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=                           Thomas_Moore_                            =
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                            Introduction
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Thomas Moore (28 May 1779 - 25 February 1852), was an Irish writer,
poet, and lyricist who was widely regarded as Ireland's "national
bard" during the late Georgian era. The acclaim rested primarily on
the popularity of his 'Irish Melodies' (with the first of ten volumes
appearing in 1808). In these, Moore set to old Irish tunes verses that
spoke to a nationalist narrative of Irish dispossession and loss. With
his romantic work 'Lalla Rookh' (1817), in which these same themes are
explored in an elaborate orientalist allegory, Moore achieved wider
critical recognition. Translated into several languages, and adapted
and arranged for musical performance by, among others, Robert
Schumann, the chivalric verse-narrative established Moore as one of
the leading exemplars of European romanticism.

In England, Moore moved in aristocratic Whig circles where, in
addition to a salon performer, he was appreciated as a squib writer
and master of political satire. Chief among his targets, in successive
Tory governments, was Lord Castlereagh in whose promises of
"emancipation" Moore believed his fellow Catholics in Ireland had been
deceived. In the verse novel 'The Fudge Family in Paris' (1818), and
its sequels, he pillories the Foreign Secretary for employing the same
"faithless craft" used to press Ireland into a union with Great
Britain to accommodate  restoration  and reaction in Europe.

Wary in Ireland of an overtly Catholic place-seeking nationalism,
Moore refused a nomination to stand with Daniel O'Connell and his
Repeal Association for the Westminster parliament. His broader
sympathies were expressed in his several prose works, including a
biography of the United Irish leader Lord Edward Fitzgerald (1831) and
the 'Memoirs of Captain Rock' (1824). Complementing Maria Edgeworth's
'Castle Rackrent' (1800), the satirical novel is the story, not of
Anglo-Irish landowners, but of their exhausted tenants driven to the
semi-insurrection of Whiteboyism.

Moore continues to be remembered chiefly for his 'Melodies' (typically
"The Minstrel Boy" and "The Last Rose of Summer"). He is also
recalled, less generously, for the role he is thought to have played
in the destruction of the memoirs of his friend, Lord Byron.


                   Early life and artistic launch
======================================================================
Thomas Moore was born to Anastasia Codd from Wexford and John Moore
from County Kerry over his parents' grocery shop in Aungier Street,
Dublin, He had two younger sisters, Kate and Ellen. Moore showed an
early interest in music and performance, staging musical plays with
his friends and entertaining hope of being an actor. In Dublin he
attended Samuel Whyte's co-educational English grammar school, where
he was schooled in Latin and Greek and became fluent in French and
Italian. By age fourteen he had had one of his poems published in a
new literary magazine called the 'Anthologia Hibernica' (“Irish
Anthology”).

Samuel Whyte had taught Richard Barnsley Sheridan, Irish playwright
and English Whig politician, of whom Moore later was to write a
biography.


Trinity College and the United Irishmen
=========================================
In 1795, Moore was among the first Catholics admitted to Trinity
College Dublin, preparing, as his mother had hoped, for a career in
law. Through the literary salon of the poet and satirist Henrietta
Battier, and his friends at Trinity, Robert Emmett and Edward Hudson,
Moore was connected to the popular politics of the capital agitated by
the French Revolution and by the prospect of a French invasion. With
their encouragement, in 1797, Moore wrote an appeal to his fellow
students to resist the proposal, then being canvassed by the
English-appointed Dublin Castle administration, to secure Ireland by
incorporating the kingdom in a union with Great Britain. In April
1798, Moore was interrogated at Trinity but acquitted on the charge of
being a party, through the Society of United Irishmen, to sedition.

Moore, though a friend of Emmett, had not taken the United Irish oath
with Emmett and Hudson, and he played no part in the republican
rebellion of 1798 (Moore was at home, ill in bed), or in the uprising
in Dublin for which Emmett was executed in 1803. Later, in a biography
of the United Irish leader Lord Edward Fitzgerald (1831), he made
clear his sympathies, not hiding his regret that the French expedition
under  General Hoche failed in December 1796 to effect a landing. To
Emmett's sacrifice on the gallows Moore pays homage in the song  "O,
Breathe Not His Name" (1808).


London society and first success
==================================
Moore's translations of Anacreon, celebrating wine, women and song,
were published in 1800 with a dedication to the Prince of Wales. His
introduction to the future prince regent and King, George IV was a
high point in Moore's ingratiation with aristocratic and literary
circles in London, a success due in great degree to his talents as a
singer and songwriter. In the same year he collaborated briefly as a
librettist with Michael Kelly in the comic opera, 'The Gypsy Prince',
staged at the Theatre Royal, Haymarket,

In 1801, Moore hazarded a collection of his own verse: 'Poetical Works
of the Late Thomas Little Esq.'. The pseudonym may have been advised
by their juvenile eroticism. Moore's celebration of kisses and
embraces skirted contemporary standards of propriety. When these
tightened in the Victorian era, they were to put an end to what was a
relative publishing success.


Observations of America and duel with critic
==============================================
In the hope of future advancement, Moore reluctantly sailed from
London in 1803 to take up a government post secured through the
favours of Francis Rawdon-Hastings, 2nd Earl of Moira. Lord Moira was
a man distinct in his class for having, on the eve of the rebellion in
Ireland, continued to protest against government and loyalist
outrages, and to have urged a policy of conciliation. Moore was to be
the registrar of the Admiralty Prize Court in Bermuda. Although as
late as 1925 still recalled as "the poet laureate" of the island,
Moore found life on Bermuda sufficiently dull that after six months he
appointed a deputy and left for an extended tour of North America.

As in London, Moore secured high-society introductions. But of many of
his hosts he had a low opinion including, with reports of a slave
mistress (Sally Hemings), of President Thomas Jefferson: "The weary
statesman for repose has fled/ From the halls of council to his negro
shed . . . / And dreams of freedom in his slave's embrace!" Moore
later conceded that, having consorted too closely in America with
émigré European aristocrats and their friends among the opposition
Federalists, he had developed a somewhat "tainted", somewhat partisan,
view of the new republic. United Irish exiles, among them Robert
Emmet's brother, Thomas Addis Emmet, a prominent abolitionist, were in
Jefferson's Democratic-Republican camp.

Following his return to England in 1804, Moore published
'[https://www.google.co.uk/books/edition/Epistles_Odes_and_Other_Poems/z4K5zStZqO8C?hl=en&gbpv=1&pg
Epistles, Odes, and Other Poems]' (1806). In addition to complaints
about America and Americans, this catalogued Moore's real and imagined
escapades with American women. Francis Jeffrey denounced the volume in
the 'Edinburgh Review' (July 1806), calling Moore "the most licentious
of modern versifiers", a poet whose aim is "to impose corruption upon
his readers, by concealing it under the mask of refinement." Moore
challenged Jeffrey to a duel but their confrontation was interrupted
by the police. In what seemed to be a "pattern" in Moore's life ("it
was possible to condemn [Moore] only if you did not know him"), the
two then became fast friends.

