Famous poet /1843 - 1904

Patrick Moloney

Born in Hawthorn, Victoria, Australia in 1843. Educated at St. Patrick's College, Melbourne; graduated M.B., Melbourne University, 1867. He worked as a medical practitioner. Published one poem under the pseudonym 'Australis'.(Bertram Stevens, An Anthology of Australian Poetry, 1907 p.284)
Married Miss Quirk of Carlton (Vic.). Died at Ulverstone, Eng., September, 1904.

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A Regret

O sweet Queen-city of the golden South,
Piercing the evening with thy star-lit spires,
Thou wert a witness when I kissed the mouth
Of her whose eyes outblazed the skyey fires.
I saw the parallels of thy long streets,
With lamps like angels shining all a-row,
While overhead the empyrean seats
Of gods were steeped in paradisic glow.
The Pleiades with rarer fires were tipt,
Hesper sat throned upon his jewelled chair,
The belted giant's triple stars were dipt
In all the splendour of Olympian air,
On high to bless, the Southern Cross did shine,
Like that which blazed o'er conquering Constantine.
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Analysis (ai): The poem locates itself in a luminous urban landscape, blending city and cosmos through celestial and architectural imagery. The “Queen-city” is idealized, its “star-lit spires” conflated with actual stars, suggesting a fusion of earthly and divine beauty. Night is not dark but radiant, filled with celestial bodies and artificial light, forming a backdrop for personal memory.
Memory and Emotion: The central event is a kiss recalled under this radiant sky, anchoring emotion in a specific past moment. The woman's presence rivals natural brilliance—her eyes “outblazed the skyey fires”—elevating human experience to mythic status. Yet the title “A Regret” introduces loss or longing, implying this moment is irrecoverable, framed not by joy but by absence.
Mythological Framework: References to Hesper, the Pleiades, Orion (“belted giant”), and the Southern Cross invoke classical and Christian myth. The comparison of the Southern Cross to Constantine’s vision aligns personal memory with imperial and religious triumph, yet the moment’s fleeting nature undercuts any lasting victory.
Form and Diction: Written in iambic pentameter with an ABAB rhyme scheme, the poem adheres to Victorian conventions. Its elevated diction—“empyrean,” “paradisic,” “tipt”—reflects 19th-century romanticism, though it lacks the formal disruption seen in later modernist works. Archaic phrasing (“did dipt,” “wast”) lends ceremonial tone, distancing the speaker from the present.
Place in Author’s Work: Less known than Moloney’s nationalist verses, this poem stands out for its personal, non-political focus. Unlike his usual engagement with Irish identity, here the setting is ambiguous—possibly colonial or southern hemisphere—suggesting a broader, cosmopolitan impulse. It reflects a rare moment of introspective lyricism amid a body of civic-oriented poetry.
Relation to Era: While contemporaries like Tennyson used similar celestial imagery for moral or spiritual meditation, this poem centers individual romance, aligning with late Romantic trends. Yet its lack of moral resolution or narrative progression distinguishes it from Victorian didactic norms, leaning toward aestheticism.  (hide)
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8

Sonnets - Ad Innuptam

I
I MAKE not my division of the hours 
  By dials, clocks, or waking birds’ acclaim, 
Nor measure seasons by the reigning flowers, 
  The spring’s green glories, or the autumn’s flame. 
To me thy absence winter is, and night,         
  Thy presence spring, and the meridian day. 
From thee I draw my darkness and my light, 
  Now swart eclipse, now more than heavenly ray. 
Thy coming warmeth all my soul like fire, 
  And through my heartstrings melodies do run,         
As poets fabled the Memnonian lyre 
  Hymned acclamation to the rising sun. 
My heart hums music in thy influence set: 
So winds put harps Aeolian on the fret. 
 
II

The rude rebuffs of bay-besieging winds         
  But make the anchored ships towards them turn, 
So thy unkindness unto me but finds 
  My love tow’rds thee with keener ardour burn; 
As myrrh incised bleeds odoriferous gum, 
  I am become a poet through my wrong,       
For through the sad-mouthed heart-wounds in me come 
  These earthly echoes of celestial song. 
My thoughts as birds make flutter in my heart, 
  Poor muffled choristers! whose sad refrain 
Gives sorrow sleep, and bids that woe depart         
  Whose heavy burden weighs upon my strain. 
Imprisoned larks pipe sweeter than when free, 
And I, enslaved, have learnt to sing for thee. 
 
