The Marble Faun

Victor Hugo (1802–1885), translated by various hands · 1888

iambic pentameter · 83 lines · from Poems

He seemed to shiver, for the wind was keen.'Twas a poor statue underneath a massOf leafless branches, with a blackened backAnd a green foot--an isolated FaunIn old deserted park, who, bending forward,Half-merged himself in the entangled boughs,Half in his marble settings. He was there,Pensive, and bound to earth; and, as all thingsDevoid of movement, he was there--forgotten.

Trees were around him, whipped by icy blasts--Gigantic chestnuts, without leaf or bird,And, like himself, grown old in that same place.Through the dark network of their undergrowth,Pallid his aspect; and the earth was brown.Starless and moonless, a rough winter's nightWas letting down her lappets o'er the mist.This--nothing more: old Faun, dull sky, dark wood.

Poor, helpless marble, how I've pitied it!Less often man--the harder of the two.

So, then, without a word that might offendHis ear deformed--for well the marble hearsThe voice of thought--I said to him: "You hailFrom the gay amorous age. O Faun, what saw youWhen you were happy? Were you of the Court?

"Speak to me, comely Faun, as you would speakTo tree, or zephyr, or untrodden grass.Have you, O Greek, O mocker of old days,Have you not sometimes with that oblique eyeWinked at the Farnese Hercules?--Alone,Have you, O Faun, considerately turnedFrom side to side when counsel-seekers came,And now advised as shepherd, now as satyr?--Have you sometimes, upon this very bench,Seen, at mid-day, Vincent de Paul instillingGrace into Gondi?--Have you ever thrownThat searching glance on Louis with Fontange,On Anne with Buckingham; and did they notStart, with flushed cheeks, to hear your laugh ring forthFrom corner of the wood?--Was your adviceAs to the thyrsis or the ivy asked,When, in grand ballet of fantastic form,God Phoebus, or God Pan, and all his court,Turned the fair head of the proud Montespan,Calling her Amaryllis?--La Fontaine,Flying the courtiers' ears of stone, came he,Tears on his eyelids, to reveal to youThe sorrows of his nymphs of Vaux?--What saidBoileau to you--to you--O lettered Faun,Who once with Virgil, in the Eclogue, heldThat charming dialogue?--Say, have you seenYoung beauties sporting on the sward?--Have youBeen honored with a sight of MolièreIn dreamy mood?--Has he perchance, at eve,When here the thinker homeward went, has he,Who--seeing souls all naked--could not fearYour nudity, in his inquiring mind,Confronted you with Man?"

Under the thickly-tangled branches, thusDid I speak to him; he no answer gave.

I shook my head, and moved myself away;Then, from the copses, and from secret cavesHid in the wood, methought a ghostly voiceCame forth and woke an echo in my soulsAs in the hollow of an amphora.

"Imprudent poet," thus it seemed to say,"What dost thou here? Leave the forsaken FaunsIn peace beneath their trees! Dost thou not know,Poet, that ever it is impious deemed,In desert spots where drowsy shades repose--Though love itself might prompt thee--to shake downThe moss that hangs from ruined centuries,And, with the vain noise of throe ill-timed words,To mar the recollections of the dead?"

Then to the gardens all enwrapped in mistI hurried, dreaming of the vanished days,And still behind me--hieroglyph obscureOf antique alphabet--the lonely FaunHeld to his laughter, through the falling night.

I went my way; but yet--in saddened spiritPondering on all that had my vision crossed,Leaves of old summers, fair ones of old time--Through all, at distance, would my fancy see,In the woods, statues; shadows in the past!

