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Best Famous Fe Poems

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

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Written by Emily Dickinson | Create an image from this poem

It makes no difference abroad --

 It makes no difference abroad --
The Seasons -- fit -- the same --
The Mornings blossom into Noons --
And split their Pods of Flame --

Wild flowers -- kindle in the Woods --
The Brooks slam -- all the Day --
No Black bird bates his Banjo --
For passing Calvary --

Auto da Fe -- and Judgment --
Are nothing to the Bee --
His separation from His Rose --
To Him -- sums Misery --


Written by Ezra Pound | Create an image from this poem

Hugh Selwyn Mauberly (Part I)

 "Vocat aestus in umbram" 
Nemesianus Es.
IV.
E.
P.
Ode pour l'élection de son sépulchre For three years, out of key with his time, He strove to resuscitate the dead art Of poetry; to maintain "the sublime" In the old sense.
Wrong from the start -- No, hardly, but, seeing he had been born In a half savage country, out of date; Bent resolutely on wringing lilies from the acorn; Capaneus; trout for factitious bait: "Idmen gar toi panth, os eni Troie Caught in the unstopped ear; Giving the rocks small lee-way The chopped seas held him, therefore, that year.
His true Penelope was Flaubert, He fished by obstinate isles; Observed the elegance of Circe's hair Rather than the mottoes on sun-dials.
Unaffected by "the march of events", He passed from men's memory in l'an trentiesme De son eage; the case presents No adjunct to the Muses' diadem.
II.
The age demanded an image Of its accelerated grimace, Something for the modern stage, Not, at any rate, an Attic grace; Not, not certainly, the obscure reveries Of the inward gaze; Better mendacities Than the classics in paraphrase! The "age demanded" chiefly a mould in plaster, Made with no loss of time, A prose kinema, not, not assuredly, alabaster Or the "sculpture" of rhyme.
III.
The tea-rose, tea-gown, etc.
Supplants the mousseline of Cos, The pianola "replaces" Sappho's barbitos.
Christ follows Dionysus, Phallic and ambrosial Made way for macerations; Caliban casts out Ariel.
All things are a flowing, Sage Heracleitus says; But a tawdry cheapness Shall reign throughout our days.
Even the Christian beauty Defects -- after Samothrace; We see to kalon Decreed in the market place.
Faun's flesh is not to us, Nor the saint's vision.
We have the press for wafer; Franchise for circumcision.
All men, in law, are equals.
Free of Peisistratus, We choose a knave or an eunuch To rule over us.
A bright Apollo, tin andra, tin eroa, tina theon, What god, man, or hero Shall I place a tin wreath upon? IV.
These fought, in any case, and some believing, pro domo, in any case .
.
Some quick to arm, some for adventure, some from fear of weakness, some from fear of censure, some for love of slaughter, in imagination, learning later .
.
.
some in fear, learning love of slaughter; Died some pro patria, non dulce non et decor" .
.
walked eye-deep in hell believing in old men's lies, then unbelieving came home, home to a lie, home to many deceits, home to old lies and new infamy; usury age-old and age-thick and liars in public places.
Daring as never before, wastage as never before.
Young blood and high blood, Fair cheeks, and fine bodies; fortitude as never before frankness as never before, disillusions as never told in the old days, hysterias, trench confessions, laughter out of dead bellies.
V.
There died a myriad, And of the best, among them, For an old ***** gone in the teeth, For a botched civilization.
Charm, smiling at the good mouth, Quick eyes gone under earth's lid, For two gross of broken statues, For a few thousand battered books.
Yeux Glauques Gladstone was still respected, When John Ruskin produced "Kings Treasuries"; Swinburne And Rossetti still abused.
Fœtid Buchanan lifted up his voice When that faun's head of hers Became a pastime for Painters and adulterers.
