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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

A Visit To The Asylum

Once from a big, big building,
When I was small, small,
The queer folk in the windows
Would smile at me and call.


And in the hard wee gardens
Such pleasant men would hoe:
"Sir, may we touch the little girl's hair!"—
It was so red, you know.


They cut me coloured asters
With shears so sharp and neat,
They brought me grapes and plums and pears
And pretty cakes to eat.


And out of all the windows,
No matter where we went,
The merriest eyes would follow me
And make me compliment.


There were a thousand windows,
All latticed up and down.
And up to all the windows,
When we went back to town,


The queer folk put their faces,
As gentle as could be;
"Come again, little girl!" they called, and I
Called back, "You come see me!"
381

The Little Ghost

I knew her for a little ghost
That in my garden walked;
The wall is high—higher than most—
And the green gate was locked.

And yet I did not think of that
Till after she was gone—
I knew her by the broad white hat,
All ruffled, she had on.

By the dear ruffles round her feet,
By her small hands that hung
In their lace mitts, austere and sweet,
Her gown's white folds among.

I watched to see if she would stay,
What she would do—and oh!
She looked as if she liked the way
I let my garden grow!

She bent above my favourite mint
With conscious garden grace,
She smiled and smiled—there was no hint
Of sadness in her face.

She held her gown on either side
To let her slippers show,
And up the walk she went with pride,
The way great ladies go.

And where the wall is built in new
And is of ivy bare
She paused—then opened and passed through
A gate that once was there.
374

Sonnets (1923)

VIII8.
Oh, oh, you will be sorry for that word!
.
Give back my book and take my kiss instead.
.
Was it my enemy or my friend I heard,
.
"What a big book for such a little head!"
.
Come, I will show you now my newest hat,
.
And you may watch me purse my mouth and prink!
.
Oh, I shall love you still, and all of that.
.
I never again shall tell you what I think.
.
I shall be sweet and crafty, soft and sly;
.

You will not catch me reading any more:
.

I shall be called a wife to pattern by;
.

And some day when you knock and push the door,
.

Some sane day, not too bright and not too stormy,
.

I shall be gone, and you may whistle for me. IX9.
Here is a wound that never will heal, I know,
.
Being wrought not of a dearness and a death,
.
But of a love turned ashes and the breath
.
Gone out of beauty; never again will grow
.
The grass on that scarred acre, though I sow
.
Young seed there yearly and the sky bequeath
.
Its friendly weathers down, far underneath
.
Shall be such bitterness of an old woe.
.
That April should be shattered by a gust,
.


That August should be levelled by a rain,
.

I can endure, and that the lifted dust
.

Of man should settle to the earth again;
.

But that a dream can die, will be a thrust
.

Between my ribs forever of hot pain. XVIII18.
I, being born a woman and distressed
.
By all the needs and notions of my kind,
.
Am urged by your propinquity to find
.
Your person fair, and feel a certain zest
.
To bear your body's weight upon my breast:
.
So subtly is the fume of life designed,
.
To clarify the pulse and cloud the mind,
.
And leave me once again undone, possessed.
.
Think not for this, however, the poor treason
.

Of my stout blood against my staggering brain,
.

I shall remember you with love, or season
.

My scorn with pity, -- let me make it plain:
.

I find this frenzy insufficient reason
.

For conversation when we meet again. XIX19.
What lips my lips have kissed, and where, and why,
.
I have forgotten, and what arms have lain
.
Under my head till morning; but the rain
.
Is full of ghosts to-night, that tap and sigh


.

Upon the glass and listen for reply,

.

And in my heart there stirs a quiet pain

.

For unremembered lads that not again

.

Will turn to me at midnight with a cry.

.

