10 Best Famous Imaginary Poems

Here is a collection of the top 10 all-time best famous Imaginary poems. This is a select list of the best famous Imaginary poetry. Reading, writing, and enjoying famous Imaginary poetry (as well as classical and contemporary poems) is a great past time. These top poems are the best examples of imaginary poems.

• All Famous Imaginary Poems

 1
We are reading the story of our lives
which takes place in a room.
The room looks out on a street.
There is no one there,
no sound of anything.
The tress are heavy with leaves,
the parked cars never move.
We keep turning the pages, hoping for something,
something like mercy or change,
a black line that would bind us
or keep us apart.
The way it is, it would seem
the book of our lives is empty.
The furniture in the room is never shifted,
and the rugs become darker each time
our shadows pass over them.
It is almost as if the room were the world.
We sit beside each other on the couch,
reading about the couch.
We say it is ideal.
It is ideal.

2
We are reading the story of our lives,
as though we were in it,
as though we had written it.
This comes up again and again.
In one of the chapters
I lean back and push the book aside
because the book says
it is what I am doing.
I lean back and begin to write about the book.
I write that I wish to move beyond the book.
Beyond my life into another life.
I put the pen down.
The book says: "He put the pen down
and turned and watched her reading
the part about herself falling in love."
The book is more accurate than we can imagine.
I lean back and watch you read
about the man across the street.
They built a house there,
and one day a man walked out of it.
You fell in love with him
because you knew that he would never visit you,
would never know you were waiting.
Night after night you would say
that he was like me.
I lean back and watch you grow older without me.
Sunlight falls on your silver hair.
The rugs, the furniture,
seem almost imaginary now.
"She continued to read.
She seemed to consider his absence
of no special importance,
as someone on a perfect day will consider
the weather a failure
because it did not change his mind."
You narrow your eyes.
You have the impulse to close the book
which describes my resistance:
how when I lean back I imagine
my life without you, imagine moving
into another life, another book.
It describes your dependence on desire,
how the momentary disclosures
of purpose make you afraid.
The book describes much more than it should.
It wants to divide us.

3
This morning I woke and believed
there was no more to to our lives
than the story of our lives.
When you disagreed, I pointed
to the place in the book where you disagreed.
You fell back to sleep and I began to read
those mysterious parts you used to guess at
while they were being written
and lose interest in after they became
part of the story.
In one of them cold dresses of moonlight
are draped over the chairs in a man's room.
He dreams of a woman whose dresses are lost,
who sits in a garden and waits.
She believes that love is a sacrifice.
The part describes her death
and she is never named,
which is one of the things
you could not stand about her.
A little later we learn
that the dreaming man lives
in the new house across the street.
This morning after you fell back to sleep
I began to turn the pages early in the book:
it was like dreaming of childhood,
so much seemed to vanish,
so much seemed to come to life again.
I did not know what to do.
The book said: "In those moments it was his book.
A bleak crown rested uneasily on his head.
He was the brief ruler of inner and outer discord,
anxious in his own kingdom."

4
Before you woke
I read another part that described your absence
and told how you sleep to reverse
the progress of your life.
I was touched by my own loneliness as I read,
knowing that what I feel is often the crude
and unsuccessful form of a story
that may never be told.
"He wanted to see her naked and vulnerable,
to see her in the refuse, the discarded
plots of old dreams, the costumes and masks
of unattainable states.
It was as if he were drawn
irresistably to failure."
It was hard to keep reading.
I was tired and wanted to give up.
The book seemed aware of this.
It hinted at changing the subject.
I waited for you to wake not knowing
how long I waited,
and it seemed that I was no longer reading.
I heard the wind passing
like a stream of sighs
and I heard the shiver of leaves
in the trees outside the window.
It would be in the book.
Everything would be there.
I looked at your face
and I read the eyes, the nose, the mouth . . .