The Burne-Jones cartons Have preserved her eyes; Still, at the Tate, they teach Cophetua to rhapsodize; Thin like brook-water, With a vacant gaze.
The English Rubaiyat was still-born In those days.
The thin, clear gaze, the same Still darts out faun-like from the half-ruin'd face, Questing and passive .
.
.
.
"Ah, poor Jenny's case" .
.
.
Bewildered that a world Shows no surprise At her last maquero's Adulteries.
"Siena Mi Fe', Disfecemi Maremma" Among the pickled fœtuses and bottled bones, Engaged in perfecting the catalogue, I found the last scion of the Senatorial families of Strasbourg, Monsieur Verog.
For two hours he talked of Gallifet; Of Dowson; of the Rhymers' Club; Told me how Johnson (Lionel) died By falling from a high stool in a pub .
.
.
But showed no trace of alcohol At the autopsy, privately performed -- Tissue preserved -- the pure mind Arose toward Newman as the whiskey warmed.
Dowson found harlots cheaper than hotels; Headlam for uplift; Image impartially imbued With raptures for Bacchus, Terpsichore and the Church.
So spoke the author of "The Dorian Mood", M.
Verog, out of step with the decade, Detached from his contemporaries, Neglected by the young, Because of these reveries.
Brennbaum.
The sky-like limpid eyes, The circular infant's face, The stiffness from spats to collar Never relaxing into grace; The heavy memories of Horeb, Sinai and the forty years, Showed only when the daylight fell Level across the face Of Brennbaum "The Impeccable".
Mr.
Nixon In the cream gilded cabin of his steam yacht Mr.
Nixon advised me kindly, to advance with fewer Dangers of delay.
"Consider Carefully the reviewer.
"I was as poor as you are; "When I began I got, of course, "Advance on royalties, fifty at first", said Mr.
Nixon, "Follow me, and take a column, "Even if you have to work free.
"Butter reviewers.
From fifty to three hundred "I rose in eighteen months; "The hardest nut I had to crack "Was Dr.
Dundas.
"I never mentioned a man but with the view "Of selling my own works.
"The tip's a good one, as for literature "It gives no man a sinecure.
" And no one knows, at sight a masterpiece.
And give up verse, my boy, There's nothing in it.
" * * * Likewise a friend of Bloughram's once advised me: Don't kick against the pricks, Accept opinion.
The "Nineties" tried your game And died, there's nothing in it.
X.
Beneath the sagging roof The stylist has taken shelter, Unpaid, uncelebrated, At last from the world's welter Nature receives him, With a placid and uneducated mistress He exercises his talents And the soil meets his distress.
The haven from sophistications and contentions Leaks through its thatch; He offers succulent cooking; The door has a creaking latch.
XI.
"Conservatrix of Milésien" Habits of mind and feeling, Possibly.
But in Ealing With the most bank-clerkly of Englishmen? No, "Milésian" is an exaggeration.
No instinct has survived in her Older than those her grandmother Told her would fit her station.
XII.
"Daphne with her thighs in bark Stretches toward me her leafy hands", -- Subjectively.
In the stuffed-satin drawing-room I await The Lady Valentine's commands, Knowing my coat has never been Of precisely the fashion To stimulate, in her, A durable passion; Doubtful, somewhat, of the value Of well-gowned approbation Of literary effort, But never of The Lady Valentine's vocation: Poetry, her border of ideas, The edge, uncertain, but a means of blending With other strata Where the lower and higher have ending; A hook to catch the Lady Jane's attention, A modulation toward the theatre, Also, in the case of revolution, A possible friend and comforter.
* * * Conduct, on the other hand, the soul "Which the highest cultures have nourished" To Fleet St.
where Dr.
Johnson flourished; Beside this thoroughfare The sale of half-hose has Long since superseded the cultivation Of Pierian roses.
Written by Vachel Lindsay | Create an image from this poem

