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Edna St. Vincent Millay

Edna St. Vincent Millay

1892–1950 · lived 58 years -- --

Edna St. Vincent Millay was a prominent American poet and playwright, celebrated for her lyrical verse and her passionate, often rebellious, spirit. A leading voice of the "Lost Generation," her work captured the zeitgeist of the Jazz Age with its themes of love, freedom, social injustice, and the complexities of modern life. Millay's skillful use of traditional forms, such as the sonnet, combined with her bold modern sensibilities, earned her widespread acclaim and a devoted readership.

n. 1892-02-22, Rockland · m. 1950-10-19, Austerlitz

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Sonnet III: Mindful of you the sodden earth

Mindful of you the sodden earth in spring,
And all the flowers that in the springtime grow,
And dusty roads, and thistles, and the slow

Rising of the round moon, all throats that sing

The summer through, and each departing wing,
And all the nests that the bared branches show,
And all winds that in any weather blow,

And all the storms that the four seasons bring.
You go no more on your exultant feet
Up paths that only mist and morning knew,
Or watch the wind, or listen to the beat
Of a bird's wings too high in air to view,--
But you were something more than young and sweet
And fair,--and the long year remembers you.
Read full poem
Bio

Identification and basic context

Edna St. Vincent Millay was an American poet and playwright. She was born in Rockland, Maine, United States. She primarily wrote in English. Millay became one of the most popular and influential poets of the early 20th century, often associated with the Harlem Renaissance and the Lost Generation.

Childhood and education

Millay's childhood was marked by her mother's encouragement of her artistic talents. She attended Barnard School for Girls and later Vassar College, where she began to gain recognition for her poetry. Her time at Vassar was formative, exposing her to literary circles and fostering her independent spirit.

Literary trajectory

Millay's career took off with the publication of her long narrative poem "Renascence" in 1917. She quickly became a literary sensation, known for her passionate lyrics and her defiance of convention. She published numerous collections of poetry, including "A Few Figs from Thistles" (1920), "Second April" (1921), and "The Harp-Weaver and Other Poems" (1923), for which she won the Pulitzer Prize for Poetry. She also wrote several plays.

Works, style, and literary characteristics

Major works include "Renascence" (1917), "A Few Figs from Thistles" (1920), "Second April" (1921), "The Harp-Weaver and Other Poems" (1923), and "Fatal Interview" (1931). Her poetry often explored themes of love, desire, independence, mortality, social injustice, and the passage of time. Millay was a master of traditional forms, particularly the sonnet, which she used to express intense personal emotion and sharp social commentary. Her style is characterized by its musicality, wit, emotional directness, and clarity of language. She was known for her bold, confessional voice and her unapologetic exploration of female sexuality and autonomy.

Cultural and historical context

Millay's work emerged during a period of significant social and cultural change in the United States, including the Jazz Age, the women's suffrage movement, and the Harlem Renaissance. She was a prominent figure in Greenwich Village bohemian circles and became an icon of female independence and artistic freedom.

Personal life

Millay was known for her passionate love affairs and her unconventional lifestyle. Her relationships, including her marriage to Eugen Jan Boissevain, were often sources of inspiration and sometimes turmoil. She struggled with addiction and health issues later in life.

Recognition and reception

Millay achieved immense popularity during her lifetime, becoming one of the best-selling poets in America. She won the Pulitzer Prize for Poetry in 1923. While her popularity waned somewhat in the mid-20th century, her work has seen a significant resurgence in critical appreciation in recent decades.

Influences and legacy

Millay was influenced by classical poets and the English Romantic tradition. She, in turn, influenced many later poets, particularly women writers who found inspiration in her independence and her unflinching exploration of female experience. Her work continues to be read and admired for its emotional power and its enduring relevance.

Interpretation and critical analysis

Millay's poetry is often analyzed for its feminist themes, its complex treatment of love and desire, and its engagement with social and political issues. Critics have explored her use of form to convey modern sensibility and her position within the literary landscape of her time.

Curiosities and lesser-known aspects

Millay was a charismatic performer of her own poetry and was known for her striking beauty and independent spirit, which captivated many.

