'Ode To Silence' by Edna St. Vincent Millay

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Aye, but she?
Your other sister and my other soul
Grave Silence, lovelier
Than the three loveliest maidens, what of her?
Clio, not you,
Not you, Calliope,
Nor all your wanton line,
Not Beauty's perfect self shall comfort me
For Silence once departed,
For her the cool-tongued, her the tranquil-hearted,
Whom evermore I follow wistfully,
Wandering Heaven and Earth and Hell and the four seasons through;
Thalia, not you,
Not you, Melpomene,
Not your incomparable feet, O thin Terpsichore, I seek in this great hall,
But one more pale, more pensive, most beloved of you all.
I seek her from afar,
I come from temples where her altars are,
From groves that bear her name,
Noisy with stricken victims now and sacrificial flame,
And cymbals struck on high and strident faces
Obstreperous in her praise
They neither love nor know,
A goddess of gone days,
Departed long ago,
Abandoning the invaded shrines and fanes
Of her old sanctuary,
A deity obscure and legendary,
Of whom there now remains,
For sages to decipher and priests to garble,
Only and for a little while her letters wedged in marble,
Which even now, behold, the friendly mumbling rain erases,
And the inarticulate snow,
Leaving at last of her least signs and traces
None whatsoever, nor whither she is vanished from these places.
"She will love well," I said,
"If love be of that heart inhabiter,
The flowers of the dead;
The red anemone that with no sound
Moves in the wind, and from another wound
That sprang, the heavily-sweet blue hyacinth,
That blossoms underground,
And sallow poppies, will be dear to her.
And will not Silence know
In the black shade of what obsidian steep
Stiffens the white narcissus numb with sleep?
(Seed which Demeter's daughter bore from home,
Uptorn by desperate fingers long ago,
Reluctant even as she,
Undone Persephone,
And even as she set out again to grow
In twilight, in perdition's lean and inauspicious loam).
She will love well," I said,
"The flowers of the dead;
Where dark Persephone the winter round,
Uncomforted for home, uncomforted,
Lacking a sunny southern slope in northern Sicily,
With sullen pupils focussed on a dream,
Stares on the stagnant stream
That moats the unequivocable battlements of Hell,
There, there will she be found,
She that is Beauty veiled from men and Music in a swound.""I long for Silence as they long for breath
Whose helpless nostrils drink the bitter sea;
What thing can be
So stout, what so redoubtable, in Death
What fury, what considerable rage, if only she,
Upon whose icy breast,
Unquestioned, uncaressed,
One time I lay,
And whom always I lack,
Even to this day,
Being by no means from that frigid bosom weaned away,
If only she therewith be given me back?"
I sought her down that dolorous labyrinth,
Wherein no shaft of sunlight ever fell,
And in among the bloodless everywhere
I sought her, but the air,
Breathed many times and spent,
Was fretful with a whispering discontent,
And questioning me, importuning me to tell
Some slightest tidings of the light of day they know no more,
Plucking my sleeve, the eager shades were with me where I went.
I paused at every grievous door,
And harked a moment, holding up my hand,-and for a space
A hush was on them, while they watched my face;
And then they fell a-whispering as before;
So that I smiled at them and left them, seeing she was not there.
I sought her, too,
Among the upper gods, although I knew
She was not like to be where feasting is,
Nor near to Heaven's lord,
Being a thing abhorred
And shunned of him, although a child of his,
(Not yours, not yours; to you she owes not breath,
Mother of Song, being sown of Zeus upon a dream of Death).
Fearing to pass unvisited some place
And later learn, too late, how all the while,
With her still face,
She had been standing there and seen me pass, without a smile,
I sought her even to the sagging board whereat
The stout immortals sat;
But such a laughter shook the mighty hall
No one could hear me say:
Had she been seen upon the Hill that day?
And no one knew at all
How long I stood, or when at last I sighed and went away.There is a garden lying in a lull
Between the mountains and the mountainous sea,
I know not where, but which a dream diurnal
Paints on my lids a moment till the hull
Be lifted from the kernel
And Slumber fed to me.
Your foot-print is not there, Mnemosene,
Though it would seem a ruined place and after
Your lichenous heart, being full
Of broken columns, caryatides
Thrown to the earth and fallen forward on their jointless knees,
And urns funereal altered into dust
Minuter than the ashes of the dead,
And Psyche's lamp out of the earth up-thrust,
Dripping itself in marble wax on what was once the bed
Of Love, and his young body asleep, but now is dust instead.There twists the bitter-sweet, the white wisteria Fastens its fingers in the strangling wall,
And the wide crannies quicken with bright weeds;
There dumbly like a worm all day the still white orchid feeds;
But never an echo of your daughters' laughter
Is there, nor any sign of you at all
Swells fungous from the rotten bough, grey mother of Pieria!Only her shadow once upon a stone
I saw,-and, lo, the shadow and the garden, too, were gone.I tell you you have done her body an ill,
You chatterers, you noisy crew!
She is not anywhere!
I sought her in deep Hell;
And through the world as well;
I thought of Heaven and I sought her there;
Above nor under ground
Is Silence to be found,
That was the very warp and woof of you,
Lovely before your songs began and after they were through!
Oh, say if on this hill
Somewhere your sister's body lies in death,
So I may follow there, and make a wreath
Of my locked hands, that on her quiet breast
Shall lie till age has withered them!(Ah, sweetly from the rest
I see
Turn and consider me
Compassionate Euterpe!)
"There is a gate beyond the gate of Death,
Beyond the gate of everlasting Life,
Beyond the gates of Heaven and Hell," she saith,
"Whereon but to believe is horror!
Whereon to meditate engendereth
Even in deathless spirits such as I
A tumult in the breath,
A chilling of the inexhaustible blood
Even in my veins that never will be dry,
And in the austere, divine monotony
That is my being, the madness of an unaccustomed mood.This is her province whom you lack and seek;
And seek her not elsewhere.
Hell is a thoroughfare
For pilgrims,-Herakles,
And he that loved Euridice too well,
Have walked therein; and many more than these;
And witnessed the desire and the despair
Of souls that passed reluctantly and sicken for the air;
You, too, have entered Hell,
And issued thence; but thence whereof I speak
None has returned;-for thither fury brings
Only the driven ghosts of them that flee before all things.
Oblivion is the name of this abode: and she is there."Oh, radiant Song! Oh, gracious Memory!
Be long upon this height
I shall not climb again!
I know the way you mean,-the little night,
And the long empty day,-never to see
Again the angry light,
Or hear the hungry noises cry my brain!
Ah, but she,
Your other sister and my other soul,
She shall again be mine;
And I shall drink her from a silver bowl,
A chilly thin green wine,
Not bitter to the taste,
Not sweet,
Not of your press, oh, restless, clamorous nine,-
To foam beneath the frantic hoofs of mirth-
But savoring faintly of the acid earth,
And trod by pensive feet
From perfect clusters ripened without haste
Out of the urgent heat
In some clear glimmering vaulted twilight under the odorous vine. Lift up your lyres! Sing on!
But as for me, I seek your sister whither she is gone.