Moore, nonetheless, was dogged by the report that the police had found
that the pistol given to Jeffrey was unloaded. In his satirical
'English Bards and Scotch Reviewers' (1809), Byron, who had himself
been stung by one of Jeffrey's reviews, suggested Moore's weapon was
also "leadless": "on examination, the balls of the pistols, like the
courage of the combatants, were found to have evaporated". To Moore,
this was scarcely more satisfactory, and he wrote to Byron implying
that unless the remarks were clarified, Byron, too, would be
challenged. In the event, when Byron, who had been abroad, returned
there was again reconciliation and a lasting friendship.

In 1809, Moore was elected as a member to the American Philosophical
Society in Philadelphia.


Marriage and children
=======================
Between 1808 and 1810, Moore appeared each year in Kilkenny, Ireland,
with a charitable mixed repertory of professional players and
high-society amateurs. He favoured comic roles in plays like
Sheridan's 'The Rivals' and O'Keeffe's 'The Castle of Andalusia'.
Among the professionals, on stage in Kilkenny with her sister, the
tragedienne-to-be Mary Ann Duff, was Elizabeth "Bessy" Dyke. In 1811,
Moore married Bessy in St Martin-in-the-Fields, London. Together with
Bessy's lack of a dowry, the Protestant ceremony may have been the
reason why Moore kept the match for some time secret from his parents.
Bessy shrank from fashionable society to such an extent that many of
her husband's friends never met her (some of them jokingly doubted her
very existence). Those who did held her in high regard.

The couple first set up house in London, then in the country at
Kegworth, Leicestershire, and in Lord Moira's neighbourhood at
Mayfield Cottage in Staffordshire, and finally in Sloperton Cottage in
Wiltshire near the country seat of another close friend and patron,
Henry Petty-Fitzmaurice, 3rd Marquess of Lansdowne. Their company
included Sheridan and John Philpot Curran, both in their bitter final
years.

Thomas and Bessy had five children, none of whom survived them. Three
girls died young, and both sons lost their lives as young men. One of
them, Thomas Landsdowne Parr Moore, as a lowly officer fought first
with the British Army in Afghanistan, and then with French Foreign
Legion in Algeria. He was dying of tuberculosis that riddled the
family when, according to Foreign Legion records, he was killed in
action on 6 February 1846.
Despite these heavy personal losses, the marriage of Thomas Moore is
generally regarded to have been a happy one.


Debt exile, last meeting with Byron
=====================================
In 1818, it was discovered that the man Moore had appointed his deputy
in Bermuda had embezzled 6,000 pounds sterling, a large sum for which
Moore was liable. To escape debtor's prison, in September 1819, Moore
left for France, travelling with Lord John Russell (future Whig prime
minister and editor of Moore's journals and letters). In Venice in
October, Moore saw Byron for the last time. Byron entrusted him with a
manuscript for his memoirs, which, as his literary executor, Moore
promised to have published after Byron's death.

In Paris, Moore was joined by Bessy and the children. His social life
was busy, often involving meetings with Irish and British and
travellers such as Maria Edgeworth and William Wordsworth. However,
his attempt to bridge the gulf in his connections between his exiled
fellow countrymen and members of the British establishment was not
always successful. In 1821, several emigres, prominent among them
Myles Byrne (a veteran of Vinegar Hill and of Napoleon's Irish Legion)
refused to attend a St Patrick's day dinner Moore had organised in
Paris because of the presiding presence of Wellesley Pole Long, a
nephew of the Duke of Wellington.

Once Moore learned the Bermuda debt had been partly cleared with the
help of Lord Lansdowne (whom Moore repaid almost immediately by a
draft on Longman, his publisher), the family, after more than a year,
returned to Sloperton Cottage.


Squib writer for the Whigs
============================
To support his family Moore entered the field of political squib
writing on behalf of his Whig friends and patrons. The Whigs had been
split by the divided response of Edmund Burke and Charles Fox to the
French Revolution. But with the antics of the Prince Regent, and in
particular, his highly public efforts to disgrace and divorce Princess
Caroline, proving a lightning rod for popular discontent, they were
finding new unity and purpose.

From the "Whigs as Whigs", Moore claimed not to have received "even
the semblance of a favour" (Lord Moira, they "hardly acknowledge as
one of themselves"). And with exceptions "easily counted", Moore was
convinced that there was "just as much selfishness and as much
low-party spirit among them generally as the Tories". But for Moore,
the fact that the Prince Regent held fast against Catholic admission
to parliament may have been reason sufficient to turn on his former
friend and patron. Moore's Horatian mockery of the Prince in the pages
of 'The Morning Chronicle' were collected in 'Intercepted Letters, or
the Two-Penny Post-Bag' (1813).


The lampooning of Castlereagh
===============================
In what were the "verbal equivalents of the political cartoons of the
day", 'Tom Crib's Memorial to Congress' (1818),
'[https://verse.press/poem/to-the-ship-in-which-lord-castlereagh-sailed-for-31871
To the Ship in Which Lord Castlereagh Sailed to the Continent]' (1818)
and 'Fables for the Holy Alliance' (1823), Moore lampoons
Castlereagh's deference to the reactionary interests of Britain's
continental allies. At the Congress of Vienna, the Foreign Secretary
had signed "away the Rights of Man/ To Russian threats and Austrian
juggle" and, content with but a [https://opil.ouplaw.com/page/498
declaration against the slave trade], had left "the sinking African/
To fall without one saving struggle--".

Widely read, so that Moore eventually produced a sequel, was the verse
novel 'The Fudge Family in Paris' (1818). The family of an Irishman
working as a propagandist for Castlereagh in Paris, the Fudges are
accompanied by an accomplished tutor and classicist, Phelim Connor. An
upright but disillusioned Irish Catholic, his letters to a friend
reflect Moore's own views.

Connor's regular epistolary denunciations of Castlereagh have two
recurrent themes. The first is Castlereagh as "the embodiment of the
sickness with which Ireland had infected British politics as a
consequence of the union": "We sent thee Castlereagh - as heaps of
dead Have slain their slayers by the pest they spread". The second is
that at the time of the Acts of Union Castlereagh's support for
Catholic emancipation had been disingenuous. Castlereagh had been
master of "that faithless craft", which can "court the slave, can
swear he shall be freed", but then "basely spurns him" when his "point
is gain'd".

Through a mutual connection, Moore learned that Castlereagh had been
particularly stung by the verses of the Tutor in the 'Fudge Family.'
For openly casting the same dispersions against the former Chief
Secretary--that he bloodied his hands in 1798 and deliberately
deceived Catholics at the time of the Union--in 1811 the London-based
Irish publisher, and former United Irishman, Peter Finnerty was
sentenced to eighteen months for libel.


''The Memoirs of Captain Rock''
=================================
As a partisan squib writer, Moore played a role not dissimilar to that
of Jonathan Swift a century earlier. Moore greatly admired Swift as a
satirist, but charged him with caring no more for the "misery" of his
Roman Catholic countrymen "than his own Gulliver for the sufferings of
so many disenfranchised Yahoos". 'The Memoirs of Captain Rock' might
have been Moore's response to those who questioned whether the son of
a Dublin grocer entertaining English audiences from his home in
Wiltshire was himself connected to the great mass of his countrymen -
to those whose remitted rents helped sustain the great houses among
which he was privileged to move.

