Edna St. Vincent Millay

Edna St. Vincent Millay (February 22, 1892 – October 19, 1950) was an American poet and playwright.[1] She received the Pulitzer Prize for Poetry in 1923, the third woman to win the award for poetry,[2] and was also known for her feminist activism. She used the pseudonym Nancy Boyd for her prose work. The poet Richard Wilbur asserted, "She wrote some of the best sonnets of the century."[3]

Edna St. Vincent Millay
Edna St. Vincent Millay, photographed by Carl Van Vechten, 1933
Born(1892-02-22)February 22, 1892
Rockland, Maine, US
DiedOctober 19, 1950(1950-10-19) (aged 58)
Austerlitz, New York, US
Pen nameNancy Boyd
Alma materVassar College
Notable awardsPulitzer Prize for Poetry
Robert Frost Medal

Early life

Millay was born in Rockland, Maine, to Cora Lounella Buzelle, a nurse, and Henry Tolman Millay, a schoolteacher who would later become a 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."[4] 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 Lounella (born 1893), and Kathleen Kalloch (born 1896), 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.[6] 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.[7]

Millay entered Vassar College in 1913 when she was 21 years old, later than usual. She had relationships with several fellow students during her time there and kept scrapbooks including drafts of plays written during the period.[6][8]

New York City

After her graduation from Vassar in 1917, Millay moved to New York City. She lived in a number of places in Greenwich Village, including a house owned by the Cherry Lane Theatre[9] and 75½ Bedford Street, renowned for being the narrowest[10][11] in New York City.[12] 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."[4] Millay described her life in New York as "very, very poor and very, very merry." While establishing her career as a poet, Millay initially worked with the Provincetown Players on Macdougal Street and the Theatre Guild. In 1924 Millay and others founded the Cherry Lane Theater "to continue the staging of experimental drama."[13] Magazine articles under a pseudonym also helped support her early days in the village.[4]

Counted among Millay's close friends were 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.[7][14]


Millay's fame began in 1912 when, at the age of 20, 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.[15] In the immediate aftermath of the Lyric Year controversy, wealthy arts patron 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.[16]

After graduating from Vassar, Millay moved to Greenwich Village. A friend remembered seeing her red hair flying as she ran down MacDougal Street, “flushed and laughing like a nymph.”[17] She would soon fall out of love, bluntly answering a marriage proposal: "Never ask a girl poet to marry you."[18] Holed up in a small, unheated apartment, she began to write shorter, pithier poems.

Millay’s 1920 collection A Few Figs From Thistles drew controversy for its exploration of female sexuality and feminism.[19] 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";[20] she was the third woman to win the poetry prize, after Sara Teasdale (1918) and Margaret Widdemer (1919).[21]

Millay also wrote short stories for the magazine Ainslee's - but she was a canny protector of her identity as a poet and an aesthete, and insisted on publishing this more mass-appeal work under a pseudonym, Nancy Boyd. As her fame grew and she became a household name, the publisher of Ainslee's offered to double her fees if he could use her real name. She refused.

In January 1921, she went to Paris, where she met and befriended the sculptors Thelma Wood[22] and Constantin Brancusi, photographer Man Ray, had affairs with journalists George Slocombe and John Carter, and became pregnant by a man named Daubigny and secured a marriage license, but instead returned to England where her mother Cora helped induce an abortion with alkanet as recommended in her old copy of Culpeper's Complete Herbal.[23]

Possibly as a result, Millay was frequently ill and weak for much of the next four years. After his remarkable attentions to her during her illness, 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.[24] 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. For Millay, a significant such relationship was with the poet George Dillon. She met Dillon at one of her readings at the University of Chicago in 1928 where he was a student. He was fourteen years her junior, and the relationship inspired the sonnets in the collection Fatal Interview (published 1931).[25]

In 1925, Boissevain and Millay bought Steepletop near Austerlitz, New York, which had been a 635-acre (257 ha) blueberry farm.[26] 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.[26][27] The couple later bought Ragged Island in Casco Bay, Maine, as a summer retreat.[28] The couple often had trouble with servants, with Millay writing, "The only people I really hate are servants. They are not really human beings at all."[29]

In the summer of 1936, Millay was riding in a station wagon when the door suddenly swung open, and "I was hurled out into the pitch-darkness...and rolled for some distance down a rocky gully"[30], severely damaging nerves in her spine, requiring frequent surgeries and hospitalizations, at least daily doses of morphine, and she lived the rest of her life in "constant pain".[31] Despite this, she was sufficiently alarmed by the rise of fascism to write against it. During the first world war, Millay had been a dedicated and active pacifist; however, from 1940, she advocated for the U.S. to enter the war against the Axis. After it did, she was an ardent supporter of the war effort. She later worked with Writers' War Board to create propaganda, including poetry.[32] Her reputation in poetry circles was damaged by her war work. Merle Rubin noted, "She seems to have caught more flak from the literary critics for supporting democracy than Ezra Pound did for championing fascism."[33] In 1942 in The New York Times Magazine, Millay mourned the destruction of the Czechoslovak town of Lidice. Nazi forces had razed Lidice, slaughtered its male inhabitants and scattered its surviving residents in retaliation for the assassination of Reinhard Heydrich. Millay wrote:

