I, Being Born a Woman and Distressed by Edna St. Vincent Millay (AQA A-Level English Literature A): Revision Notes

I, Being Born a Woman and Distressed by Edna St. Vincent Millay

Introduction

This powerful sonnet by Edna St. Vincent Millay presents a bold exploration of female desire, autonomy and choice in relationships. Written in the early 20th century, the poem challenges traditional expectations about women's roles in romantic and sexual encounters. The speaker acknowledges the intense physical attraction she feels towards a man whilst simultaneously asserting her power to reject any relationship that lacks genuine emotional connection.

Summary

The poem addresses the conflict between biological desire and rational decision-making. The speaker recognises that her female biology creates powerful feelings of attraction when in close proximity to a potential lover. She understands that society expects women to be overwhelmed by these feelings and to submit to male possession through sexual encounters.

However, the speaker firmly rejects this narrative. Whilst acknowledging the physical desire (which she calls a "frenzy"), she makes clear that this is not sufficient reason to continue the relationship. Her intellect remains in control of her choices. The poem concludes with the speaker stating that this attraction provides no basis for future meetings – she has the power to walk away, unpossessed and autonomous.

Structure and form

Sonnet structure

The poem is a Petrarchan sonnet (also known as an Italian sonnet), a traditional 14-line form that divides into two sections:

• Octave (first eight lines): Presents the speaker's conflicted feelings about physical attraction. The interlocking rhymes mirror the cyclical nature of her thoughts about desire.

• Sestet (final six lines): Marks a shift in tone and perspective. The speaker moves from describing her biological response to asserting her rational choice and independence.

This traditional structure powerfully supports the poem's exploration of the tension between emotion and intellect, desire and reason.

Rhyme scheme

The poem follows the ABBAABBA CDCDCD pattern typical of Petrarchan sonnets:

• The octave uses interlocking rhymes (ABBAABBA) which create a sense of entrapment or cyclical thought, reflecting the speaker's struggle with desire
• The sestet shifts to alternating rhymes (CDCDCD), emphasising the speaker's resolve and intellectual dominance over fleeting emotions

This change in rhyme pattern marks the volta (turn) where the speaker moves from describing the problem to asserting her solution.

Meter and rhythm

Millay writes predominantly in iambic pentameter, where each line typically contains five iambs (unstressed-stressed syllable pairs). This steady, regular meter reflects the speaker's attempt to maintain control and rationality amidst intense emotions.

However, there are deliberate variations in the meter, particularly on lines 9-11 and 13, which feature metrical substitutions and feminine endings (lines ending with unstressed syllables). These disruptions to the regular iambic rhythm underscore moments where the speaker's rational control wavers in the face of overwhelming passion. The contrast between the regular rhythm and these variations emphasises the tension between the speaker's emotional turmoil and her desire for intellectual clarity.

Key themes

Female desire and biology

The poem openly acknowledges female sexual desire, a radical subject for poetry at the time. The speaker describes being "urged by your propinquity" and feeling "a certain zest" – frank admissions of physical attraction. She recognises that these feelings stem from "all the needs and notions of my kind" – her female biology creates powerful responses to male presence.

Importantly, the speaker presents this desire without shame whilst simultaneously refusing to let it control her decisions. This honest treatment of female sexuality challenges the idea that women should be passive or unaware of their own desires.

Reason versus emotion

The central conflict in the poem is between physical desire and intellectual choice. The speaker describes how sexual attraction can "cloud the mind" and leave women "undone, possessed." However, she asserts that her "stout blood" (physical desires) does not overpower her "staggering brain" (rational thought).

This theme is reinforced by the poem's structure: the octave presents the problem (overwhelming desire), whilst the sestet presents the solution (rational rejection). The speaker demonstrates that women can acknowledge their desires whilst maintaining intellectual autonomy.

Rejection of possession

The poem challenges the traditional notion that sex is a means by which men possess women. The speaker describes how "the fume of life" is "designed" to "clarify the pulse and cloud the mind" – suggesting that society has constructed sexual relationships to leave women "undone, possessed" and unable to think clearly.

However, the speaker firmly rejects this dynamic. She declares that this "frenzy" is "insufficient reason / For conversation when we meet again." She will not be possessed; she maintains full autonomy over her choices. The poem concludes with a clear assertion: she has the power to walk away from any relationship that lacks genuine emotional or intellectual connection.

Societal expectations

Throughout the poem, the speaker engages with societal expectations about women's behaviour in romantic situations. She acknowledges what she has been taught – that women's emotions are "designed" to make them available for male possession. The phrase "So subtly is the fume of life designed" suggests that these expectations are presented as natural and inevitable.

However, the speaker sees through this construction. Whilst she recognises these societal narratives ("Think not for this, however"), she refuses to accept them as binding. Her final statement – that she finds this "frenzy insufficient reason / For conversation when we meet again" – is a powerful rejection of the idea that physical attraction obligates her to continue a relationship.

Detailed analysis

Lines 1-4: Acknowledging desire

I, being born a woman and distressed By all the needs and notions of my kind, Am urged by your propinquity to find Your person fair, and feel a certain zest

The poem opens with the speaker directly stating the premise from which all her observations arise: she is a woman, and this biological fact shapes her experience. The word "distressed" in the title is significant – it suggests both emotional turmoil and a state of being under pressure.

The phrase "needs and notions of my kind" refers to both female biology and the social conditioning that women receive. The speaker acknowledges that simply being near this man (his "propinquity" or physical closeness) creates an urge to find him attractive and to feel "zest" – a word suggesting enthusiasm, enjoyment and desire.

