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Poetry Of Love Biography

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George Herbert was born on April 3, 1593, the fifth son of an eminent Welsh family. His mother, Magdalen Newport, held great patronage to distinguished literary figures such as John Donne, who dedicated his Holy Sonnets to her. Herbert’s father died when he was three, leaving his mother with ten children, all of whom she was determined to educate and raise as loyal Anglicans. Herbert left for Westminster School at age ten, and went on to become one of three to win scholarships to Trinity College, Cambridge.

Herbert received two degrees (a B.A. in 1613 and an M.A. in 1616) and was elected a major fellow of Trinity. Two years after his college graduation, he was appointed reader in Rhetoric at Cambridge, and in 1620 he was elected public orator—a post wherein Herbert was called upon to represent Cambridge at public occasions and that he described as “the finest place in the university.” In 1624 and 1625 Herbert was elected as a representative to Parliament. He resigned as orator in 1627, married Jane Danvers in 1629, and took holy orders in the Church of England in 1630. Herbert spent the rest of his life as rector in Bemerton near Salisbury. While there, he preached, wrote poetry, and helped rebuild the church out of his own funds.

Herbert’s practical manual to country parsons, A Priest to the Temple (1652), exhibits the intelligent devotion he showed to his parishoners. On his deathbed, he sent the manuscript of The Temple to his close friend, Nicholas Ferrar, asking him to publish the poems only if he thought they might do good to “any dejected poor soul.” He died of consumption in 1633 at the age of forty and the book was published in the same year. The Temple met with enormous popular acclaim—it had been reprinted twenty times by 1680.

Herbert’s poems have been characterized by a deep religious devotion, linguistic precision, metrical agility, and ingenious use of conceit. Samuel Taylor Coleridge wrote of Herbert’s diction that “Nothing can be more pure, manly, or unaffected," and he is ranked with Donne as one of the great Metaphysical poets.

Millay, Edna, St. Vincent (22 Feb. 1892-19 Oct. 1950), poet, was born in the small town of Rockland, Maine, the daughter of Henry Tollman Millay, a schoolteacher, and Cora Buzzelle. In 1900 Cora Millay divorced her husband for financial irresponsibility and soon thereafter moved to Camden, Maine, with Edna and her sisters. The hardworking mother supported them by nursing--often overnight--and encouraged her daughters to love reading and music and to be independent. Millay attended public high school, where she wrote for and served as editor in chief of the school magazine (1905-1909). She also published several juvenile pieces in the St. Nicholas Magazine (1906-1910). Her first great poem, "Renascence," was published in an anthology called The Lyric Year in 1912. When a Young Women's Christian Association education officer heard Millay read this poem, she helped obtain a scholarship for the talented girl to attend Vassar College.

Millay took preparatory courses for one semester at Barnard College and then entered Vassar in 1913. While there she wrote poetry and plays (published in the Vassar Miscellany), acted, starred in her own play, The Princess Marries the Page, and studied literature and languages. Although she frequently rebelled against rules designed to protect female students, Millay graduated with an A.B. in 1917. That year Millay published Renascence and Other Poems. She moved to New York City, where she acted with the Provincetown Players, lived impecuniously in Greenwich Village, and indulged in love affairs with several men, including the novelist Floyd Dell and, briefly, the married poet Arthur Davison Ficke. She earned a little money by publishing short stories (under the pseudonym Nancy Boyd) and poems in Ainslee's magazine (1918-1921). In 1919 she wrote and directed a one-act, antiwar verse play with a fairy-tale motif titled Aria da Capo, for the Provincetown Players. During this period she also met the critic Edmund Wilson, at that time the managing editor of Vanity Fair, which had published some of her work (1920). Millay won a $100 prize from Poetry: A Magazine of Verse for "The Bean-Stalk" in 1920. She also published her second book of verse, A Few Figs from Thistles (1920; rev. eds., 1921 and 1922), and Aria da Capo (1920), which sold well.

With an agreement to write for Vanity Fair, the hardworking Millay enjoyed a varied sojourn in Europe from 1920 to 1923. In 1921 she published two more plays and a solid collection of poetry, Second April. Meanwhile, she had other love affairs, including a reported relationship with a French violinist that led to an abortion. She encouraged but soon decided not to marry the poet Witter Bynner. After obtaining a $500 advance from Horace Liveright for a novel titled "Hardigut" that was never completed, she sent for her mother, and the two toured France and England; they then returned to New York. In 1923 Millay was honored as the first woman to be awarded the Pulitzer Prize for poetry. In that same year she published The Harp-Weaver and Other Poems, and after a brief courtship she married the 43-year-old widower Eugen Jan Boissevain; they had no children. He was a burly American importer of Dutch-Irish extraction who was sensitively intelligent, profeminist, and considerate. Millay went on arduous reading tours and sailed around the world with her husband in 1924. The couple bought and occupied "Steepletop," their permanent home on 700 acres of farmland near Austerlitz, New York, during 1925. Shortly thereafter Millay created the stirring libretto for The King's Henchman, Deems Taylor's splendid opera, which premiered at the Metropolitan Opera of New York in 1927 starring the American baritone Lawrence Tibbett. The libretto was published and went through four quick editions, reportedly earning Millay $100 a day for a while.

Later in 1927 Millay became involved in the Sacco-Vanzetti case. Nicola Sacco and Bartolomeo Vanzetti, Italian-born anarchists and labor agitators, had been convicted in 1921 of the 1920 murder of two payroll guards in South Braintree, Massachusetts. The verdict was challenged by those who felt that the two were being persecuted for their history as social activists and anarchists. Although questions about their innocence remained, they were executed on 23 August 1927. Millay and many other intellectuals had joined in a sensational protest, in which she personally appealed to Governor Alvan T. Fuller and was arrested and jailed for joining the "death watch." In response, Millay wrote and published "Justice Denied in Massachusetts" (New York Times, 22 Aug. 1927). Her involvement in the protest was evidence of her long-standing sympathy for the socialistic aspects of communism. Despite or perhaps partly because of this notoriety, many honors came to Millay, including her election to the National Institute of Arts and Letters (1929) and the American Academy of Arts and Letters (1940). During approximately this same period, however, three deaths severely depressed her. Her close friend, the poet Elinor Wylie, died in 1928, her mother died in 1931, and her estranged father died in 1935.

Given her psychological makeup, Millay had found the ideal husband in Boissevain. He attended to all the household chores, traveled widely with his "Vincent"--often to Florida, the Riviera, and Spain--and cooperated with her intellectual and linguistic interests. He catered to her whims and even condoned her having an occasional lover. One, George Dillon, who was fourteen years her junior and whom she met in 1928 while giving a reading at the University of Chicago, inspired Fatal Interview (1931), a 52-sonnet sequence. In one sonnet she snarls: "Love me no more, now let the god depart, / If love be grown so bitter to your tongue!" Nonetheless, Dillon and Millay collaborated later on translations from Charles Baudelaire's Les Fleurs du Mal (1936). Still later, in a sonnet in Huntsman, What Quarry? (1939), she says, "As God's my judge, I do cry holy, holy, / Upon the name of love however brief." Beginning in 1933, Millay and her husband enjoyed summer retreats on tiny Ragged Island, having bought the 85-acre spot in Casco Bay, Maine. Her other pre-World War II works include The Buck in the Snow (1928), Wine from These Grapes (1934), and Conversation at Midnight (1937); the original, unique manuscript of this dialogue of seven men was burned in a Sanibel Island hotel fire a year earlier.