'The Memoirs' relate the history of Ireland as told by a contemporary,
the scion of a Catholic family that lost land in successive English
settlements. The character, Captain Rock, is folkloric but the history
is in earnest.  When it catches up with the narrator in the late Penal
Law era, his family has been reduced to the "class of wretched
cottiers". Exposed to the voracious demands of spendthrift Anglo-Irish
landlords (pilloried by Maria Edgeworth), both father and son assume
captaincies among the "White-boys, Oak-boys, and Hearts-of Steel", the
tenant conspiracies that attack tax collectors, terrorise the
landlords' agents and violently resist evictions.

This low-level agrarian warfare continued through, and beyond, the
Great Irish Famine of the 1840s. It was only after this catastrophe,
which as Prime Minister Moore's Whig friend, Lord Russell, failed in
any practical measure to allay, that British governments began to
assume responsibility for agrarian conditions. At the time of 'Captain
Rocks publication (1824), the commanding issue of the day was not
tenant rights or land reform. It was the final instalment of Catholic
Emancipation: Castlereagh's unredeemed promise of Catholic admission
to parliament.


''Letter to the Roman Catholics of Dublin''
=============================================
Since within a united kingdom, Irish Catholics would be reduced to a
distinct minority, Castlereagh's promises of their parliamentary
emancipation seemed credible at the time of the Union. But the
provision was stripped out of the union bills when in England the
admission of Catholics to the "Protestant Constitution" encountered
the standard objection: that as subject to political direction from
Rome, Catholics could not be entrusted with the defence of
constitutional liberties. Moore rallied to the "liberal compromise"
proposed by Henry Grattan, who had moved the enfranchisement of
Catholics in the old Irish parliament. Fears of "Popery" were to be
allayed by according the Crown a "negative control", a veto, on the
appointment of Catholic bishops.

In an open 'Letter to the Roman Catholics of Dublin' (1810), Moore
noted that the Irish bishops (legally resident in Ireland only from
1782) had themselves been willing to comply with a practice otherwise
universal in Europe. Conceding a temporal check of papal authority, he
argued, was in Ireland's Gallican tradition. In the time of "her
native monarchy", the Pope had had no share in the election of Irish
bishops. "Slavish notions of papal authority" developed only as a
consequence of the English conquest. The native aristocracy had sought
in Rome a "spiritual alliance" against the new "temporal tyranny" at
home.

In resisting royal assent and in placing "their whole hierarchy at the
disposal of the Roman court", Irish Catholics would "unnecessarily" be
acting in "remembrance of times, which it is the interest of all
parties [Catholic and Protestant, Irish and English] to forget". Such
argument made little headway against the man Moore decried as a
demagogue, but who, as a result of his uncompromising stand, was to
emerge as the undisputed leader of the Catholic interest in Ireland,
Daniel O’Connell.

Even when, in 1814, the Curia itself (then still in silent alliance
with Britain against Napoleon) proposed that bishops be "personally
acceptable to the king", O'Connell was opposed. Better, he declared,
that Irish Catholics "remain for ever without emancipation" rather
than allow the king and his ministers "to interfere" with the Pope's
appointment of Irish prelates. At stake was the unity of church and
people. "Licensed" by the government, the bishops and their priests
would be no more regarded than the ministers of the established Church
of Ireland.

When final emancipation came in 1829, the price O'Connell paid was the
disenfranchisement of the Forty-shilling freeholders - those who, in
the decisive protest against Catholics exclusion, defied their
landlords in voting O'Connell in the 1828 Clare by-election. The
"purity" of the Irish church was sustained. Moore lived to see the
exceptional papal discretion thus confirmed reshaping the Irish
hierarchy culminating in 1850 with the appointment of the Rector of
the Sacred Congregation for the Propagation of the Faith in Rome, Paul
Cullen, as Primate Archbishop of Armagh.


''Travels of an Irish Gentleman in Search of a Religion''
===========================================================
In a call heeded by Protestants of all denominations, in 1822 the new
Church of Ireland Archbishop of Dublin, William Magee, declared the
absolute necessity of winning an Irish majority for the Reformed faith
-- a "Second Reformation". Carrying "religious tracts expressly
written for the edification of the Irish peasantry", the "editor" of
Captain Rock's Memoirs is an English missionary in the ensuing "bible
war". Catholics, who coalesced behind O'Connell in the Catholic
Association, believed that proselytising advantage was being sought in
hunger and distress (that tenancies and food were being used to secure
converts), and that the usual political interests were at play.

Moore's narrator in 'Travels of an Irish Gentleman in Search of a
Religion' (1833) is again fictional. He is, as Moore had been, a
Catholic student at Trinity College. On news of Emancipation (passage
of the 1829 Catholic Relief Bill), he exclaims: "Thank God! I may now,
if I like, turn Protestant". Oppressed by the charge that Catholics
are "a race of obstinate and obsolete religionists […] unfit for
freedom", and freed from "the point of honour" that would have
prevented him from abandoning his church in the face of continuing
sanctions, he sets out to explore the tenets of the "true" religion.

Predictably, the resolve the young man draws from his theological
studies is to remain true to the faith of his forefathers (not to
exchange "the golden armour of the old Catholic Saints" for "heretical
brass"). The argument, however, was not the truth of Catholic
doctrine. It was the inconsistency and fallacy of the bible preachers.
Moore's purpose, he was later to write, was to put "upon record" the
"disgust" he felt at "the arrogance with which most Protestant parsons
assume […] credit for being the only true Christians, and the
insolence with which […] they denounce all Catholics as idolators and
Antichrist". Had his young man found "among the Orthodox of the first
[Christian] ages" one "particle" of their rejection of the supposed
"corruptions" of the Roman church - justification not by faith alone
but also by good works, transubstantiation, and veneration of saints,
relics and images -- he would have been persuaded.

Moore's work elicited an immediate riposte. The 'Second Travels of an
Irish Gentleman in Search of Religion' (1833) was a vindication of the
reformed faith by an author described as "not the editor of 'Captain
Rock's Memoirs'" -- the Spanish exile and Protestant convert Joseph
Blanco White.

In 1816, Moore had published a 'A Series of Sacred Songs, Duets and
Trios' of which the first,
[https://hymnology.hymnsam.co.uk/t/thou-art,-o-god,-the-life-and-light
"Thou art, O God"], became a popular hymn. But despite acknowledging
Catholicism as Ireland's "national faith", and the example of a devout
mother, Moore appears to have abandoned the formal practice of his
religion as soon as he entered Trinity.

Brendan Clifford, editor of Moore's political writings, interprets
Moore's philosophy as "cheerful paganism", or, at the very least, "'à
la carte' Catholicism" in which Moore favoured "what scriptural
Protestantism hated: the music, the theatricality, the symbolism, the
idolatry".


