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||Edna St. Vincent Millay (1892-1950)|
American poet and dramatist, who became the first woman to win
the Pulitzer Prize for poetry for The Harp-Weaver, and Other Poems (1922).
The title work was a tribute to her selfless and encouraging mother.
Millay's unconventional life in Greenwich Village in the 1920s embodied
the spirit of the New Woman – sexual freedom, independence, and
political activism. Many people regarded her as the most daring woman
of her time. Today Millay is largely ignored, but once she was
America's most popular poet.
Well, I have lost you; and I lost you fairly
Edna St. Vincent Millay was born in Rockland, Maine, the
Henry Tolman Millay, a school principal, and Cora Lounella (Buzzelle)
Millay, a nurse. (Millay's middle name derived from the French priest St.
Vincent de Paul.) Her father had a weakness for poker playing, and
although Cora threw him out of their home, Millay kept contact with him. After
divorce, Cora Millay moved with her three daughters, Edna,
Norma, and Kathleen, to Camden, into a small house in the poorest part
of the town. To support her family she worked as a district nurse and
was often away on assignment. Trained to be a singer, she coached town
orchestras and wrote out scores for their members. She also encouraged
her daughters in their musical and poetic ambitions, and taught Edna to
write poetry at the age of four or five – Cora had once dreamed of being a writer herself.
"She was small and frail for a twelve-year-old," Edna's
the Elm Street grammar school described her. "Her mane of red hair and
enormous gray-green eyes added to the impression of frailty, and her
stubborn mouth and chin made her seem austere, almost to the point of
grimness." (Poetics of the Body: Edna St. Vincent Millay, Elizabeth Bishop,
Marilyn Chin, and Marilyn Hacker by Catherine Cucinella, 2010, p. 42) At Camden High School Edna was a promising student. However,
after leaving school she remained at home. Her first published poem,
'Forest Trees', appeared in St. Nicholas,
children's magazine, when she was fourteen. A year later her pieces, in
which she often used the initial "E" instead of Edna, were published in
Her first major poem, 'Renascence,' was published in the
anthology The Lyric Yearfor
1912. It was judged only the fourth-best submitted in a national poetry
competitiom, but with this
work Millay gained an instant fame. Noteworthy, the three participants
who were placed ahead of her, thought that Millay's work was superior
In 'Renascence' the poet lies on her back and looks at the sky, she has a mystic, nearly ecstatic vision of infinity, which comes down and settles over her. "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, sickening, I would fain pluck thence / But could not,– nay! needs must suck / At the great would, 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. "
Millay was forced to work during her school years. When Carolyn B. Dow of the National Training School of the YWCA took her as her protegée, she was able to go to college. After preparatory work at Barnard College, she entered Vassar, receiving her B.A. in 1917. During this period she wrote for Smart Set, Poetry, and other magazines. In Vassar Millay also had affairs with women; she broke all the rules there was to break but was a top grade student. 'People fall in love with me," she noted, "and annoy me and distress me and flatter me and excite me.'' (Savage Beauty: The Life of Edna St. Vincent Millay by Nancy Milford, 2001, p. 126) Her play, The Princess Marries the Page, was performed by Vassar students in 1917, and in the same year appeared her first collection of poems, Renascence, and Other Poems.
After graduation Millay moved to New York and settled in Greenwich Village, where she associated with many of the prominent artists, writers and political radicals, including the poet Wallace Stevens, the playwright Eugene O'Neil, and the left-wing journalist John Reed, whom she adored for his adventurous spirit. Among her lovers were the novelist and co-editor of the The Masses magazine Floyd Dell, the critic Edmund Wilson, John Peale Bishop, who was editor of Vanity Fair, and the poet Arthur Davison Ficke. Plagued with headaches, Millay drank a lot to ease the pain. Moreover, she was addicted to morphine.
Edmund Wilson, who
considered Millay's genius greater than F. Scott Fitzgerald's,
portrayed her as the heroine of his novel, I Thought of Daisy
(1929). "She was one of those women whose features are not perfect",
said Wilson, "but who, excited by the blood of the spirit, becomes
almost supernaturally beautiful." Millay had often herself photographed
in the nude; the photograps in the Library of Congress are restricted
until the year 2010. Her own body Millay described in a poem as
"Unexclamatory, / But which, / Were it the fashion to wear no clothes,
/ Would be as well-dressed as any." Thomas Hardy classed her with the
skyscaper as America's great attractions.
