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Best Famous Fashion Poems

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

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Written by Ralph Waldo Emerson | Create an image from this poem

Ode to Beauty

 EXULTING BEAUTY,­phantom of an hour, 
Whose magic spells enchain the heart, 
Ah ! what avails thy fascinating pow'r, 
Thy thrilling smile, thy witching art ? 
Thy lip, where balmy nectar glows; 
Thy cheek, where round the damask rose 
A thousand nameless Graces move, 
Thy mildly speaking azure eyes, 
Thy golden hair, where cunning Love 
In many a mazy ringlet lies? 
Soon as thy radiant form is seen, 
Thy native blush, thy timid mien, 
Thy hour is past ! thy charms are vain! 
ILL-NATURE haunts thee with her sallow train, 
Mean JEALOUSY deceives thy list'ning ear, 
And SLANDER stains thy cheek with many a bitter tear.
In calm retirement form'd to dwell, NATURE, thy handmaid fair and kind, For thee, a beauteous garland twin'd; The vale-nurs'd Lily's downcast bell Thy modest mien display'd, The snow-drop, April's meekest child, With myrtle blossoms undefil'd, Thy mild and spotless mind pourtray'd; Dear blushing maid, of cottage birth, 'Twas thine, o'er dewy meads to stray, While sparkling health, and frolic mirth Led on thy laughing Day.
Lur'd by the babbling tongue of FAME, Too soon, insidious FLATT'RY came; Flush'd VANITY her footsteps led, To charm thee from thy blest repose, While Fashion twin'd about thy head A wreath of wounding woes; See Dissipation smoothly glide, Cold Apathy, and puny Pride, Capricious Fortune, dull, and blind, O'er splendid Folly throws her veil, While Envy's meagre tribe assail Thy gentle form, and spotless mind.
Their spells prevail! no more those eyes Shoot undulating fires; On thy wan cheek, the young rose dies, Thy lip's deep tint expires; Dark Melancholy chills thy mind; Thy silent tear reveals thy woe; TIME strews with thorns thy mazy way, Where'er thy giddy footsteps stray, Thy thoughtless heart is doom'd to find An unrelenting foe.
'Tis thus, the infant Forest flow'r Bespangled o'er with glitt'ring dew, At breezy morn's refreshing hour, Glows with pure tints of varying hue, Beneath an aged oak's wide spreading shade, Where no rude winds, or beating storms invade.
Transplanted from its lonely bed, No more it scatters perfumes round, No more it rears its gentle head, Or brightly paints the mossy ground; For ah! the beauteous bud, too soon, Scorch'd by the burning eye of day; Shrinks from the sultry glare of noon, Droops its enamell'd brow, and blushing, dies away.


Written by Maya Angelou | Create an image from this poem

Phenomenal Woman

Pretty women wonder where my secret lies.
I'm not cute or built to suit a fashion model's size
But when I start to tell them,
They think I'm telling lies.
I say,
It's in the reach of my arms
The span of my hips,
The stride of my step,
The curl of my lips.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.

I walk into a room
Just as cool as you please,
And to a man,
The fellows stand or
Fall down on their knees.
Then they swarm around me,
A hive of honey bees.
I say,
It's the fire in my eyes,
And the flash of my teeth,
The swing in my waist,
And the joy in my feet.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.

Men themselves have wondered
What they see in me.
They try so much
But they can't touch
My inner mystery.
When I try to show them
They say they still can't see.
I say,
It's in the arch of my back,
The sun of my smile,
The ride of my breasts,
The grace of my style.
I'm a woman

Phenomenally.
Phenomenal woman,
That's me.