Words in this poem 20
faun n.
A god of fields and shipherds, diddering little from the satyr. [L. Faunus, fr. favere to be favorable. See Favor.]
undergrowth n.
That which grows under trees; specifically, shrubs or small trees growing among large trees.
starless a.
Being without stars; having no stars visible; as, a starless night.
moonless a.
Being without a moon or moonlight.
zephyr n.
The west wind; poetically, any soft, gentle breeze. [L. zephyrus, Gr. zéphyr.]
satyr n.
A sylvan deity or demigod, represented as part man and part goat, and characterized by riotous merriment and lasciviousness. [L. satyrus, Gr. satyre.]
fontange n.
A kind of tall headdress formerly worn. [F., from the name of the first wearer, Mlle. de Fontanges, about 1679.]
ballet n.
An artistic dance performed as a theatrical entertainment, or an interlude, by a number of persons, usually women. Sometimes, a scene accompanied by pantomime and dancing. [F., a dim. of bal dance. See 2d Ball, n.]
phoebus n.
Apollo; the sun god.
amaryllis n.
A pastoral sweetheart.
lettered a.
Literate; educated; versed in literature.
eclogue n.
A pastoral poem, in which shepherds are introduced conversing with each other; a bucolic; an idyl; as, the Ecloques of Virgil, from which the modern usage of the word has been established. [L. ecloga, Gr. égloque, écloque. See Ex-, and Legend.]
dreamy a.
Abounding in dreams or given to dreaming; appropriate to, or like, dreams; visionary.
homeward a.
Being in the direction of home; as, the homeward way.
went n.
Course; way; path; journey; direction.
nudity n.
The quality or state of being nude; nakedness. [Cf. F. nudité .]
shook v. t.
To pack, as staves, in a shook.
ghostly a.
Relating to the soul; not carnal or secular; spiritual; as, a ghostly confessor. [OE. gastlich, gostlich, AS. gastlic. See Ghost.]
amphora n.
Among the ancients, a two-handled vessel, tapering at the bottom, used for holding wine, oil, etc. [L., fr. Gr. Ampul.]
throe n.
Extreme pain; violent pang; anguish; agony; especially, one of the pangs of travail in childbirth, or purturition. [OE. , , AS. a threatening, oppression, suffering, perhaps influenced by Icel. a throe, a pang, a longing; cf. AS. to suffer.]

Definitions and etymologies from Webster's Unabridged Dictionary, 1913.

About this text

The Marble Faun is in the public domain. This text is taken from Poems, Project Gutenberg ebook #8775, the various hands translation; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.

Cite as: Victor Hugo, The Marble Faun, in Poems (1888), text of Project Gutenberg ebook #8775, Laurel, https://laurelpoetry.com/poem/hugo-poems/the-marble-faun.html, id L26789.

Form and metre

The Marble Faun is 83 lines in 10 stanzas. The metre is iambic pentameter, measured from the stress the words themselves fix (confidence 87%).

See other poems in iambic pentameter.

Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.

Rhyme words, stanza by stanza

The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.

  1. 5 ---------A-A--------------------- speak · grass · days · eye · alone · turned · came · satyr · bench · instillingA · thrown · fontangeA · not · forth · advice · asked · form · court · montespan · fontaine · he · you · said · faun · held · seen · you · molière · eve · he · fear · mind · man
  2. 8 ----A-A-- say · fauns · know · deemed · reposeA · down · centuriesA · words · dead
Scansion, line by line

Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic pentameter. How this is done.

