Copy Of An Intercepted Despatch

By Thomas Moore

    FROM HIS EXCELLENCY DON STREPITOSO DIABOLO, ENVOY EXTRAORDINARY TO HIS SATANIC MAJESTY.     St. James's Street, July 1, 1826.     Great Sir, having just had the good luck to catch         An official young demon, preparing to go,     Ready booted and spurred, with a black-leg despatch         From the Hell here at Crockford's, to our Hell below--     I write these few lines to your Highness Satanic,         To say that first having obeyed your directions     And done all the mischief I could in "the Panic,"         My next special care was to help the Elections.     Well knowing how dear were those times to thy soul,         When every good Christian tormented his brother,     And caused, in thy realm, such a saving of coal,         From all coming down, ready grilled by each other;     Remembering besides how it pained thee to part         With the old Penal Code--that chef-d'oeuvre of Law,     In which (tho' to own it too modest thou art)         We could plainly perceive the fine touch of thy claw;     I thought, as we ne'er can those good times revive,         (Tho' Eldon, with help from your Highness would try,)     'Twould still keep a taste for Hell's music alive,         Could we get up a thundering No-Popery cry;--     That yell which when chorused by laics and clerics,         So like is to ours, in its spirit and tone.     That I often nigh laugh myself into hysterics,         To think that Religion should make it her own.     So, having sent down for the original notes         Of the chorus as sung by your Majesty's choir     With a few pints of lava to gargle the throats         Of myself and some others who sing it "with fire,"[1]     Thought I, "if the Marseillais Hymn could command         "Such audience, tho' yelled by a Sans-culotte crew     "What wonders shall we do, who've men in our band,         "That not only wear breeches but petticoats too."     Such then were my hopes, but with sorrow, your Highness,         I'm forced to confess--be the cause what it will,     Whether fewness of voices or hoarseness or shyness,--         Our Beelzebub Chorus has gone off but ill.     The truth is no placeman now knows his right key,         The Treasury pitch-pipe of late is so various;     And certain base voices, that lookt for a fee         At the York music-meeting now think it precarious.     Even some of our Reverends might have been warmer,--         Tho' one or two capital roarers we've had;     Doctor Wise[2]is for instance a charming performer,         And Huntingdon Maberley's yell was not bad!     Altogether however the thing was not hearty;--         Even Eldon allows we got on but so so;     And when next we attempt a No-Popery party,         We must, please your Highness, recruit from below.     But hark! the young Black-leg is cracking his whip--         Excuse me, Great Sir-there's no time to be civil;--     The next opportunity shan't be let slip,         But, till then,             I'm, in haste, your most dutiful                 DEVIL.         July, 1826

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Poem Details

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

Analysis & Notes:
This poem, set in the form of a letter from a demon to Satan, uses satire to comment on societal and political issues of its time, notably the 1826 election and the religious tension between Protestants and Catholics in England. The poem’s structure is consistent with traditional verse, employing a standard rhyme scheme that maintains a light, almost humorous tone throughout.

The poem employs irony and humor as primary literary devices, using the demon’s perspective to highlight the hypocrisy of religious intolerance and political machinations. The choice to use a demon as the speaker is particularly effective, providing a satirical lens through which to view human behavior. The demon's delight in humans tormenting each other and causing "a saving of coal" in Hell is a darkly humorous commentary on the destructive tendencies of humanity.

The poem also uses allusion, referring to specific historical and contemporary figures such as Eldon, a conservative English politician, and the Marseillais Hymn, a symbol of the French Revolution. These allusions ground the poem in a specific socio-political context, reinforcing its satirical commentary on the time's events.

In conclusion, the poem is a masterful blend of humor, satire, and social commentary, using a unique perspective to expose and critique societal ills. It strikes a balance between humorous and serious, presenting its critique in a way that is engaging and accessible for a general audience.

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.