5
If only there were a perfect moment in the book;
if only we could live in that moment,
we could being the book again
as if we had not written it,
as if we were not in it.
But the dark approaches
to any page are too numerous
and the escapes are too narrow.
We read through the day.
Each page turning is like a candle
moving through the mind.
Each moment is like a hopeless cause.
If only we could stop reading.
"He never wanted to read another book
and she kept staring into the street.
The cars were still there,
the deep shade of trees covered them.
The shades were drawn in the new house.
Maybe the man who lived there,
the man she loved, was reading
the story of another life.
She imagine a bare parlor,
a cold fireplace, a man sitting
writing a letter to a woman
who has sacrificed her life for love."
If there were a perfect moment in the book,
it would be the last.
The book never discusses the causes of love.
It claims confusion is a necessary good.
It never explains. It only reveals.

6
The day goes on.
We study what we remember.
We look into the mirror across the room.
We cannot bear to be alone.
The book goes on.
"They became silent and did not know how to begin
the dialogue which was necessary.
It was words that created divisions in the first place,
that created loneliness.
They waited
they would turn the pages, hoping
something would happen.
They would patch up their lives in secret:
each defeat forgiven because it could not be tested,
each pain rewarded because it was unreal.
They did nothing."

7
The book will not survive.
We are the living proof of that.
It is dark outside, in the room it is darker.
I hear your breathing.
You are asking me if I am tired,
if I want to keep reading.
Yes, I am tired.
Yes, I want to keep reading.
I say yes to everything.
You cannot hear me.
"They sat beside each other on the couch.
They were the copies, the tired phantoms
of something they had been before.
The attitudes they took were jaded.
They stared into the book
and were horrified by their innocence,
their reluctance to give up.
They sat beside each other on the couch.
They were determined to accept the truth.
Whatever it was they would accept it.
The book would have to be written
and would have to be read.
They are the book and they are
nothing else.

Blandly mother 
takes him strolling 
by railroad and by river 
-he's the son of the absconded 
hot rod angel- 
and he imagines cars 
and rides them in his dreams, 

so lonely growing up among 
the imaginary automobiles 
and dead souls of Tarrytown 

to create 
out of his own imagination 
the beauty of his wild 
forebears-a mythology 
he cannot inherit. 

Will he later hallucinate 
his gods? Waking 
among mysteries with 
an insane gleam 
of recollection? 

The recognition- 
something so rare 
in his soul, 
met only in dreams 
-nostalgias 
of another life. 

A question of the soul. 
And the injured 
losing their injury 
in their innocence 
-a cock, a cross, 
an excellence of love. 

And the father grieves 
in flophouse 
complexities of memory 
a thousand miles 
away, unknowing 
of the unexpected 
youthful stranger 
bumming toward his door. 

- New York, April 13, 1952

 If I could live again my life,
In the next - I'll try,
- to make more mistakes,
I won't try to be so perfect,
I'll be more relaxed,
I'll be more full - than I am now,
In fact, I'll take fewer things seriously,
I'll be less hygenic,
I'll take more risks,
I'll take more trips,
I'll watch more sunsets,
I'll climb more mountains,
I'll swim more rivers,
I'll go to more places - I've never been,
I'll eat more ice creams and less (lime) beans,
I'll have more real problems - and less imaginary
 ones,
I was one of those people who live
 prudent and prolific lives -
 each minute of his life,
Offcourse that I had moments of joy - but,
 if I could go back I'll try to have only good moments,

If you don't know - thats what life is made of,
Don't lose the now!

I was one of those who never goes anywhere
 without a thermometer,
without a hot-water bottle,
 and without an umberella and without a parachute,

If I could live again - I will travel light,
If I could live again - I'll try to work bare feet
 at the beginning of spring till
 the end of autumn,
I'll ride more carts,
I'll watch more sunrises and play with more children,
If I have the life to live - but now I am 85,
 - and I know that I am dying ...