III

Thy throne is ringed by amorous cavaliers, 
  And all the air is heavy with the sound         
Of tiptoe compliment, whilst anxious fears 
  Strike dumb the lesser satellites around. 
One clasps thy hand, another squires thy chair, 
  Some bask in light shed from the eyes of thee, 
Some taste the perfume shaken from thy hair,         
  Some watch afar their worshipped deity. 
All have their orbits, and due distance keep, 
  As round the sun concentric planets move; 
Smiles light yon lord, whilst I, at distance, weep 
  In the sad twilight of uncertain love.         
’Thwart thee, my sun, how many a mincer slips, 
Whose constant transits make for me eclipse. 
 
IV

Know that the age of Pyrrha is long passed, 
  And though thy form is eternized in stone, 
The sculptor’s doings cannot Time outlast,         
  Nor Beauty live save but in blood and bone; 
Though new Pygmalions should again arise 
  Idolatrous of images like thee, 
Time the iconoclast e’en stone destroys, 
  As steadfast rocks are splintered by the sea.         
Thou shouldst indeed a hamadryad be, 
  Inhabiting some knotted oak alone, 
And so revive the worship of the Tree 
  Which, by succession, outlives barren stone. 
Though thus transformed still worshippers would woo,         
As Daphne-laurels poets yet pursue. 
 
V

Why dost thou like a Roman vestal make 
  The whole long year unmarriageable May, 
And, like the phoenix, no companion take 
  To share the wasteful burthen of decay?       
See this rich climate, where the airs that blow 
  Are heavenly suspirings, and the skies 
Steep day from head to heel in summer glow, 
  And moons make mellow mornings as they rise; 
As brides white-veiled that come to marry earth,         
  Now each mist-morning sweet July attires, 
Now moon-night mists are not of earthly birth, 
  But silver smoke blown down from heavenly fires. 
Skies kiss the earth, clouds join the land and sea, 
All Nature marries, only thou art free.         
 
VI

O what an eve was that which ushered in 
  The night that crowned the wish I cherished long! 
Heaven’s curtains oped to see the night begin, 
  And infant winds broke lightly into song; 
Methought the hours in softly-swelling sound         
  Wailed funeral dirges for the dying light; 
I seemed to stand upon a neutral ground 
  Between the confines of the day and night; 
For o’er the east Night stretched her sable rod, 
  And ranked her stars in glittering array,         
While, in the west, the golden twilight trod 
  With [burning] crimsons on the verge of day. 
Bright bars of cloud formed in the glowing even 
A Jacob-ladder joining earth and heaven. 
 
