Restoration Libertinism and Political Satire in Sackville

The Rise of Restoration Libertinism

As a reaction to the great restrictions experienced during the years of the Commonwealth, the Restoration brought Libertinism—a lifestyle based on freedom and enjoyment. The pattern for this was set by the king himself, known as “the merry monarch.” Most poems were produced at court by members of the nobility, such as the Earl of Dorset, who could express their opinions freely due to their wealth and the king's protection.

This period was defined by a rejection of all forms of control, featuring works that openly addressed sexuality and ironically criticized many aspects of society.

Sackville’s Critique of Charles II

Sackville refers to Charles II as “poor Rowley” in verse 5; the king was known by many nicknames. As an incompetent monarch, he sits at the center of a major conflict. Sackville describes him as “the pin in the middle” in verse 6, trivializing English politics by comparing them to a bowling game, where pins knock each other down when hit by the ball. In Sackville’s opinion, Charles II should have removed both Dukes long ago, “had he half common sense” (verse 11).

Satire and Political Ambition

In the fourth stanza, Sackville analyzes both candidates. While they appear apt to govern, this is satirical and contrasts sharply with the final stanza, where Sackville calls them a “soft son” (fool) and a “dangerous brother” (due to his Catholicism), vulgarly discrediting them. He ends the poem as he began, insulting both Whigs and Tories.

Regardless of the candidates' potential, the main problem for Sackville is that both parties are cheaters (verse 4) motivated by ambition. Ultimately, despite anti-Catholic propaganda, the Exclusion Bill failed, the hereditary principle prevailed, and the Catholic James occupied the throne as James II. However, he was eventually obliged to abdicate and was succeeded by his daughter Mary and her Dutch husband, William of Orange.

Poetic Structure and Style

The poem is organized in quatrains with verses rhyming in pairs. It features an elegant symmetry of form, which is almost ironic given its content. It utilizes colloquial and even vulgar idioms, characteristic of Restoration literature (e.g., verse 18: “I’d piss on the other”).