Now you understand
Just why my head's not bowed.
I don't shout or jump about
Or have to talk real loud.
When you see me passing
It ought to make you proud.
I say,
It's in the click of my heels,
The bend of my hair,
the palm of my hand,
The need of my care,
'Cause I'm a woman
Phenomenally.
Phenomenal woman,
That's me.
Written by T S (Thomas Stearns) Eliot | Create an image from this poem

Four Quartets 2: East Coker

 I

In my beginning is my end.
In succession Houses rise and fall, crumble, are extended, Are removed, destroyed, restored, or in their place Is an open field, or a factory, or a by-pass.
Old stone to new building, old timber to new fires, Old fires to ashes, and ashes to the earth Which is already flesh, fur and faeces, Bone of man and beast, cornstalk and leaf.
Houses live and die: there is a time for building And a time for living and for generation And a time for the wind to break the loosened pane And to shake the wainscot where the field-mouse trots And to shake the tattered arras woven with a silent motto.
In my beginning is my end.
Now the light falls Across the open field, leaving the deep lane Shuttered with branches, dark in the afternoon, Where you lean against a bank while a van passes, And the deep lane insists on the direction Into the village, in the electric heat Hypnotised.
In a warm haze the sultry light Is absorbed, not refracted, by grey stone.
The dahlias sleep in the empty silence.
Wait for the early owl.
In that open field If you do not come too close, if you do not come too close, On a summer midnight, you can hear the music Of the weak pipe and the little drum And see them dancing around the bonfire The association of man and woman In daunsinge, signifying matrimonie— A dignified and commodiois sacrament.
Two and two, necessarye coniunction, Holding eche other by the hand or the arm Whiche betokeneth concorde.
Round and round the fire Leaping through the flames, or joined in circles, Rustically solemn or in rustic laughter Lifting heavy feet in clumsy shoes, Earth feet, loam feet, lifted in country mirth Mirth of those long since under earth Nourishing the corn.
Keeping time, Keeping the rhythm in their dancing As in their living in the living seasons The time of the seasons and the constellations The time of milking and the time of harvest The time of the coupling of man and woman And that of beasts.
Feet rising and falling.
Eating and drinking.
Dung and death.
Dawn points, and another day Prepares for heat and silence.
Out at sea the dawn wind Wrinkles and slides.
I am here Or there, or elsewhere.
In my beginning.
II What is the late November doing With the disturbance of the spring And creatures of the summer heat, And snowdrops writhing under feet And hollyhocks that aim too high Red into grey and tumble down Late roses filled with early snow? Thunder rolled by the rolling stars Simulates triumphal cars Deployed in constellated wars Scorpion fights against the Sun Until the Sun and Moon go down Comets weep and Leonids fly Hunt the heavens and the plains Whirled in a vortex that shall bring The world to that destructive fire Which burns before the ice-cap reigns.
That was a way of putting it—not very satisfactory: A periphrastic study in a worn-out poetical fashion, Leaving one still with the intolerable wrestle With words and meanings.
The poetry does not matter.
It was not (to start again) what one had expected.
What was to be the value of the long looked forward to, Long hoped for calm, the autumnal serenity And the wisdom of age? Had they deceived us Or deceived themselves, the quiet-voiced elders, Bequeathing us merely a receipt for deceit? The serenity only a deliberate hebetude, The wisdom only the knowledge of dead secrets Useless in the darkness into which they peered Or from which they turned their eyes.
There is, it seems to us, At best, only a limited value In the knowledge derived from experience.
The knowledge imposes a pattern, and falsifies, For the pattern is new in every moment And every moment is a new and shocking Valuation of all we have been.
We are only undeceived Of that which, deceiving, could no longer harm.
In the middle, not only in the middle of the way But all the way, in a dark wood, in a bramble, On the edge of a grimpen, where is no secure foothold, And menaced by monsters, fancy lights, Risking enchantment.
Do not let me hear Of the wisdom of old men, but rather of their folly, Their fear of fear and frenzy, their fear of possession, Of belonging to another, or to others, or to God.
The only wisdom we can hope to acquire Is the wisdom of humility: humility is endless.
The houses are all gone under the sea.
The dancers are all gone under the hill.
III O dark dark dark.
They all go into the dark, The vacant interstellar spaces, the vacant into the vacant, The captains, merchant bankers, eminent men of letters, The generous patrons of art, the statesmen and the rulers, Distinguished civil servants, chairmen of many committees, Industrial lords and petty contractors, all go into the dark, And dark the Sun and Moon, and the Almanach de Gotha And the Stock Exchange Gazette, the Directory of Directors, And cold the sense and lost the motive of action.