Sheridan, Fitzgerald and ''The History of Ireland''
=====================================================
In 1825, Moore's 'Memoirs of the Life of Richard Brinsley Sheridan'
was finally published after nine years of work on and off. It proved
popular, went through a number of editions, and helped establish
Moore's reputation among literary critics. The work had a political
aspect: Sheridan was not only a playwright, he was a Whig politician
and a friend of Fox. Moore judged Sheridan an uncertain friend of
reform. But he has Sheridan articulate in his own words a good part of
what was to be the United Irish case for separation from England.

Writing in 1784 to his brother, Sheridan explains that the
"subordinate situation [of Ireland] prevents the formation of any
party among us, like those you have in England, composed of person
acting upon certain principles, and pledged to support each other".
Without the prospect of obtaining power - which in Ireland is "lodged
in a branch of the English government" (the Dublin Castle executive) -
there is little point in the members of parliament, no matter how
personally disinterested, collaborating for any public purpose.
Without an accountable executive the interests of the nation are
systematically neglected.

It is against this, the truncated state of politics in Ireland, that
Moore sees Lord Edward Fitzgerald, a "Protestant reformer" who wished
for "a democratic House of Commons and the Emancipation of his
Catholic countrymen", driven toward the republican separatism of the
United Irishmen. He absolves Fitzgerald of recklessness: but for a
contrary wind, decisive French assistance would have been delivered by
General Hoche at Bantry in December 1796. In his own 'Memoirs', Moore
acknowledges his 'Life and Death of Lord Edward Fitzgerald' (1831) as
a "justification of the men of '98 - the 'ultimi Romanorum' of our
country".

Moore's 'History of Ireland', published in four volumes between 1835
and 1846, reads as a further and extended indictment of English rule.
It was an enormous work (consulted by Karl Marx in his extensive notes
on Irish history), but not a critical success. Moore acknowledged
scholarly failings, some of which stemmed from his inability to read
documentary sources in Irish.


Parliamentary reform
======================
In his journal, Moore confessed that he "agreed with the Tories in
their opinion" as to the consequences of the first Parliamentary
Reform Act (1832). He believed it would give "an opening and impulse
to the revolutionary feeling now abroad" [England, Moore suggested,
had been "in the stream of a revolution for some years"] and that the
"temporary satisfaction" it might produce would be but as the calm
before a storm: "a downward reform (as Dryden says) rolls on fast".
But this was a prospect he embraced. In conversation with the Whig
grandee Lord Lansdowne, he argued that while the consequences might be
"disagreeable" for many of their friends, "We have now come to that
point which all highly civilised countries reach when wealth and all
the advantages that attend it are so unequally distributed that the
whole is in an unnatural position: and nothing short of a general
routing up can remedy the evil."

Despite their initially greater opposition to reform, Moore predicted
that the Tories would prove themselves better equipped to ride out
this "general routing". With the young Benjamin Disraeli (who was to
be the author of the Second Reform Act in 1867) Moore agreed that
since the Glorious Revolution first led them to court an alliance with
the people against the aristocracy, the Tories had taken "a more
democratic line". For Moore this was evidenced by the
prime-ministerial careers of George Canning and Robert Peel: "mere
commoners by birth could never have attained the same high station
among the Whig party".


O'Connell and Repeal
======================
In 1832, Moore declined a voter petition from Limerick to stand for
the Westminster Parliament as a Repeal candidate. When Daniel
O'Connell took this as evidence of Moore's "lukewarmness in the cause
of Ireland", Moore recalled O'Connell's praise for the "treasonous
truths" of his book on Fitzgerald. The difficulty, Moore suggested,
was that these "truths" did not permit him to pretend with O'Connell
that reversing the Acts of Union would amount to something less than
real and lasting separation from Great Britain. Relations had been
difficult enough after the old Irish Parliament had secured its
legislative independence from London in 1782. But with a Catholic
Parliament in Dublin, "which they would be sure to have out and out",
the British government would be continually at odds, first over the
disposal of Church of Ireland and absentee property, and then over
what would be perennial issues of trade, foreign treaties and war.

So "hopeless appeared the fate of Ireland under English government,
whether of Whigs or Tories", that Moore declared himself willing to
"run the risk of Repeal, even with separation as its too certain
consequence". But with Lord Fitzgerald, Moore believed independence
possible only in union with the "Dissenters" (the Presbyterians) of
the north (and possibly then, again only with a prospect of French
intervention). To make "headway against England" the "feeling" of
Catholics and Dissenters had first to be "nationalised". This is
something Moore thought might be achieved by fixing upon the immediate
abuses of the (Anglican and landed) "Irish establishment". As he had
O'Connell's uncompromising stance on the Veto, Moore regarded
O'Connell's campaign for Repeal as unhelpful or, at best, "premature".

This perspective was shared by some of O'Connell's younger
lieutenants, dissidents with the Repeal Association. Young Irelander
Charles Gavan Duffy sought to build a "League of North and South"
around what Michael Davitt (of the later Land League) described as
"the programme of the Whiteboys and Ribbonmen reduced to moral and
constitutional standards"--tenant rights and land reform.


Reception
===========
In the early years of his career, Moore's work was largely generic,
and had he died at this point he would likely not have been considered
an Irish poet. From 1806 to 1807, Moore dramatically changed his style
of writing and focus. Following a request by the publishers James and
William Power, he began to write lyrics to a series of Irish tunes in
the manner of Haydn's settings of British folksongs, with Sir John
Andrew Stevenson and, following Stevenson's death in 1833, Henry
Bishop, as arranger of the music. The principal source for the tunes
was Edward Bunting's 'A General Collection of the Ancient Irish Music'
(1797) to which Moore had been introduced at Trinity by Edward Hudson.

The 'Melodies' were published in
[https://www.musicanet.org/robokopp/moore.html ten volumes], together
with a supplement, over 26 years between 1808 and 1834. There were an
immediate success,
[https://www.musicanet.org/robokopp/eire/taraharp.htm "The Harp that
did once through Tara's Hall"], "The Minstrel Boy" and "The Last Rose
of Summer" becoming immensely popular.

Encouraged, Moore and his publisher employed the same formula with
lyrics and melodies described as Indian, Spanish, Portuguese,
Sicilian, Venetian, Scotch, Italian and Hungarian. Beginning in 1818,
their
'[https://www.google.co.uk/books/edition/National_Airs/rztNAAAAcAAJ?hl=en&gbpv=1&pg=PA1&printsec=frontcover
National Airs]' appeared in six volumes with Stevenson and Bishop
again responsible for the musical arrangement.

There were parodies in England, but translations into German, Italian,
Hungarian, Czech, and French, and settings by Ludwig van Beethoven and
Hector Berlioz guaranteed a large European audience. In the United
States, "The Last Rose of Summer" alone sold more than a million
copies.

Byron said he knew the 'Melodies' all "by rote and by heart"; setting
them above epics and Moore above all other poets for his "peculiarity
of talent, or rather talents, - poetry, music, voice, all his own".
They were also praised by Sir Walter Scott who conceded that neither
he nor Byron could attain Moore's power of adapting words to music.

