Dog-Day Reflections

By Thomas Moore

            "vox clamantis in deserto."     Said Malthus one day to a clown         Lying stretched on the beach in the sun,--     "What's the number of souls in this town?"--         "The number! Lord bless you, there's none.     "We have nothing but dabs in this place,         "Of them a great plenty there are;--     But the soles, please your reverence and grace,         "Are all t'other side of the bar."     And so 'tis in London just now,         Not a soul to be seen up or down;--     Of dabs? a great glut, I allow,         But your soles, every one, out of town.     East or west nothing wondrous or new,         No courtship or scandal worth knowing;     Mrs. B---, and a Mermaid[1] or two,         Are the only loose fish that are going.     Ah, where is that dear house of Peers         That some weeks ago kept us merry?     Where, Eldon, art thou with thy tears?     And thou with thy sense, Londonderry?     Wise Marquis, how much the Lord Mayor,         In the dog-days, with thee must be puzzled!--     It being his task to take care         That such animals shan't go unmuzzled.     Thou too whose political toils         Are so worthy a captain of horse--     Whose amendments[2] (like honest Sir Boyle's)         Are "amendments, that make matters worse;"[3]     Great Chieftain, who takest such pains         To prove--what is granted, nem. con.--     With how moderate a portion of brains         Some heroes contrive to get on.     And thou too my Redesdale, ah! where         Is the peer with a star at his button,     Whose quarters could ever compare         With Redesdale's five quarters of mutton?[4]     Why, why have ye taken your flight,         Ye diverting and dignified crew?     How ill do three farces a night,         At the Haymarket, pay us for you!     For what is Bombastes to thee,         My Ellenbro', when thou look'st big     Or where's the burletta can be         Like Lauderdale's wit and his wig?     I doubt if even Griffinhoof[5] could         (Tho' Griffin's a comical lad)     Invent any joke half so good         As that precious one, "This is too bad!"     Then come again, come again Spring!         Oh haste thee, with Fun in thy train;     And--of all things the funniest--bring         These exalted Grimaldis again!

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Poem Details

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

Analysis & Notes:
This satirical poem is rich in political commentary, employing humor to critique the social and political scene of its time. The poem's structure, a series of rhymed couplets, lends a light, almost comedic tone to the piece, which contrasts sharply with the biting criticism present in its content.

The key theme of the poem is the absence of important figures and the resulting sense of emptiness and ennui. The poet uses the metaphor of a town devoid of 'souls' to comment on the lack of significant personalities in the political and social realm. The wordplay on 'soles' and 'souls' is a clever device that further highlights this theme.

Further on, the poet references several notable figures of the time, including Malthus, Eldon, Redesdale, and others, using wit and irony to critique their actions and contributions. The poet also compares these figures to characters in popular plays and performances, suggesting their behavior is more theatrical than substantial. The repeated call for the return of 'spring' and 'fun' underscores a longing for liveliness and action, and perhaps a return to a more exciting and dynamic political scene.

The tone of the poem is wry and sardonic, with the poet adopting a dismissive and lighthearted attitude towards figures of authority. This serves to diminish their importance, further emphasizing the poem's satirical nature. Overall, the poem is a sharp critique of the political class, delivered with wit and humor, providing an entertaining yet thought-provoking read.

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.