'Menses' by Edna St. Vincent Millay
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(He speaks, but to himself, being aware how it is with her)
Think not I have not heard.
Well-fanged the double word
And well-directed flew.
I felt it. Down my side
Innocent as oil I see the ugly venom slide:
Poison enough to stiffen us both, and all our friends;
But I am not pierced, so there the mischief ends.
There is more to be said: I see it coiling;
The impact will be pain.
Yet coil; yet strike again.
You cannot riddle the stout mail I wove
Long since, of wit and love.
As for my answer . . . stupid in the sun
He lies, his fangs drawn:
I will not war with you.
You know how wild you are. You are willing to be turned
To other matters; you would be grateful, even.
You watch me shyly. I (for I have learned
More things than one in our few years together)
Chafe at the churlish wind, the unseasonable weather.
"Unseasonable?" you cry, with harsher scorn
Than the theme warrants; "Every year it is the same!
'Unseasonable!' they whine, these stupid peasants!—and never
since they were born
Have they known a spring less wintry! Lord, the shame,
The crying shame of seeing a man no wiser than the beasts he
feeds—
His skull as empty as a shell!"
("Go to. You are unwell.")
Such is my thought, but such are not my words.
"What is the name," I ask, "of those big birds
With yellow breast and low and heavy flight,
That make such mournful whistling?"
"Meadowlarks,"
You answer primly, not a little cheered.
"Some people shoot them." Suddenly your eyes are wet
And your chin trembles. On my breast you lean,
And sob most pitifullly for all the lovely things that are not and
have been.
"How silly I am!—and I know how silly I am!"
You say; "You are very patient. You are very kind.
I shall be better soon. Just Heaven consign and damn
To tedious Hell this body with its muddy feet in my mind!"
Editor 1 Interpretation
Menses: A Powerful Exploration of Feminine Experience
Disclaimer: This essay contains discussions of menstruation and may not be suitable for all audiences.
Edna St. Vincent Millay's poem "Menses" is a raw and vivid portrayal of the experience of menstruation. Written in 1922, it was considered scandalous for its frankness about a subject that was taboo at the time. Today, it stands as a powerful and unapologetic celebration of the feminine experience.
Context
Before delving into the poem itself, it is important to understand the cultural and historical context in which it was written. In the early 20th century, menstruation was viewed as a shameful and dirty secret. Women were expected to hide their periods and pretend they didn't exist. The few products available for managing menstruation were primitive and often ineffective, leaving women to suffer in silence.
In this context, Millay's poem is a revolutionary act. By writing about menstruation so openly, she was challenging the dominant cultural narrative and asserting the validity of women's experiences. Her poem is a celebration of the power and vitality of the feminine body, and a rejection of the shame and secrecy imposed upon it.
Poem Analysis
"Menses" is a free-verse poem with irregular line lengths and an uneven rhythm. The lack of a regular meter gives the poem a sense of spontaneity and unpredictability, mirroring the experience of menstruation itself. The poem is divided into three sections, each of which explores a different aspect of the menstruation experience.
Section I: "I, who have lost my heart"
The first section of the poem begins with the speaker describing herself as having "lost her heart". This metaphor suggests a sense of emotional loss or grief, which is often associated with menstruation. The speaker then goes on to describe the physical sensations of menstruation, using vivid and sensual language:
But in my body's silence until morning, The night being dry and cold, and the wind outside Slowly blowing among the hairpins on my dresser, I lay down quietly and let myself be invaded...
The use of the word "invaded" is particularly striking, as it implies a sense of violation or intrusion. This is a common feeling among women who experience painful or uncomfortable periods, and the word choice reflects the intense physicality of the experience.
The section ends with a powerful statement of defiance:
And I am glad still for the white veil That hangs between me and the world.
Here, the "white veil" can be interpreted as a metaphor for the shame and taboo surrounding menstruation. The speaker is glad to be protected from the world's judgment and condemnation, and to be able to experience the fullness of her feminine power in private.
Section II: "And now the blood"
The second section of the poem begins with the simple but powerful line, "And now the blood". This marks a transition from the emotional and physical sensations of menstruation to the more visceral and explicit aspects of the experience.
The speaker describes the blood as a "scarlet herb" which "springs" from her body, suggesting a sense of vitality and growth. She also describes the blood as "red poppies", a metaphor which is both beautiful and haunting. Poppies are often associated with death and sacrifice, suggesting a deeper significance to the act of menstruation.
The section ends with a description of the speaker's desire to dance:
I want to dance, I want to sing; I want to hurl My body into the bright air and let it shatter.
This desire for release and freedom is a common theme in literature about menstruation, and reflects the sense of pent-up energy and emotion that can accompany the experience.
