That love poems, including sonnets, delve deeply into the poet’s personal and intimate thoughts is an inherent aspect of the form. Indeed, lyric poetry in general has traditionally been an avenue for expressing a subjective thought or feeling. The Italian poet Petrarch, in the fourteenth century, developed the sonnet style now called the Italian sonnet; English poets, including Sir Thomas Wyatt and William Shakespeare, later adapted and altered the form. Within this long tradition, Edna St. Vincent Millay relies upon some very traditional heritage while creating her own particular use of the form.
As a sonneteer, Millay dramatizes love in fresh and personal ways. Millay’s candle “burns at both ends” (as she once wrote), and this light brings myriad reactions to love in her sonnets. Her first publication in 1917, Renascence and Other Poems, featured sonnets as well as the primary lyrics. This tendency continued, as Millay included sonnets in most of her major works.
“Love is not all: it is not meat nor drink” was a part of Fatal Interview (1931) and it may be an expression to one of her lovers. Edmund Wilson and Elizabeth Atkins maintain that, although this may be the case, the poem seems to be “the perfect expression of Millay’s sentiments to her husband, Eugen Boissevain.”
Some critics suggest that the octave represents sexual love, perhaps since the metaphors are so physical and the repetition...
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