Importantly, the speaker presents these feelings with clear-eyed awareness. She understands that her gender influences her responses, but she does not use this as an excuse for her behaviour. Rather, this self-awareness becomes the foundation for her later assertion of autonomy.

Lines 5-8: Societal design and possession

To bear your body's weight upon my breast: So subtly is the fume of life designed, To clarify the pulse and cloud the mind, And leave me once again undone, possessed.

These lines describe the physical act of sex and its supposed consequences for women. The speaker suggests that women's "zest" naturally leads to wanting physical intimacy ("To bear your body's weight upon my breast").

The phrase "fume of life" is particularly striking – it suggests that desire is like an intoxicating vapour that overcomes rational thought. The speaker states that this is "designed" (a word suggesting intentional construction) to "clarify the pulse" (heighten physical sensations) whilst simultaneously clouding "the mind" (diminishing rational thought).

The result, according to societal expectation, is that women are left "undone, possessed" after sexual encounters. The word "undone" suggests being unmade or destroyed, whilst "possessed" indicates male ownership. Crucially, the phrase "once again" suggests this is a repeated pattern – society expects this to happen repeatedly to women.

Lines 9-14: Choice and rejection

Think not for this, however, the poor treason Of my stout blood against my staggering brain, I shall remember you with love, or season My scorn with pity,—let me make it plain: I find this frenzy insufficient reason For conversation when we meet again.

The volta (turn) comes with the word "however" – the speaker now moves from describing the problem to asserting her solution. She directly addresses the man, telling him not to assume that her physical desire ("poor treason / Of my stout blood") overpowering her rational thought ("staggering brain") means she will "remember you with love."

The phrase "stout blood" suggests strong, vigorous physical desires, whilst "staggering brain" indicates a mind struggling to maintain balance – but crucially, not failing. The speaker acknowledges the conflict but makes clear that her brain ultimately prevails.

She states plainly that she feels neither romantic love, "scorn" (contempt) nor "pity" for this man. He is simply someone who created a temporary physical response. Most significantly, she declares that this "frenzy" – the intense but fleeting physical desire – is "insufficient reason / For conversation when we meet again."

This conclusion is powerful: the speaker requires emotional and intellectual connection for a relationship to continue. Physical attraction alone is not enough. She asserts her complete autonomy and her power to walk away from any situation that does not meet her standards.

Language and poetic techniques

Formal diction

Millay uses elevated, formal language throughout the poem ("propinquity," "treason," "season"). This formality contrasts with the frank discussion of sexual desire, creating an interesting tension. The sophisticated vocabulary emphasises the speaker's intellectual control even as she discusses overwhelming emotions.

Metaphor

The extended metaphor of the "fume of life" presents desire as an intoxicating vapour that clouds judgment. This metaphor effectively conveys how physical attraction can feel overwhelming and difficult to resist. However, the speaker's ability to articulate this metaphor demonstrates her intellectual distance from these feelings.

Personification

Blood and brain are personified as opposing forces. The "stout blood" commits "treason" against the "staggering brain," suggesting an internal civil war between physical desires and rational thought. This personification makes the internal conflict vivid and dramatic.

Direct address

The poem uses second person ("your propinquity," "your person," "when we meet again"), directly addressing the man in question. This creates an immediate, confrontational tone – the speaker is not merely reflecting on her feelings but actively communicating her decision to this person.

Irony

There is significant irony in the speaker's use of words like "poor treason" to describe her blood's rebellion against her brain. By calling it "poor" (meaning weak or inadequate), she diminishes its power even as she acknowledges its existence. The irony emphasises her ultimate control.

Context: Edna St. Vincent Millay

Understanding Millay's life and historical context enriches our appreciation of this poem's radical nature.

Biographical context

Edna St. Vincent Millay was born in Rockland, Maine, in 1892. Raised by a single mother along with her two sisters, Millay learned self-sufficiency and independence from an early age. She showed remarkable talent for poetry whilst young and won a scholarship to Vassar College, where she became involved in theatre and continued writing.

In 1923, Millay became the first woman to win the Pulitzer Prize for Poetry for her collection The Ballad of the Harp-Weaver. Her popularity stemmed from both her remarkably crafted sonnets and her bohemian lifestyle, which included political activism and openly acknowledged relationships with both women and men.

Historical significance

This poem was revolutionary for its frank acknowledgement of female sexual desire. In the early 20th century, women were expected to be passive recipients of male attention rather than autonomous individuals with their own desires and choices. By openly discussing sexual attraction whilst simultaneously asserting her right to reject relationships based solely on physical desire, Millay challenged fundamental assumptions about women's roles.

The poem's use of the traditional Petrarchan sonnet form is also significant. This form was typically used by male poets to idealise female subjects. By using this form to assert female autonomy and sexual agency, Millay subverts the tradition and claims it for women's voices.

Feminist reading

The poem can be read as a feminist statement about women's right to acknowledge their desires without being controlled by them. The speaker refuses the binary choice often presented to women: either deny desire entirely or be overwhelmed by it. Instead, she demonstrates a third option – acknowledging desire whilst maintaining full autonomy over her choices.

Exam tips

• Always link form to meaning: Explain how the Petrarchan structure (octave presenting problem, sestet presenting solution) reinforces the poem's themes
• Use quotations precisely: Don't just identify techniques, but explain their effects and how they contribute to meaning
• Consider historical context: Discuss how Millay's frank treatment of female sexuality was radical for her time
• Compare with other anthology poems: Consider how this poem's treatment of desire and autonomy compares with other poems in your anthology
• Discuss the speaker, not the poet: Whilst biographical context is useful, focus your analysis on what the speaker says and does within the poem

Remember!