In 1921, two volumes of Edna St. Vincent Millay’s poetry were published in New York: A Few Figs from Thistles and Second April. The latter contains many poems about Millay’s romantic disappointments and heartbreaks. These poems are sometimes passionate and sometimes subdued, but they are all intensely personal. Scholars often comment that Millay’s poetry is feminine in its focus on emotions, but it also breaks from the feminine tradition in its raw honesty. “Wild Swans,” which appears in Second April, is a good example of this phenomenon. The speaker expresses traditionally feminine feelings of heartache and despair, but she is less traditional in that she is harsh toward her own heart. Although she focuses on her feelings, she seeks a solution to her emotional upheaval by escaping domesticity.
In only eight lines, Millay describes an episode in which the speaker recalls observing the flight of wild swans and then longs for their return. The subject of birds in poetry about human emotion is a long-standing tradition, but Millay uses it in a unique way. In response to seeing the birds, the speaker essentially makes a choice between her “tiresome” heart and the swans, and she chooses the swans. Millay creates a subtle tension in the structure of the poem, which is both measured and spontaneous.
“Wild Swans” is the speaker’s recollection of watching swans fly overhead. She begins by explaining that seeing the swans made her look into her heart, apparently expecting to find something new. Instead, she merely saw what she had seen before. Any change in her heart was minimal (“Only a question less or a question more”) and did not compare to the awesome spectacle of the swans in flight. She perceives the swans as untamed and free; every mention of them includes the word “wild.” The swans embody freedom because they are in flight, literally liberated from the earth. The speaker marvels at their sense of direction and purpose, which stands in marked contrast to the uncertainty of her heart.
Lines five and six are introspective and personal, moving from observing the external world to evaluating the internal world. The speaker addresses her heart, calling it “tiresome” and referring to it as a “house without air.” The tone is one of exasperation, and it is clear that the speaker longs to be free of her feelings because she has been through emotional turmoil. She decides to free herself by closing her heart and abandoning her emotions (“I leave you and lock your door”).
Once she has detached herself from her emotional upheaval, she needs somewhere to go or someone to follow. At this moment, she recalls the swans and beckons them to come again. She is eager for them to return and repeats her plea: “Wild swans, come...
(The entire section is 277 words.)