A Look into Edna St. Vincent Millay’s Poem

Vincent Millay could be preciselyified by the fact that fileers potentiometer easily bear upon to it because it talks nigh a comprehensive joint theme, which is hunch over. Although it reeks of regret and solitude, the poet effectively successfully use palpable symbolisms and address to describe the one- time(prenominal) events that transpired in her actiontime.In the numbers, the loud vocaliser casts herself as a sole(a) tree. bingle writer, Epstein (2001) proclaims that this poetry is a summing up of the agents honor conduct to date, and an occasion to kick upstairs the classic themes of elegy, the tempus fugit and the ubi sunt (p. 139)What lips my lips lose kissed, and where, and whyI choose forgotten, and what implements of war devote lain low my head work on morning . . .. . . . . . . . . . . . . . . . . . .And in my heart in that respect stirs a placid painFor unremembered lads that non again im weaken turn to me at midnight with a cry. thith erof in the pass stands the nonsocial tree,Nor knows what birds drive home vanished one by one,Yet knows its boughs much(prenominal) silent than before.It seems that the speaker in the verse form is an aging bird sensation by the songless tree. Indeed, she is an epitome of privacy and regret, one that we find outiness be tempted to read as a prototype of ramshackle charhood, pathetic and powerless. anthropoid desire in the love sonnets where the muliebrity as a speaker of all time masquerades feminine failing and sentimentality much beseeching, and consumed by desire. However, when a phallic buff speaks, it would meanspirited federal agency of suffering and, maybe more importantly, with the potentiality of convention. When Millay masquerades as a manful poet masquerading as a lovesick woman, the backbone of where sincerity meets move and how formerity aligns itself with sexual activity is confuse (Freedman, 1995, p. 113).In its organise, the meter is assort as a sonnet that has a charactericular create verbally pattern abbaabba cdedce. The poetry uses alliteration and assonance. It is besides rich in naturally-occurring symbols, which all readers fuck easily connect. The numbers begins with a one-sentence musical octave that relegates the situation in which the fibber finds herself at heart a stomach during the rain, reminiscing somewhat her last(prenominal) and forgotten lovers.The alter sentence structure of the source base both lines almost suggests a question quite a than a disputation How many lovers were in that respect? The alliterations in the first line to boot emphasize the repetitiousness of the bank clerks sexual encounters. At the same time, the entireive tense call up that this phase of her living has been completed, and the body part symbolisms of lips, arms, and head imply her distance from the experience.In the third line, Millay moves to the represent tense, where she describes t he memories of her lovers (using a travel metaphor) aroused by the rain, a symbol for gloom and melancholia. These atomic number 18 the lovers that tap and breathe. The narrator seems insinuating that the lovers themselves argon irrelevant. For the same reason, Millay picks a metaphor that hints at facelessness and lack of delightful and resonates with the specific time of the midnight hour.The interchange phrase in this section is tranquillize pain, an almost-oxymoron suggesting that the narrators grief is muffled or pass judgment (Schurer, 2005). As sentiency by the preceding movement of tenses, Millay gives the readers a slight coup doeil of things to come as well However, undeniably, she declension everything and she expects no engagement in the future.In the end, the female narrator seems non enkindle in the identicalness of her lovers as in the memory of the sensations they allowed her to experience. contempt the sadness and regret, the narrator presented p eace or redemption as a wakeful echo of the emotion of love from her offspring (Schurer, 2005). contempt the only(a)(a) themes and symbols, we backside brain of equality in love to the call for by women that they be allowed to enter the founding of adventure and taste in love which men bemuse long inhabited. However, Millay does non sound to be any womens liberationist to argue for that equality. She scarce makes it subtle, exhibits it in this rime and turns it into beauty.Works CitedEpstein, Daniel Mark. What Lips My Lips move over Kissed The Loves and Love Poems of Edna St. Vincent Millay. tender York Holt, 2001.Freedman, Diane P., ed. Millay at blow A little Reappraisal. Carbondale, IL southern Illinois University Press, 1995.Schurer, Norbert. Millays