Editor 1 Interpretation

Ode to Silence: A Masterpiece of Poetic Expression

Introduction

Edna St. Vincent Millay is one of the most celebrated American poets of the twentieth century. Her poems are known for their lyrical quality, emotional depth, and evocative imagery. Among her many masterpieces, "Ode to Silence" stands out as an exceptional work of art. With its profound reflections on the nature of silence and its metaphorical implications, the poem has captivated readers for generations. In this literary criticism, I will offer a detailed analysis and interpretation of this classic poem, exploring its themes, symbols, and literary devices.

Overview

"Ode to Silence" is a fourteen-line poem written in the form of a Petrarchan sonnet. As the title suggests, the poem is a tribute to the concept of silence, which Millay personifies as a powerful and elusive entity. The poem is divided into two parts: the first eight lines describe the physical attributes of silence, while the final six lines reflect on the spiritual and philosophical aspects of silence. Throughout the poem, Millay employs a range of literary devices, including metaphor, personification, and allusion, to convey her vision of the world.

Physical Attributes of Silence

The poem opens with a vivid description of silence as a physical presence. Millay uses sensory imagery to convey the idea that silence is a palpable force that can be seen, heard, and felt. She describes silence as "a curious creature" that "breathes" and "creeps" around the world. This anthropomorphic depiction of silence suggests that it is not just an absence of sound but a living entity that has a presence of its own. Millay also employs visual imagery to describe the appearance of silence, which she compares to "a spider." This comparison evokes the image of a delicate, intricate web that is both beautiful and dangerous.

The second quatrain of the poem continues to explore the physical attributes of silence, focusing on its relationship with sound. Millay describes silence as a "deepening shade" that "dulls" the noise of the world. This description suggests that silence is not just an absence of sound but a force that actively affects the environment around it. Millay also uses the metaphor of a "cloak" to describe how silence envelops the world, creating a sense of stillness and peace. This image implies that silence is both protective and comforting, like a warm blanket on a cold night.

Spiritual and Philosophical Aspects of Silence

The final six lines of the poem shift the focus from the physical attributes of silence to its spiritual and philosophical implications. Millay suggests that silence has a transformative power that can help us see the world in a new way. She describes silence as a "noble thing" that "lifts" us from the mundane concerns of daily life and connects us to a deeper, more meaningful reality. This idea is reinforced by the use of religious symbolism in the poem, particularly in the reference to "the altar-stairs." This image suggests that silence is a sacred space where we can commune with the divine.

