The Annotated Edition
Fashions by Alfred Noyes
Alfred Noyes penned "Fashions" as a witty, biting, and passionate critique of the early twentieth century's tendency to discard anything old simply for being outdated.
- Poet
- Alfred Noyes
- Composed
- 1922 · Modernist
- Core theme
- Art
Study actions
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Fashion on fashion on fashion, / (With only the truth growing old!)
Editor's note
Noyes begins with a rhythmic repetition of the word 'fashion' to reflect the ceaseless cycle of trends. The parenthetical delivers the poem's first jolt: as everything trendy gets renewed, the truth remains neglected, left to age and wither away.
They are crying new lamps for Aladdin, / New worlds for the old and the true;
Editor's note
This references the villain's scheme in *Aladdin* — exchanging a magic lamp for a shiny new one. Noyes suggests that today's culture is making that same foolish trade, choosing flashy items over things of real value. The twist is in the italicized line: the true magic was never about being new.
They are crying a new rose for Eden, / A rose of green glass.
Editor's note
A glass rose resembles a real rose, yet it lacks everything that defines an actual rose—no fragrance, no vitality, no ability to grow. Noyes connects this idea to modernist art and culture: facsimiles of beauty that miss the very essence of what they seek to replicate. The dry humor in the line 'I suppose / The only thing wrong with their rose is / The fact that it isn't a rose' is both intentionally funny and profoundly impactful.
And here is a song without metre; / And, here again, nothing is wrong;
Editor's note
A straightforward critique of free verse and experimental poetry. Noyes, a staunch formalist, contends that a poem lacking meter and musicality isn't a new genre; it just isn't a song. The polite "nothing is wrong" quickly followed by "Except that — it isn't a song" drips with sarcasm.
Well. Walk on your hands. It's the latest! / And feet are Victorian now;
Editor's note
Noyes highlights the absurdity in fashion logic: if something is labeled 'Victorian,' people will reject it regardless of its usefulness or truth. By the early twentieth century, 'Victorian' had turned into a cultural insult, and Noyes humorously critiques how that single label could lead people to disregard entire traditions.
The furniture goes for a song, now. / The sixties had horrible taste.
Editor's note
The poem transitions into a straightforward auction of Victorian household items. Noyes acknowledges that some pieces, like the antimacassars and stuffed birds, are indeed unattractive. However, he argues that in the frenzy to get rid of everything, people are also throwing away items that have real value. The swift nature of fashion doesn't differentiate between what’s truly good and what isn’t.
Were they wrapped in the antimacassars, / Or sunk in a sofa of plush?
Editor's note
These lines question where the truly valuable items disappeared during the clearout. The antimacassar, which is a cloth draped over chair backs, and the plush sofa serve as humorous symbols of Victorian excess. This suggests that the good stuff was mixed in with the kitsch and sold off without anyone realizing.
Here's a turnex. It's going quite cheaply. / (It lived with stuffed birds in the hall!
Editor's note
The 'turnex' is a made-up object that intentionally sounds obscure — the humor lies in how its association with stuffed birds is presented as a valid argument against it. Noyes is poking fun at modernist critics who rejected things not based on their own qualities but rather due to the company they were associated with.
Here's _item_, a ring (very plain, sirs!) / And _item_, a God (but He's dead!);
Editor's note
The poem hits its peak. God appears in the auction inventory next to a simple ring, reduced to just another line item. The phrase 'but He's dead' resonates with Nietzsche's well-known statement, which was widely discussed during Noyes's time. The casual tone of the auctioneer amplifies the shock of the moment far more than any serious approach could.
Yes, you'll need it again, though He's dead, sirs. / It is only the fashions that fly.
Editor's note
The final stanza shifts away from comedy and delivers its message directly. Noyes warns that the spiritual and moral foundations being sold off will eventually be needed once more — and that the thorns from the crucifixion, tucked away, will still be there. The poem's main idea is encapsulated in the line, 'It is only the fashions that fly': trends may come and go, but what gets thrown away as outdated is enduring.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The glass rose
- A prime example of modernist imitation: it resembles beauty but lacks any of its vibrant qualities. It signifies a cultural product that mimics the style of a tradition while ignoring the essence that gives that style its significance.
- New lamps for old (the Aladdin reference)
- Inspired by the *Arabian Nights*, where a villain deceives someone into swapping a magic lamp for an ordinary one. In this context, it illustrates the cultural trickery that leads to the exchange of truly significant traditions for trendy fads.
