know what queen at first you were,     As though I had seen     Red gold and black imperious hair     Twice crown Faustine.     As if your fed sarcophagus     Spared flesh and skin,     You come back face to face with us,     The same Faustine.     She loved the games men played with death,     Where death must win;     As though the slain mans blood and breath     Revived Faustine.     Nets caught the pike, pikes tore the net;     Lithe limbs and lean     From drained-out pores dripped thick red sweat     To soothe Faustine.     She drank the steaming drift and dust     Blown off the scene;     Blood could not ease the bitter lust     That galled Faustine.     All round the foul fat furrows reeked,     Where blood sank in;     The circus splashed and seethed and shrieked     All round Faustine.     But these are gone now: years entomb     The dust and din;     Yea, even the baths fierce reek and fume     That slew Faustine.     Was life worth living then? and now     Is life worth sin?     Where are the imperial years? and how     Are you Faustine?     Your soul forgot her joys, forgot     Her times of teen;     Yea, this life likewise will you not     Forget, Faustine?     For in the time we know not of     Did fate begin     Weaving the web of days that wove     Your doom, Faustine.     The threads were wet with wine, and all     Were smooth to spin;     They wove you like a Bacchanal,     The first Faustine.     And Bacchus cast your mates and you     Wild grapes to glean;     Your flower-like lips were dashed with dew     From his, Faustine.     Your drenched loose hands were stretched to hold     The vines wet green,     Long ere they coined in Roman gold     Your face, Faustine.     Then after change of soaring feather     And winnowing fin,     You woke in weeks of feverish weather,     A new Faustine.     A star upon your birthday burned,     Whose fierce serene     Red pulseless planet never yearned     In heaven, Faustine.     Stray breaths of Sapphic song that blew     Through Mitylene     Shook the fierce quivering blood in you     By night, Faustine.     The shameless nameless love that makes     Hells iron gin     Shut on you like a trap that breaks     The soul, Faustine.     And when your veins were void and dead,     What ghosts unclean     Swarmed round the straitened barren bed     That hid Faustine?     What sterile growths of sexless root     Or epicene?     What flower of kisses without fruit     Of love, Faustine?     What adders came to shed their coats?     What coiled obscene     Small serpents with soft stretching throats     Caressed Faustine?     But the time came of famished hours,     Maimed loves and mean,     This ghastly thin-faced time of ours,     To spoil Faustine.     You seem a thing that hinges hold,     A love-machine     With clockwork joints of supple gold     No more, Faustine.     Not godless, for you serve one God,     The Lampsacene,     Who metes the gardens with his rod;     Your lord, Faustine.     If one should love you with real love     (Such things have been,     Things your fair face knows nothing of,     It seems, Faustine);     That clear hair heavily bound back,     The lights wherein     Shift from dead blue to burnt-up black;     Your throat, Faustine,     Strong, heavy, throwing out the face     And hard bright chin     And shameful scornful lips that grace     Their shame, Faustine,     Curled lips, long since half kissed away,     Still sweet and keen;     Youd give him poison shall we say?     Or what, Faustine?

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Poem Details

Language: English
Keywords: Public Domain
Source: Public Domain Collection
Rights/Permissions: Public Domain

Analysis & Notes:
This poem presents a compelling exploration of the dichotomy between divine goodness and infernal corruption, embodied in the central figure of Faustine. The poet uses vivid and detailed imagery to render Faustine as a beguiling figure, simultaneously alluring and menacing, a queen whose beauty belies her moral bankruptcy.

The poem navigates between admiration and condemnation of Faustine, creating an ambiguous tone that reflects the complex relationship between the speaker and the subject. A recurring theme is the struggle between God and the devil for Faustine's soul, symbolizing the eternal conflict between good and evil. The poet employs this narrative to question the nature of Faustine's corruption, asking whether it is God's punishment for sin or the devil's spiteful creation.

The structure of the poem, with its recurrent references to Faustine, enhances the hypnotic allure of the central figure and underscores her power over the speaker. The poem's richly descriptive language and strikingly visual metaphors, such as "queen whose kingdom ebbs and shifts", "the devils die that won Faustine", and "a love-machine with clockwork joints of supple gold", contribute to the creation of a vivid, unforgettable portrait of Faustine.

Overall, the poem is a powerful exploration of the themes of beauty, moral corruption, divine and infernal influence, and the destructive power of desire. Despite its complex themes and rich literary devices, the poem's accessible language and compelling narrative make it accessible to a general audience.

Understanding Elegy

An elegy is a form of poetry that expresses sorrow or lamentation, often for someone who has died. This type of poetry serves as a tribute to the deceased, reflecting on their life and the grief left behind.


Elegies are deeply emotional and personal, exploring themes of loss, mourning, and remembrance. Here are some defining characteristics:

  • Mournful Tone: Elegies are characterized by a tone of sadness and reflection, as the poet grapples with the pain of loss.
  • Tribute to the Deceased: The subject of an elegy is often someone who has passed away, with the poem serving as a memorial that honors their life and legacy.
  • Personal Reflection: Elegies often include personal reflections on the impact of the deceased on the poet's life, as well as broader musings on mortality and the human condition.
  • Structure and Form: While elegies can vary in form, they often follow a traditional structure that includes an expression of grief, praise for the deceased, and a sense of consolation or acceptance.

From ancient times to the present, elegies have provided a way for poets to navigate the complexities of grief and loss, offering solace and a means of preserving the memory of those who have passed.