And we all go with them, into the silent funeral, Nobody's funeral, for there is no one to bury.
I said to my soul, be still, and let the dark come upon you Which shall be the darkness of God.
As, in a theatre, The lights are extinguished, for the scene to be changed With a hollow rumble of wings, with a movement of darkness on darkness, And we know that the hills and the trees, the distant panorama And the bold imposing façade are all being rolled away— Or as, when an underground train, in the tube, stops too long between stations And the conversation rises and slowly fades into silence And you see behind every face the mental emptiness deepen Leaving only the growing terror of nothing to think about; Or when, under ether, the mind is conscious but conscious of nothing— I said to my soul, be still, and wait without hope For hope would be hope for the wrong thing; wait without love, For love would be love of the wrong thing; there is yet faith But the faith and the love and the hope are all in the waiting.
Wait without thought, for you are not ready for thought: So the darkness shall be the light, and the stillness the dancing.
Whisper of running streams, and winter lightning.
The wild thyme unseen and the wild strawberry, The laughter in the garden, echoed ecstasy Not lost, but requiring, pointing to the agony Of death and birth.
You say I am repeating Something I have said before.
I shall say it again.
Shall I say it again? In order to arrive there, To arrive where you are, to get from where you are not, You must go by a way wherein there is no ecstasy.
In order to arrive at what you do not know You must go by a way which is the way of ignorance.
In order to possess what you do not possess You must go by the way of dispossession.
In order to arrive at what you are not You must go through the way in which you are not.
And what you do not know is the only thing you know And what you own is what you do not own And where you are is where you are not.
IV The wounded surgeon plies the steel That questions the distempered part; Beneath the bleeding hands we feel The sharp compassion of the healer's art Resolving the enigma of the fever chart.
Our only health is the disease If we obey the dying nurse Whose constant care is not to please But to remind of our, and Adam's curse, And that, to be restored, our sickness must grow worse.
The whole earth is our hospital Endowed by the ruined millionaire, Wherein, if we do well, we shall Die of the absolute paternal care That will not leave us, but prevents us everywhere.
The chill ascends from feet to knees, The fever sings in mental wires.
If to be warmed, then I must freeze And quake in frigid purgatorial fires Of which the flame is roses, and the smoke is briars.
The dripping blood our only drink, The bloody flesh our only food: In spite of which we like to think That we are sound, substantial flesh and blood— Again, in spite of that, we call this Friday good.
V So here I am, in the middle way, having had twenty years— Twenty years largely wasted, the years of l'entre deux guerres Trying to use words, and every attempt Is a wholly new start, and a different kind of failure Because one has only learnt to get the better of words For the thing one no longer has to say, or the way in which One is no longer disposed to say it.
And so each venture Is a new beginning, a raid on the inarticulate With shabby equipment always deteriorating In the general mess of imprecision of feeling, Undisciplined squads of emotion.
And what there is to conquer By strength and submission, has already been discovered Once or twice, or several times, by men whom one cannot hope To emulate—but there is no competition— There is only the fight to recover what has been lost And found and lost again and again: and now, under conditions That seem unpropitious.
But perhaps neither gain nor loss.
For us, there is only the trying.
The rest is not our business.
Home is where one starts from.
As we grow older The world becomes stranger, the pattern more complicated Of dead and living.
Not the intense moment Isolated, with no before and after, But a lifetime burning in every moment And not the lifetime of one man only But of old stones that cannot be deciphered.
There is a time for the evening under starlight, A time for the evening under lamplight (The evening with the photograph album).
Love is most nearly itself When here and now cease to matter.
Old men ought to be explorers Here or there does not matter We must be still and still moving Into another intensity For a further union, a deeper communion Through the dark cold and the empty desolation, The wave cry, the wind cry, the vast waters Of the petrel and the porpoise.
In my end is my beginning.
Written by Ben Jonson | Create an image from this poem