The Santa-Fe Trail (A Humoresque)

 I asked the old *****, "What is that bird that sings so well?" He answered: "That is the Rachel-Jane.
" "Hasn't it another name, lark, or thrush, or the like?" "No.
Jus' Rachel-Jane.
" I.
IN WHICH A RACING AUTO COMES FROM THE EAST This is the order of the music of the morning: — First, from the far East comes but a crooning.
The crooning turns to a sunrise singing.
Hark to the calm -horn, balm -horn, psalm -horn.
Hark to the faint -horn, quaint -horn, saint -horn.
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.
.
Hark to the pace -horn, chase -horn, race -horn.
And the holy veil of the dawn has gone.
Swiftly the brazen ear comes on.
It burns in the East as the sunrise burns.
I see great flashes where the far trail turns.
Its eyes are lamps like the eyes of dragons.
It drinks gasoline from big red flagons.
Butting through the delicate mists of the morning, It comes like lightning, goes past roaring.
It will hail all the wind-mills, taunting, ringing, Dodge the cyclones, Count the milestones, On through the ranges the prairie-dog tills— Scooting past the cattle on the thousand hills.
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.
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Ho for the tear-horn, scare-horn, dare-horn, Ho for the gay -horn, bark -horn, bay -horn.
Ho for Kansas, land that restores us When houses choke us, and great books bore us! Sunrise Kansas, harvester's Kansas, A million men have found you before us.
II.
IN WHICH MANY AUTOS PASS WESTWARD I want live things in their pride to remain.
I will not kill one grasshopper vain Though he eats a hole in my shirt like a door.
I let him out, give him one chance more.
Perhaps, while he gnaws my hat in his whim, Grasshopper lyrics occur to him.
I am a tramp by the long trail's border, Given to squalor, rags and disorder.
I nap and amble and yawn and look, Write fool-thoughts in my grubby book, Recite to the children, explore at my ease, Work when I work, beg when I please, Give crank-drawings, that make folks stare To the half-grown boys in the sunset glare, And get me a place to sleep in the hay At the end of a live-and-let-live day.
I find in the stubble of the new-cut weeds A whisper and a feasting, all one needs: The whisper of the strawberries, white and red Here where the new-cut weeds lie dead.
But I would not walk all alone till I die Without some life-drunk horns going by.
Up round this apple-earth they come Blasting the whispers of the morning dumb:— Cars in a plain realistic row.
And fair dreams fade When the raw horns blow.
On each snapping pennant A big black name:— The careering city Whence each car came.
They tour from Memphis, Atlanta, Savannah, Tallahassee and Texarkana.
They tour from St.
Louis, Columbus, Manistee, They tour from Peoria, Davenport, Kankakee.
Cars from Concord, Niagara, Boston, Cars from Topeka, Emporia, and Austin.
Cars from Chicago, Hannibal, Cairo.
Cars from Alton, Oswego, Toledo.
Cars from Buffalo, Kokomo, Delphi, Cars from Lodi, Carmi, Loami.
Ho for Kansas, land that restores us When houses choke us, and great books bore us! While I watch the highroad And look at the sky, While I watch the clouds in amazing grandeur Roll their legions without rain Over the blistering Kansas plain— While I sit by the milestone And watch the sky, The United States Goes by.
Listen to the iron-horns, ripping, racking.
Listen to the quack-horns, slack and clacking.
Way down the road, trilling like a toad, Here comes the dice -horn, here comes the vice -horn, Here comes the snarl -horn, brawl -horn, lewd -horn, Followed by the prude -horn, bleak and squeaking: — (Some of them from Kansas, some of themn from Kansas.
) Here comes the hod -horn, plod -horn, sod -horn, Nevermore-to-roam -horn, loam -horn, home -horn.
(Some of them from Kansas, some of them from Kansas.
) Far away the Rachel-Jane Not defeated by the horns Sings amid a hedge of thorns:— "Love and life, Eternal youth— Sweet, sweet, sweet, sweet, Dew and glory, Love and truth, Sweet, sweet, sweet, sweet.
" WHILE SMOKE-BLACK FREIGHTS ON THE DOUBLE-TRACKED RAILROAD, DRIVEN AS THOUGH BY THE FOUL-FIEND'S OX-GOAD, SCREAMING TO THE WEST COAST, SCREAMING TO THE EAST, CARRY OFF A HARVEST, BRING BACK A FEAST, HARVESTING MACHINERY AND HARNESS FOR THE BEAST.
THE HAND-CARS WHIZ, AND RATTLE ON THE RAILS, THE SUNLIGHT FLASHES ON THE TIN DINNER-PAILS.
And then, in an instant, Ye modern men, Behold the procession once again, Listen to the iron-horns, ripping, racking, Listen to the wise -horn, desperate-to-advise horn, Listen to the fast -horn, kill -horn, blast -horn.
.
.
.
Far away the Rachel-Jane Not defeated by the horns Sings amid a hedge of thorns:— Love and life, Eternal youth, Sweet, sweet, sweet, sweet, Dew and glory, Love and truth.
Sweet, sweet, sweet, sweet.
The mufflers open on a score of cars With wonderful thunder, CRACK, CRACK, CRACK, CRACK-CRACK, CRACK-CRACK, CRACK-CRACK-CRACK, .
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Listen to the gold-horn .
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Old-horn .
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Cold-horn .
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And all of the tunes, till the night comes down On hay-stack, and ant-hill, and wind-bitten town.
Then far in the west, as in the beginning, Dim in the distance, sweet in retreating, Hark to the faint-horn, quaint-horn, saint-horn, Hark to the calm-horn, balm-horn, psalm-horn.
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.
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They are hunting the goals that they understand:— San-Francisco and the brown sea-sand.
My goal is the mystery the beggars win.
I am caught in the web the night-winds spin.
The edge of the wheat-ridge speaks to me.
I talk with the leaves of the mulberry tree.
And now I hear, as I sit all alone In the dusk, by another big Santa-Fe stone, The souls of the tall corn gathering round And the gay little souls of the grass in the ground.
Listen to the tale the cotton-wood tells.
Listen to the wind-mills, singing o'er the wells.
Listen to the whistling flutes without price Of myriad prophets out of paradise.
Harken to the wonder That the night-air carries.
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.
Listen .
.
.
to .
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the .
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whisper .
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.
Of .
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.
the .
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.
prairie .
.
.
fairies Singing o'er the fairy plain:— "Sweet, sweet, sweet, sweet.
Love and glory, Stars and rain, Sweet, sweet, sweet, sweet .
.
.
.
"
Written by Vachel Lindsay | Create an image from this poem

