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 tonight, that tap and sigh
...
Love is not all: it is not meat nor drink
Nor slumber nor a roof against the rain;
Nor yet a floating spar to men that sink
And rise and sink and rise and sink again;
...
In the spring of the year, in the spring of the year,
I walked the road beside my dear.
The trees were black where the bark was wet.
I see them yet, in the spring of the year.
...
I shall die, but
that is all that I shall do for Death.
I hear him leading his horse out of the stall;
I hear the clatter on the barn-floor.
...
I will be the gladdest thing
Under the sun!
I will touch a hundred flowers
And not pick one.
...
I am not resigned to the shutting away of loving hearts in the hard ground.
So it is, and so it will be, for so it has been, time out of mind:
Into the darkness they go, the wise and the lovely. Crowned
With lilies and with laurel they go; but I am not resigned.
...
Love has gone and left me and the days are all alike;
Eat I must, and sleep I will,—and would that night were
here!
But ah!—to lie awake and hear the slow hours strike!
...
And you as well must die, belovèd 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
...
Once from a big, big building,
When I was small, small,
The queer folk in the windows
Would smile at me and call.
...
I thought, as I wiped my eyes on the corner of my apron:
Penelope did this too.
And more than once: you can't keep weaving all day
And undoing it all through the night;
...
The trees along this city street,
Save for the traffic and the trains,
Would make a sound as thin and sweet
As trees in country lanes.
...
This door you might not open, and you did;
So enter now, and see for what slight thing
You are betrayed... Here is no treasure hid,
No cauldron, no clear crystal mirroring
...
Cold wind of autumn, blowing loud
At dawn, a fortnight overdue,
Jostling the doors, and tearing through
My bedroom to rejoin the cloud,
...
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,
...
And do you think that love itself,
Living in such an ugly house,
Can prosper long?
We meet and part;
...
(On reflecting that the world
is ready to go to war again)
Detestable race, continue to expunge yourself, die out.
...
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
...
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.
...
O world, I cannot hold thee close enough!
Thy winds, thy wide grey skies!
Thy mists that roll and rise!
Thy woods this autumn day, that ache and sag
...
Edna St. Vincent Millay was an American lyrical poet, playwright and feminist. She received the Pulitzer Prize for Poetry, and was known for her activism and her many love affairs. She used the pseudonym Nancy Boyd for her prose work. Early Life Millay was born in Rockland, Maine to Cora Lounella, a nurse, and Henry Tollman Millay, a schoolteacher who would later become superintendent of schools. Her middle name derives from St. Vincent's Hospital in New York, where her uncle's life had been saved just before her birth. The family's house was "between the mountains and the sea where baskets of apples and drying herbs on the porch mingled their scents with those of the neighboring pine woods." In 1904, Cora officially divorced Millay's father for financial irresponsibility, but they had already been separated for some years. Cora and her three daughters, Edna (who called herself "Vincent"), Norma, and Kathleen, moved from town to town, living in poverty. Cora travelled with a trunk full of classic literature, including Shakespeare and Milton, which she read to her children. The family settled in a small house on the property of Cora's aunt in Camden, Maine, where Millay would write the first of the poems that would bring her literary fame. The three sisters were independent and spoke their minds, which did not always sit well with the authority figures in their lives. Millay's grade school principal, offended by her frank attitudes, refused to call her Vincent. Instead, he called her by any woman's name that started with a V. At Camden High School, Millay began developing her literary talents, starting at the school's literary magazine, The Megunticook. At 14 she won the St. Nicholas Gold Badge for poetry, and by 15 she had published her poetry in the popular children's magazine St. Nicholas, the Camden Herald, and the high-profile anthology Current Literature. While at school she had several relationships with women, including Edith Wynne Matthison, who would go on to become an actress in silent films. Millay entered Vassar College at 21, later than usual, and had relationships with several fellow students during her time there. Millay’s fame began in 1912 when she entered her poem “Renascence” in a poetry contest in The Lyric Year. The poem was widely considered the best submission and when it was ultimately awarded fourth place, it created a scandal which brought Millay publicity. The first-place winner Orrick Johns was among those who felt that “Renascence” was the best poem, and stated that “the award was as much an embarrassment to me as a triumph." A second-prize winner offered Millay his $250 prize money. In the immediate aftermath of the Lyric Year controversy, Caroline B. Dow heard Millay reciting her poetry and playing the piano at the Whitehall Inn in Camden, Maine, and was so impressed that she offered to pay for Millay’s education at Vassar College. Millay moved to New York City after her graduation in 1917. Career Millay lived in a number of places in Greenwich Village, including a house owned by the Cherry Lane Theatre, renowned