Best Famous Better Half Poems

Here is a collection of the all-time best famous Better Half poems. This is a select list of the best famous Better Half poetry. Reading, writing, and enjoying famous Better Half poetry (as well as classical and contemporary poems) is a great past time. These top poems are the best examples of better half poems.

Search for the best famous Better Half poems, articles about Better Half poems, poetry blogs, or anything else Better Half poem related using the PoetrySoup search engine at the top of the page.

See Also:

Poems are below...



Written by Lewis Carroll | Create an image from this poem

Hiawathas Photographing

 From his shoulder Hiawatha
Took the camera of rosewood,
Made of sliding, folding rosewood;
Neatly put it all together.
In its case it lay compactly, Folded into nearly nothing; But he opened out the hinges, Pushed and pulled the joints and hinges, Till it looked all squares and oblongs, Like a complicated figure In the Second Book of Euclid.
This he perched upon a tripod - Crouched beneath its dusky cover - Stretched his hand, enforcing silence - Said, "Be motionless, I beg you!" Mystic, awful was the process.
All the family in order Sat before him for their pictures: Each in turn, as he was taken, Volunteered his own suggestions, His ingenious suggestions.
First the Governor, the Father: He suggested velvet curtains Looped about a massy pillar; And the corner of a table, Of a rosewood dining-table.
He would hold a scroll of something, Hold it firmly in his left-hand; He would keep his right-hand buried (Like Napoleon) in his waistcoat; He would contemplate the distance With a look of pensive meaning, As of ducks that die ill tempests.
Grand, heroic was the notion: Yet the picture failed entirely: Failed, because he moved a little, Moved, because he couldn't help it.
Next, his better half took courage; SHE would have her picture taken.
She came dressed beyond description, Dressed in jewels and in satin Far too gorgeous for an empress.
Gracefully she sat down sideways, With a simper scarcely human, Holding in her hand a bouquet Rather larger than a cabbage.
All the while that she was sitting, Still the lady chattered, chattered, Like a monkey in the forest.
"Am I sitting still?" she asked him.
"Is my face enough in profile? Shall I hold the bouquet higher? Will it came into the picture?" And the picture failed completely.
Next the Son, the Stunning-Cantab: He suggested curves of beauty, Curves pervading all his figure, Which the eye might follow onward, Till they centered in the breast-pin, Centered in the golden breast-pin.
He had learnt it all from Ruskin (Author of 'The Stones of Venice,' 'Seven Lamps of Architecture,' 'Modern Painters,' and some others); And perhaps he had not fully Understood his author's meaning; But, whatever was the reason, All was fruitless, as the picture Ended in an utter failure.
Next to him the eldest daughter: She suggested very little, Only asked if he would take her With her look of 'passive beauty.
' Her idea of passive beauty Was a squinting of the left-eye, Was a drooping of the right-eye, Was a smile that went up sideways To the corner of the nostrils.
Hiawatha, when she asked him, Took no notice of the question, Looked as if he hadn't heard it; But, when pointedly appealed to, Smiled in his peculiar manner, Coughed and said it 'didn't matter,' Bit his lip and changed the subject.
Nor in this was he mistaken, As the picture failed completely.
So in turn the other sisters.
Last, the youngest son was taken: Very rough and thick his hair was, Very round and red his face was, Very dusty was his jacket, Very fidgety his manner.
And his overbearing sisters Called him names he disapproved of: Called him Johnny, 'Daddy's Darling,' Called him Jacky, 'Scrubby School-boy.
' And, so awful was the picture, In comparison the others Seemed, to one's bewildered fancy, To have partially succeeded.
Finally my Hiawatha Tumbled all the tribe together, ('Grouped' is not the right expression), And, as happy chance would have it Did at last obtain a picture Where the faces all succeeded: Each came out a perfect likeness.
Then they joined and all abused it, Unrestrainedly abused it, As the worst and ugliest picture They could possibly have dreamed of.
'Giving one such strange expressions - Sullen, stupid, pert expressions.
Really any one would take us (Any one that did not know us) For the most unpleasant people!' (Hiawatha seemed to think so, Seemed to think it not unlikely).
All together rang their voices, Angry, loud, discordant voices, As of dogs that howl in concert, As of cats that wail in chorus.
But my Hiawatha's patience, His politeness and his patience, Unaccountably had vanished, And he left that happy party.
Neither did he leave them slowly, With the calm deliberation, The intense deliberation Of a photographic artist: But he left them in a hurry, Left them in a mighty hurry, Stating that he would not stand it, Stating in emphatic language What he'd be before he'd stand it.
Hurriedly he packed his boxes: Hurriedly the porter trundled On a barrow all his boxes: Hurriedly he took his ticket: Hurriedly the train received him: Thus departed Hiawatha.
Written by Lewis Carroll | Create an image from this poem