Moore was in no doubt that the 'Irish Melodies' would be "the only
work of my pen […]  whose fame (thanks to the sweet music in which it
is embalmed) may boast a chance of prolonging its existence to a day
much beyond our own". They distinguished him in his lifetime, as his
country's national poet, a popular honour he sought maintain by
declining an offer from Dublin Castle to become Ireland's first poet
laureate. He believed that to occupy the salaried position he would
have to tone down his political views.


Ireland's "national music"
============================
Despite Moore's difficult relationship with O'Connell (privately he
suggested that "O'Connell and his ragamuffins" brought "tarnish upon
Irish patriotism"), in the early 1840s his 'Melodies' were employed in
the "Liberator's" renewed campaign for Repeal. The Repeal
Association's monster meetings (crowds of over 100,000) were usually
followed by public banquets. At Mallow, County Cork, before the dinner
speeches, a singer performed Moore's
[https://www.musicanet.org/robokopp/eire/ohwheres.htm "Where Is the
Slave?":]  Oh, where's the slave so lowly, Condemned to chains unholy,
Who could be burst His bonds accursed, Would die beneath them slowly?
O'Connell leapt to his feet, threw his arms wide and cried "I am not
that slave!" All the room followed: "We are not those slaves! We are
not those slaves!"

In the greatest meeting of all, at the Hill of Tara (by tradition the
inaugural seat of the High Kings of Ireland), on the feast-day of the
Assumption, 15 August 1843, O'Connell's carriage proceeded through a
crowd, reportedly of a million, accompanied by a harpist playing
Moore's [https://www.musicanet.org/robokopp/eire/taraharp.htm "The
Harp that once through Tara's Halls".]


Later criticism and reappraisal
=================================
The 'Melodies' setting of English-language verse to old Irish tunes
has been seen as one of the chief cultural expressions of the
linguistic transition in Ireland from Gaelic to English.

In the new lyrics, some critics detected a tone of national
resignation and defeatism: a "whining lamentation over our eternal
fall, and miserable appeals to our masters to regard us with pity".
William Hazlitt observed that "if Moore's 'Irish Melodies' with their
drawing-room, lackadaisical, patriotism were really the melodies of
the Irish nation, the Irish people deserve to be slaves forever".
Moore, in Hazlitt's view had "convert[ed] the wild harp of Erin into a
musical snuff box". It was a judgement later generations of Irish
writers appeared to share.

In 'A' 'Portrait of the Artist as a Young Man', as he passes "the
droll statue of the national poet of Ireland" in College Street, James
Joyce's biographic protagonist, Stephen Dedalus, remarks on the
figure's "servile head". Yet in his father's house, Dedalus is moved
when he hears his younger brothers and sisters singing Moore's
[https://www.poetryfoundation.org/poems/44782/oft-in-the-stilly-night-scotch-air
"Oft in the Stilly Night".] Despite Joyce's occasional expressions of
disdain for the bard, critic Emer Nolan suggests that the writer
responded to the "element of utopian longing as well as the
sentimental nostalgia" in Moore's music.  In 'Finnegans Wake', Joyce
has occasion to allude to virtually every one of the 'Melodies.'

While acknowledging that his own sense of an Irish past was "woven . .
. out of Moore's 'Melodies",' in a 1979 tribute to Moore, Seamus
Heaney remarked that Ireland had rescinded Moore's title of national
bard because his characteristic tone was '"too light, too
conciliatory, too colonisé" for a nation "whose conscience was being
forged by James Joyce, whose tragic disunity was being envisaged by
W.B. Yeats and whose literary tradition was being restored by the
repossession of voices such as Aodhagán O Rathaille's or Brian
Merriman's".

More recently, there has been a reappraisal sympathetic to Moore's
"strategies of disguise, concealment and historical displacement so
necessary for an Irish Catholic patriot who regularly sang songs to
London glitterati about Irish suffering and English 'bigotry and
misrule'". The political content of the 'Melodies' and their
connections to the United Irishmen and to the death of Emmet have been
discussed in Ronan Kelly's biography of the poet, 'Bard of Erin'
(2008), by Mary Helen Thuente in 'The Harp Restrung: the United
Irishmen and the Rise of Literary Nationalism' (1994); and by Una Hunt
in 'Literary Relationship of Lord Byron and Thomas Moore' (2001).

Eóin MacWhite and Kathleen O'Donnell have found that the political
undertone of the 'Melodies' and of other of Moore's works was readily
appreciated by dissidents in the imperial realms of eastern Europe.
Greek-Rumanian conspirators against the Sultan, Russian Decembrists
and, above all, Polish intellectuals recognised in the Gothic elements
of the 'Melodies', 'Lalla Rookh' (“a dramatization of Irish patriotism
in an Eastern parable”) and 'Captain Rock' (all of which found
translators) "a cloak of culture and fraternity".


                          ''Lalla Rookh''
======================================================================
Next to the 'Melodies', 'Lalla Rookh' (1817) was Moore's greatest
contemporary success. In a testimony to the literary reputation his
'Melodies' had already established, Longmans, the publishers, agreed
to largest advance, £3150, yet commanded by a book of verse.

Possibly the most translated epic verses of its time, the work was the
basis for the operas 'Lalla-Rûkh' (1821) by Gaspare Spontini,
'Lalla-Roukh' by Félicien David (1862), 'Feramors' by Anton Rubinstein
(1863), and 'The Veiled Prophet' by Charles Villiers Stanford (1879).
One of the interpolated tales, 'Paradise and the Peri', was
interpreted in a choral-orchestral work by Robert Schumann (1843).

Written with the encouragement of Byron, and drawing on 'The Garden of
Knowledge' by Inayatullah Kamboh (1608-1671), it is ostensibly a
chivalric romance concerning the daughter of the 17th-century Mughal
emperor Aurangzeb. But set against the backdrop of the enduring
conflict between the Mughal throne and its Zoroastrian subjects -- "a
theme that had much to recommend it to an Irishman"--scholars read it
as a political allegory. Hidden references are found to the French
Revolution, to the United Irish Rebellion of 1798, and to Moore's
martyred friend Robert Emmet.


                          Byron's Memoirs
======================================================================
In 1821, with Byron's blessing, Moore sold the manuscript, with which
Byron had entrusted him three years before, to the publisher John
Murray. Although he himself allowed that it contained some "very
coarse things", when, following Bryon's death in 1824, Moore learned
that Murray had deemed the material unfit for publication he spoke of
settling the matter with a duel. But the combination of Byron's wife
Lady Byron, half-sister and executor Augusta Leigh and Moore's rival
in Byron's friendship John Cam Hobhouse prevailed. In what some were
to call the greatest literary crime in history, in Moore's presence
the family solicitors tore up all extant copies of the manuscript and
burned them in Murray's fireplace.

With the assistance of papers provided by Mary Shelley, Moore
retrieved what he could. His 'Letters and Journals of Lord Byron: With
Notices of His Life' (1830) "contrived", in the view of Macaulay, "to
exhibit so much of the character and opinions of his friend, with so
little pain to the feelings of the living". Lady Byron still professed
herself scandalised--as did 'The Times'.

With Byron an inspiration, Moore previously published a collection of
songs,
'[https://www.public-domain-poetry.com/thomas-moore/evenings-in-greece-27139
Evenings in Greece]' (1826), and, set in 3rd-century Egypt, his only
prose novel 'The Epicurean' (1827). Supplying a demand for
"semi-erotic romance tinged with religiosity" it was a popular
success.