VII

O sweet Queen-city of the golden South,         
  Piercing the evening with thy starlit spires, 
Thou wert a witness when I kissed the mouth 
  Of her whose eyes outblazed the skiey fires. 
I saw the parallels of thy long streets 
  With lamps like angels shining all a-row,         
While overhead the empyrean seats 
  Of gods were steeped in paradisic glow. 
The Pleiades with rarer fires were tipt, 
  Hesper sat throned upon his jewelled chair, 
The belted giant’s triple stars were dipt         
  In all the splendour of Olympian air. 
On high to bless, the Southern Cross did shine, 
Like that which blazed o’er conquering Constantine.
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Analysis (ai): The speaker rejects conventional markers of time—dials, birds, flowers—substituting them with the beloved’s presence or absence as sole indicators of season and hour. This personalization of time aligns the inner emotional state with cosmic rhythms, a motif common in Victorian love poetry, yet here it intensifies into near-total dependency. Unlike the restrained longing in Tennyson’s In Memoriam, this poem embraces a melodramatic fusion of self and lover, where identity collapses into devotion.
Ardor Forged in Rejection: Section II frames suffering as generative: unkindness incites not despair but poetic creation, likening the speaker to myrrh that yields fragrance when cut. This paradox—pain as inspiration—echoes Browning’s dramatic monologues, where emotional extremity fuels articulation. The caged lark metaphor, though familiar, is inverted to suggest that artistic voice emerges only through bondage, diverging from Romantic ideals of freedom as prerequisite to expression.
Hierarchies of Devotion: In III, the beloved is a celestial body around whom lesser admirers orbit, reinforcing an astronomical hierarchy. The speaker occupies the periphery, excluded yet emotionally heightened by distance. Compared to the democratic intimacy in Rossetti’s sonnets, this version of love emphasizes courtly exclusion and silent martyrdom, reflecting mid-Victorian gendered dynamics of public admiration versus private anguish.
Impermanence and Transformation: IV critiques the illusion of eternal beauty in sculpture, arguing that only living forms—like trees—outlast stone. The suggestion that the beloved become a hamadryad shifts the poem from courtship to ecological metaphor, prefiguring modern concerns with organic continuity. This animistic turn is rare in Moloney’s otherwise conventional canon, aligning him obliquely with later Decadent investments in metamorphosis.
Nature’s Nuptials and Human Resistance: Section V contrasts the natural world’s union—personified seasons, mist as bridal veil—with the beloved’s ascetic refusal of marriage. The vestal and phoenix imagery frames chastity as unnatural, even wasteful, amidst universal pairing. While many Victorian poems idealize female purity, this one quietly challenges it by positioning nature as normative, a stance more typical of fin-de-siècle skepticism than 1870s propriety.
Climactic Vision and Lost Union: VI describes a symbolic dawn where heaven and earth nearly merge via a Jacob’s ladder of clouds. This moment, framed as fulfillment, reads retrospectively as lost, suggesting the union was ephemeral or illusory. Unlike the stable resolutions in Barrett Browning’s sonnets, here the vision collapses into memory, hinting at disillusionment beneath the rhetoric of triumph.
Geographic Longing and Displacement: The abrupt shift to “Queen-city of the golden South” in VII introduces geographic yearning, possibly colonial or imperial in resonance. This pivot toward place—not seen in most of Moloney’s love sequences—suggests dislocation as core to the lover’s psyche. The fragmentary ending implies unfulfilled return, aligning the poem with emerging late-century themes of exile and fragmented identity.  (hide)
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Melbourne

O sweet Queen-city of the golden South,
Piercing the evening with thy star-lit spires,
Thou wert a witness when I kissed the mouth
Of her whose eyes outblazed the skyey fires.
I saw the parallels of thy long streets,
With lamps like angels shining all a-row,
While overhead the empyrean seats
Of gods were steeped in paradisic glow.
The Pleiades with rarer fires were tipt,
Hesper sat throned upon his jewelled chair,
The belted giant's triple stars were dipt
In all the splendour of Olympian air,
On high to bless, the Southern Cross did shine,
Like that which blazed o'er conquering Constantine.
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Analysis (ai): The poem aligns with late 19th-century imperial romanticism, celebrating colonial urban development while framing nature and cityscape as sites of personal and divine significance.
  • Imagery and Symbolism: Celestial imagery dominates, using constellations like the Southern Cross and Hesper to merge personal memory with mythic grandeur, a contrast to the author’s typically more grounded Irish nationalist themes.
  • Personal vs. Civic Identity: The speaker intertwines a romantic moment with civic pride, a rare fusion in Moloney’s work, where personal emotion usually serves national allegory.
  • Formal Structure: Written in iambic pentameter with a Shakespearean sonnet variation, the rhyme scheme is strict but extends to fourteen lines without volta, more common in Victorian panegyric than lyrical reflection.
  • Archaic Language and Diction: Phrases like “empyrean seats” and “belted giant” draw from Elizabethan and Miltonic traditions, creating a ceremonial tone that distances the emotion while elevating the beloved.
  • Relation to Author’s Oeuvre: Unlike Moloney’s politically charged ballads, this poem focuses on individual experience, suggesting a private lyric impulse absent in most of his better-known nationalist poetry.
  • Stylistic Contrast: The elaborate celestial metaphors diverge from his usual folk-inspired directness, showing a lesser-known aesthetic ambition akin to Australian colonial romanticism seen in Marcus Clarke’s prose.
  • Colonial Perspective: The poem positions Melbourne as both modern and mythologized, a motif common in 19th-century colonial literature that sought legitimacy through classical analogy.
  • Astronomical References: The prominence of southern constellations reflects a regional identity forming independently of European celestial frameworks, subtly asserting geographical distinction within the Empire.
  • Final Image Significance: Linking the Southern Cross to Constantine’s vision introduces a redemptive, almost providential tone, implying the colony’s destiny parallels imperial triumphs, a view less common in Moloney’s otherwise critical stance on imperialism.
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