 The whole idea of it makes me feel
like I'm coming down with something,
something worse than any stomach ache
or the headaches I get from reading in bad light--
a kind of measles of the spirit,
a mumps of the psyche,
a disfiguring chicken pox of the soul.

You tell me it is too early to be looking back,
but that is because you have forgotten
the perfect simplicity of being one
and the beautiful complexity introduced by two.
But I can lie on my bed and remember every digit.
At four I was an Arabian wizard.
I could make myself invisible
by drinking a glass of milk a certain way.
At seven I was a soldier, at nine a prince.

But now I am mostly at the window
watching the late afternoon light.
Back then it never fell so solemnly
against the side of my tree house,
and my bicycle never leaned against the garage
as it does today,
all the dark blue speed drained out of it.

This is the beginning of sadness, I say to myself,
as I walk through the universe in my sneakers.
It is time to say good-bye to my imaginary friends,
time to turn the first big number.

It seems only yesterday I used to believe
there was nothing under my skin but light.
If you cut me I could shine.
But now when I fall upon the sidewalks of life,
I skin my knees. I bleed.

 I eat oatmeal for breakfast.
I make it on the hot plate and put skimmed milk on it.
I eat it alone. 
I am aware it is not good to eat oatmeal alone.
Its consistency is such that is better for your mental health 
 if somebody eats it with you.
That is why I often think up an imaginary companion to have 
 breakfast with.
Possibly it is even worse to eat oatmeal with an imaginary 
 companion. 
Nevertheless, yesterday morning, I ate my oatmeal porridge, 
 as he called it with John Keats.
Keats said I was absolutely right to invite him: 
due to its glutinous texture, gluey lumpishness, hint of slime, 
 and unsual willingness to disintigrate, oatmeal should 
 not be eaten alone.
He said that in his opinion, however, it is perfectly OK to eat 
 it with an imaginary companion, and that he himself had 
 enjoyed memorable porridges with Edmund Spenser and John 
 Milton.
Even if eating oatmeal with an imaginary companion is not as 
 wholesome as Keats claims, still, you can learn something 
 from it.
Yesterday morning, for instance, Keats told me about writing the 
 "Ode to a Nightingale."
He had a heck of a time finishing it those were his words "Oi 'ad 
 a 'eck of a toime," he said, more or less, speaking through 
 his porridge.
He wrote it quickly, on scraps of paper, which he then stuck in his 
 pocket, 
but when he got home he couldn't figure out the order of the stanzas, 
 and he and a friend spread the papers on a table, and they 
 made some sense of them, but he isn't sure to this day if 
 they got it right. 
An entire stanza may have slipped into the lining of his jacket 
 through a hole in his pocket.
He still wonders about the occasional sense of drift between stanzas, 
 and the way here and there a line will go into the 
 configuration of a Moslem at prayer, then raise itself up 
 and peer about, and then lay itself down slightly off the mark, 
 causing the poem to move forward with a reckless, shining wobble.
He said someone told him that later in life Wordsworth heard about 
 the scraps of paper on the table, and tried shuffling some 
 stanzas of his own, but only made matters worse.
I would not have known any of this but for my reluctance to eat oatmeal 
 alone.
When breakfast was over, John recited "To Autumn."
He recited it slowly, with much feeling, and he articulated the words 
 lovingly, and his odd accent sounded sweet.
He didn't offer the story of writing "To Autumn," I doubt if there 
 is much of one.
But he did say the sight of a just-harvested oat field go thim started 
 on it, and two of the lines, "For Summer has o'er-brimmed their 
 clammy cells" and "Thou watchest the last oozings hours by hours," 
 came to him while eating oatmeal alone. 
I can see him drawing a spoon through the stuff, gazing into the glimmering 
 furrows, muttering.
Maybe there is no sublime; only the shining of the amnion's tatters.
For supper tonight I am going to have a baked potato left over from lunch.
I am aware that a leftover baked potato is damp, slippery, and simultaneaously 
 gummy and crumbly, and therefore I'm going to invite Patrick Kavanagh 
 to join me.

