A Look into Edna St. Vincent Millay’s Poem

Edna St. Vincent Millays poem What lips my lips select kissed evokes a sad song that where a lady is regretting all the cacoethesrs she had lost. The plectron of this especial(a) poem by Edna St. Vincent Millay could be justified by the incident that sympathizeers can easily relate to it because it talks about a universal theme, which is jazz. Although it reeks of regret and loneliness, the poet effectively successfully used palpable symbols and words to place the bypast events that transpired in her life.In the poem, the speaker casts herself as a lonely tree. One writer, Epstein (2001) proclaims that this poem is a summing up of the authors love life to date, and an occasion to invoke the classic themes of elegy, the tempus fugit and the ubi sunt (p. 139)What lips my lips have kissed, and where, and whyI have forgotten, and what arms have lainUnder my head till morning time . . .. . . . . . . . . . . . . . . . . . .And in my heart thither stirs a quiet painFor unremember ed lads that non againWill turn to me at midnight with a cry.Thus in the winter stands the lonely tree,Nor knows what birds have vanished one by one,Yet knows its boughs much silent than before.It seems that the speaker in the poem is an aging lady sensation by the songless tree. Indeed, she is an epitome of loneliness and regret, one that we might be tempted to read as a prototype of abandoned womanhood, pathetic and powerless. Male relish in the love sonnets where the woman as a speaker endlessly masquerades feminine weakness and sentimentality often beseeching, and consumed by desire. However, when a anthropoid lover speaks, it would imply sureness of suffering and, perhaps more importantly, with the authority of convention. When Millay masquerades as a male poet masquerading as a lovesick woman, the sense of where sincerity meets gesture and how authority aligns itself with gender is confused (Freedman, 1995, p. 113).In its structure, the poem is classified as a sonnet th at has a particular rhyming pattern abbaabba cdedce. The poem uses alliteration and assonance. It is also rich in naturally-occurring symbols, which all readers can easily connect. The poem begins with a one-sentence octave that presents the space in which the fabricator finds herselfinside a house during the rain, reminiscing about her past and forgotten lovers.The inverted sentence structure of the first two lines close to suggests a question rather than a statement How many lovers were there? The alliterations in the first line additionally emphasize the repetitiveness of the bank clerks sexual encounters. At the same time, the perfect tense imply that this phase of her life has been completed, and the body part symbolisms of lips, arms, and head imply her space from the experience.In the third line, Millay moves to the present tense, where she describes the memories of her lovers (using a ghost metaphor) aroused by the rain, a symbol for gloom and melancholia. These are the lovers that tap and sigh. The narrator seems insinuating that the lovers themselves are irrelevant. For the same reason, Millay picks a metaphor that hints at facelessness and lack of wel occur and resonates with the specific time of the midnight hour.The central phrase in this ingredient is quiet pain, an almost-oxymoron suggesting that the narrators grief is muted or accepted (Schurer, 2005). As mean by the forward movement of tenses, Millay gives the readers a slight glimpse of things to come as well However, undeniably, she regrets everything and she expects no intimacy in the future.In the end, the female narrator seems not interested in the identity 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 faint echo of the emotion of love from her youth (Schurer, 2005). Despite the lonely themes and symbols, we can sense of equality in love to the demand by women that they be allowed to enter the world of happening and experiment in love which men have long inhabited. However, Millay does not sound to be any feminist 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 Have Kissed The Loves and Love Poems of Edna St. Vincent Millay. New York Holt, 2001.Freedman, Diane P., ed. Millay at light speed A Critical Reappraisal. Carbondale, IL Southern 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.