                1844 photograph by Henry Fox Talbot
======================================================================
Moore stands in the centre of a calotype dated April 1844.

Moore is pictured with members of the household of William Henry Fox
Talbot, the photographer. Talbot, a pioneer of photography (the
inventor of the salted paper and calotype processes) was Moore's
neighbour in Wiltshire. It is possible that the lady to the lower
right of Moore is his wife Bessy Moore.

To the left of Moore stands Henrietta Horatia Maria Fielding
(1809-1851), a close friend of the Moores, Talbot's half-sister and
the daughter of Rear-Admiral Charles Fielding.

Moore took an early interest in Talbot's photogenic drawings. Talbot,
in turn, took images of Moore's hand-written poetry possibly for
inclusion in facsimile in an edition of 'The Pencil of Nature,' the
first commercially published book to be illustrated with photographs.


                   Death and receding reputation
======================================================================
He was buried in Bromham churchyard within view of his cottage home,
and beside his daughter Anastasia (who had died aged 17), near Devizes
in Wiltshire.

His epitaph at his St. Nicholas churchyard grave is inscribed with his
[https://www.musicanet.org/robokopp/eire/dearharp.htm own verse]:



Moore had appointed as his literary executor',' Lord John Russell, the
Whig leader who, just four days before Moore's death, had ended his
first term as Prime Minister. Russell dutifully published Moore's
papers in accordance with his late friend's wishes. The 'Memoirs,
Journal, and Correspondence of Thomas Moore' appeared in eight
volumes, published between 1853 and 1856. But, while popular editions
of his 'Melodies' and 'Airs' continued for some time to appear, in
post-famine Ireland Moore's literary stock "crashed".

Not only did the bathos and nostalgia of Moore's verse appear suspect,
as a form of home and public entertainment its reading and recitation
did not survive the developments in mass media: cheap print, the
recorded voice, the moving image. As a form, the verse narrative was
almost entirely abandoned. Describing his burial site in 1937, Moore's
biographer Howard Mumford Jones wrote: "To the grave of a Catholic
buried in a Protestant churchyard, of an Irishman at rest in
Wiltshire, of the genius once thought to be immortal and now no longer
read, almost no one comes".

Almost "totally forgotten, except in parish halls, or Hibernian
evenings in Brooklyn or Melbourne", a major biography of Moore does
not appear until 2008, 'The Bard of Erin, The Life of Thomas Moore' by
Ronan Kelly.


                           Commemoration
======================================================================
Moore is commemorated in several places: by a plaque on the house
where he was born, by busts at The Meetings and Central Park, New
York, and by a bronze statue near Trinity College Dublin. There is a
road in Walkinstown, Dublin, named Thomas Moore Road, in a series of
roads named after famous composers, locally referred to as the Musical
Roads.
* Many composers have set the poems of Thomas Moore to music. They
include Ludwig van Beethoven, Gaspare Spontini, Robert Schumann,
Friedrich von Flotow, Felix Mendelssohn, Hector Berlioz, Charles Ives,
William Bolcom, Benjamin Britten, and Henri Duparc.
* As noted above (Irish Melodies / Later criticism and reappraisal),
many songs of Thomas Moore are cited in works of James Joyce, for
example "Silent, O Moyle" in 'Two Gallants' ('Dubliners') or "The Last
Rose of Summer".
* Irish American scholar, singer and critic James W. Flannery (born
1936) is widely recognized as a skilled interpreter of Thomas Moore's
art songs.  In 1997 he released a book and recording named  'Dear Harp
of My Country: The Irish Melodies of Thomas Moore'.
* Oliver Onions quotes Moore's poem "Oft in the Stilly Night" in his
1910 ghost story "The Cigarette Case". It is also referenced in Bob
Shaw's 1966 science-fiction story "Light of Other Days".
* The earliest known photograph taken by a woman (Constance Fox
Talbot) is an albeit somewhat unclear image of a few lines from one of
his poems.
* Letitia Elizabeth Landon offers a tribute in her poem , in Fisher's
'Drawing Room Scrap Book', 1839.
* Edna O'Brien wrote a short story entitled "Oft in the Stilly Night"
in her 1990 story collection 'Lantern Slides'.


                             In fiction
======================================================================
The character Tickle Tommy in 'John Paterson's Mare', James Hogg's
allegorical satire on the Edinburgh publishing scene first appearing
in the 'Newcastle Magazine' in 1825, is based on Thomas Moore. Percy
French wrote several parodic versions of Moore's melodies in a comic
paper he edited for two years 'The Jarvey', including at least six
versions of "The Minstrel Boy". He also parodied Moore in his stage
shows. As noted above, Moore and his melodies also figure in the works
of James Joyce: 'A' 'Portrait of the Artist as a Young Man' and
'Finnegans Wake.'


Prose
=======
*
'[https://books.google.co.uk/books?id=fzsyAQAAMAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
A Letter to the Roman Catholics of Dublin]' (1810)
* 'The Fudge Family in Paris' (1818)
* 'Memoirs of Captain Rock' (1824)
* 'Memoirs of the Life of Richard Brinsley Sheridan' (2 vols) (1825)
* 'The Epicurean, a Tale' (29 June 1827)
* '[https://books.google.com/books?id=_hTxZIoOnrwC Letters &
Journals of Lord Byron, with Notices of his Life]' (2 vols.) (1830,
1831)
* '[https://books.google.com/books?id=_z8qAAAAYAAJ Life and Death of
Lord Edward Fitzgerald]' (1831)
* 'Travels of an Irish Gentleman in Search of a Religion' (2 vols.)
(1833)
* 'The Fudge Family in England' (1835)
* '[https://books.google.com/books?id=49lOAAAAcAAJ The History of
Ireland]' (vol. 1) (1835)
* 'The History of Ireland' (vol. 2) (1837)
* 'The History of Ireland' (vol. 3) (1840)
* 'The History of Ireland' (vol. 4) (1846)
* 'Political and Historical Writings on Irish and British Affairs by
Thomas Moore, Introduced by Brendan Clifford' (1993).