His Excuse for Loving

Let it not your wonder move, 
Less your laughter, that I love.
Though I now write fifty years, I have had, and have, my peers.
Poets, though divine, are men; Some have loved as old again.
And it is not always face, Clothes, or fortune gives the grace, Or the feature, or the youth; But the language and the truth, With the ardor and the passion, Gives the lover weight and fashion.
If you then would hear the story, First, prepare you to be sorry That you never knew till now Either whom to love or how; But be glad as soon with me When you hear that this is she Of whose beauty it was sung, She shall make the old man young, Keep the middle age at stay, And let nothing hide decay, Till she be the reason why All the world for love may die.
Written by Czeslaw Milosz | Create an image from this poem

Child of Europe

 1
We, whose lungs fill with the sweetness of day.
Who in May admire trees flowering Are better than those who perished.
We, who taste of exotic dishes, And enjoy fully the delights of love, Are better than those who were buried.
We, from the fiery furnaces, from behind barbed wires On which the winds of endless autumns howled, We, who remember battles where the wounded air roared in paroxysms of pain.
We, saved by our own cunning and knowledge.
By sending others to the more exposed positions Urging them loudly to fight on Ourselves withdrawing in certainty of the cause lost.
Having the choice of our own death and that of a friend We chose his, coldly thinking: Let it be done quickly.
We sealed gas chamber doors, stole bread Knowing the next day would be harder to bear than the day before.
As befits human beings, we explored good and evil.
Our malignant wisdom has no like on this planet.
Accept it as proven that we are better than they, The gullible, hot-blooded weaklings, careless with their lives.
2 Treasure your legacy of skills, child of Europe.
Inheritor of Gothic cathedrals, of baroque churches.
Of synagogues filled with the wailing of a wronged people.
Successor of Descartes, Spinoza, inheritor of the word 'honor', Posthumous child of Leonidas Treasure the skills acquired in the hour of terror.
You have a clever mind which sees instantly The good and bad of any situation.
You have an elegant, skeptical mind which enjoys pleasures Quite unknown to primitive races.
Guided by this mind you cannot fail to see The soundness of the advice we give you: Let the sweetness of day fill your lungs For this we have strict but wise rules.
3 There can be no question of force triumphant We live in the age of victorious justice.
Do not mention force, or you will be accused Of upholding fallen doctrines in secret.
He who has power, has it by historical logic.
Respectfully bow to that logic.
Let your lips, proposing a hypothesis Not know about the hand faking the experiment.
Let your hand, faking the experiment No know about the lips proposing a hypothesis.
Learn to predict a fire with unerring precision Then burn the house down to fulfill the prediction.
4 Grow your tree of falsehood from a single grain of truth.
Do not follow those who lie in contempt of reality.
Let your lie be even more logical than the truth itself So the weary travelers may find repose in the lie.
After the Day of the Lie gather in select circles Shaking with laughter when our real deeds are mentioned.
Dispensing flattery called: perspicacious thinking.
Dispensing flattery called: a great talent.
We, the last who can still draw joy from cynicism.
We, whose cunning is not unlike despair.
A new, humorless generation is now arising It takes in deadly earnest all we received with laughter.
5 Let your words speak not through their meanings But through them against whom they are used.
Fashion your weapon from ambiguous words.
Consign clear words to lexical limbo.
Judge no words before the clerks have checked In their card index by whom they were spoken.
The voice of passion is better than the voice of reason.
The passionless cannot change history.
6 Love no country: countries soon disappear Love no city: cities are soon rubble.
Throw away keepsakes, or from your desk A choking, poisonous fume will exude.
Do not love people: people soon perish.
Or they are wronged and call for your help.
Do not gaze into the pools of the past.
Their corroded surface will mirror A face different from the one you expected.
7 He who invokes history is always secure.
The dead will not rise to witness against him.
You can accuse them of any deeds you like.
Their reply will always be silence.
Their empty faces swim out of the deep dark.
You can fill them with any feature desired.
Proud of dominion over people long vanished, Change the past into your own, better likeness.
8 The laughter born of the love of truth Is now the laughter of the enemies of the people.
Gone is the age of satire.
We no longer need mock.
The sensible monarch with false courtly phrases.
Stern as befits the servants of a cause, We will permit ourselves sycophantic humor.
Tight-lipped, guided by reasons only Cautiously let us step into the era of the unchained fire.