An Apology for the Bottle Volcanic

 Sometimes I dip my pen and find the bottle full of fire, 
The salamanders flying forth I cannot but admire.
It's Etna, or Vesuvius, if those big things were small, And then 'tis but itself again, and does not smoke at all.
And so my blood grows cold.
I say, "The bottle held but ink, And, if you thought it otherwise, the worser for your think.
" And then, just as I throw my scribbled paper on the floor, The bottle says, "Fe, fi, fo, fum," and steams and shouts some more.
O sad deceiving ink, as bad as liquor in its way— All demons of a bottle size have pranced from you to-day, And seized my pen for hobby-horse as witches ride a broom, And left a trail of brimstone words and blots and gobs of gloom.
And yet when I am extra good and say my prayers at night, And mind my ma, and do the chores, and speak to folks polite, My bottle spreads a rainbow-mist, and from the vapor fine Ten thousand troops from fairyland come riding in a line.
I've seen them on their chargers race around my study chair, They opened wide the window and rode forth upon the air.
The army widened as it went, and into myriads grew, O how the lances shimmered, how the silvery trumpets blew!
Written by Paul Laurence Dunbar | Create an image from this poem

LIMITATIONS

Ef you's only got de powah fe' to blow a little whistle,
Keep ermong de people wid de whistles.
Ef you don't, you'll fin' out sho'tly dat you's th'owed yo' fines' feelin'
In a place dat's all a bed o' thistles.
'Tain't no use a-goin' now, ez sho's you bo'n,
A-squeakin' of yo' whistle 'g'inst a gread big ho'n.
Ef you ain't got but a teenchy bit o' victuals on de table,
Whut' de use a-claimin' hit's a feas'?
Fe' de folks is mighty 'spicious, an' dey's ap' to come apeerin',
Lookin' fe' de scraps you lef' at leas'.
Wen de meal's a-hidin' f'om de meal-bin's top,
You needn't talk to hide it; ef you sta'ts, des stop.
Ef yo' min' kin only carry half a pint o' common idees,
[Pg 251]Don' go roun' a-sayin' hit's a bar'l;
'Ca'se de people gwine to test you, an' dey'll fin' out you's a-lyin',
Den dey'll twis' yo' sayin's in a snarl.
Wuss t'ing in de country dat I evah hyahed—
A crow dot sat a-squawkin', "I's a mockin'-bird."