Edna St. Vincent Millay

Edna St. Vincent Millay (February 22, 1892 – October 19, 1950) Edna St. Vincent Millay was an American lyrical poet, playwright and feminist. She received the Pulitzer Prize for Poetry, and was known for her activism and her many love affairs. She used the pseudonym Nancy Boyd for her prose work. Early Life Millay was born in Rockland, Maine to Cora Lounella, a nurse, and Henry Tollman Millay, a schoolteacher who would later become superintendent of schools. Her middle name derives from St. Vincent's Hospital in New York, where her uncle's life had been saved just before her birth. The family's house was "between the mountains and the sea where baskets of apples and drying herbs on the porch mingled their scents with those of the neighboring pine woods." In 1904, Cora officially divorced Millay's father for financial irresponsibility, but they had already been separated for some years. Cora and her three daughters, Edna (who called herself "Vincent"), Norma, and Kathleen, moved from town to town, living in poverty. Cora travelled with a trunk full of classic literature, including Shakespeare and Milton, which she read to her children. The family settled in a small house on the property of Cora's aunt in Camden, Maine, where Millay would write the first of the poems that would bring her literary fame. The three sisters were independent and spoke their minds, which did not always sit well with the authority figures in their lives. Millay's grade school principal, offended by her frank attitudes, refused to call her Vincent. Instead, he called her by any woman's name that started with a V. At Camden High School, Millay began developing her literary talents, starting at the school's literary magazine, The Megunticook. At 14 she won the St. Nicholas Gold Badge for poetry, and by 15 she had published her poetry in the popular children's magazine St. Nicholas, the Camden Herald, and the high-profile anthology Current Literature. While at school she had several relationships with women, including Edith Wynne Matthison, who would go on to become an actress in silent films. Millay entered Vassar College at 21, later than usual, and had relationships with several fellow students during her time there. Millay’s fame began in 1912 when she entered her poem “Renascence” in a poetry contest in The Lyric Year. The poem was widely considered the best submission and when it was ultimately awarded fourth place, it created a scandal which brought Millay publicity. The first-place winner Orrick Johns was among those who felt that “Renascence” was the best poem, and stated that “the award was as much an embarrassment to me as a triumph." A second-prize winner offered Millay his $250 prize money. In the immediate  aftermath of the Lyric Year controversy, Caroline B. Dow heard Millay reciting her poetry and playing the piano at the Whitehall Inn in Camden, Maine, and was so impressed that she offered to pay for Millay’s education at Vassar College. Millay moved to New York City after her graduation in 1917. Career Millay lived in a number of places in Greenwich Village, including a house owned by the Cherry Lane Theatre, renowned for being the smallest in New York City. The critic Floyd Dell wrote that the red-haired and beautiful Millay was "a frivolous young woman, with a brand-new pair of dancing slippers and a mouth like a valentine." Millay described her life in New York as "very, very poor and very, very merry." Openly bisexual, she counted among her close friends the writers Witter Bynner, Arthur Davison Ficke, and Susan Glaspell, as well as Floyd Dell and the critic Edmund Wilson, both of whom proposed marriage to her and were refused. Her 1920 collection A Few Figs From Thistles drew controversy for its novel exploration of female sexuality and feminism. In 1919 she wrote the anti-war play Aria da Capo which starred her sister Norma Millay at the Provincetown Playhouse in New York City. Millay won the Pulitzer Prize for Poetry in 1923 for "The Ballad of the Harp-Weaver"; she was the third woman to win the poetry prize. In 1923 she married 43-year-old Eugen Jan Boissevain (1880–1949), the widower of the labor lawyer and war correspondent Inez Milholland, a political icon Millay had met during her time at Vassar. A self-proclaimed feminist, Boissevain supported her career and took primary care of domestic responsibilities. Both Millay and Boissevain had other lovers throughout their twenty-six-year marriage. Millay's most significant such relationship during this time was with the poet George Dillon, who was fourteen years her junior, and for whom she wrote a number of her sonnets. In 1925, Boissevain and Millay bought Steepletop near Austerlitz, New York, which had been a 635-acre (257 ha) blueberry farm. The couple built a barn (from a Sears Roebuck kit), and then a writing cabin and a tennis court. Millay grew her own vegetables in a small garden. The couple later bought Ragged Island in Casco Bay, Maine, as a summer retreat. Millay's reputation was damaged by the poetry she wrote about the Allied war effort during World War II. Merle Rubin noted: "She seems to have caught more flak from the literary critics for supporting democracy than Ezra Pound did for championing fascism." In the New York Times Millay mourned the Czechoslovak city of Lidice, the site of a Nazi massacre: The whole world holds in its arms today The murdered village of Lidice, Like the murdered body of a little child. In 1943 Millay was the sixth person and the second woman to be awarded the Frost Medal for her lifetime contribution to American poetry. Boissevain died in 1949 of lung cancer, and Millay lived alone for the last year of her life. Death and Steepletop Legacy Millay died at her home on October 19, 1950. She had fallen down stairs and was found approximately eight hours after her death. Her physician reported that she had had a heart attack following a coronary occlusion. She was 58 years