 You have the grit and the guts, I know; 
You are ready to answer blow for blow 
You are virile, combative, stubborn, hard, 
But your honor ends with your own back-yard; 
Each man intent on his private goal, 
You have no feeling for the whole; 
What singly none would tolerate 
You let unpunished hit the state, 
Unmindful that each man must share 
The stain he lets his country wear, 
And (what no traveller ignores) 
That her good name is often yours. 


You are proud in the pride that feels its might; 
From your imaginary height 
Men of another race or hue 
Are men of a lesser breed to you: 
The neighbor at your southern gate 
You treat with the scorn that has bred his hate. 
To lend a spice to your disrespect 
You call him the "greaser". But reflect! 
The greaser has spat on you more than once; 
He has handed you multiple affronts; 
He has robbed you, banished you, burned and killed; 
He has gone untrounced for the blood he spilled; 
He has jeering used for his bootblack's rag 
The stars and stripes of the gringo's flag; 
And you, in the depths of your easy-chair -- 
What did you do, what did you care? 
Did you find the season too cold and damp 
To change the counter for the camp? 
Were you frightened by fevers in Mexico? 
I can't imagine, but this I know -- 
You are impassioned vastly more 
By the news of the daily baseball score 
Than to hear that a dozen countrymen 
Have perished somewhere in Darien, 
That greasers have taken their innocent lives 
And robbed their holdings and raped their wives. 


Not by rough tongues and ready fists 
Can you hope to jilt in the modern lists. 
The armies of a littler folk 
Shall pass you under the victor's yoke, 
Sobeit a nation that trains her sons 
To ride their horses and point their guns -- 
Sobeit a people that comprehends 
The limit where private pleasure ends 
And where their public dues begin, 
A people made strong by discipline 
Who are willing to give -- what you've no mind to -- 
And understand -- what you are blind to -- 
The things that the individual 
Must sacrifice for the good of all. 


You have a leader who knows -- the man 
Most fit to be called American, 
A prophet that once in generations 
Is given to point to erring nations 
Brighter ideals toward which to press 
And lead them out of the wilderness. 
Will you turn your back on him once again? 
Will you give the tiller once more to men 
Who have made your country the laughing-stock 
For the older peoples to scorn and mock, 
Who would make you servile, despised, and weak, 
A country that turns the other cheek, 
Who care not how bravely your flag may float, 
Who answer an insult with a note, 
Whose way is the easy way in all, 
And, seeing that polished arms appal 
Their marrow of milk-fed pacifist, 
Would tell you menace does not exist? 
Are these, in the world's great parliament, 
The men you would choose to represent 
Your honor, your manhood, and your pride, 
And the virtues your fathers dignified? 
Oh, bury them deeper than the sea 
In universal obloquy; 
Forget the ground where they lie, or write 
For epitaph: "Too proud to fight." 


I have been too long from my country's shores 
To reckon what state of mind is yours, 
But as for myself I know right well 
I would go through fire and shot and shell 
And face new perils and make my bed 
In new privations, if ROOSEVELT led; 
But I have given my heart and hand 
To serve, in serving another land, 
Ideals kept bright that with you are dim; 
Here men can thrill to their country's hymn, 
For the passion that wells in the Marseillaise 
Is the same that fires the French these days, 
And, when the flag that they love goes by, 
With swelling bosom and moistened eye 
They can look, for they know that it floats there still 
By the might of their hands and the strength of their will, 
And through perils countless and trials unknown 
Its honor each man has made his own. 
They wanted the war no more than you, 
But they saw how the certain menace grew, 
And they gave two years of their youth or three 
The more to insure their liberty 
When the wrath of rifles and pennoned spears 
Should roll like a flood on their wrecked frontiers. 
They wanted the war no more than you, 
But when the dreadful summons blew 
And the time to settle the quarrel came 
They sprang to their guns, each man was game; 
And mark if they fight not to the last 
For their hearths, their altars, and their past: 
Yea, fight till their veins have been bled dry 
For love of the country that WILL not die. 


