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The Annotated Edition

Recuerdo by Edna St. Vincent Millay

Summary, meaning, line-by-line analysis & FAQ.

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Two young people ride a ferry back and forth all night, feeling both giddy from exhaustion and from each other’s company.

Poet
Edna St. Vincent Millay
Composed
1922 · Modernist
Core theme
Freedom
The PoemFull text

Recuerdo

Edna St. Vincent Millay, 1922

We were very tired, we were very merry— We had gone back and forth all night on the ferry. It was bare and bright, and smelled like a stable— But we looked into a fire, we leaned across a table, We lay on a hill-top underneath the moon; And the whistles kept blowing, and the dawn came soon. We were very tired, we were very merry— We had gone back and forth all night on the ferry; And you ate an apple, and I ate a pear, From a dozen of each we had bought somewhere; And the sky went wan, and the wind came cold, And the sun rose dripping, a bucketful of gold. We were very tired, we were very merry, We had gone back and forth all night on the ferry. We hailed, "Good morrow, mother" to a shawl-covered head, And bought a morning paper, which neither of us read; And she wept, "God bless you!" for the apples and pears, And we gave her all our money but our subway fares.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

Two young people ride a ferry back and forth all night, feeling both giddy from exhaustion and from each other’s company. As dawn arrives, they buy some fruit, greet a woman in need on the street, and give her most of their money. The poem conveys that unique sensation of being incredibly happy and utterly tired at once, making the entire world feel magical.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. We were very tired, we were very merry— / We had gone back and forth all night on the ferry.

    Editor's note

    Millay begins with a contradiction that establishes the poem's mood: feeling both tired *and* merry at the same time. The ferry isn't heading anywhere specific — they’re just enjoying the ride back and forth all night for the sheer pleasure of it. The rhyming couplet has a playful bounce that reflects the boat's rocking and the giddy energy of those who haven't slept. This refrain reappears at the start of each stanza, like a catchy chorus that sticks in your mind.

  2. It was bare and bright, and smelled like a stable— / But we looked into a fire, we leaned across a table,

    Editor's note

    The ferry is portrayed honestly — bare, bright, and smelling of animals — but the 'but' shifts to what the two companions truly felt: warmth, closeness, and the comfort of a fire to gaze at. The hilltop and the moon in line five seem almost dreamlike, as though the night has expanded beyond the physical confines of the boat. The whistles and the nearing dawn remind us that time is still moving forward, even within this bubble of happiness.

  3. And you ate an apple, and I ate a pear, / From a dozen of each we had bought somewhere;

    Editor's note

    The second stanza becomes more specific and tender. Sharing fruit — a simple, everyday food — turns into a quietly intimate act. The sky going 'wan' and the wind turning cold signal the end of the night, but then the sun rises 'dripping, a bucketful of gold,' which is one of Millay's most striking images. It turns an ordinary sunrise into something almost absurdly generous, as if the world is pouring treasure out for them.

  4. We hailed, "Good morrow, mother" to a shawl-covered head, / And bought a morning paper, which neither of us read;

    Editor's note

    The final stanza shifts from the two companions to the wider world. They greet an old woman with a warm, old-fashioned kindness ('Good morrow, mother'), buy a newspaper that they promptly ignore — a small, amusing detail that highlights their preoccupation with each other — and then offer the woman almost all their money along with the leftover fruit. Her tearful blessing ('God bless you!') ends the poem on a surprisingly graceful note. Their private happiness overflows into generosity for a stranger.

§04Tone & mood

How this poem feels

The tone is warm, nostalgic, and lightly euphoric—a feeling you get when you look back on a night that felt magical. There’s no sadness here, but the title *Recuerdo* (Spanish for 'memory' or 'remembrance') suggests a distant recall, adding a subtle bittersweet touch to the happiness. The rhythm is bouncy and almost childlike, perfectly matching the reckless, carefree spirit of the night being reminisced about.

§05Symbols & metaphors

Symbols & metaphors

The ferry
The ferry that travels back and forth all night without a destination exists in a realm outside of everyday life — a space where typical rules and responsibilities fade away. It embodies motion without purpose, capturing the essence of pure leisure and joy.
The apple and the pear
Simple, shared food symbolizes intimacy and contentment. There's a subtle echo of Eden in this scene—two people, fruit, a sense of innocent paradise—yet Millay maintains a light touch instead of weighing it down with deep allegory.
The sun rising 'dripping, a bucketful of gold'
The sunrise becomes a vivid picture of overflowing abundance. Gold, a timeless symbol of wealth and worth, makes the dawn seem like the world is rewarding the two companions for their joyful night of wandering.
The shawl-covered woman
The old woman symbolizes the broader reality of need and struggle that lies just beyond the companions' enchanted evening. When they give her money and fruit, it's the moment their personal joy transforms into a gesture of kindness.
The morning paper neither of them read
The unread newspaper represents a small piece of ordinary life—news, responsibilities, daily routines—that they aren't quite ready to face again. It's a humorous, human touch that highlights just how wrapped up they still are in each other.

§06Form & structure

Form & structure

Meter
anapestic hexameter
Rhyme
AABBCC AABBCC AABBCC

§07Historical context

Historical context

Millay wrote *Recuerdo* around 1919, and it was published in her collection *A Few Figs from Thistles* in 1920. This collection introduced her as the voice of a new, liberated generation of young women — witty, sensual, and unapologetic about seeking pleasure. Many believe the poem reflects real nights Millay spent riding the Staten Island Ferry in New York City with friends or lovers during her bohemian days in Greenwich Village. In the late 1910s, the Village was a vibrant hub of artists, radicals, and free spirits, and the poem perfectly captures that era's essence: young, broke, alive, and blissfully indifferent to where the night would lead them. The Spanish title, meaning 'memory' or 'souvenir,' hints from the beginning that this happiness is being reflected on from a point in the future.

§08FAQ

Questions readers ask

'Recuerdo' is Spanish for 'memory,' 'remembrance,' or 'souvenir.' While Millay doesn’t clarify her choice, it instantly positions the poem as a reflection—something valued and preserved. The use of a foreign word also adds a touch of distance to the memory, as if it originates from another world or another version of oneself.

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