Few modern poets have suffered more tumultuous critical fortunes than Edna St Vincent Millay. First praised, then condemned, for the “passionate” quality of her writing, Millay now plays a minor role in American literary history, even as her popularity among readers of poetry has remained strong. Over the past thirty years, several scholars have attempted to restore Millay’s place in the canon by reframing her poetry not as the earnest expression of deep feeling, but as ironic mimicry designed to expose the artifice of poetic and social conventions, particularly surrounding gender. It may seem hard to reconcile these disparate views of Millay and what she tried to accomplish. What follows is an attempt to carve out a third possibility, one that accounts for her popularity while also honoring the complexities of her writing.

中文翻译：

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埃德娜·圣文森特·米莱（Edna St Vincent Millay）的自我分裂

很少有现代诗人比埃德娜·圣文森特·米莱（Edna St Vincent Millay）遭受更多动荡的批评命运。米莱（Millay）因其作品的“热情”品质而受到赞扬和谴责，尽管她在诗歌读者中的声望仍然很高，但她在美国文学史上却扮演着次要的角色。在过去的三十年中，几位学者试图通过重新定义米莱的诗歌来重塑米莱的地位，而不是将其重新表达为一种深刻的感情表达，而是讽刺性的模仿，旨在揭示诗歌和社会习俗的技巧，尤其是周围的性别。似乎很难调和米莱的这些不同观点和她试图实现的目标。接下来的尝试是试图找出第三种可能性，这种可能性既说明了她的受欢迎程度，又尊重了她写作的复杂性。