O friends, in your fortunate present ease 
(Yet faced by the self-same facts as these), 
If you would see how a race can soar 
That has no love, but no fear, of war, 
How each can turn from his private role 
That all may act as a perfect whole, 
How men can live up to the place they claim 
And a nation, jealous of its good name, 
Be true to its proud inheritance, 
Oh, look over here and learn from FRANCE!

 As soon as we crossed into Yorkshire

Hughes’ voice assailed me, unmistakable

Gravel and honey, a raw celebration of rain

Like a tattered lacework window;

Black glisten on roof slates,

Tarmac turned to shining ice,

Blusters of naked wind whipping

The wavelets of shifting water

To imaginary floating islets

On the turbulent river

Glumly he asked, "Where are the mills?"

Knowing their goneness in his lonely heart.

"Where are the mines with their turning spokes,

Lurking slag heaps, bolts of coal split with

Shimmering fools’ gold tumbling into waiting wagons?

Mostly what I came for was a last glimpse

Of the rock hanging over my cot, that towering

Sheerness fifty fathoms high screed with ferns

And failing tree roots, crumbling footholds

And dour smile. A monument needs to be known

For what it is, not a tourist slot or geological stratum

But the dark mentor loosing wolf’s bane

At my sleeping head."

When the coach lurches over the county boundary,

If not Hughes’ voice then Heaney’s or Hill’s

Ringing like miners’ boots flinging sparks

From the flagstones, piercing the lens of winter,

Jutting like tongues of crooked rock

Lapping a mossed slab, an altar outgrown,

Dumped when the trumpeting hosannas

Had finally riven the air of the valley.

And I, myself, what did I make of it?

The voices coming into my head

Welcoming kin, alive or dead, my eyes

Jerking to the roadside magpie,

Its white tail-bar doing a hop, skip and jump.

 Her imaginary playmate was a grown-up 
In sea-coal satin. The flame-blue glances, 
The wings gauzy as the membrane that the ashes 
Draw over an old ember --as the mother 
In a jug of cider-- were a comfort to her. 
They sat by the fire and told each other stories. 

"What men want..." said the godmother softly-- 
How she went on it is hard for a man to say. 
Their eyes, on their Father, were monumental marble. 
Then they smiled like two old women, bussed each other, 
Said, "Gossip, gossip"; and, lapped in each other's looks, 
Mirror for Mirror, drank a cup of tea. 

Of cambric tea. But there is a reality 
Under the good silk of the good sisters' 
Good ball gowns. She knew... Hard-breasted, naked-eyed, 
She pushed her silk feet into glass, and rose within 
A gown of imaginary gauze. The shy prince drank 
A toast to her in champagne from her slipper 

And breathed, "Bewitching!" Breathed, "I am bewitched!" 
--She said to her godmother, "Men!" 
And, later, looking down to see her flesh 
Look back up from under lace, the ashy gauze 
And pulsing marble of a bridal veil, 
She wished it all a widow's coal-black weeds. 

A sullen wife and a reluctant mother, 
She sat all day in silence by the fire. 
Better, later, to stare past her sons' sons, 
Her daughters' daughter, and tell stories to the fire. 
But best, dead, damned, to rock forever 
Beside Hell's fireside-- to see within the flames 

The Heaven to whosee gold-gauzed door there comes 
A little dark old woman, the God's Mother, 
And cries, "Come in, come in! My son's out now, 
Out now, will be back soon, may be back never, 
Who knows, eh? We know what they are--men, men! 
But come, come in till then! Come in till then!

 We'd rather have the iceberg than the ship, 
although it meant the end of travel. 
Although it stood stock-still like cloudy rock 
and all the sea were moving marble. 
We'd rather have the iceberg than the ship; 
we'd rather own this breathing plain of snow 
though the ship's sails were laid upon the sea 
as the snow lies undissolved upon the water. 
O solemn, floating field, 
are you aware an iceberg takes repose 
with you, and when it wakes may pasture on your snows? 