The whole world holds in its arms today
The murdered village of Lidice,
Like the murdered body of a little child.[4]

This article would serve as the basis of her 32-page poem, Murder of Lidice in 1942[34] and loosely served as the basis of the 1943 MGM movie Hitler's Madman.[35] Douglas Sirk directed the movie. Harper and Brothers published the poem in 1942.[34]

In 1943, Millay was the sixth person and the second woman to be awarded the Frost Medal for her lifetime contribution to American poetry.

Despite the excellent sales of her books in the 1930s, her declining reputation, constant medical bills, and frequent demands from her mentally-ill sister Kathleen meant that for most of her last years, Millay was in debt to her own publisher.[36] Author Daniel Mark Epstein also concludes from her correspondence that Millay developed a passion for thoroughbred horse-racing, and spent much of her income investing in a racing stable, of which she had quietly become an owner. [37] Boissevain died in 1949 of lung cancer, and Millay lived alone for the last year of her life.

Death and 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 suffered a heart attack following a coronary occlusion.[4][38][39] She was 58 years old. She is buried alongside her husband at Steepletop, Austerlitz, New York.[40]

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 around the house and barn. After the death of her husband in 1976, Norma continued to run the program until her death in 1986.[26]

At 17, 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.[41] Mary Oliver herself went on to become a Pulitzer Prize-winning poet, greatly inspired by Millay's work.[42] In 2006, the state of New York paid $1.69 million to acquire 230 acres (0.93 km2) of Steepletop, to add the land to a nearby state forest preserve. The proceeds of the sale were used by the Edna St. Vincent Millay Society to restore the farmhouse and grounds and turn it into a museum. The museum opened to the public in the summer 2010, and guided tours of Steepletop and Millay's gardens were available from the end of May through the middle of October. Effective November 2018 Steepletop closed to the public due to financial challenges and restoration needs. Fundraising efforts continue as do considerations for the future of this museum house.[43]

    Parts of the grounds of Steepletop, including the Millay Poetry Trail that leads to her grave, are now open to the public year-round.

    Details of Millay's life were compiled by biographer Nancy Milford in the book titled Savage Beauty: The Life of Edna St Vincent Millay, published in 2001. Milford was sought out by Millay's only living connection at the time, her sister Norma Millay Ellis, and was chosen for her previous, successful biography Zelda. Milford would then go on to edit and write an introduction for a collection of Millay's poems called The Selected Poetry of Edna St. Vincent Millay.[44]

    In 2015, she was named by Equality Forum as one of their 31 Icons of the 2015 LGBT History Month.[45]


    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!

    "First Fig"
    from A Few Figs from Thistles (1920)[46]

    Millay wrote five verse dramas early in her career, including Two Slatterns and a King and The Lamp and the Bell, a poem written for Vassar College about love between women.[7] She was commissioned by the Metropolitan Opera House to write a libretto for an opera composed by Deems Taylor. The result, The King's Henchman, drew on the Anglo-Saxon Chronicle's account of Eadgar, King of Wessex, and was described as the most effectively and artistically wrought American opera ever to reach the stage. Within three weeks, her publishers had run through four editions of the book.[4]

    Her pacifist verse drama Aria da Capo, a one-act play written for the Provincetown Players, is often anthologized. It aired live as an episode of Academy Theatre in 1949 on NBC.

    "Euclid alone has looked on Beauty bare" (1922) is an homage to the geometry of Euclid.[47] "Renascence"[48] and "The Ballad of the Harp-Weaver"[49] are often considered her finest poems. On her death, The New York Times described her as "an idol of the younger generation during the glorious early days of Greenwich Village [...] One of the greatest American poets of her time."[4] Thomas Hardy said that America had two great attractions: the skyscraper and the poetry of Edna St. Vincent Millay.



