The Two-Party Zoo
Uncle Sam rides in, with pomp and grand stance,
His donkeys and elephants lead the dance.
The donkeys bray loud, “We know what’s the best!”
While the elephants trumpet, “We’re better dressed!”

In red, blue, and stars, they clash with great cheer,
As the eagles swoops down, offering a leer.
“Vote for the donkey, he’s humble and bright!”
“No, take the elephant, he’s strong and right!”

They tug at the flag, with feathers and fur,
While Uncle Sam laughs, sipping his sweet liquor.
The people just watch, caught up in the show,
Wondering which beast will win—does anyone know?

Burlesque poetry is a satirical form that delights in exaggeration, humor, and irony. Its purpose is to mock or critique its subject by treating serious matters in a playful, even ridiculous way. This creates a striking contrast between the gravity of the topic and the humorous style in which it is presented. Whether the subject is political, moral, or social, the burlesque poet exposes its absurdities through wit, rhythm, and sharp observation. By doing so, the poet not only entertains but also invites readers to question what might otherwise go unchallenged.

In The Two-Party Zoo, this approach is vividly displayed. The poem humorously depicts the American political system as a carnival of creatures, a “zoo” where donkeys and elephants—symbols of the two dominant political parties—battle for dominance. The opening lines establish the spectacle:

Uncle Sam rides in, with pomp and grand stance, /
His donkeys and elephants lead the dance.

Here, politics becomes performance. Uncle Sam is portrayed as a showman, presiding over his beasts with theatrical flair. The imagery transforms political rivalry into farce, showing how the seriousness of governance is often overshadowed by the pageantry of partisanship.

The burlesque tone intensifies as the poem continues. The donkeys proclaim, “We know what’s the best!” while the elephants retort, “We’re better dressed!” The rhyme and rhythm lend a sing-song quality that amplifies the humor. What might otherwise be a debate of principles becomes a childish squabble over appearance and self-importance. This playful exaggeration highlights the form’s purpose: to expose folly through laughter.

The poem’s structure further supports its satirical edge. Its ABAB rhyme scheme gives the piece a sense of buoyant rhythm, making it sound almost like a nursery rhyme. This contrast between form and content is deliberate. By setting political satire to a jaunty beat, the poet mirrors how politics itself can sometimes devolve into spectacle—entertaining, repetitive, and absurd. The rhyme pattern also gives the poem accessibility and flow, a key trait of burlesque writing, which aims to amuse even as it critiques.

In the second half of the poem, the imagery becomes more chaotic and symbolic. The eagle, a national emblem of pride and freedom, “swoops down, offering a leer.” This gesture mocks the solemnity often attached to patriotic icons, suggesting that even ideals of unity can become complicit in the political show. The tug-of-war over the flag—“with feathers and fur”—turns a symbol of national identity into a toy in the animals’ fight. Meanwhile, Uncle Sam, who should embody wisdom and leadership, simply “laughs, sipping his sweet liquor.” This image encapsulates the poem’s core irony: the one figure meant to represent reason presides over chaos, amused rather than alarmed.

The final stanza offers a subtle yet stinging commentary on public complicity:

The people just watch, caught up in the show, /
Wondering which beast will win—does anyone know?

The humor here turns reflective. The audience, representing the citizens, is entertained by the political “zoo” rather than actively engaged in shaping its outcome. The rhetorical question at the end underscores the futility of partisan bickering and the uncertain nature of genuine progress.

Stylistically, The Two-Party Zoo exemplifies burlesque poetry through its light, irreverent tone, its rhythmic playfulness, and its biting social commentary. It draws readers in with humor but leaves them with a deeper recognition of human folly. This is the hallmark of burlesque: it disarms through laughter while revealing truths that might otherwise go ignored or unspoken.

Ultimately, burlesque poetry demonstrates that satire is not merely about mockery—it’s about illumination. By turning serious subjects upside down, the poet helps readers see them more clearly. The laughter it provokes is not empty; it’s an awakening to absurdity, a call to think critically about what we too often accept as normal. In this way, The Two-Party Zoo stands as both entertainment and critique, proving that humor and insight make powerful allies in poetry.