This is a scene a sailor'd give his eyes for. 
The ship's ignored. The iceberg rises 
and sinks again; its glassy pinnacles 
correct elliptics in the sky. 
This is a scene where he who treads the boards 
is artlessly rhetorical. The curtain 
is light enough to rise on finest ropes 
that airy twists of snow provide. 
The wits of these white peaks 
spar with the sun. Its weight the iceberg dares 
upon a shifting stage and stands and stares. 

The iceberg cuts its facets from within. 
Like jewelry from a grave 
it saves itself perpetually and adorns 
only itself, perhaps the snows 
which so surprise us lying on the sea. 
Good-bye, we say, good-bye, the ship steers off 
where waves give in to one another's waves 
and clouds run in a warmer sky. 
Icebergs behoove the soul 
(both being self-made from elements least visible) 
to see them so: fleshed, fair, erected indivisible.

 Ye ancient Maids, who ne'er must prove
The early joys of youth and love,
Whose names grim Fate (to whom 'twas given,
When marriages were made in heaven)
Survey'd with unrelenting scowl,
And struck them from the muster-roll;
Or set you by, in dismal sort,
For wintry bachelors to court;
Or doom'd to lead your faded lives,
Heirs to the joys of former wives;
Attend! nor fear in state forlorn,
To shun the pointing hand of scorn,
Attend, if lonely age you dread,
And wish to please, or wish to wed.


When beauties lose their gay appearance,
And lovers fall from perseverance,
When eyes grow dim and charms decay,
And all your roses fade away,
First know yourselves; lay by those airs,
Which well might suit your former years,
Nor ape in vain the childish mien,
And airy follies of sixteen.


We pardon faults in youth's gay flow,
While beauty prompts the cheek to glow,
While every glance has power to warm,
And every turn displays a charm,
Nor view a spot in that fair face,
Which smiles inimitable grace.


But who, unmoved with scorn, can see
The grey coquette's affected glee,
Her ambuscading tricks of art
To catch the beau's unthinking heart,
To check th' assuming fopling's vows,
The bridling frown of wrinkled brows;
Those haughty airs of face and mind,
Departed beauty leaves behind.


Nor let your sullen temper show
Spleen louring on the envious brow,
The jealous glance of rival rage,
The sourness and the rust of age.
With graceful ease, avoid to wear
The gloom of disappointed care:
And oh, avoid the sland'rous tongue,
By malice tuned, with venom hung,
That blast of virtue and of fame,
That herald to the court of shame;
Less dire the croaking raven's throat,
Though death's dire omens swell the note.


Contented tread the vale of years,
Devoid of malice, guilt and fears;
Let soft good humour, mildly gay,
Gild the calm evening of your day,
And virtue, cheerful and serene,
In every word and act be seen.
Virtue alone with lasting grace,
Embalms the beauties of the face,
Instructs the speaking eye to glow,
Illumes the cheek and smooths the brow,
Bids every look the heart engage,
Nor fears the wane of wasting age.


Nor think these charms of face and air,
The eye so bright, the form so fair,
This light that on the surface plays,
Each coxcomb fluttering round its blaze,
Whose spell enchants the wits of beaux,
The only charms, that heaven bestows.
Within the mind a glory lies,
O'erlook'd and dim to vulgar eyes;
Immortal charms, the source of love,
Which time and lengthen'd years improve,
Which beam, with still increasing power,
Serene to life's declining hour;
Then rise, released from earthly cares,
To heaven, and shine above the stars.


Thus might I still these thoughts pursue,
The counsel wise, and good, and true,
In rhymes well meant and serious lay,
While through the verse in sad array,
Grave truths in moral garb succeed:
Yet who would mend, for who would read?