    1. Obituary Variety, October 25, 1950.
    2. "Poetry". www.pulitzer.org.
    3. Millay, Edna St. Vincent. Selected Poems. Harper Collins, 1991
    4. "Edna St. V. Millay Found Dead At 58", The New York Times (obituary), October 20, 1950, retrieved September 13, 2010.
    5. 1869-1942, Genthe, Arnold, (September 24, 2018). "Edna St. Vincent Millay at Mitchell Kennerley's house in Mamaroneck, New York". www.loc.gov.CS1 maint: extra punctuation (link)
    6. Epstein, Daniel Mark (2001). What Lips My Lips Have Kissed: The Loves and Love Poems of Edna St. Vincent Millay. New York: Henry Holt. ISBN 0-8050-6727-2.
    7. Millay, Edna St. Vincent (February 4, 2014). "Edna St. Vincent Millay". Edna St. Vincent Millay.
    8. Brinkman, B. "Modern American Archives and Scrapbook Modernism." The Cambridge Companion to Modern American Poetry (2015):
    9. Nevius, Michelle and James (2009). Inside the Apple: A Streetwise History of New York City. New York: Free Press.
    10. Gray, Christopher (November 10, 1996). "For Rent: 3-Floor House, 9 1/2 Ft. Wide, $6,000 a Month". The New York Times. Retrieved December 14, 2015.
    11. Barbanel, Josh (September 19, 2013). "Grand on a Small Scale". The Wall Street Journal. Retrieved December 14, 2015.
    12. Wetzsteon, Ross. 2002. Republic of Dreams: Greenwich Village, the American Bohemia, 1910-1960. New York: Simon & Schuster. p. 283
    13. Delaney, Edmund T. 1968. New York's Greenwich Village. Barre, Mass: Barre Publishers. p. 112
    14. Milford, Nancy (2001). Savage Beauty: The Life of Edna St. Vincent Millay. New York: Random House. pp. 191–192. ISBN 0-375-76081-4.
    15. Dash, Joan (1973). A Life of One's Own: Three Gifted Women and the Men They Married. New York: Harper & Row.
    16. Reuben, Paul P. "Chapter 7: Edna St. Vincent Millay". PAL: Perspectives in American Literature – A Research and Reference Guide. CSUSTAN. Retrieved July 2, 2012.
    17. "Flame". The Attic. Retrieved July 27, 2018.
    18. Ibid.
    19. Millay, Edna St. Vincent. A few Figs from Thistles
    20. Millay, Edna St. Vincent, "The Ballad of the Harp-Weaver"
    21. "Poetry", Pulitzer, retrieved December 9, 2010.
    22. Herring, Phillip (1995). Djuna: The Life and Work of Djuna Barnes. New York: Penguin Books. p. 158. ISBN 0-14-017842-2.
    23. Milford 2001, pp 234-9.
    24. Milford 2001, pp268-275.
    25. "Edna St. Vincent Millay". Poetry Foundation. Retrieved June 27, 2013.
    26. "History". Millay Colony for the Arts. Retrieved January 23, 2010.
    27. "The Grounds at Steepletop". Edna St. Vincent Millay Society. 2008. Archived from the original on November 21, 2008. Retrieved January 23, 2010.
    28. Milford 2001, pp368-371.
    29. Bryson, Bill. At Home, A Short History of Private Life, Random House, 2010, p 111
    30. Letter from Millay to Ferdinand Earle, September 14, 1940. Quoted in Milford 2001, p449.
    31. Milford 2001, pp438-449.
    32. "Edna St. Vincent Millay" Vassar Encyclopaedia, Vassar College
    33. Rubin, Merle (September 6, 2001). "Lyrical, Rebellious And Almost Forgotten". The Wall Street Journal. Retrieved February 24, 2015.
    34. "The Murder of Lidice". www.goodreads.com.
    35. Hitler's Madman
    36. Milford 2001, p442
    37. Epstein, Daniel Mark (2001). What Lips My Lips Have Kissed: The Loves and Love Poems of Edna St. Vincent Millay. New York: Henry Holt. ISBN 0-8050-6727-2.
    38. Milford 2001, p. 508.
    39. Epstein 2001, p. 273.
    40. Wilson, Scott. Resting Places: The Burial Sites of More Than 14,000 Famous Persons, 3d ed.: 2 (Kindle Location 32422). McFarland & Company, Inc., Publishers. Kindle Edition.
    41. "The Land and Words of Mary Oliver, the Bard of Provincetown", The New York Times, July 5, 2009, retrieved September 7, 2010.
    42. Poetry Foundation Oliver biography. Accessed September 7, 2010
    43. Cassidy, Benjamin; Eagle, The Berkshire. "The Edna St. Vincent Millay Society: Saving Steepletop". The Berkshire Eagle. Retrieved July 14, 2019.
    44. Milford, Nancy (2002). The Selected Poems of Edna St. Vincent Millay. New York: Random House. ISBN 0-375-76123-3.
    45. Malcolm Lazin (August 20, 2015). "Op-ed: Here Are the 31 Icons of 2015's Gay History Month". Advocate.com. Retrieved August 21, 2015.
    46. Michael Browning (August 18, 1996). "The Eternal Flame". The Miami Herald. Archived from the original on December 17, 2010.
    47. Sinclair, N. et al. (2006). Mathematics and the Aesthetic. New York: Springer. p. 111.
    48. Millay, Edna St. Vincent. "Renascence"
    49. Millay, Edna St. Vincent. "The Ballad of the Harp-Weaver"

    Further reading

    This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.