for being the smallest in New York City. The critic Floyd Dell wrote that the red-haired and beautiful Millay was "a frivolous young woman, with a brand-new pair of dancing slippers and a mouth like a valentine." Millay described her life in New York as "very, very poor and very, very merry." Openly bisexual, she counted among her close friends the writers Witter Bynner, Arthur Davison Ficke, and Susan Glaspell, as well as Floyd Dell and the critic Edmund Wilson, both of whom proposed marriage to her and were refused. Her 1920 collection A Few Figs From Thistles drew controversy for its novel exploration of female sexuality and feminism. In 1919 she wrote the anti-war play Aria da Capo which starred her sister Norma Millay at the Provincetown Playhouse in New York City. Millay won the Pulitzer Prize for Poetry in 1923 for "The Ballad of the Harp-Weaver"; she was the third woman to win the poetry prize. In 1923 she married 43-year-old Eugen Jan Boissevain (1880–1949), the widower of the labor lawyer and war correspondent Inez Milholland, a political icon Millay had met during her time at Vassar. A self-proclaimed feminist, Boissevain supported her career and took primary care of domestic responsibilities. Both Millay and Boissevain had other lovers throughout their twenty-six-year marriage. Millay's most significant such relationship during this time was with the poet George Dillon, who was fourteen years her junior, and for whom she wrote a number of her sonnets. In 1925, Boissevain and Millay bought Steepletop near Austerlitz, New York, which had been a 635-acre (257 ha) blueberry farm. The couple built a barn (from a Sears Roebuck kit), and then a writing cabin and a tennis court. Millay grew her own vegetables in a small garden. The couple later bought Ragged Island in Casco Bay, Maine, as a summer retreat. Millay's reputation was damaged by the poetry she wrote about the Allied war effort during World War II. Merle Rubin noted: "She seems to have caught more flak from the literary critics for supporting democracy than Ezra Pound did for championing fascism." In the New York Times Millay mourned the Czechoslovak city of Lidice, the site of a Nazi massacre: The whole world holds in its arms today The murdered village of Lidice, Like the murdered body of a little child. In 1943 Millay was the sixth person and the second woman to be awarded the Frost Medal for her lifetime contribution to American poetry. Boissevain died in 1949 of lung cancer, and Millay lived alone for the last year of her life. Death and Steepletop Legacy Millay died at her home on October 19, 1950. She had fallen down stairs and was found approximately eight hours after her death. Her physician reported that she had had a heart attack following a coronary occlusion. She was 58 years old. Millay's sister Norma and her husband, the painter and actor Charles Frederick Ellis, moved to Steepletop after Millay's death. In 1973 they established Millay Colony for the Arts on the seven acres (2.8 ha) around the house and barn. After the death of her husband in 1976, Norma continued to run the program until her death in 1986. The poet Mary Oliver visited Steepletop and became a close friend of Norma. Oliver eventually lived there for seven years and helped to organize Millay's papers.Mary Oliver herself went on to become a Pulitzer Prize-winning poet, greatly inspired by Millay's work. In 2006, the state of New York paid $1.69 million to acquire 230 acres (0.93 km2) of Steepletop, with the intention to add the land to a nearby state forest preserve. The proceeds of the sale were to be used by the Edna St. Vincent Millay Society to restore the farmhouse and grounds and turn it into a museum. Since summer, 2010 the museum has been open to the public. Parts of the grounds of Steepletop, including a Poet's Walk that leads to Millay's grave, are now open to the public year-round. From the final weekend of May through the middle of October each year guided tours of Steepletop and Millay's gardens are available.)
What Lips My Lips Have Kissed, And Where, And Why (Sonnet Xliii)
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 tonight, 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 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.
One of the poems iin which Millay is shattered and humiliated not by the loss of love but by the travesty of justice during the Sacco-Vanzetti trumped up trial. Both were executed - more for being Italian immigrants and anarchists..than for anything based on evidence. Compare to the infamous Dreyfuss Affair in France. The pernicious weeds have won, Millay's character thinks.
I guess my previous information was incorrect. This PH biography seems to imply she died from smoking; my understanding was that she fell down a flight of steps at her home and broke her neck.
Truly an awesome poet. I majored in poetry, and I can say for myself that this is a great poet.
This poem created a relaxing feel for me. I would give anything to be able to just lay under the sun on a hill.
Poem about the man I have ...but you should have seen the one who got away
I could not find the Edna St. Vincent Millay poem Titled Inspiration. It's about the view from Mt. Battie. near Camden Maine which is near where she lived.
looking for an antiwar poemabout not cooperating with death not leading his horse out of the stable.
I am trying to think of a poem about death. going by the children at play, cornice in the
And I to lie with you, Melissa. On a bright sunshiny morning in the High Sierras or in an evening during the magic of an alpenglow..