Hiawathas Photographing (complete)

 From his shoulder Hiawatha
Took the camera of rosewood,
Made of sliding, folding rosewood;
Neatly put it all together.
In its case it lay compactly, Folded into nearly nothing; But he opened out the hinges, Pushed and pulled the joints and hinges, Till it looked all squares and oblongs, Like a complicated figure In the Second Book of Euclid.
This he perched upon a tripod - Crouched beneath its dusky cover - Stretched his hand, enforcing silence - Said, "Be motionless, I beg you!" Mystic, awful was the process.
All the family in order Sat before him for their pictures: Each in turn, as he was taken, Volunteered his own suggestions, His ingenious suggestions.
First the Governor, the Father: He suggested velvet curtains Looped about a massy pillar; And the corner of a table, Of a rosewood dining-table.
He would hold a scroll of something, Hold it firmly in his left-hand; He would keep his right-hand buried (Like Napoleon) in his waistcoat; He would contemplate the distance With a look of pensive meaning, As of ducks that die ill tempests.
Grand, heroic was the notion: Yet the picture failed entirely: Failed, because he moved a little, Moved, because he couldn't help it.
Next, his better half took courage; SHE would have her picture taken.
She came dressed beyond description, Dressed in jewels and in satin Far too gorgeous for an empress.
Gracefully she sat down sideways, With a simper scarcely human, Holding in her hand a bouquet Rather larger than a cabbage.
All the while that she was sitting, Still the lady chattered, chattered, Like a monkey in the forest.
"Am I sitting still?" she asked him.
"Is my face enough in profile? Shall I hold the bouquet higher? Will it came into the picture?" And the picture failed completely.
Next the Son, the Stunning-Cantab: He suggested curves of beauty, Curves pervading all his figure, Which the eye might follow onward, Till they centered in the breast-pin, Centered in the golden breast-pin.
He had learnt it all from Ruskin (Author of 'The Stones of Venice,' 'Seven Lamps of Architecture,' 'Modern Painters,' and some others); And perhaps he had not fully Understood his author's meaning; But, whatever was the reason, All was fruitless, as the picture Ended in an utter failure.
Next to him the eldest daughter: She suggested very little, Only asked if he would take her With her look of 'passive beauty.
' Her idea of passive beauty Was a squinting of the left-eye, Was a drooping of the right-eye, Was a smile that went up sideways To the corner of the nostrils.
Hiawatha, when she asked him, Took no notice of the question, Looked as if he hadn't heard it; But, when pointedly appealed to, Smiled in his peculiar manner, Coughed and said it 'didn't matter,' Bit his lip and changed the subject.
Nor in this was he mistaken, As the picture failed completely.
So in turn the other sisters.
Last, the youngest son was taken: Very rough and thick his hair was, Very round and red his face was, Very dusty was his jacket, Very fidgety his manner.
And his overbearing sisters Called him names he disapproved of: Called him Johnny, 'Daddy's Darling,' Called him Jacky, 'Scrubby School-boy.
' And, so awful was the picture, In comparison the others Seemed, to one's bewildered fancy, To have partially succeeded.
Finally my Hiawatha Tumbled all the tribe together, ('Grouped' is not the right expression), And, as happy chance would have it Did at last obtain a picture Where the faces all succeeded: Each came out a perfect likeness.
Then they joined and all abused it, Unrestrainedly abused it, As the worst and ugliest picture They could possibly have dreamed of.
'Giving one such strange expressions - Sullen, stupid, pert expressions.
Really any one would take us (Any one that did not know us) For the most unpleasant people!' (Hiawatha seemed to think so, Seemed to think it not unlikely).
All together rang their voices, Angry, loud, discordant voices, As of dogs that howl in concert, As of cats that wail in chorus.
But my Hiawatha's patience, His politeness and his patience, Unaccountably had vanished, And he left that happy party.
Neither did he leave them slowly, With the calm deliberation, The intense deliberation Of a photographic artist: But he left them in a hurry, Left them in a mighty hurry, Stating that he would not stand it, Stating in emphatic language What he'd be before he'd stand it.
Hurriedly he packed his boxes: Hurriedly the porter trundled On a barrow all his boxes: Hurriedly he took his ticket: Hurriedly the train received him: Thus departed Hiawatha.
Written by Lewis Carroll | Create an image from this poem

Hiawathas photographing ( Part II )

 First the Governor, the Father: 
He suggested velvet curtains 
looped about a massy pillar; 
And the corner of a table, 
Of a rosewood dining-table.
He would hold a scroll of something, Hold it firmly in his left-hand; He would keep his right-hand buried (Like Napoleon) in his waistcoat; He would contemplate the distance With a look of pensive meaning, As of ducks that die in tempests.
Grand, heroic was the notion: Yet the picture failed entirely: Failed, because he moved a little, Moved, because he couldn't help it.
Next, his better half took courage; She would have her picture taken.
She came dressed beyond description, Dressed in jewels and in satin Far too gorgeous for an empress.
Gracefully she sat down sideways, With a simper scarcely human, Holding in her hand a bouquet Rather larger than a cabbage.
All the while that she was sitting, Still the lady chattered, chattered, Like a monkey in the forest.
"Am I sitting still ?" she asked him.
"Is my face enough in profile? Shall I hold the bouquet higher? Will it come into the picture?" And the picture failed completely.
Written by Francesco Petrarch | Create an image from this poem

CANZONE IV

CANZONE IV.