Thus in the winter stands the lonely tree,

.
Nor knows what birds have vanished one by one,

.
Yet knows its boughs more silent than before:

.
I cannot say what loves have come and gone,

.
I only know that summer sang in me

.
A little while, that in me sings no more.
372

To Kathleen

Still must the poet as of old,
In barren attic bleak and cold,
Starve, freeze, and fashion verses to
Such things as flowers and song and you;


Still as of old his being give
In Beauty's name, while she may live,
Beauty that may not die as long
As there are flowers and you and song.
372

The Return From Town

As I sat down by Saddle Stream
To bathe my dusty feet there,
A boy was standing on the bridge
Any girl would meet there.


As I went over Woody Knob
A youth was coming up the hill
Any maid would follow.


Then in I turned at my own gate,—
And nothing to be sad for—
To such a man as any WIFE
Would pass a pretty lad for.
373

To Those Without Pity

Cruel of heart, lay down my song,
Your reading eyes have done me wrong,
Not for you was the pen bitten,
And the mind wrung, and the song written.
369

The Wood Road

If I were to walk this way
Hand in hand with Grief,
I should mark that maple-spray
Coming into leaf.
I should note how the old burrs
Rot upon the ground.
Yes, though Grief should know me hers
While the world goes round,
It could not if truth be said
This was lost on me:
A rock-maple showing red,
Burrs beneath a tree.
369

Night Is My Sister, And How Deep In Love

Night is my sister, and how deep in love,
How drowned in love and weedily washed ashore,
There to be fretted by the drag and shove
At the tide's edge, I lie—these things and more:
Whose arm alone between me and the sand,
Whose voice alone, whose pitiful breath brought near,
Could thaw these nostrils and unlock this hand,
She could advise you, should you care to hear.
Small chance, however, in a storm so black,
A man will leave his friendly fire and snug
For a drowned woman's sake, and bring her back
To drip and scatter shells upon the rug.
No one but Night, with tears on her dark face,
Watches beside me in this windy place.
370

Tavern

I'll keep a little tavern
Below the high hill's crest,
Wherein all grey-eyed people
May set them down and rest.

There shall be plates a-plenty,
And mugs to melt the chill
Of all the grey-eyed people
Who happen up the hill.

There sound will sleep the traveller,
And dream his journey's end,
But I will rouse at midnight
The falling fire to tend.

Aye, 'tis a curious fancy—
But all the good I know
Was taught me out of two grey eyes
A long time ago.
367

The Singing-Woman From The Wood's Edge

What should I be but a prophet and a liar,
Whose mother was a leprechaun, whose father was a friar?
Teethed on a crucifix and cradled under water,
What should I be but the fiend's god-daughter?


And who should be my playmates but the adder and the frog,
That was got beneath a furze-bush and born in a bog?
And what should be my singing, that was christened at an altar,
But Aves and Credos and Psalms out of the Psalter?


You will see such webs on the wet grass, maybe,
As a pixie-mother weaves for her baby,
You will find such flame at the wave's weedy ebb
As flashes in the meshes of a mer-mother's web,


But there comes to birth no common spawn
From the love a a priest for a leprechaun,
And you never have seen and you never will see
Such things as the things that swaddled me!


After all's said and after all's done,
What should I be but a harlot and a nun?


In through the bushes, on any foggy day,
My Da would come a-swishing of the drops away,
With a prayer for my death and a groan for my birth,
A-mumbling of his beads for all that he was worth.


And there'd sit my Ma, with her knees beneath her chin,
A-looking in his face and a-drinking of it in,
And a-marking in the moss some funny little saying
That would mean just the opposite of all that he was praying!


He taught me the holy-talk of Vesper and of Matin,
He heard me my Greek and he heard me my Latin,
He blessed me and crossed me to keep my soul from evil,
And we watched him out of sight, and we conjured up the devil!


Oh, the things I haven't seen and the things I haven't known,
What with hedges and ditches till after I was grown,
And yanked both way by my mother and my father,
With a "Which would you better?" and a " Which would you
rather?"


With him for a sire and her for a dam,
What should I be but just what I am?
364

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