But when the force of precept fails,
A sad example oft prevails.
Beyond the rules a sage exhibits,
Thieves heed the arguments of gibbets,
And for a villain's quick conversion,
A pillory can outpreach a parson.


To thee, Eliza, first of all,
But with no friendly voice I call.
Advance with all thine airs sublime,
Thou remnant left of ancient time!
Poor mimic of thy former days,
Vain shade of beauty, once in blaze!
We view thee, must'ring forth to arms
The veteran relics of thy charms;
The artful leer, the rolling eye,
The trip genteel, the heaving sigh,
The labour'd smile, of force too weak,
Low dimpling in th' autumnal cheek,
The sad, funereal frown, that still
Survives its power to wound or kill;
Or from thy looks, with desperate rage,
Chafing the sallow hue of age,
And cursing dire with rueful faces,
The repartees of looking-glasses.


Now at tea-table take thy station,
Those shambles vile of reputation,
Where butcher'd characters and stale
Are day by day exposed for sale:
Then raise the floodgates of thy tongue,
And be the peal of scandal rung;
While malice tunes thy voice to rail,
And whispering demons prompt the tale--
Yet hold thy hand, restrain thy passion,
Thou cankerworm of reputation;
Bid slander, rage and envy cease,
For one short interval of peace;
Let other's faults and crimes alone,
Survey thyself and view thine own;
Search the dark caverns of thy mind,
Or turn thine eyes and look behind:
For there to meet thy trembling view,
With ghastly form and grisly hue,
And shrivel'd hand, that lifts sublime
The wasting glass and scythe of Time,
A phantom stands: his name is Age;
Ill-nature following as his page.
While bitter taunts and scoffs and jeers,
And vexing cares and torturing fears,
Contempt that lifts the haughty eye,
And unblest solitude are nigh;
While conscious pride no more sustains,
Nor art conceals thine inward pains,
And haggard vengeance haunts thy name,
And guilt consigns thee o'er to shame,
Avenging furies round thee wait,
And e'en thy foes bewail thy fate.


But see, with gentler looks and air,
Sophia comes. Ye youths beware!
Her fancy paints her still in prime,
Nor sees the moving hand of time;
To all her imperfections blind,
Hears lovers sigh in every wind,
And thinks her fully ripen'd charms,
Like Helen's, set the world in arms.


Oh, save it but from ridicule,
How blest the state, to be a fool!
The bedlam-king in triumph shares
The bliss of crowns, without the cares;
He views with pride-elated mind,
His robe of tatters trail behind;
With strutting mien and lofty eye,
He lifts his crabtree sceptre high;
Of king's prerogative he raves,
And rules in realms of fancied slaves.


In her soft brain, with madness warm,
Thus airy throngs of lovers swarm.
She takes her glass; before her eyes
Imaginary beauties rise;
Stranger till now, a vivid ray
Illumes each glance and beams like day;
Till furbish'd every charm anew,
An angel steps abroad to view;
She swells her pride, assumes her power,
And bids the vassal world adore.


Indulge thy dream. The pictured joy
No ruder breath should dare destroy;
No tongue should hint, the lover's mind
Was ne'er of virtuoso-kind,
Through all antiquity to roam
For what much fairer springs at home.
No wish should blast thy proud design;
The bliss of vanity be thine.
But while the subject world obey,
Obsequious to thy sovereign sway,
Thy foes so feeble and so few,
With slander what hadst thou to do?
What demon bade thine anger rise?
What demon glibb'd thy tongue with lies?
What demon urged thee to provoke
Avenging satire's deadly stroke?


Go, sink unnoticed and unseen,
Forgot, as though thou ne'er hadst been.
Oblivion's long projected shade
In clouds hangs dismal o'er thy head.
Fill the short circle of thy day,
Then fade from all the world away;
Nor leave one fainting trace behind,
Of all that flutter'd once and shined;
The vapoury meteor's dancing light
Deep sunk and quench'd in endless night