Ramesh1

Sruthi Ramesh
Mr. Mills
12 AP
December 22, 2014
A Close Reading of First Fig
Edna St. Vincent Millays First Fig emphasizes the quality of life over its duration in
the light of ones mortality. This idea is particularly evident when the speaker directly addresses
her audience and asserts her independence from others judgments: But ah, my foes, and oh, my
friends / It gives a lovely light! (3-4). Millays symbolic and precise language in this passage
stresses the importance of living for oneself rather than bending to others whims, regardless of
who they are.
One of the more prominent effects of poetic devices in this excerpt is seen in the
juxtaposition of assonance and alliteration in the first line of the excerpt. The alliteration of
friends and foes (3) unifies the two contending elements of friendship and hostility that act
upon the speaker at any given moment. In addition, it sets a steady and unhurried pace, which
allows very little emphasis on the difference between the contrasting elements. Instead, it places
equal emphasis on all the words in the line and allows them to be brought together through the
inherent assonance. This unification of the two elements is further aided by the assonance in the
words foe and oh (3). Though the word oh (3) is used to directly address the speakers
friends, it shares a vowel sound with foes (3), thus blurring the line between friendship and
enmity. This consolidation of the two is particularly significant here, for this line establishes the
audience for the poems final message delivered in the next line: It gives a lovely light! (4).
The tone set by the alliteration and assonance is thus nonchalant and placid, and aids in the lack
of emphasis on friends and foes as separate beings. By treating friendship and enmity as a single
entity through assonance and alliteration, the speaker is able to stress the universality of the
message that is to follow.

Ramesh2
This unification of the contending parts of the established audience is further aided by the
iambs present throughout the excerpt. The iambs in the third line place emphasis on the words
ah, foe, oh and friends (3), which are the same words that the assonance and alliteration
in that line same line seek to unify. Thus the iambic structure allows for the unified words to be
highlighted, which in turn stresses the fact that the poem addresses supporters and adversaries
alike. The same iambic structure plays an even more important role in the next line of the
excerpt, where it highlights the words gives, love[ly] and light (4). Here too, there is
alliteration in the words lovely light (4), which merely continues the sing-songy tone and pace
prompted by the third line. Here, the emphasis afforded by the iambs plays a large role in
encapsulating the speakers message, which is to give a lovely light (4) despite the
opposition/disagreement of the foes and friends mentioned in line three.
The number of iambic feet in these two lines also reflects and accentuates the rebellious
and non-conforming overtone. The first line of the excerpt contains four feet, while the second
contains three; this structure does not necessarily fall under any existing iambic pattern. Thus,
this idea of breaking the mold in iambic structure or syntax reflects the overall idea of living for
oneself regardless of the existing norms and conventional opposition. It also implies a
declaration of independence that forces the reader to rely completely on the speaker. This notion
of relying solely on the speaker for information is particularly conspicuous in the enjambment
from the first line of the excerpt to the second. In the line But ah, my foes, and oh, my friends
(3), the speaker uses apostrophe to draw her audience in and simultaneously dampen the
distinction between the constituents of that audience. However, besides that, this line merely
draws the audience in and then leaves them with a cliffhanger. Her audience must wait until the
next line to uncover her message, and cannot predict what it will be. Here, the enjambment, like
the varied number of iambic feet, reminds the audience that the power lay with the speaker and

Ramesh3
that she is independent of their expectations. Thus, the number of iambic feet, enjambment and,
to an extent, the apostrophe all emphasize the idea being independent and refusing to bow down
to set norms and expectations.
The last two words in the excerpt lovely light (4) encompass all of these major themes
and thus manage to encapsulate the meaning of the excerpt and the poem as a whole. The word
light (4) is the sole subject of the excerpt and has a positive connotation, reinforced by its
preceding adjective lovely (4). Together, the words draw the attention of the friends and
foes (3) to the light and away from whatever negativity preceded the shift in the third line
indicated by the word But (3). The word light (4) evokes the image of a candle, which must
obviously burn to produce light. Yet, the speaker uses the word gives (4), which has a more
positive connotation than the alternative, burns. Thus, the word choices, gives and lovely (4)
indicate that the speaker is happy with the decision she has made despite the fact that others may
not agree. Furthermore, lovely (4) is the only adjective in the excerpt, which draws extra
attention to its meaning and connotation, both of which are positive. This connotation coupled
with the imagery of the lovely light (4) creates an overall sense of contentment, which is aided
by the similar positive mood afforded by the interjections ah and oh (3). Thus the words
gives (4) and lovely light (4), their associated connotations, and the connotations of the
words of this excerpt in general convey the speakers contentment with her choices.
The poem First Fig has an unmistakable theme of liberation from social constraints in
order to live life to the fullest, which is reflected in the final two lines of the poem. Right from
the start, the poem depicts the speaker as a person who lives an unconventional lifestyle, subject
to criticism from friends and foes (3) but perseveres; by the end, whether or not they agree,
she continues to let her candle [give] a lovely light (4). This light, which is at the heart of the
excerpt and the poem, points at a universal idea of life and the decisions that constitute it the

Ramesh4
light symbolizes the triumph of the quality of life over its duration, and the production of this
light is a testament to the importance of independence and staying true to oneself.

Works Cited
Millay, St. Vincent. First Fig. Poetry Foundation. Poetry Foundation, n.d. Web. 17 December
2014.