Miniver Cheevy

Fiction | Poem | Adult | Published in 1910

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Summary

Background

Poem Analysis

Themes

Symbols & Motifs

Literary Devices

Background

Literary Context

“Miniver Cheevy” was published in 1910 at the precipice of American Modernism. While the poem reflects its themes of disillusionment and alienation, the poem is better categorized as a work of Realism.

Realism began in the mid-1800s and lasted through the early 1900s as a reaction to the conventions of Romanticism, an artistic movement characterized by rural or surreal settings, grand plots that rely on moments of characters or readers experiencing awe, larger-than-life emotions and internal turmoil, formal language, and a longing for a distant, gold-age past. In contrast, Realism features everyday life and realistic settings, carefully studied ordinary protagonists, the examination of social systems and mores, and complex presentations of character psychology.

The tension between these two movements can be found in “Miniver Cheevy,” as the main character uses Romantic views of the past to cope with the harsh realities of his life. Romanticism describes life how it should be, while Realism depicts life as it is. Miniver, a romantic, dreams about being a bravo hero, but the poem reveals is that he is a mediocre man without any unique talents or achievements. Nevertheless, Robinson takes care to examine the details of this ordinary man’s psychology as if he were worthy of study.

Though Robinson resisted many aspects of modernization in his poetry, such as the use of free verse, he consciously chose to write in plain language that could be easily understood. Thus, his poetry is able to convey universal themes in a way that is relatable to the average person who is the prime subject of his poetry.

Miniver also reflects the urbanization of the US in the early 20th century. The reality of urban life was often grim and gritty, and Robinson portrays the situation truthfully without idealizing it. There is no happy ending for Miniver, set in his self-defeating ways.

Authorial Context

Many critics have argued that “Miniver Cheevy” is not merely a fictional character, but a satirical self-portrait of Robinson. A study of the poet’s biography lends credence to this claim, as the poem does reflect Robinson’s life in various ways.

Both Miniver and Robinson endured difficult upbringings; Miniver’s one of scorn and Robinson’s one of being unwanted and misunderstood. The youngest of three brothers, Robinson was a disappointment to his mother, who had hoped for a girl. When Robinson was ten, a teacher annoyed with his dreamy nature struck his ear so hard it caused lasting damage. Similarly, Miniver is characterized as an out-of-touch romantic dreamer.

Throughout his life, Robinson felt conflicted about money and material possessions, like Miniver, who “scorned the gold he sought” but was annoyed without it (Lines 25-26). Like Miniver, Robinson was at odds with the time he lived in, rejecting the values of materialism that surrounded him.

Both Miniver and Robinson prioritized their dreams over material success. After graduating high school, Robinson put off college and worked odd jobs—which brings to mind the plural vague “labors” that Miniver claims to do when he is not dreaming. Robinson's family suffered severe financial hardships, and he considered going into business like his older brother to help. Ultimately, he could not give up on his dream. Even when an offer came in to become the literary editor of the Kansas City Star, he rejected the opportunity to focus on writing poetry.

Robinson was also wary of modern times and could have been described as an anachronism. He described free verse, prohibition, and movies as being “from hell, armed with the devil’s instructions to abolish civilization” (Scott Donaldson, Edwin Arlington Robinson : A Poet's Life. Columbia University Press, 2007; Page 398). Robinson shared Miniver’s interest in old legends, writing Arthurian poems about Merlin, Lancelot, and Tristram later in his career after “Miniver Cheevy.”

Finally, Robinson and Miniver both had a penchant for alcohol. Despite finding some success with The Town Down the River, Robinson continued to feel insecure about his career and leaned heavily on alcohol to get through tough times.

Another factor the points to the identification of Robinson with Miniver Cheevy is the poem’s tone. In his other portraits of failures and misfits, Robinson evokes a particular empathy for the characters while objectively describing their situation. However, this empathy is nowhere to be found for Miniver. As critic David Nivison argues, “Robinson laughs at him without reserve in every line” (David S. Nivison, “Does It Matter How Annandale Went Out?” Colby Library Quarterly, 1960: 170-185; Page 173). While Robinson had deep reserves of understanding for the common man, he was less sympathetic to himself and regularly poked fun at his flaws in letters to his friends. His self-deprecating nature allowed him not to pull any punches in his depiction of Miniver.

Of course, “Miniver Cheevy” is far from an autobiography. Robinson overcame his alcoholism and managed to persevere at his craft long enough to see success. He was well-liked, engaging in various correspondences with friends over the years. In fact, the publication of Captain Craig by Houghton Mifflin was only possible because his friends advocated for him so strongly.

In a broader sense, “Miniver Cheevy” is a satire of the times and a criticism of a universal character rather than a pure work of nonfiction. Robinson’s closeness to the character allows him to both understand and chide Miniver as a comic and tragic figure in all of his complexities.