Although Millay was unconventional in her personal life, she used traditional verse forms – ballads and sonnets – and her love poems describing her affairs, which become an essential part of her literary production, were not especially erotic. However, her first poetry collection, A Few Figs from Thistles (1920) stirred some controversy due to its eroticism. She also exceeded at free verse, starting from Second April (1921), but she never broke with the past like modernists did. In 'Fist Fig' (1920) she wrote: "My candle burns at both ends; / It will not last the night; / But ah, my foes, and oh, my friends – / It gives a lovely light!" Dorothy Parker said, "She did a great deal of harm with ther double-burning candles. She made poetry seem so easy that we thought we could all do it. But of course we couldn't." (Writing under the Influence: Alcohol and the Works of 13 American Authors by Aubrey Malone, 2018, p. 38) Under the pseudonym Nancy Boyd she wrote short satirical pieces for magazines.
In Greenwich Village Millay joined the Provincetown Players
and two of her plays were performed by the group, Two Slatterns and
a King and The Princess Marries the Page. Floyd Dell, who directed The Angel Interludes
– Millay auditioned for a role in the play – became her lover. Dell
tried to get her to go to psychoanalysis for her "Saphic tendencies."
From 1921 to 1923
Millay traveled in Europe on assignment for Vanity Fair. Her
articles were published in book form as Distressing Dialogues
(1924). While staying in Paris in 1921, she first resided in Hôtel des
Saints-Pères, popular with Americans even before the twenties, and then
moved toHôtel de l'Intendance (now gone) on rue de L'Universite. The
writer Edgar Lee Masters
called upon her at her hotel. They dined together, went to the Folies
Bergere, visited Louvre, and had an "amorous interlude" according
to Masters. However, the brief liaison was unsatisfactory and they
remained cordial but distant friends. The Intendance was too expensive
for both Millay and her mother, who stayed at Hôtel de Venetia in 1922.
It was not very clean, but the humorist Donald Ogden Stewart chose it
because Millay had resided there. Also Hemingway took a room in the
Venetia for a few days in 1925.
In 1923 Millay married Eugen Jan Boissevain, the widower of
Inez Milholland, an early feminist, who died in 1916. Boissevain was a prosperous Dutch coffee
importer 12 years her senior, but he gave up his business, and devoted
his full attention to Edna. Boissevain did not mind being referred to as "Mr. Edna St. Vincent Millay." They traveled in the Far East, and moved in
1925 to a 600-acre farm in the Berkshires, near Austerlitz, New York.
Steepletop, the name of the farm, was Millay's main home for the rest
of her life, except when she spent time on an island retreat off the
coast of Maine and traveled abroad. In 1928 she went to Paris to meet
her lover, the poet George Dillon, who was 14 years her junior. This
affair inspired Fatal Interview
(1931), a sequence of fifty-two
sonnets, which sold 50,000 copies within months. Millay's sexual
appetite was so large and a well-known fact, that Hemingway classified
her in 'The Lady Poets With Foot Notes' (1924) as a nymphomanic.
In 1927 Millay joined protesters who were convinced that the
anarchists Sacco and Vanzetti, accused of armed robbery and murder,
were victims of miscarriage of justice. They were executed in August;
Millay was arrested in Boston during a protest against their death
sentence. Deems Taylor's opera, The King's Henchman,
Millay wrote the libretto, gained in 1927 at the Metropolitan Opera a
huge success. In 1929 she was elected to the National Institute of Arts
and Letters. Millay had made several reading tours from the beginning
of her career, but in the early 1930s she started to read poems in her
seductive contralto on radio. Her mother died in 1931, she never really
recovered from this loss. Usually Millay had champagne for breakfast,
gin fizzes for lunch, martinis in the afternoon, wine with dinner, and
brandy nightcaps. (Writing
under the Influence: Alcohol and the Works of 13 American Authors
by Aubrey Malone, 2018, p. 40)
Following a car accident in 1936, in which Millay was flung out of Boissevain's car, ending up on the road, she began withdrawing from the public. As a result of her injuries, she found it difficult to use a typewriter and eat with a knife and fork. Besides having morphine three grains s day, she took codeine and Nembutal, but denied her addiction. In 1942 her poem 'The Murder of Lidice,' was beamed by shortwave to in Europe. The Nazis had destroyed the men, women and children of Lidice, a village in Czechoslovakia, after the resistance had assassinated Reinhard Heydrich, a notorious Nazi official. Later Millay said of the ballad, which had been commissioned by the Writers' War Board: "It has some good lines, but not many, and not very good. This piece should be allowed to die along the war which provoked it."
