Announcement Of A New Grand Acceleration Company For The Promotion Of The Speed Of Literature

By Thomas Moore

    Loud complaints being made in these quick-reading times,     Of too slack a supply both of prose works and rhymes,     A new Company, formed on the keep-moving plan,     First proposed by the great firm of Catch-'em-who-can,     Beg to say they've now ready, in full wind and speed,     Some fast-going authors, of quite a new breed--     Such as not he who runs but who gallops may read--     And who, if well curried and fed, they've no doubt,     Will beat even Bentley's swift stud out and out.     It is true in these days such a drug is renown,     We've "Immortals" as rife as M.P.s about town;     And not a Blue's rout but can offhand supply     Some invalid bard who's insured "not to die."     Still let England but once try our authors, she'll find     How fast they'll leave even these Immortals behind;     And how truly the toils of Alcides were light,     Compared with his toil who can read all they write.     In fact there's no saying, so gainful the trade,     How fast immortalities now may be made;     Since Helicon never will want an "Undying One,"     As long as the public continues a Buying One;     And the company hope yet to witness the hour.     When, by strongly applying the mare-motive[1] power,     A three-decker novel, midst oceans of praise,     May be written, launched, read and--forgot, in three days!     In addition to all this stupendous celerity,     Which--to the no small relief of posterity--     Pays off at sight the whole debit of fame,     Nor troubles futurity even with a name     (A project that wont as much tickle Tom Tegg as us,     Since 'twill rob him of his second-priced Pegasus);     We, the Company--still more to show how immense     Is the power o'er the mind of pounds, shillings, and pence;     And that not even Phoebus himself, in our day,     Could get up a lay without first an out-lay--     Beg to add, as our literature soon may compare,     In its quick make and vent, with our Birmingham ware,     And it doesnt at all matter in either of these lines,     How sham is the article, so it but shines,--     We keep authors ready, all perched, pen in hand,     To write off, in any given style, at command.     No matter what bard, be he living or dead,     Ask a work from his pen, and 'tis done soon as said:     There being on the establishment six Walter Scotts,     One capital Wordsworth and Southeys in lots;--     Three choice Mrs. Nortons, all singing like syrens,     While most of our pallid young clerks are Lord Byrons.     Then we've ***s and ***s (for whom there's small call),     And ***s and ***s (for whom no call at all).     In short, whosoe'er the last "Lion" may be,     We've a Bottom who'll copy his roar[2] to a T,     And so well, that not one of the buyers who've got 'em     Can tell which is lion, and which only Bottom.     N. B.--The company, since they set up in this line,     Have moved their concern and are now at the sign     Of the Muse's Velocipede, Fleet Street, where all     Who wish well to the scheme are invited to call.

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Poem Details

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

Analysis & Notes:
This satirical poem cleverly critiques the literary industry of its time, focusing on the rapid production and consumption of works, likening it to a mechanized process. The tone is humorous and biting, taking aim at the haste and lack of originality in the publishing world.

The poem employs a number of notable literary devices. The use of metaphor and allusion, such as references to 'Catch-'em-who-can' and 'Bentley's swift stud', is employed to mock the industry's focus on speed and profit over quality. The 'Muse's Velocipede' is particularly striking, symbolizing the speed at which literature is being produced and consumed, akin to a fast-moving bicycle.

In its structure, the poem adheres to a rhyme scheme, enhancing its satirical tone and making its critique more palatable and entertaining to the reader. The repeated use of humorous comparisons and witty language further underscores the poem’s satirical intentions.

The poem's underlying theme is a commentary on the loss of artistic integrity in the face of commercialization. The poet laments the decline of originality, where authors are 'perched, pen in hand' to imitate popular styles 'at command'. The critique goes beyond authors, extending to the readership, who are depicted as fickle and easily swayed by trends.

In conclusion, this satirical piece provides a pointed critique of the literary world, cleverly employing metaphor, allusion, and humor to underscore its message about the cost of rapid commercialization on artistic value and originality. The poet's lament for the decline of artistic integrity and the rise of consumerism in literature 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.