Captain Rock In London. Letter From The Captain To Terry Alt, Esq.[1]

By Thomas Moore

    Here I am, at headquarters, dear Terry, once more,     Deep in Tory designs, as I've oft been before:     For, bless them! if 'twasn't for this wrong-headed crew,     You and I, Terry Alt, would scarce know what to do;     So ready they're always, when dull we are growing,     To set our old concert of discord a-going,     While Lyndhurst's the lad, with his Tory-Whig face,     To play in such concert the true double-base.     I had feared this old prop of my realm was beginning     To tire of his course of political sinning,     And, like Mother Cole, when her heyday was past,     Meant by way of a change to try virtue at last.     But I wronged the old boy, who as staunchly derides     All reform in himself as in most things besides;     And, by using two faces thro' life, all allow,     Has acquired face sufficient for any-thing now.     In short, he's all right; and, if mankind's old foe,     My "Lord Harry" himself--who's the leader, we know,     Of another red-hot Opposition below--     If that "Lord," in his well-known discernment, but spares     Me and Lyndhurst, to look after Ireland's affairs,     We shall soon such a region of devilment make it,     That Old Nick himself for his own may mistake it.     Even already--long life to such Bigwigs, say I,     For, as long as they flourish, we Rocks cannot die--     He has served our right riotous cause by a speech     Whose perfection of mischief he only could reach;     As it shows off both his and my merits alike,     Both the swell of the wig and the point of the pike;     Mixes up, with a skill which one cant but admire,     The lawyer's cool craft with the incendiary's fire,     And enlists, in the gravest, most plausible manner,     Seven millions of souls under Rockery's banner!     Oh Terry, my man, let this speech never die;     Thro' the regions of Rockland, like flame, let it fly;     Let each syllable dark the Law-Oracle uttered     By all Tipperary's wild echoes be muttered.     Till naught shall be heard, over hill, dale or flood,     But "You're aliens in language, in creed and in blood;"     While voices, from sweet Connemara afar,     Shall answer, like true Irish echoes, "We are!"     And, tho' false be the cry, and the sense must abhor it,     Still the echoes may quote Law authority for it,     And naught Lyndhurst cares for my spread of dominion     So he, in the end, touches cash "for the opinion."     But I've no time for more, my dear Terry, just now,     Being busy in helping these Lords thro' their row.     They're bad hands at mob-work, but once they begin,     They'll have plenty of practice to break them well in.

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Poem Details

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

Analysis & Notes:
The poem under analysis is a vivid political satire, employing humor and wit to illuminate the complexities of political undertakings, particularly those concerning Tory designs and the figure of Lyndhurst. The poem is structured in rhymed quatrains, which lend it a rhythmic, song-like quality, enhancing its satirical tone.

The overarching theme is political criticism, targeting the hypocrisy and double-dealing common in politics. The poet uses the character of Terry to represent the common man and his bemusement at the political machinations that play out. The figure of Lyndhurst is a potent symbol of political duplicity, portrayed as a double-faced character who promises reform but perpetuates corruption. This 'two-faced' nature is cleverly employed as a metaphor for the deceptive nature of politics.

The poet uses a variety of literary devices to accentuate his points. Metaphors like "play in such concert the true double-base," and “The lawyer's cool craft with the incendiary's fire,” effectively encapsulate the cunning and manipulation prevalent in politics. The phrase "region of devilment" is a stark, striking portrayal of the chaos and corruption created by political maneuvering. There’s also a sense of irony in the poem, where the poet mockingly appreciates the discord caused by the politicians, as it provides fodder for his satirical commentary.

Overall, the poem is a smart and sharp critique of political practices, presented in a witty and engaging manner. It questions the integrity of politicians and paints a bleak but amusing picture of the political landscape.

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.