Written by Robert Frost | Create an image from this poem

Christmas Trees

 (A Christmas Circular Letter)


THE CITY had withdrawn into itself
And left at last the country to the country;
When between whirls of snow not come to lie
And whirls of foliage not yet laid, there drove
A stranger to our yard, who looked the city,
Yet did in country fashion in that there
He sat and waited till he drew us out
A-buttoning coats to ask him who he was.
He proved to be the city come again To look for something it had left behind And could not do without and keep its Christmas.
He asked if I would sell my Christmas trees; My woods—the young fir balsams like a place Where houses all are churches and have spires.
I hadn’t thought of them as Christmas Trees.
I doubt if I was tempted for a moment To sell them off their feet to go in cars And leave the slope behind the house all bare, Where the sun shines now no warmer than the moon.
I’d hate to have them know it if I was.
Yet more I’d hate to hold my trees except As others hold theirs or refuse for them, Beyond the time of profitable growth, The trial by market everything must come to.
I dallied so much with the thought of selling.
Then whether from mistaken courtesy And fear of seeming short of speech, or whether From hope of hearing good of what was mine, I said, “There aren’t enough to be worth while.
” “I could soon tell how many they would cut, You let me look them over.
” “You could look.
But don’t expect I’m going to let you have them.
” Pasture they spring in, some in clumps too close That lop each other of boughs, but not a few Quite solitary and having equal boughs All round and round.
The latter he nodded “Yes” to, Or paused to say beneath some lovelier one, With a buyer’s moderation, “That would do.
” I thought so too, but wasn’t there to say so.
We climbed the pasture on the south, crossed over, And came down on the north.
He said, “A thousand.
” “A thousand Christmas trees!—at what apiece?” He felt some need of softening that to me: “A thousand trees would come to thirty dollars.
” Then I was certain I had never meant To let him have them.
Never show surprise! But thirty dollars seemed so small beside The extent of pasture I should strip, three cents (For that was all they figured out apiece), Three cents so small beside the dollar friends I should be writing to within the hour Would pay in cities for good trees like those, Regular vestry-trees whole Sunday Schools Could hang enough on to pick off enough.
A thousand Christmas trees I didn’t know I had! Worth three cents more to give away than sell, As may be shown by a simple calculation.
Too bad I couldn’t lay one in a letter.
I can’t help wishing I could send you one, In wishing you herewith a Merry Christmas.
Written by Emily Dickinson | Create an image from this poem

I dreaded that first Robin

I dreaded that first Robin, so,
But He is mastered, now,
I'm some accustomed to Him grown,
He hurts a little, though—

I thought if I could only live
Till that first Shout got by—
Not all Pianos in the Woods
Had power to mangle me—

I dared not meet the Daffodils—
For fear their Yellow Gown
Would pierce me with a fashion
So foreign to my own—

I wished the Grass would hurry—
So—when 'twas time to see—
He'd be too tall, the tallest one
Could stretch—to look at me—

I could not bear the Bees should come,
I wished they'd stay away
In those dim countries where they go,
What word had they, for me?

They're here, though; not a creature failed—
No Blossom stayed away
In gentle deference to me—
The Queen of Calvary—

Each one salutes me, as he goes,
And I, my childish Plumes,
Lift, in bereaved acknowledgement
Of their unthinking Drums—
Written by William Butler Yeats | Create an image from this poem

The Cat And The Moon

 The cat went here and there
And the moon spun round like a top,
And the nearest kin of the moon,
The creeping cat, looked up.
Black Minnaloushe stared at the moon, For, wander and wail as he would, The pure cold light in the sky Troubled his animal blood.
Minnaloushe runs in the grass Lifting his delicate feet.
Do you dance, Minnaloushe, do you dance? When two close kindred meet.
What better than call a dance? Maybe the moon may learn, Tired of that courtly fashion, A new dance turn.
Minnaloushe creeps through the grass From moonlit place to place, The sacred moon overhead Has taken a new phase.
Does Minnaloushe know that his pupils Will pass from change to change, And that from round to crescent, From crescent to round they range? Minnaloushe creeps through the grass Alone, important and wise, And lifts to the changing moon His changing eyes.
Written by Sir Thomas Wyatt | Create an image from this poem