Millay was elected to the American Academy of Arts and
1940. Three years later she was awarded the gold medal of the Poetry
Society of America. In 1944 she had a nervous
breakdown. Her Bohemian life was over; Millay felt that she was losing
her sexual energy and beauty and her poems were worthless. Boissevain,
who lost most of his wealth in the war, took her to rehabilitation
centers and paid her medical bills. When he
died of lung cancer in 1949, it was a hard blow to Millay. She had
another nervous breakdown. At hospital Millay was permitted a liter and
a half of wine per day, but visitors brought more bottles to her.
alone at home, on October 19, 1950, after falling down the stairs and
breaking her neck. She had been going to bed with the proof pages of
Rolfe Humphries's translation of the Aeneid. Posthumously
published collection of poems, Mine the Harvest
(1954), was edited by Millay's sister Norma. Millay's poetry supporting
the Allied cause in WW II was dismissed as propaganda, which
contributed to the decline of her poetic reputation.
Millay's poetical voice was intense and bittersweet, passionate but controlled. Her subject matter varied from meditations of nature to feminist commentaries, from love and death to political protest. Like Dorothy Parker (1893-1967), she was a witty observer of human relationships. "We all wandered in after Miss Millay," Parker once wrote. "We were all being dashing and gallant, declaring that we weren't virgins, whether we were or not." The singing quality of her lyrics can be derived from her natural bravura but also from her interest in music – she began to play the piano at an early age, and for a while had considered a concert career. Her love poems, written in spontaneous style and using colloquial language, seem to record her own experiences: "And if I loved you Wednesday, / Well, what it that to you? / I do not love you Thursday – / So much is true." She read much classical poets, like Catullus, and translated poems from French and Spanish into English for her own pleasure. Millay's translation of Baudelaire's Les Fleurs du Mal challenged the view that the French writer was "turtured and idealistic". In her preface Milay wrote that Baudelaire's "flowers of evil" were "flowers of doubt... flowers of grief... forced on the sterile bought of the mind's unblossomy decay."
For further reading: Edna St. Vincent Millay and Her Times by A. Atkins (1936); The Indigo Bunting: A Memoir of Edna St. Vincent Millay by V. Sheean (1951); Restless Spirit: The Life of Edna St. Vincent Millay by M. Gurko (1962); Edna St. Vincent Millay by N.A. Brittin (1967); Edna St. Vincent Millay by James Gray (1967); The Poet and Her Book: A Biography of Edna St. Vincent Millay by J. Gould (1969); Millay in Greenwich Village by A. Cheney (1975); Edna St. Vincent Millay: A Reference Guide by J. Nierman (1977); Savage Beauty: The Life of Edna St. Vincent Millay by Nancy Milford (2001); What Lips My Lips Have Kissed: The Loves and Love Poems of Edna St. Vincent Millay by Daniel Mark Epstein (2001); Poetics of the Body: Edna St. Vincent Millay, Elizabeth Bishop, Marilyn Chin, and Marilyn Hacker by Catherine Cucinella (2010); Staging Modern American Life: Popular Culture in the Experimental Theatre of Millay, Cummings, and Dos Passos by Thomas Fahy (2011); A Girl Called Vincent: the Life of Poet Edna St. Vincent Millay by Krystyna Poray Goddu (2016); 'Edna St. Vincent Millay (1892-1950),' in Writing under the Influence: Alcohol and the Works of 13 American Authors by Aubrey Malone (2018)