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Sample text

It was during this period of perceived failure that Millay had a nervous breakdown and was unable to write. She died in 1950. In a review in the Nation of her posthumous collection Mine the Harvest (1954), in which ‘‘An Ancient Gesture’’ appears, John Ciardi finds ‘‘flashes of power’’ in the collection but laments Millay’s lack of intellectual investment. Her poems are too ‘‘self-dramatizing,’’ he states. Writing after the publication of Millay’s Collected Poems in 1956, Paul Engle in the New York Post lauds her as ‘‘one of the great makers of sonnets in this century’’; but still, as Sandra M.

Her lyric mastery is often cited, although it is sometimes lamented that she looks back toward earlier traditions in poetry rather than forward. Maxwell Anderson, in a review of Second April in Measure: A Journal of Poetry, states that she has ‘‘an almost flawless sensitiveness to phrase’’ and that she finds the right ‘‘homely image’’ to fit her meaning. ’’ The eminent critic and Millay’s friend Edmund Wilson did much to secure her reputation as a fine poet. ’’ In 1929 Millay was elected to the National Institute of Arts and Letters, and in 1931 she received the Helen Haire Levinson Prize for sonnets for Fatal Interview.

277–79. , Edna St. Vincent Millay, Twayne’s United States Authors Series, No. 116, rev. , Twayne Publishers, 1982, pp. 117, 135. Cheney, Anne, ‘‘An Overview of the Village,’’ in Millay in Greenwich Village, University of Alabama Press, 1975, pp. 29–55. Ciardi, John, ‘‘Two Nuns and a Strolling Player,’’ Review of Mine the Harvest, by Edna St. Vincent Millay, in 1 9 A n A n c i e n t G e s t u r e Critical Essays on Edna St. Vincent Millay, edited by William B. Thesing, G. K. Hall, 1993, p. 95; originally published in Nation, Vol.

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