Si è debile il filo a cui s' attene.

HE GRIEVES IN ABSENCE FROM LAURA.

The thread on which my weary life depends
So fragile is and weak,
If none kind succour lends,
Soon 'neath the painful burden will it break;
Since doom'd to take my sad farewell of her,
In whom begins and ends
My bliss, one hope, to stir
My sinking spirit from its black despair,
Whispers, "Though lost awhile
That form so dear and fair,
Sad soul! the trial bear,
For thee e'en yet the sun may brightly shine,
And days more happy smile,
Once more the lost loved treasure may be thine.
"
This thought awhile sustains me, but again
To fail me and forsake in worse excess of pain.
Time flies apace: the silent hours and swift
So urge his journey on,
Short span to me is left
Even to think how quick to death I run;
Scarce, in the orient heaven, yon mountain crest
Smiles in the sun's first ray,
When, in the adverse west,
His long round run, we see his light decay
[Pg 41]So small of life the space,
So frail and clogg'd with woe,
To mortal man below,
That, when I find me from that beauteous face
Thus torn by fate's decree,
Unable at a wish with her to be,
So poor the profit that old comforts give,
I know not how I brook in such a state to live.
Each place offends, save where alone I see
Those eyes so sweet and bright,
Which still shall bear the key
Of the soft thoughts I hide from other sight;
And, though hard exile harder weighs on me,
Whatever mood betide,
I ask no theme beside,
For all is hateful that I since have seen.
What rivers and what heights,
What shores and seas between
Me rise and those twin lights,
Which made the storm and blackness of my days
One beautiful serene,
To which tormented Memory still strays:
Free as my life then pass'd from every care,
So hard and heavy seems my present lot to bear.
Alas! self-parleying thus, I but renew
The warm wish in my mind,
Which first within it grew
The day I left my better half behind:
If by long absence love is quench'd, then who
Guides me to the old bait,
Whence all my sorrows date?
Why rather not my lips in silence seal'd?
By finest crystal ne'er
Were hidden tints reveal'd
So faithfully and fair,
As my sad spirit naked lays and bare
Its every secret part,
And the wild sweetness thrilling in my heart,
Through eyes which, restlessly, o'erfraught with tears,
Seek her whose sight alone with instant gladness cheers.
[Pg 42]Strange pleasure!—yet so often that within
The human heart to reign
Is found—to woo and win
Each new brief toy that men most sigh to gain:
And I am one from sadness who relief
So draw, as if it still
My study were to fill
These eyes with softness, and this heart with grief:
As weighs with me in chief
Nay rather with sole force,
The language and the light
Of those dear eyes to urge me on that course,
So where its fullest source
Long sorrow finds, I fix my often sight,
And thus my heart and eyes like sufferers be,
Which in love's path have been twin pioneers to me.
The golden tresses which should make, I ween,
The sun with envy pine;
And the sweet look serene,
Where love's own rays so bright and burning shine,
That, ere its time, they make my strength decline,
Each wise and truthful word,
Rare in the world, which late
She smiling gave, no more are seen or heard.
But this of all my fate
Is hardest to endure,
That here I am denied
The gentle greeting, angel-like and pure,
Which still to virtue's side
Inclined my heart with modest magic lure;
So that, in sooth, I nothing hope again
Of comfort more than this, how best to bear my pain.
And—with fit ecstacy my loss to mourn—
The soft hand's snowy charm,
The finely-rounded arm,
The winning ways, by turns, that quiet scorn,
Chaste anger, proud humility adorn,
The fair young breast that shrined
Intellect pure and high,
Are now all hid the rugged Alp behind.
My trust were vain to try
And see her ere I die,
[Pg 43]For, though awhile he dare
Such dreams indulge, Hope ne'er can constant be,
But falls back in despair
Her, whom Heaven honours, there again to see,
Where virtue, courtesy in her best mix,
And where so oft I pray my future home to fix.
My Song! if thou shalt see,
Our common lady in that dear retreat,
We both may hope that she
Will stretch to thee her fair and fav'ring hand,
Whence I so far am bann'd;
—Touch, touch it not, but, reverent at her feet,
Tell her I will be there with earliest speed,
A man of flesh and blood, or else a spirit freed.
Macgregor.