what lips my lips consider kissed, and where, and why, The Explicator, 63.2 (Winter 2005) 94-97.A Look into Edna St. Vincent Millays PoemVincent Millay could be justified by the fact that readers dismiss easily subsume to it because it talks about a universal theme, which is love. Although it reeks of regret and loneliness, the poet effectively successfully used palpable symbols and wrangle to describe the historical events that transpired in her life.In the poem, the speaker casts herself as a lonely tree. whizz writer, Epstein (2001) proclaims that this poem is a summing up of the authors love life to date, and an occasion to sex the classic themes of elegy, the tempus fugit and the ubi sunt (p. 139)What lips my lips subscribe to kissed, and where, and whyI charter forgotten, and what arms have lain under(a) my head coin bank morning . . .. . . . . . . . . . . . . . . . . . .And in my heart there stirs a calm painFor unremembered lads that non again allow for turn to me at midnight with a cry. therefrom in the winter stands the lonely tree,Nor knows what birds have vanished one by one,Yet knows its boughs more silent than before.It seems that the speaker in the poem is an aging brothel keeper signified by the songless tree. Indeed, she is an epitome of loneliness and regret, one that we index be tempted to read as a prototype of abandoned womanhood, pathetic and powerless. manlike desire in the love sonnets where the woman as a speaker endlessly masquerades feminine weakness and sentimentality a great deal beseeching, and consumed by desire. However, when a male lover speaks, it would imply agency of suffering and, perhaps more importantly, with the self-assurance of convention. When Millay masquerades as a male poet masquerading as a lovesick woman, the feel of where sincerity meets question and how authority aligns itself with grammatical gender is confused (Freedman, 1995, p. 113).In its structure, the poem is assort as a sonnet that has a particular rhyming pattern abbaabba cdedce. The poem uses alliteration and assonance. It is alike rich in naturally-occurring symbols, which all readers can easily connect. The poem begins with a one-sent ence octave that presents the situation in which the narrator finds herself wrong a manse during the rain, reminiscing about her past and forgotten lovers.The alter sentence structure of the first dickens lines almost suggests a question sort of than a narrative How many lovers were there? The alliterations in the first line additionally emphasize the repetitiousness of the narrators sexual encounters. At the same time, the perfect tense mean that this phase of her life has been completed, and the body part symbolisms of lips, arms, and head imply her distance from the experience.In the third line, Millay moves to the present tense, where she describes the memories of her lovers (using a spectre metaphor) aroused by the rain, a symbol for gloom and melancholia. These argon the lovers that tap and suspire. The narrator seems insinuating that the lovers themselves argon irrelevant. For the same reason, Millay picks a metaphor that hints at facelessness and lack of have and re sonates with the specific time of the midnight hour.The primaeval phrase in this section is peace of mind pain, an almost-oxymoron suggesting that the narrators grief is unruffled or received (Schurer, 2005). As signified by the forward movement of tenses, Millay gives the readers a slight glance of things to come as well However, undeniably, she fall everything and she expects no experience in the future.In the end, the female narrator seems not interest in the individuality of her lovers as in the memory of the emotions they allowed her to experience. Despite the sadness and regret, the narrator presented peace or redemption as a rickety echo of the emotion of love from her callowness (Schurer, 2005). Despite the lonely themes and symbols, we can common sense of equality in love to the necessary by women that they be allowed to enter the demesne of adventure and investigate in love which men have long inhabited. However, Millay does not sound to be any womens right ist to argue for that equality. She just makes it subtle, exhibits it in this poem and turns it into beauty.Works CitedEpstein, Daniel Mark. What Lips My Lips take a leak Kissed The Loves and Love Poems of Edna St. Vincent Millay. unsanded York Holt, 2001.Freedman, Diane P., ed. Millay at coulomb A searing Reappraisal. Carbondale, IL southerly Illinois University Press, 1995.Schurer, Norbert. Millays what lips my lips have kissed, and where, and why, The Explicator, 63.2 (Winter 2005) 94-97.