To The Reader Of 'University Notes'

By Robert Fuller Murray

    Ah yes, we know what you're saying,          As your eye glances over these Notes:     'What asses are these that are braying          With flat and unmusical throats?     Who writes such unspeakable patter?          Is it lunatics, idiots--or who?'     And you think there is 'something the matter.'          Well, we think so too.     We have sat, full of sickness and sorrow,          As the hours dragged heavily on,     Till the midnight has merged into morrow,          And the darkness is going or gone.     We are Editors.    Give us the credit          Of meaning to do what we could;      But, since there is nothing to edit,          It isn't much good.     Once we shared the delightful delusion          That to edit was racy and rare,     But we suffered a sad disillusion,          And we found that our castles were air;     We had decked them with carvings and gildings,          We had filled them with laughter and fun,     But all of a sudden the buildings          Came down with a run.     Not a trace was there left of the carving,          And the gilding had vanished from sight;     But the 'column' for matter was starving,          And we had not to edit--but write.     So we set to and wrote.    Can you wonder,          If the writing was feeble or dead?     We had started as editors--Thunder!          We were authors instead.      We'd mistaken our calling, election,          Vocation, department, and use;     We had thought that our task was selection,          And we found that we had to produce.     So we sigh for release from our labours,          We pray for a happy despatch,     We will take our last leave of our neighbours,          And then--Colney Hatch.     We are singing this dolorous ditty          As we part at the foot of the stairs;     We cannot but think it's a pity,          But what matter? there's nobody cares.     Our candle burns low in its socket,          There is nothing left but the wick;     And these Notes, that went up like a rocket,          Come down like the stick.

Share & Analyze This Poem

Spread the beauty of poetry or dive deeper into analysis

Analyze This Poem

Discover the literary devices, structure, and deeper meaning

Create Image

Transform this poem into a beautiful shareable image

Copy to Clipboard

Save this poem for personal use or sharing offline


Share the Love of Poetry

Poem Details

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

Analysis & Notes:
This poem, a wry meditation on the burdens of editorial work, adopts a conversational tone that belies its sharp critique of literary labor. The speaker addresses an imagined critic with mocking humor, acknowledging the perceived mediocrity of their editorial notes while subtly shifting blame to the dearth of quality material. The poem’s structure, a single stanza of 48 lines, mirrors the tedium of editorial toil, with its relentless rhythm and lack of rhyme, save for the final couplet a descent from rocket to stick. The editors’ disillusionment unfolds in stages: initial enthusiasm gives way to exhaustion, then resignation, culminating in a darkly comic reference to Colney Hatch, a notorious asylum. The poem’s power lies in its ability to transform professional frustration into a universal lament, revealing the thin line between creation and curation. Ultimately, the editors’ plight underscores the precarious nature of artistic authority, where the act of shaping others’ work reveals the fragility of one’s own.

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.