Death and memory

Millay died tragically in 1950 at her home, Steepletop, in Austerlitz, New York, likely from a fall down the stairs. Her home has been preserved as a museum and literary center, ensuring her memory and work continue to be celebrated.

Poems

81

When We Are Old And These Rejoicing Veins

When we are old and these rejoicing veins
Are frosty channels to a muted stream,
And out of all our burning their remains
No feeblest spark to fire us, even in dream,
This be our solace: that it was not said
When we were young and warm and in our prime,
Upon our couch we lay as lie the dead,
Sleeping away the unreturning time.
O sweet, O heavy-lidded, O my love,
When morning strikes her spear upon the land,
And we must rise and arm us and reprove
The insolent daylight with a steady hand,
Be not discountenanced if the knowing know
We rose from rapture but an hour ago.
423

Spring

To what purpose, April, do you return again?
Beauty is not enough.
You can no longer quiet me with the redness
Of little leaves opening stickily.
I know what I know.
The sun is hot on my neck as I observe
The spikes of the crocus.
The smell of the earth is good.
It is apparent that there is no death.
But what does that signify?
Not only under ground are the brains of men
Eaten by maggots.
Life in itself
Is nothing,
An empty cup, a flight of uncarpeted stairs.
It is not enough that yearly, down this hill,
April
Comes like an idiot, babbling and strewing flowers.
423

Alms

My heart is what it was before,
A house where people come and go;
But it is winter with your love,
The sashes are beset with snow.


I light the lamp and lay the cloth,
I blow the coals to blaze again;
But it is winter with your love,
The frost is thick upon the pane..


I know a winter when it comes:
The leaves are listless on the boughs;
I watched your love a little while,
And brought my plants into the house.


I water them and turn them south,
I snap the dead brown from the stem;
But it is winter with your love,
I only tend and water them.


There was a time I stood and watched
The small, ill-natured sparrows' fray;
I loved the beggar that I fed,
I cared for what he had to say,


I stood and watched him out of sight:
Today I reach around the door
And set a bowl upon the step;
My heart is what it was before,


But it is winter with your love;
I scatter crumbs upon the sill,
And close the window, —and the birds
May take or leave them, as they will.
420

Apostrophe To Man

(On reflecting that the world
is ready to go to war again)

Detestable race, continue to expunge yourself, die out.
Breed faster, crowd, encroach, sing hymns, build

bombing airplanes;
Make speeches, unveil statues, issue bonds, parade;
Convert again into explosives the bewildered ammonia
and the distracted cellulose;
Convert again into putrescent matter drawing flies
The hopeful bodies of the young; exhort,
Pray, pull long faces, be earnest,
be all but overcome, be photographed;
Confer, perfect your formulae, commercialize
Bacateria harmful to human tissue,
Put death on the market;
Breed, crowd, encroach,
expand, expunge yourself, die out,
Homo called sapiens.
418

I Dreamed I Moved Among The Elysian Fields

I dreamed I moved among the Elysian fields,
In converse with sweet women long since dead;
And out of blossoms which that meadow yields
I wove a garland for your living head.
Danai, that was the vessel for a day
Of golden Jove, I saw, and at her side,
Whom Jove the Bull desired and bore away,
Europa stood, and the Swan's featherless bride.
All these were mortal women, yet all these
Above the ground had had a god for guest;
Freely I walked beside them and at ease,
Addressing them, by them again addressed,
And marvelled nothing, for remembering you,
Wherefore I was among them well I knew.
416

When I Too Long Have Looked Upon Your Face

When I too long have looked upon your face,
Wherein for me a brightness unobscured
Save by the mists of brightness has its place,
And terrible beauty not to be endured,
I turn away reluctant from your light,
And stand irresolute, a mind undone,
A silly, dazzled thing deprived of sight
From having looked too long upon the sun.
Then is my daily life a narrow room
In which a little while, uncertainly,
Surrounded by impenetrable gloom,
Among familiar things grown strange to me
Making my way, I pause, and feel, and hark,
Till I become accustomed to the dark.
410