Lyrics and verse
==================
* 'Odes of Anacreon' (1800)
*
'[https://www.google.co.uk/books/edition/The_Poetical_Works_of_the_Late_Thomas_Li/piFDQCM7az4C?hl=en&gbpv=1&p
Poetical Works of the Late Thomas Little, Esq].' (1801)
* 'The Gypsy Prince' (a comic opera, collaboration with Michael Kelly,
1801)
*
'[https://www.google.co.uk/books/edition/Epistles_Odes_and_Other_Poems/z4K5zStZqO8C?hl=en&gbpv=1&p
Epistles, Odes and Other Poems]' (1806)
* '[https://www.musicanet.org/robokopp/moore.html A Selection of Irish
Melodies, 1 and 2]' (April 1808)
*
[https://www.google.co.uk/books/edition/Corruption_and_Intolerance/8hdWAAAAYAAJ?hl=en&gbpv=1&pg
'Corruption and Intolerance, Two Poems with Notes Addressed to an
Englishman by an Irishman'] (1808)
* '[https://verse.press/poem/the-sceptic-a-philosophical-satire-27665
The Sceptic: A Philosophical Satire]' (1809)
* '[https://www.musicanet.org/robokopp/moore.html A Selection of Irish
Melodies, 3]' (Spring 1810)
* '[https://books.google.com/books?id=LQ5gAAAAcAAJ A Melologue upon
National Music]' (1811)
* 'M.P., or The Blue Stocking', (a comic opera, collaboration with
Charles Edward Horn, 1811)
* '[https://www.musicanet.org/robokopp/moore.html A Selection of Irish
Melodies, 4]' (November 1811)
*
'[https://www.simple-poetry.com/poems/parody-of-a-celebrated-letter-63784048138
Parody of a Celebrated Letter]' (privately printed and circulated,
February 1812, 'Examiner', 8 March 1812)
*
'[https://www.simple-poetry.com/poems/anacreontic-to-a-plumassier-34651240669
Anacreontic to a Plumassier]' ('Morning Chronicle', 16 March 1812)
* '[https://www.readbookonline.org/readOnLine/31762/ Extracts from the
Diary of a Fashionable Politician]' ('Morning Chronicle', 30 March
1812)
*
'[https://www.simple-poetry.com/poems/the-insurrection-of-the-papers-a-dream-39729566964
The Insurrection of the Papers]' ('Morning Chronicle', 23 April 1812)
* 'Lines on the Death of [[Spencer Perceval|Mr. P[e]rc[e]v[a]l]]' (May
1812)
*
'[https://www.simple-poetry.com/poems/the-sale-of-the-tools-63790094976
The Sale of the Tools]' ('Morning Chronicle', 21 December 1812)
*
'[https://verse.press/poem/to-the-ship-in-which-lord-castlereagh-sailed-for-31871
Correspondence Between a Lady and a Gentleman]' ('Morning Chronicle',
6 January 1813)
*
'[https://books.google.co.uk/books?id=37YNAAAAQAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
Intercepted Letters, or the Two-Penny Post-Bag]' (March 1813)
*
'[https://www.simple-poetry.com/poems/reinforcements-for-lord-wellington-14359716350
Reinforcements for Lord Wellington]' ('Morning Chronicle', 27 August
1813)
* '[https://www.musicanet.org/robokopp/moore.html A Selection of Irish
Melodies, 5]' (December 1813)
* 'A Collection of the Vocal Music of Thomas Moore' (1814)
* '[https://www.musicanet.org/robokopp/moore.html A Selection of Irish
Melodies, 6]' (1815, April or after)
* 'Sacred Songs, 1' (June 1816)
*
'[https://www.simple-poetry.com/poems/lines-on-the-death-of-sheridan-91998511567
Lines on the Death of Sheridan]' ('Morning Chronicle', 5 August 1816)
* 'Lalla Rookh, an Oriental Romance' (May 1817)
*
'[https://www.google.co.uk/books/edition/National_Airs/rztNAAAAcAAJ?hl=en&gbpv=1&pg=PP7&printsec=frontcover
National Airs, 1]' (23 April 1818)
*
[https://verse.press/poem/to-the-ship-in-which-lord-castlereagh-sailed-for-31871
'To the Ship in which Lord C[A]ST[LE]R[EA]GH Sailed for the
Continent'] ('Morning Chronicle', 22 September 1818)
* 'Lines on the Death of Joseph Atkinson, Esq. of Dublin' (25
September 1818)
* 'Go, Brothers in Wisdom' ('Morning Chronicle', 18 August 1818)
* '[https://www.musicanet.org/robokopp/moore.html A Selection of Irish
Melodies, 7]' (1 October 1818)
* 'To Sir Hudson Lowe' ('Examiner', 4 October 1818)
* 'The Works of Thomas Moore' (6 vols) (1819)
*
'[https://www.google.co.uk/books/edition/Tom_Crib_s_Memorial_to_Congress/PbF2AMoZ6TAC?hl=en&gbpv=1&pg
Tom Crib's Memorial to Congress]' (March 1819)
*
'[https://www.google.co.uk/books/edition/National_Airs/rztNAAAAcAAJ?hl=en&gbpv=1&pg=PP7&printsec=frontcover
National Airs, 2]' (1820)
*
'[https://books.google.co.uk/books?id=DK3cRI-2f0gC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
Irish Melodies, with a Melologue upon National Music]' (1820)
* '[https://www.musicanet.org/robokopp/moore.html A Selection of Irish
Melodies, 8]' (on or around 10 May 1821)
*
[https://www.google.co.uk/books/edition/Irish_Melodies_With_an_appendix_containi/k8BgAAAAcAAJ?hl=en&gbpv=1&dq
'Irish Melodies' 'with an Appendix, containing the original
advertisements and the prefatory letter on music'] (1821)
*
'[https://www.google.co.uk/books/edition/National_Airs/rztNAAAAcAAJ?hl=en&gbpv=1&pg=PP7&printsec=frontcover
National Airs, 3]' (June 1822)
*
'[https://www.google.co.uk/books/edition/National_Airs/rztNAAAAcAAJ?hl=en&gbpv=1&pg=PP7&printsec=frontcover
National Airs, 4]' (1822)
* 'The Loves of the Angels, a Poem' (23 December 1822)
* 'The Loves of the Angels, an Eastern Romance' (5th ed. of 'Loves of
the Angels') (1823)
*
'[https://www.google.co.uk/books/edition/Fables_for_the_Holy_Alliance/zMPHx64UqDwC?hl=en&gbpv=1&pg
Fables for the Holy Alliance, Rhymes on the Road, &c. &c].' (7
May 1823)
* 'Sacred Songs, 2' (1824)
* '[https://www.musicanet.org/robokopp/moore.html A Selection of Irish
Melodies, 9]' (1 November 1824)
*
'[https://www.google.co.uk/books/edition/National_Airs/rztNAAAAcAAJ?hl=en&gbpv=1&pg=PP7&printsec=frontcover
National Airs, 5]' (1826)
*
[https://www.public-domain-poetry.com/thomas-moore/evenings-in-greece-27139
'Evenings in Greece'] (1826)
* '[https://www.simple-poetry.com/poems/a-dream-of-turtle-51268304823
A Dream of Turtle]' ('The Times', 28 September 1826)
* 'A Set of Glees' (circa 9 June 1827)
*
'[https://www.google.co.uk/books/edition/National_Airs/rztNAAAAcAAJ?hl=en&gbpv=1&pg=PP7&printsec=frontcover
National Airs, 6]' (1827)
*
'[https://www.google.co.uk/books/edition/Odes_Upon_Cash_Corn_Catholics_and_Other/gKw-AAAAIAAJ?hl=en&gbpv=1&pg=PP9&printsec=frontcover
Odes upon Cash, Corn, Catholics, and other Matters]' (October 1828)
* 'Legendary Ballads' (1830)
*
'[https://www.google.co.uk/books/edition/The_Summer_Fete_a_Poem_with_songs_by_T_M/m51YcZm5LO4C?hl=en&gbpv=1&dq
The Summer Fête. A Poem with Songs]' (December 1831)
* 'Irish Antiquities' ('The Times', 5 March 1832)
* 'From the Hon. Henry ---, to Lady Emma ---' ('The Times', 9 April
1832)
* 'To Caroline, Viscountess Valletort' ('The Metropolitan Magazine',
June 1832)
* 'Ali's Bride...' ('The Metropolitan Magazine', August 1832)
* 'Verses to the Poet Crabbe's Inkstand' ('The Metropolitan Magazine',
August 1832)
* '[https://www.simple-poetry.com/poems/tory-pledges-50338337285 Tory
Pledges]' ('The Times', 30 August 1832)
* '[https://www.simple-poetry.com/poems/late-tithe-case-43949147158
Song to the Departing Spirit of Tithe]' ('The Metropolitan Magazine',
September 1832)
* 'The Duke is the Lad' ('The Times', 2 October 1832)
* 'St. Jerome on Earth, First Visit' ('The Times', 29 October 1832)
* 'St. Jerome on Earth, Second Visit' ('The Times', 12 November 1832)
*
'[https://www.google.co.uk/books/edition/The_Poetical_Works_of_Thomas_Moore_Eveni/WPrzniwlljIC?hl=en&gbpv=1&dq=Thomas+Moore,+Evenings+in+greece&pg=PA46&printsec=frontcover
Evenings in Greece, 2]' (December 1832)
* 'To the Rev. Charles Overton' ('The Times', 6 November 1833)
* '[https://www.musicanet.org/robokopp/moore.html Irish Melodies, 10]'
(with Supplement) (1834)
* 'Vocal Miscellany, 1' (1834)
* 'The Numbering of the Clergy' ('Examiner', 5 October 1834)
* 'Vocal Miscellany, 2' (1835)
* '[https://books.google.com/books?id=PXRMAAAAcAAJ Irish Melodies]'
(1835)
* '[https://internetpoem.com/thomas-moore/the-song-of-the-box-poem/
The Song of the Box]' ('Morning Chronicle', 19 February 1838)
* 'Sketch of the First Act of a New Romantic Drama' ('Morning
Chronicle', 22 March 1838)
*
'[https://titixa.com/thoughts-on-patrons-puffs-and-other-matters-by-thomas-moore/
Thoughts on Patrons, Puffs, and Other Matters]' ('Bentley's
Miscellany', 1839)
* 'Alciphron, a Poem' (1839)
* 'The Poetical Works of Thomas Moore, collected by himself' (10 vols)
(1840-1841)
* 'Thoughts on Mischief' ('Morning Chronicle', 2 May 1840)
* '[https://www.simple-poetry.com/poems/religion-and-trade-88420244145
Religion and Trade]' ('Morning Chronicle', 1 June 1840)
* 'An Account of an Extraordinary Dream' ('Morning Chronicle', 15 June
1840)
* 'The Retreat of the Scorpion' ('Morning Chronicle', 16 July 1840)
* 'Musings, suggested by the Late Promotion of Mrs. Nethercoat'
('Morning Chronicle', 27 August 1840)
* 'The Triumphs of Farce' (1840)
* 'Latest Accounts from Olympus' (1840)
* '[https://books.google.com/books?id=V3mWCa238F8C The poetical works
of Thomas Moore, complete in three volumes]', Paris, Baudry's European
Library (1841)
* 'A Threnody on the Approaching Demise of Old Mother Corn-Law'
('Morning Chronicle', 23 February 1842)
* 'Sayings and Doings of Ancient Nicholas' ('Morning Chronicle', 7
April 1842)
* 'More Sayings and Doings of Ancient Nicholas' ('Morning Chronicle',
12 May 1842)
* [https://books.google.com/books?id=j5A2_4visdYC 'Prose and verse,
humorous, satirical and sentimental, by Thomas Moore, with suppressed
passages from the memoirs of Lord Byron, chiefly from the author's
manuscript and all hitherto inedited and uncollected. With notes and
introduction by Richard Herne Shepherd'], (London: Chatto &
Windus, Piccadilly, 1878).


