A Characterless

By Thomas Moore

    Half Whig, half Tory, like those mid-way things,     'Twixt bird and beast, that by mistake have wings;     A mongrel Stateman, 'twixt two factions nurst,     Who, of the faults of each, combines the worst--     The Tory's loftiness, the Whigling's sneer,     The leveller's rashness, and the bigot's fear:     The thirst for meddling, restless still to show     How Freedom's clock, repaired by Whigs, will go;     The alarm when others, more sincere than they,     Advance the hands to the true time of day.     By Mother Church, high-fed and haughty dame,     The boy was dandled, in his dawn of fame;     Listening, she smiled, and blest the flippant tongue     On which the fate of unborn tithe-pigs hung.     Ah! who shall paint the grandam's grim dismay,     When loose Reform enticed her boy away;     When shockt she heard him ape the rabble's tone,     And in Old Sarum's fate foredoom her own!     Groaning she cried, while tears rolled down her cheeks,     "Poor, glib-tongued youth, he means not what he speaks.     "Like oil at top, these Whig professions flow,     "But, pure as lymph, runs Toryism below.     "Alas! that tongue should start thus, in the race,     "Ere mind can reach and regulate its pace!--     "For, once outstript by tongue, poor, lagging mind,     "At every step, still further limps behind.     "But, bless the boy!--whate'er his wandering be,     "Still turns his heart to Toryism and me.     "Like those odd shapes, portrayed in Dante's lay.     "With heads fixt on, the wrong and backward way,     "His feet and eyes pursue a diverse track,     "While those march onward, these look fondly back."     And well she knew him--well foresaw the day,     Which now hath come, when snatched from Whigs away     The self-same changeling drops the mask he wore,     And rests, restored, in granny's arms once more.     But whither now, mixt brood of modern light     And ancient darkness, canst thou bend thy flight?     Tried by both factions and to neither true,     Feared by the old school, laught at by the new;     For this too feeble and for that too rash,     This wanting more of fire, that less of flash,     Lone shalt thou stand, in isolation cold,     Betwixt two worlds, the new one and the old,     A small and "vext Bermoothes," which the eye     Of venturous seaman sees--and passes by.

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Poem Details

Language: English
Keywords: Public Domain
Source: Public Domain Collection
Rights/Permissions: Public Domain

Analysis & Notes:
This poem unfolds as a biting political satire, a critique of a figure who embodies the worst traits of opposing political factions. The poet employs a metaphor comparing the figure to a hybrid creature, "half Whig, half Tory," echoing the perplexing ambiguity of his political affiliations. This theme of duality and confusion continues throughout the poem, reflecting the figure's inconsistent allegiances.

The tone of the poem is largely sarcastic and critical, implying the lack of respect the poet holds for the subject. The structure, a continuous narrative interspersed with dialogue, lends a sense of drama to the poet's critique. The use of direct speech, especially from "Mother Church," enhances the poem's satirical edge, as the Church is portrayed as a doting and naive entity, oblivious to her "boy's" duplicity.

The poem also employs rich imagery and symbolism. The figure is compared to a ship caught between two worlds, "the new one and the old," suggesting his inability to adapt or commit. Furthermore, the comparison to "those odd shapes, portrayed in Dante's lay," is a reference to Dante's Divine Comedy, symbolically connecting the figure's political confusion with the tormented souls in Dante's Inferno.

In summary, the poem is a cleverly penned political satire, utilizing a blend of metaphoric language, dialogue, and allusions to critique a politically ambiguous figure. It offers a sharp critique of insincere political affiliations and the confusion they cause, making it a timeless piece that still resonates today.

Understanding Satirical Poetry

Satirical poems use wit, irony, exaggeration, and ridicule to expose folly—personal, social, or political. The aim isn’t just laughter: it’s critique that nudges readers toward insight or change.


Common characteristics of satirical poetry:

  • Targeted Critique: Focuses on specific behaviors, institutions, or ideas—often timely, sometimes timeless.
  • Tools of Irony: Uses sarcasm, parody, understatement, and hyperbole to sharpen the point.
  • Voice & Persona: Speakers may be unreliable or exaggerated to reveal contradictions and hypocrisy.
  • Form Flexibility: Appears in couplets, tercets, quatrains, blank verse, or free verse—music serves the mockery.
  • Moral Pressure: Beneath the humor lies ethical pressure—satire seeks reform, not merely amusement.
  • Public & Personal: Can lampoon public figures and trends or needle private vanities and everyday pretenses.

The best satire balances bite with craft: memorable lines that entertain while revealing the gap between how things are and how they ought to be.