- The auction / 'Who'll buy?'
- The entire poem unfolds like a street auction of forgotten Victorian items. This auction setup allows Noyes to approach both sacred and mundane objects with the same nonchalant attitude, which is precisely his message: fashion turns everything into something easily tossed aside.
- The thorns
- The crown of thorns from the crucifixion, tucked away at the end of the poem, symbolizes the Christian moral and spiritual framework that Noyes sees as being cast aside as outdated. He predicts that this framework will be necessary once more in the future.
- The song without metre
- A clear symbol for experimental or free-verse poetry. For Noyes, meter isn't just decoration; it's what defines a song. Without it, what you have may look like a poem, but it isn't one.
- The Victorian label
- Used in the poem as a cultural death sentence — once something is labeled Victorian, there's no need for further debate to dismiss it. It represents how fashion relies on historical associations instead of genuine critical evaluation.
§06Form & structure
Form & structure
- Meter
- free verse
- Rhyme
- ABAB· ABCB ABAB· ABAB ABAB· ABAB ABAB· ABAB ABAB· ABAB ABAB· ABAB
§07Historical context
Historical context
§08FAQ
Questions readers ask
What is the poem actually about?
It satirizes the early twentieth-century tendency to throw away various things—artistic traditions, moral values, religious beliefs—just because they were linked to the Victorian era or deemed outdated. Noyes employs the imagery of a street auction to illustrate the casual and reckless manner in which this is happening.
Who is the 'they' who are 'crying new lamps for Aladdin'?
Noyes represents the cultural avant-garde of his era: modernist poets, critics, and thinkers who championed the new while rejecting the old. He avoids naming them, aiming for them to embody a broader attitude rather than focusing on individual figures.
What does 'a song without metre' mean, and why does Noyes criticise it?
It refers to free verse — poetry that doesn't stick to a regular rhythmic pattern. Noyes was a formalist who saw metre as more than just a convention; he considered it the core quality that defines a poem. He doesn't argue that free verse is bad writing; rather, he believes it isn't truly a song — it's something different being marketed under the wrong label.
What does 'a God (but He's dead!)' refer to?
This refers to Friedrich Nietzsche's well-known statement that 'God is dead,' a notion that gained significant traction in cultural discussions by the early twentieth century. Noyes approaches it with the same nonchalant attitude he uses for the stuffed birds and antimacassars, highlighting just how shocking this idea truly is.
What is the meaning of the final stanza?
Noyes shifts away from humor and delivers a straight prediction: the spiritual and moral foundations being dismantled will be needed again. The thorns — the crown of thorns from the crucifixion — are stored away, waiting for humanity's return. This serves as a warning that what is currently seen as outdated isn't truly gone; it's just lying in wait.
Is the poem religious?
Yes, it develops its connection to religion slowly. For much of the piece, it focuses on cultural and aesthetic discussions regarding art and tradition. However, the last two stanzas clearly show that Noyes views the rejection of Christian faith as the most significant and perilous instance of the pattern he has been outlining throughout.
What is an antimacassar, and why does Noyes mention it?
An antimacassar is a small cloth placed over the back of a chair or sofa to protect the upholstery. It was a typical household item during the Victorian era and, by Noyes's time, had become synonymous with overly fussy and outdated style. He humorously points to it as an example of the questionable Victorian items being discarded, while also suggesting that valuable things are being thrown away along with it.
What is the effect of the repeated 'Who'll buy?' refrain?
It keeps the poem grounded in the street-auction idea and lends it a lively music-hall beat. At the same time, it poses a real question to the reader: who is truly embracing this complete dismissal of the past? Each time the refrain comes back, it takes on a darker tone, culminating in the final stanza, which asks who will purchase the forsaken instruments of crucifixion.
Citation
Cite this poem
MLA
Noyes, Alfred. "Fashions." 1922. Storgy, https://storgy.com/poems/fashions-alfred-noyes/.
APA
Noyes, A. (1922). Fashions. Storgy. https://storgy.com/poems/fashions-alfred-noyes/
Row A — Thesis
1 ptIn 'Fashions,' Alfred Noyes critiques the modernist appetite for novelty as a form of cultural self-destruction, arguing that the compulsive replacement of 'the old and the true' ultimately leaves humanity barren of beauty, meaning, and the …
- Row B — Evidence + Commentary4 pts
- Row C — Sophistication1 pt
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