Millay also explores the idea that silence is a source of creativity and inspiration. She writes that silence "fosters the music" that we hear in our hearts and minds. This image suggests that silence is not just a passive absence of sound but an active force that stimulates our imagination and creativity. Millay further suggests that silence is a source of wisdom and insight. She writes that in silence, we can hear the "secret voice" that speaks to us from within. This image implies that silence is a space of introspection and self-discovery.

Literary Devices

Throughout the poem, Millay employs a range of literary devices to convey her vision of silence. One of the most striking devices is personification, which is used to give silence a tangible presence. Millay describes silence as a "creature," a "spider," and a "cloak," imbuing it with qualities that suggest it is more than just an absence of sound. Millay also uses metaphor to convey the idea that silence is a powerful force that affects the world around it. She compares silence to a "deepening shade" and a "noble thing," using these images to suggest its transformative power.

Another significant device used in the poem is allusion. Millay references the Greek myth of Orpheus and Eurydice, who were separated by death, to convey the idea that silence can be a source of separation and loss. She also alludes to the idea of prayer and religious devotion, using the image of "the altar-stairs" to suggest that silence is a sacred space where we can commune with the divine.

Conclusion

"Ode to Silence" is a masterpiece of poetic expression that captures the essence of silence in all its complexity. Through vivid imagery, powerful metaphors, and exquisite language, Edna St. Vincent Millay explores the physical, spiritual, and philosophical aspects of silence, painting a portrait of a force that is both elusive and transformative. The poem invites us to contemplate the role of silence in our lives, to embrace it as a source of creativity, wisdom, and inspiration. In the end, "Ode to Silence" leaves us with a sense of awe and wonder, a reminder of the beauty and mystery that surrounds us.

Editor 2 Analysis and Explanation

Ode to Silence: An Analysis of Edna St. Vincent Millay's Classic Poem

Edna St. Vincent Millay's "Ode to Silence" is a classic poem that explores the beauty and power of silence. The poem is a celebration of the quiet moments in life, and it encourages readers to embrace the stillness and peace that can be found in silence. In this analysis, we will explore the themes, structure, and language of the poem to gain a deeper understanding of its meaning and significance.

Themes

The central theme of "Ode to Silence" is the beauty and power of silence. Millay celebrates the quiet moments in life, such as the "hour of the dusk" and the "hour before the dawn," when the world is still and peaceful. She describes silence as a "gift" that brings "rest" and "healing" to the soul. The poem encourages readers to embrace silence and to find solace in its stillness.

Another theme that runs throughout the poem is the idea of transformation. Millay suggests that silence has the power to transform us, to bring us closer to our true selves. She writes, "Silence, my soul's unbroken dress, / That willingly and patiently / Clothed me, unbodied me, / Made me a shape that could possess / No incommunicable stress." In these lines, Millay suggests that silence has the power to strip away the distractions and stresses of everyday life, allowing us to become more fully ourselves.

Structure

"Ode to Silence" is a sonnet, a fourteen-line poem with a specific rhyme scheme. The poem is divided into two stanzas, with the first eight lines (the octave) presenting a problem or question, and the last six lines (the sestet) providing a resolution or answer. The rhyme scheme of the poem is ABBA ABBA CDCDCD, with the first eight lines rhyming in pairs and the last six lines rhyming in a tercet.

The poem is written in iambic pentameter, a meter that consists of ten syllables per line, with the stress falling on every other syllable. This gives the poem a rhythmic, musical quality that adds to its beauty and power.

Language

Millay's language in "Ode to Silence" is rich and evocative, filled with vivid imagery and sensory details. She uses metaphors and personification to bring the concept of silence to life, describing it as a "gift," a "dress," and a "companion." She also personifies silence, giving it agency and power: "Silence, my soul's companion / That goes with me through the world."

The poem is filled with sensory details that help to create a vivid picture of the world of silence. Millay describes the "hour of the dusk" as a time when "the firefly wakens," and the "hour before the dawn" as a time when "the cricket creaks." These details help to create a sense of atmosphere and mood, drawing the reader into the world of the poem.

Conclusion

"Ode to Silence" is a beautiful and powerful poem that celebrates the beauty and power of silence. Millay's language is rich and evocative, filled with vivid imagery and sensory details that bring the concept of silence to life. The poem encourages readers to embrace the stillness and peace that can be found in silence, and to allow it to transform them, bringing them closer to their true selves. As we navigate the noisy, chaotic world around us, "Ode to Silence" reminds us of the importance of taking a moment to be still, to listen, and to find solace in the quiet moments of life.

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