Modern Declaration

I, having loved ever since I was a child a few things, never having
wavered
In these affections; never through shyness in the houses of the
rich or in the presence of clergymen having denied these
loves;
Never when worked upon by cynics like chiropractors having
grunted or clicked a vertebra to the discredit of those loves;
Never when anxious to land a job having diminished them by a
conniving smile; or when befuddled by drink
Jeered at them through heartache or lazily fondled the fingers of
their alert enemies; declare


That I shall love you always.
No matter what party is in power;
No matter what temporarily expedient combination of allied
interests wins the war;
Shall love you always.
410

Scrub

If I grow bitterly,
Like a gnarled and stunted tree,
Bearing harshly of my youth
Puckered fruit that sears the mouth;
If I make of my drawn boughs
An Inshospitable House,
Out of which I nevery pry
Towards the water and the sky,
Under which I stand and hide
And hear the day go by outside;
It is that a wind to strong
Bent my back when I was young,
It is that I fear the rain
Lest it blister me again.
406

Prayer To Persephone

Be to her, Persephone,
All the things I might not be:
Take her head upon your knee.
She that was so proud and wild,
Flippant, arrogant and free,
She that had no need of me,
Is a little lonely child
Lost in Hell,—Persephone,
Take her head upon your knee:
Say to her, "My dear, my dear,
It is not so dreadful here."
405

Renascence

All I could see from where I stood
Was three long mountains and a wood;
I turned and looked another way,
And saw three islands in a bay.
So with my eyes I traced the line
Of the horizon, thin and fine,
Straight around till I was come
Back to where I'd started from;
And all I saw from where I stood
Was three long mountains and a wood.
Over these things I could not see;
These were the things that bounded me;
And I could touch them with my hand,
Almost, I thought, from where I stand.
And all at once things seemed so small
My breath came short, and scarce at all.
But, sure, the sky is big, I said;
Miles and miles above my head;
So here upon my back I'll lie
And look my fill into the sky.
And so I looked, and, after all,
The sky was not so very tall.
The sky, I said, must somewhere stop,
And -- sure enough! -- I see the top!
The sky, I thought, is not so grand;
I 'most could touch it with my hand!
And, reaching up my hand to try,
I screamed to feel it touch the sky.


I screamed, and -- lo! -- Infinity
Came down and settled over me;
And, pressing of the Undefined
The definition on my mind,
Held up before my eyes a glass
Through which my shrinking sight did pass
Until it seemed I must behold
Immensity made manifold;
Whispered to me a word whose sound
Deafened the air for worlds around,
And brought unmuffled to my ears
The gossiping of friendly spheres,
The creaking of the tented sky,
The ticking of Eternity.
I saw and heard, and knew at last
The How and Why of all things, past,
And present, and forevermore.
The universe, cleft to the core,
Lay open to my probing sense
That, sick'ning, I would fain pluck thence
But could not, -- nay! But needs must suck
At the great wound, and could not pluck
My lips away till I had drawn



All venom out. -- Ah, fearful pawn!
For my omniscience paid I toll
In infinite remorse of soul.
All sin was of my sinning, all
Atoning mine, and mine the gall
Of all regret. Mine was the weight
Of every brooded wrong, the hate
That stood behind each envious thrust,
Mine every greed, mine every lust.
And all the while for every grief,
Each suffering, I craved relief
With individual desire, --
Craved all in vain! And felt fierce fire
About a thousand people crawl;
Perished with each, -- then mourned for all!
A man was starving in Capri;
He moved his eyes and looked at me;
I felt his gaze, I heard his moan,
And knew his hunger as my own.
I saw at sea a great fog-bank
Between two ships that struck and sank;
A thousand screams the heavens smote;
And every scream tore through my throat.
No hurt I did not feel, no death
That was not mine; mine each last breath
That, crying, met an answering cry
From the compassion that was I.
All suffering mine, and mine its rod;
Mine, pity like the pity of God.
Ah, awful weight! Infinity
Pressed down upon the finite Me!
My anguished spirit, like a bird,
Beating against my lips I heard;
Yet lay the weight so close about
There was no room for it without.
And so beneath the Weight lay I
And suffered death, but could not die.


