In 1919 she wrote and directed a one-act, antiwar verse play with a fairy-tale motif titled Aria da Capo, for the Provincetown Players. Millay papers, archives, and special collections. This home, which they named Steepletop, would provide a welcome refuge for Millay until the end of her life. Her upstate New York farmhouse, Steepletop, is now a National Historic Landmark. Vincent Millay February 22, 1892 — October 19, 1950 was an American poet, long regarded as a major twentieth-century figure in the genre.
While recovering, he wrote the book-length poem for which he is most famous, The Waste Land 1922. After that point he held a negligible role in the girl's life. Millay's next volume of poetry, Second April 1921 , contains the same childlike spirit and appreciation for nature found in her previous work, along with a new sense of disenchantment and loss. Only recently recovered from a nervous breakdown, Miss Millay flung herself into the fight for their lives. Still, when the poem appeared in The Lyric Year in November 1912, Millay attracted a great deal of attention, with critics hailing her as a poet destined for greatness. Vincent Millay's first published book.
The poem's main theme is the disillusionment and spiritual emptiness of the post-World War I period. In 1922 Millay received the Pulitzer Prize for The Ballad of the Harp-Weaver reprinted 1983 , an expanded edition of Figs with eight new sonnets. Millay's last years were dogged by illness and loss. Furthermore, like others who made gender identity and sexuality central to their stylistic work, Millay lost credibility with modernist and Cold War critics who demanded more universality. He also joined the Anglican Church, and his strong commitment to spiritual and religious values is evident in such volumes as The Journey of the Magi 1927 and 1930.
The recipient of much acclaim in the 1920s, Millay is less popular today. Her mother, Cora, raised her three daughters on her own after asking her husband to leave the family home in 1899. Down, down, down into the darkness of the grave Gently they go, the beautiful, the tender, the kind; Quietly they go, the intelligent, the witty, the brave. Primary and secondary bibliographies are Karl Yost, A Bibliography of the Works of Edna St. One, George Dillon, who was fourteen years her junior and whom she met in 1928 while giving a reading at the University of Chicago, inspired Fatal Interview 1931 , a 52-sonnet sequence. Vincent Millay was renowned for her traditional poetry and bohemian life, becoming one of the premier twentieth-century lyric poets.
It was a heady time indeed, and the candle she burned at both ends was still glowing. Discerning evaluations of Millay's early poetry are in Alfred Kreymborg, Our Singing Strength: An Outline of American Poetry 1620-1930 1929 , while generally derogatory comments are in Hyatt H. In 1912, she entered her poem 'Renascence' into a poetry contest, winning fourth place and a scholarship to Vassar. Readers maintained that Millay's youthful statement of despair, rebirth, and affirmation was the strongest in the book. Savage Beauty: The Life of Edna St. She is buried at Steepletop. Her popularity stemmed from both her remarkably crafted sonnets and her bohemian lifestyle, including her political stances, and open relationships.
She helped Millay get a scholarship to Vassar College, a prestigious women's school in Poughkeepsie, New York. The hardworking mother supported them by nursing--often overnight--and encouraged her daughters to love reading and music and to be independent. Even though she has set up what she thinks is an ideal place for her emotions to play themselves out, they refuse to obey her. She signed petitions, demonstrated, and, in a futile interview, tried to persuade the governor of Massachusetts to grant clemency. In 1917 his acclaimed poetry collection Prufrock and Other Observations was published. Biographical studies include Jean Gould, The Poet and Her Book: A Biography of Edna St. As the 1920s began Eliot suffered from a brought on by the combined pressures of a failed marriage and exhausting work and creative demands.
She was hospitalized in 1944 for a brought on at least in part by her addiction to alcohol and drugs, and she lost several close friends including Arthur Ficke to death. Millay is particularly interesting because, at a time when modern poetry was abandoning traditional forms, she chose to write ballads, lyrics, and sonnets. Long a pacifist someone who believes that conflicts should be resolved through peaceful means, not through violence or war , Millay felt her outlook profoundly changed by the outbreak of 1939—45 and the revelations of Nazi atrocities against Jews. She tumbled down the stairs, broke her neck, and died. Mig, her man's as good as cheese And honest as a briar, Sue tells her love what he's thinking of,— But my dear lad's a liar! See also Letters of Edna St.
In 1923, Millay was awarded the Pulitzer Prize for The Ballad of the Harp-Weaver. She earned a little money by publishing short stories under the pseudonym Nancy Boyd and poems in Ainslee's magazine 1918-1921. If I had loved you less or played you slyly I might have held you for a summer more, But at the cost of words I value highly, And no such summer as the one before. Vincent Millay's poems' included such topics as sex, the liberated freed from traditional roles woman, and social justice. She did marry, but even that part of her life was somewhat unusual, with the marriage being quite open, and extramarital affairs, though not documented, are quite probable.
Her work was widely admired by critics as well as a varied audience. Her anti-war play Aria da Capo was performed to sell-out crowds on Cape Cod by the Provincetown Players. On Thought in Harness 1981. Retrieved from the Library of Congress. Vincent Millay's Life Edna St.