LineSyl.Stress
He seemed to shiver, for the wind was keen.10···/˘·····
'Twas a poor statue underneath a mass10···/··˘/··
Of leafless branches, with a blackened back10·/˘/˘··/˘·
And a green foot--an isolated Faun10·····/˘·˘·
In old deserted park, who, bending forward,11··˘/˘··/˘/˘
Half-merged himself in the entangled boughs,10··˘/··˘/˘·
Half in his marble settings. He was there,10···/˘/˘···
Pensive, and bound to earth; and, as all things10/˘········
Devoid of movement, he was there--forgotten.11˘/·/˘···˘/˘
Trees were around him, whipped by icy blasts--10·······/˘·
Gigantic chestnuts, without leaf or bird,10˘/˘/˘·····
And, like himself, grown old in that same place.10··˘/······
Through the dark network of their undergrowth,10···/···/˘·
Pallid his aspect; and the earth was brown.10/˘·/······
Starless and moonless, a rough winter's night10/˘·/˘··/˘·
Was letting down her lappets o'er the mist.10·/˘·······
This--nothing more: old Faun, dull sky, dark wood.10·/˘·······
Poor, helpless marble, how I've pitied it!10·/˘/˘··/··
Less often man--the harder of the two.10·/˘··/˘···
So, then, without a word that might offend10········˘/
His ear deformed--for well the marble hears10··˘/···/˘·
The voice of thought--I said to him: "You hail10··········
From the gay amorous age. O Faun, what saw you11···/˘······
When you were happy? Were you of the Court?10···/˘·····
"Speak to me, comely Faun, as you would speak10···/˘·····
To tree, or zephyr, or untrodden grass.10···/˘·····
Have you, O Greek, O mocker of old days,10·····/˘···
Have you not sometimes with that oblique eye10···˘/··˘/·
Winked at the Farnese Hercules?--Alone,10·····/˘·˘/
Have you, O Faun, considerately turned11···········
From side to side when counsel-seekers came,10·····/˘/˘·
And now advised as shepherd, now as satyr?--11··˘/·/˘··/˘
Have you sometimes, upon this very bench,10··˘/···/˘·
Seen, at mid-day, Vincent de Paul instilling11····/˘··˘/˘
Grace into Gondi?--Have you ever thrown10·······/˘·
That searching glance on Louis with Fontange,10·/˘··/˘···
On Anne with Buckingham; and did they not10···/˘·····
Start, with flushed cheeks, to hear your laugh ring forth10··········
From corner of the wood?--Was your advice10·/˘·····˘/
As to the thyrsis or the ivy asked,10·······/˘·
When, in grand ballet of fantastic form,10···˘/·˘/˘·
God Phoebus, or God Pan, and all his court,10·/˘·······
Turned the fair head of the proud Montespan,10··········
Calling her Amaryllis?--La Fontaine,10/˘··˘/˘·˘/
Flying the courtiers' ears of stone, came he,10/˘·/˘·····
Tears on his eyelids, to reveal to you10···/··˘/··
The sorrows of his nymphs of Vaux?--What said10·/˘·······
Boileau to you--to you--O lettered Faun,10·/·····/˘·
Who once with Virgil, in the Eclogue, held10···/˘··/˘·
That charming dialogue?--Say, have you seen10·/˘/˘·····
Young beauties sporting on the sward?--Have you10·/˘/˘·····
Been honored with a sight of Molière10·/˘˘······
In dreamy mood?--Has he perchance, at eve,10·/˘···˘/··
When here the thinker homeward went, has he,10···/˘/˘···
Who--seeing souls all naked--could not fear10·/˘··/˘···
Your nudity, in his inquiring mind,10·/˘··˘/˘˘·
Confronted you with Man?"6˘/˘···
Under the thickly-tangled branches, thus10···/˘/˘/˘·
Did I speak to him; he no answer gave.10·······/˘·
I shook my head, and moved myself away;10·······/˘/
Then, from the copses, and from secret caves10···/˘··/˘·
Hid in the wood, methought a ghostly voice10····˘/·/˘·
Came forth and woke an echo in my souls10·····/˘···
As in the hollow of an amphora.10···/˘··/˘˘
"Imprudent poet," thus it seemed to say,10˘/˘/˘·····
"What dost thou here? Leave the forsaken Fauns10······˘/˘·
In peace beneath their trees! Dost thou not know,10··········
Poet, that ever it is impious deemed,10/˘·/··˘/˘·
In desert spots where drowsy shades repose--10·/˘··/˘·˘/
Though love itself might prompt thee--to shake down10··˘/······
The moss that hangs from ruined centuries,10·····/˘/˘˘
And, with the vain noise of throe ill-timed words,10··········
To mar the recollections of the dead?"10····˘/˘···
Then to the gardens all enwrapped in mist10···/˘·····
I hurried, dreaming of the vanished days,10·/˘/˘··/˘·
And still behind me--hieroglyph obscure10······˘/˘/
Of antique alphabet--the lonely Faun10·˘//˘··/˘·
Held to his laughter, through the falling night.10···/˘··/˘·
I went my way; but yet--in saddened spirit11·······/˘/˘
Pondering on all that had my vision crossed,10/˘·····/˘·
Leaves of old summers, fair ones of old time--10···/˘·····
Through all, at distance, would my fancy see,10···/˘··/˘·
In the woods, statues; shadows in the past!10···/·/····

The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.

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