They Flee from Me

They flee from me that sometime did me seek
   With naked foot stalking in my chamber.
I have seen them gentle tame and meek That now are wild and do not remember That sometime they put themselves in danger To take bread at my hand; and now they range Busily seeking with a continual change.
Thanked be fortune, it hath been otherwise Twenty times better; but once in special, In thin array after a pleasant guise, When her loose gown from her shoulders did fall, And she me caught in her arms long and small; And therewithal sweetly did me kiss, And softly said, Dear heart, how like you this? It was no dream, I lay broad waking.
But all is turned thorough my gentleness Into a strange fashion of forsaking; And I have leave to go of her goodness And she also to use newfangleness.
But since that I so kindely am served, I would fain know what she hath deserved.
Written by Countee Cullen | Create an image from this poem

Heritage

 What is Africa to me:
Copper sun or scarlet sea,
Jungle star or jungle track,
Strong bronzed men, or regal black
Women from whose loins I sprang
When the birds of Eden sang?
One three centuries removed
From the scenes his fathers loved,
Spicy grove, cinnamon tree,
What is Africa to me?

So I lie, who all day long
Want no sound except the song
Sung by wild barbaric birds
Goading massive jungle herds,
Juggernauts of flesh that pass
Trampling tall defiant grass
Where young forest lovers lie,
Plighting troth beneath the sky.
So I lie, who always hear, Though I cram against my ear Both my thumbs, and keep them there, Great drums throbbing through the air.
So I lie, whose fount of pride, Dear distress, and joy allied, Is my somber flesh and skin, With the dark blood dammed within Like great pulsing tides of wine That, I fear, must burst the fine Channels of the chafing net Where they surge and foam and fret.
Africa?A book one thumbs Listlessly, till slumber comes.
Unremembered are her bats Circling through the night, her cats Crouching in the river reeds, Stalking gentle flesh that feeds By the river brink; no more Does the bugle-throated roar Cry that monarch claws have leapt From the scabbards where they slept.
Silver snakes that once a year Doff the lovely coats you wear, Seek no covert in your fear Lest a mortal eye should see; What's your nakedness to me? Here no leprous flowers rear Fierce corollas in the air; Here no bodies sleek and wet, Dripping mingled rain and sweat, Tread the savage measures of Jungle boys and girls in love.
What is last year's snow to me, Last year's anything?The tree Budding yearly must forget How its past arose or set­­ Bough and blossom, flower, fruit, Even what shy bird with mute Wonder at her travail there, Meekly labored in its hair.
One three centuries removed From the scenes his fathers loved, Spicy grove, cinnamon tree, What is Africa to me? So I lie, who find no peace Night or day, no slight release From the unremittent beat Made by cruel padded feet Walking through my body's street.
Up and down they go, and back, Treading out a jungle track.
So I lie, who never quite Safely sleep from rain at night-- I can never rest at all When the rain begins to fall; Like a soul gone mad with pain I must match its weird refrain; Ever must I twist and squirm, Writhing like a baited worm, While its primal measures drip Through my body, crying, "Strip! Doff this new exuberance.
Come and dance the Lover's Dance!" In an old remembered way Rain works on me night and day.
Quaint, outlandish heathen gods Black men fashion out of rods, Clay, and brittle bits of stone, In a likeness like their own, My conversion came high-priced; I belong to Jesus Christ, Preacher of humility; Heathen gods are naught to me.
Father, Son, and Holy Ghost, So I make an idle boast; Jesus of the twice-turned cheek, Lamb of God, although I speak With my mouth thus, in my heart Do I play a double part.
Ever at Thy glowing altar Must my heart grow sick and falter, Wishing He I served were black, Thinking then it would not lack Precedent of pain to guide it, Let who would or might deride it; Surely then this flesh would know Yours had borne a kindred woe.
Lord, I fashion dark gods, too, Daring even to give You Dark despairing features where, Crowned with dark rebellious hair, Patience wavers just so much as Mortal grief compels, while touches Quick and hot, of anger, rise To smitten cheek and weary eyes.
Lord, forgive me if my need Sometimes shapes a human creed.
All day long and all night through, One thing only must I do: Quench my pride and cool my blood, Lest I perish in the flood.
Lest a hidden ember set Timber that I thought was wet Burning like the dryest flax, Melting like the merest wax, Lest the grave restore its dead.
Not yet has my heart or head In the least way realized They and I are civilized.
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