old. Millay's sister Norma and her husband, the painter and actor Charles Frederick Ellis, moved to Steepletop after Millay's death. In 1973 they established Millay Colony for the Arts on the seven acres (2.8 ha) around the house and barn. After the death of her husband in 1976, Norma continued to  run the program until her death in 1986. The poet Mary Oliver visited Steepletop and became a close friend of Norma. Oliver eventually lived there for seven years and helped to organize Millay's papers.Mary Oliver herself went on to become a Pulitzer Prize-winning poet, greatly inspired by Millay's work. In 2006, the state of New York paid $1.69 million to acquire 230 acres (0.93 km2) of Steepletop, with the intention to add the land to a nearby state forest preserve. The proceeds of the sale were to be used by the Edna St. Vincent Millay Society to restore the farmhouse and grounds and turn it into a museum. Since summer, 2010 the museum has been open to the public. Parts of the grounds of Steepletop, including a Poet's Walk that leads to Millay's grave, are now open to the public year-round. From the final weekend of May through the middle of October each year guided tours of Steepletop and Millay's gardens are available. Eserleri: Poetry Collections Renascence, and Other Poems (title poem first published under name E. Vincent Millay in The Lyric Year, 1912; collection includes God's World), M. Kennerley, 1917. reprinted, Books for Libraries Press, 1972. A Few Figs From Thistles: Poems and Four Sonnets, F. Shay, 1920, second [enlarged] edition published as A Few Figs From Thistles: Poems and Sonnets,F. Shay, 1921. Second April (poems; includes Spring, Ode to Silence,and The Beanstalk), M. Kennerley, 1921. reprinted, Harper, 1935 The Ballad of the Harp-Weaver, F. Shay, 1922, reprinted as The Harp-Weaver, in The Harp-Weaver, and Other Poems (includes The Concert, Euclid Alone has Looked on Beauty Bare, and Sonnets from an Ungrafted Tree), Harper, 1923. Poems, M. Secker, 1923. (Under pseudonym Nancy Boyd) Distressing Dialogues, preface by Edna St. Vincent Millay, Harper, 1924. The Buck in the Snow, and Other Poems (includes The Buck in the Snow [also see below] and On Hearing a Symphony of Beethoven), Harper, 1928. Fatal Interview (sonnets), Harper, 1931. Wine from These Grapes (poems; includes Epitaph for the Race of Man and In the Grave No Flower), Harper, 1934. (Translator with George Dillon; and author of introduction) Charles Baudelaire, Flowers of Evil, Harper, 1936. Conversation at Midnight (narrative poem), Harper, 1937. Huntsman, What Quarry? (poems), Harper, 1939. There Are No Islands, Any More: Lines Written in Passion and in Deep Concern for England, France, and My Own Country, Harper, 1940. Make Bright the Arrows: 1940 Notebook (poems), Harper, 1940. The Murder of Lidice (poem), Harper, 1942. Second April [and] The Buck in the Snow, introduction by William Rose Benét, Harper, 1950. Mine the Harvest (poems), edited by Norma Millay, Harper, 1954. Take Up the Song, Harper, 1986, reprinted with music by William Albright as  Take Up the Song: Soprano Solo, Mixed Chorus, and Piano, Henmar Press, 1994. Selected Poems/The Centenary Edition, edited by Colin Falck, Harper Perennial, 1992. Plays (And director) Aria da capo (one-act play in verse; first produced in Greenwich Village, NY, December 5, 1919), M. Kennerley, 1921 (also see below). The Lamp and the Bell (five-act play; first produced June 18, 1921), F. Shay, 1921 (also see below). Two Slatterns and a King: A Moral Interlude (play), Stewart Kidd, 1921. Three Plays (contains Two Slatterns and a King, Aria da capo, and The Lamp and the Bell), Harper, 1926. (Author of libretto) The King's Henchman (three-act play; first produced in New York, February 17, 1927), Harper, 1927. The Princess Marries the Page (one-act play), Harper, 1932. Letters Letters of Edna St. Vincent Millay, edited by Allan Ross Macdougall, Harper, 1952.  [Four Sonnets (1922)] I1. Love, though for this you riddle me with darts, . And drag me at your chariot till I die, -. Oh, heavy prince! Oh, panderer of hearts! -. Yet hear me tell how in their throats they lie . Who shout you mighty: thick about my hair, . Day in, day out, your ominous arrows purr, . Who still am free, unto no querulous care . A fool, and in no temple worshiper! . I, that have bared me to your quiver's fire, . Lifted my face into its puny rain, . Do wreathe you Impotent to Evoke Desire . As you are Powerless to Elicit Pain! . (Now will the god, for blasphemy so brave, . Punish me, surely, with the shaft I crave!) II2. I think I should have loved you presently, . And given in earnest words I flung in jest; . And lifted honest eyes for you to see, . And caught your hand against my cheek and breast; . And all my pretty follies flung aside . That won you to me, and beneath your gaze, . Naked of reticence and shorn of pride, . Spread like a chart my little wicked ways. . I, that had been to you, had you remained, .  But one more waking from a recurrent dream, . Cherish no less the certain stakes I gained, . And walk your memory's halls, austere, supreme, . A ghost in marble of a girl you knew . Who would have loved you in a day or two. III3. Oh, think not I am faithful to a vow! . Faithless am I save to love's self alone. . Were you not lovely I would leave you now: . After the feet of beauty fly my own. . Were you not still my hunger's rarest food, . And water ever to my wildest thirst, . I would desert you -- think not but I would! -. And seek another as I sought you first. . But you are mobile as the veering air, . And all your charms more changeful than the tide, . Wherefore to be inconstant is no care: . I have but to continue at your side. . So wanton, light and false, my love, are you, . I am most faithless when I most am true. IV4. I shall forget you presently, my dear, . So make the most of this, your little day, . Your little month, your little half a year, . Ere I forget, or die, or move away,