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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.
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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

Sonnets 06: No Rose That In A Garden Ever Grew

No rose that in a garden ever grew,
In Homer's or in Omar's or in mine,
Though buried under centuries of fine
Dead dust of roses, shut from sun and dew
Forever, and forever lost from view,
But must again in fragrance rich as wine
The grey aisles of the air incarnadine
When the old summers surge into a new.
Thus when I swear, "I love with all my heart,"
'Tis with the heart of Lilith that I swear,
'Tis with the love of Lesbia and Lucrece;
And thus as well my love must lose some part
Of what it is, had Helen been less fair,
Or perished young, or stayed at home in Greece.
301

Inland

People that build their houses inland,
People that buy a plot of ground
Shaped like a house, and build a house there,
Far from the sea-board, far from the sound


Of water sucking the hollow ledges,
Tons of water striking the shore,—
What do they long for, as I long for
One salt smell of the sea once more?


People the waves have not awakened,
Spanking the boats at the harbour's head,
What do they long for, as I long for,—
Starting up in my inland bed,


Beating the narrow walls, and finding
Neither a window nor a door,
Screaming to God for death by drowning,—
One salt taste of the sea once more?
293

Lines for a Grave-Stone

Man alive, that mournst thy lot,
Desiring what thou hast not got,
Money, beauty, love, what not;


Deeming it blesseder to be
A rotted man, than live to see
So rude a sky as covers thee;


Deeming thyself of all unblest
And wretched souls the wretchedest,
Longing to die and be at rest;


Know: that however grim the fate
Which sent thee forth to meditate
Upon my enviable state,


Here lieth one who would resign
Gladly his lot, to shoulder thine.
Give me thy coat; get into mine.
290

Dirge

Boys and girls that held her dear,
Do your weeping now;
All you loved of her lies here.


Brought to earth the arrogant brow,
And the withering tongue
Chastened; do your weeping now.


Sing whatever songs are sung,
Wind whatever wreath,
For a playmate perished young,


For a spirit spent in death.
Boys and girls that held her dear,
All you loved of her lies here.
289

Sonnets 10: Oh, My Beloved, Have You Thought Of This

Oh, my beloved, have you thought of this:
How in the years to come unscrupulous Time,
More cruel than Death, will tear you from my kiss,
And make you old, and leave me in my prime?
How you and I, who scale together yet
A little while the sweet, immortal height
No pilgrim may remember or forget,
As sure as the world turns, some granite night
Shall lie awake and know the gracious flame
Gone out forever on the mutual stone;
And call to mind that on the day you came
I was a child, and you a hero grown?—
And the night pass, and the strange morning break
Upon our anguish for each other's sake!
278

I Know The Face Of Falsehood And Her Tongue

I know the face of Falsehood and her Tongue
Honeyed with unction, Plausible with guile,
Are dear to men, whom count me not among,
That owe their daily credit to her smile;
Such have been succoured out of great distress
By her contriving, if accounts be true:
Their deference now above the board, I guess,
Dishcharges what beneath the board is due.
As for myself, I'd liefer lack her aid
Than eat her presence; let this building fall:
But let me never lift my latch, afraid
To hear her simpering accents in the hall,
Nor force an entrance past mephitic airs
Of stale patchoulie hanging on my stairs.
276

Elegy Before Death

There will be rose and rhododendron
When you are dead and under ground;
Still will be heard from white syringas
Heavy with bees, a sunny sound;


Still will the tamaracks be raining
After the rain has ceased, and still
Will there be robins in the stubble,
Brown sheep upon the warm green hill.


Spring will not ail nor autumn falter;
Nothing will know that you are gone,
Saving alone some sullen plough-land
None but yourself sets foot upon;


Saving the may-weed and the pig-weed
Nothing will know that you are dead,—
These, and perhaps a useless wagon
Standing beside some tumbled shed.


Oh, there will pass with your great passing
Little of beauty not your own,—
Only the light from common water,
Only the grace from simple stone!
270

Sonnets 08: And You As Well Must Die, Beloved Dust

And you as well must die, beloved dust,
And all your beauty stand you in no stead;
This flawless, vital hand, this perfect head,
This body of flame and steel, before the gust
Of Death, or under his autumnal frost,
Shall be as any leaf, be no less dead
Than the first leaf that fell,--this wonder fled.
Altered, estranged, disintegrated, lost.
Nor shall my love avail you in your hour.
In spite of all my love, you will arise
Upon that day and wander down the air
Obscurely as the unattended flower,
It mattering not how beautiful you were,
Or how beloved above all else that dies.
269

Sonnets 04: Only Until This Cigarette Is Ended

Only until this cigarette is ended,
A little moment at the end of all,
While on the floor the quiet ashes fall,
And in the firelight to a lance extended,
Bizarrely with the jazzing music blended,
The broken shadow dances on the wall,
I will permit my memory to recall
The vision of you, by all my dreams attended.
And then adieu,—farewell!—the dream is done.
Yours is a face of which I can forget
The color and the features, every one,
The words not ever, and the smiles not yet;
But in your day this moment is the sun
Upon a hill, after the sun has set.
261

Sonnets 02: Into The Golden Vessel Of Great Song

Into the golden vessel of great song
Let us pour all our passion; breast to breast
Let other lovers lie, in love and rest;
Not we,—articulate, so, but with the tongue
Of all the world: the churning blood, the long
Shuddering quiet, the desperate hot palms pressed
Sharply together upon the escaping guest,
The common soul, unguarded, and grown strong.
Longing alone is singer to the lute;
Let still on nettles in the open sigh
The minstrel, that in slumber is as mute
As any man, and love be far and high,
That else forsakes the topmost branch, a fruit
Found on the ground by every passer-by.
242

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