Long had I lain thus, craving death,
When quietly the earth beneath
Gave way, and inch by inch, so great
At last had grown the crushing weight,
Into the earth I sank till I
Full six feet under ground did lie,
And sank no more, -- there is no weight
Can follow here, however great.
From off my breast I felt it roll,
And as it went my tortured soul
Burst forth and fled in such a gust
That all about me swirled the dust.


Deep in the earth I rested now;



Cool is its hand upon the brow
And soft its breast beneath the head
Of one who is so gladly dead.
And all at once, and over all,
The pitying rain began to fall;
I lay and heard each pattering hoof
Upon my lowly, thatched roof,
And seemed to love the sound far more
Than ever I had done before.
For rain it hath a friendly sound
To one who's six feet underground;
And scarce the friendly voice or face:
A grave is such a quiet place.


The rain, I said, is kind to come
And speak to me in my new home.
I would I were alive again
To kiss the fingers of the rain,
To drink into my eyes the shine
Of every slanting silver line,
To catch the freshened, fragrant breeze
From drenched and dripping apple-trees.
For soon the shower will be done,
And then the broad face of the sun
Will laugh above the rain-soaked earth
Until the world with answering mirth
Shakes joyously, and each round drop
Rolls, twinkling, from its grass-blade top.
How can I bear it; buried here,
While overhead the sky grows clear
And blue again after the storm?
O, multi-colored, multiform,
Beloved beauty over me,
That I shall never, never see
Again! Spring-silver, autumn-gold,
That I shall never more behold!
Sleeping your myriad magics through,
Close-sepulchred away from you!
O God, I cried, give me new birth,
And put me back upon the earth!
Upset each cloud's gigantic gourd
And let the heavy rain, down-poured
In one big torrent, set me free,
Washing my grave away from me!


I ceased; and, through the breathless hush
That answered me, the far-off rush
Of herald wings came whispering
Like music down the vibrant string
Of my ascending prayer, and -- crash!
Before the wild wind's whistling lash
The startled storm-clouds reared on high



And plunged in terror down the sky,
And the big rain in one black wave
Fell from the sky and struck my grave.


I know not how such things can be
I only know there came to me
A fragrance such as never clings
To aught save happy living things;
A sound as of some joyous elf
Singing sweet songs to please himself,
And, through and over everything,
A sense of glad awakening.
The grass, a-tiptoe at my ear,
Whispering to me I could hear;
I felt the rain's cool finger-tips
Brushed tenderly across my lips,
Laid gently on my sealed sight,
And all at once the heavy night
Fell from my eyes and I could see, --
A drenched and dripping apple-tree,
A last long line of silver rain,
A sky grown clear and blue again.
And as I looked a quickening gust
Of wind blew up to me and thrust
Into my face a miracle
Of orchard-breath, and with the smell, --
I know not how such things can be! --
I breathed my soul back into me.
Ah! Up then from the ground sprang I
And hailed the earth with such a cry
As is not heard save from a man
Who has been dead, and lives again.
About the trees my arms I wound;
Like one gone mad I hugged the ground;
I raised my quivering arms on high;
I laughed and laughed into the sky,
Till at my throat a strangling sob
Caught fiercely, and a great heart-throb
Sent instant tears into my eyes;
O God, I cried, no dark disguise
Can e'er hereafter hide from me
Thy radiant identity!
Thou canst not move across the grass
But my quick eyes will see Thee pass,
Nor speak, however silently,
But my hushed voice will answer Thee.
I know the path that tells Thy way
Through the cool eve of every day;
God, I can push the grass apart
And lay my finger on Thy heart!


The world stands out on either side



No wider than the heart is wide;
Above the world is stretched the sky, --
No higher than the soul is high.
The heart can push the sea and land
Farther away on either hand;
The soul can split the sky in two,
And let the face of God shine through.
But East and West will pinch the heart
That cannot keep them pushed apart;
And he whose soul is flat -- the sky
Will cave in on him by and by.
405

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