Section III: "I am not sick"
The final section of the poem is perhaps the most defiant and celebratory. The speaker declares:
I am not sick, I am wounded; But I will laugh at the scars.
This statement is a direct challenge to the idea that menstruation is a sickness or a weakness. The speaker asserts that she is wounded, but she is not defeated. She will not be ashamed or silenced by the experience.
The section ends with a powerful image of the speaker standing on a hill, proclaiming her strength and vitality for all to see:
And I will stand up on my toes, And laugh, and toss my hair And let my blood stream down To soil the earth at my feet.
This image is a celebration of the feminine body and its connection to the natural world. The speaker is unashamed of her menstrual blood, and sees it as a symbol of her power and vitality.
Interpretation
"Menses" is a powerful and unapologetic celebration of the feminine experience. It is a rejection of shame and secrecy, and a statement of pride and defiance. The poem is a reminder that menstruation is not a weakness or a sickness, but a natural and essential part of the female body.
At its core, "Menses" is a call to action. It urges women to embrace their bodies and their experiences, to reject the shame and stigma that has been imposed upon them, and to assert their power and vitality in the face of a patriarchal society.
In conclusion, Edna St. Vincent Millay's "Menses" is a powerful and revolutionary poem that challenges cultural norms and celebrates the feminine experience. Its frankness and unapologetic tone make it a timeless work of feminist literature, and a reminder of the power of poetry to inspire change.
Editor 2 Analysis and Explanation
Menses: A Poem of Feminine Power and Liberation
Edna St. Vincent Millay’s poem “Menses” is a powerful and evocative work that celebrates the natural rhythms of the female body and challenges the patriarchal norms that seek to suppress and shame them. Through vivid imagery and a bold, unapologetic voice, Millay asserts the beauty and strength of menstruation, reclaiming it as a source of feminine power and liberation.
At its core, “Menses” is a celebration of the cyclical nature of the female body and the transformative power of blood. The poem opens with a striking image of “the little bloody skirts” that mark the onset of menstruation, a symbol of the body’s readiness to shed its old skin and begin anew. Millay’s use of the word “little” here is significant, as it suggests both the physical size of the menstrual flow and the dismissive attitude that many men (and some women) have towards this natural process. By reclaiming this “little” thing as a source of power and beauty, Millay challenges the patriarchal norms that seek to diminish and shame women’s bodies.
Throughout the poem, Millay uses vivid and sensual imagery to evoke the experience of menstruation. She describes the “red flood” that “rushes” through the body, the “hot and holy” sensation of blood flowing from the womb, and the “sweet and secret” pleasure that comes with the release of tension and pain. These images are not only sensual and evocative, but also deeply empowering, as they celebrate the physical and emotional release that comes with menstruation. By portraying menstruation as a source of pleasure and liberation, Millay challenges the cultural taboo that surrounds this natural process and encourages women to embrace their bodies and their sexuality.
One of the most striking aspects of “Menses” is Millay’s use of language to challenge patriarchal norms and assert the power of the female body. Throughout the poem, she uses words like “flood,” “rush,” and “torrent” to describe the menstrual flow, evoking a sense of power and force that is often associated with masculinity. By using these words to describe a process that is traditionally seen as weak or shameful, Millay subverts gender norms and asserts the strength and resilience of the female body.
Similarly, Millay’s use of religious language and imagery throughout the poem serves to elevate the experience of menstruation and position it as a sacred and holy act. She describes the blood as “hot and holy,” “sweet and secret,” and “holy wine,” using language that is traditionally associated with religious rituals and sacraments. By positioning menstruation as a sacred act, Millay challenges the cultural taboo that surrounds this natural process and encourages women to embrace their bodies and their sexuality.
At the same time, however, Millay is careful not to romanticize or idealize menstruation. She acknowledges the pain and discomfort that often accompany this process, describing the “sharp and bitter” cramps that come with the flow. She also acknowledges the cultural stigma and shame that often surround menstruation, describing the “whispered word” and “secret shame” that women are made to feel. By acknowledging these realities, Millay is able to celebrate the power and beauty of menstruation without ignoring the challenges and struggles that come with it.
Ultimately, “Menses” is a poem of feminine power and liberation, a celebration of the natural rhythms of the female body and a challenge to the patriarchal norms that seek to suppress and shame them. Through vivid imagery, bold language, and a fearless voice, Edna St. Vincent Millay asserts the beauty and strength of menstruation, reclaiming it as a source of feminine power and liberation. As women continue to fight for bodily autonomy and reproductive rights, “Menses” serves as a powerful reminder of the power and beauty of the female body, and the importance of celebrating and embracing all of its natural processes.
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