Works
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!
from A Few Figs from Thistles (1920)
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. 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.
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. "Renascence" and "The Ballad of the Harp-Weaver" 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." Thomas Hardy said that America had two great attractions: the skyscraper and the poetry of Edna St. Vincent Millay.
Read more about this topic: Edna St. Vincent Millay
Famous quotes containing the word works:
“The discovery of Pennsylvania’s coal and iron was the deathblow to Allaire. The works were moved to Pennsylvania so hurriedly that for years pianos and the larger pieces of furniture stood in the deserted houses.”
—For the State of New Jersey, U.S. public relief program (1935-1943)
“The slightest living thing answers a deeper need than all the works of man because it is transitory. It has an evanescence of life, or growth, or change: it passes, as we do, from one stage to the another, from darkness to darkness, into a distance where we, too, vanish out of sight. A work of art is static; and its value and its weakness lie in being so: but the tuft of grass and the clouds above it belong to our own travelling brotherhood.”
—Freya Stark (b. 1893–1993)
“The difference between de jure and de facto segregation is the difference open, forthright bigotry and the shamefaced kind that works through unwritten agreements between real estate dealers, school officials, and local politicians.”
—Shirley Chisholm (b. 1924)