                            Bibliography
======================================================================
* Benatti, Francesca, and Justin Tonra. "English Bards and Unknown
Reviewers: A Stylometric Analysis of Thomas Moore and the 'Christabel'
Review", in: 'Breac: A Digital Journal of Irish Studies' 3 (2015).
[http://breac.nd.edu/articles/61533-english-bards-and-unknown-reviewers-a-stylometric-analysis-of-thomas-moore-and-the-christabel-review/
URL].
* Clifford, Brendan (ed.): 'Political and Historical Writings on Irish
and British Affairs by Thomas Moore', (Belfast: Athol Books, 1993).
* Dowden, Wilfred S. (ed.): 'The Letters of Thomas Moore', 2 vols,
(Oxford: Oxford University Press, 1964).
* Dowden, Wilfred S. (ed.): 'The Journal of Thomas Moore', 6 vols,
(Newark: University of Delaware Press, 1983-91).
* Gunning, John P.: 'Moore. Poet and Patriot' (Dublin: M.H. Gill and
Son, 1900).
* Hunt, Una: 'Sources and Style in Moore's Irish Melodies' (London:
Routledge, 2017);  (hardback),  (e-book).
* Jones, Howard Mumford: 'The Harp that Once: A Chronicle of the Life
of Thomas Moore' (New York: Henry Holt & Co., 1937).
* Kelly, Linda. 'Ireland's Minstrel: A Life of Tom Moore, Poet,
Patriot and Byron's Friend' (London: I.B. Tauris, 2006);
* Kelly, Ronan: 'Bard of Erin. The Life of Thomas Moore' (Dublin:
Penguin Ireland, 2008), .
* McCleave, Sarah / Caraher, Brian (eds): 'Thomas Moore and Romantic
Inspiration. Poetry, Music, and Politics' (New York: Routledge, 2018);
(hardback),  (e-book).
* Ní Chinnéide, Veronica: "The Sources of Moore's Melodies", in:
'Journal of the Royal Society of Antiquaries of Ireland' 89 (1959) 2,
pp. 109-54.
* Strong, L. A. G.: 'The Minstrel Boy. A Portrait of Tom Moore'
(London: Hodder & Stoughton, & New York: A. Knopf, 1937).
* Tonra, Justin: "Masks of Refinement: Pseudonym, Paratext, and
Authorship in the Early Poetry of Thomas Moore", in: 'European
Romantic Review' 25.5 (2014), pp. 551-73.
[https://doi.org/10.1080/10509585.2014.938231
doi:10.1080/10509585.2014.938231].
* Tonra, Justin: "Pagan Angels and a Moral Law: Byron and Moore's
Blasphemous Publications", in: 'European Romantic Review' 28.6 (2017),
pp. 789-811. [https://doi.org/10.1080/10509585.2017.1388797
doi:10.1080/10509585.2017.1388797].
* Tonra, Justin: 'Write My Name: Authorship in the Poetry of Thomas
Moore' (New York; Abingdon: Routledge, 2020).
[https://doi.org/10.4324/9781003090960 doi:10.4324/9781003090960]
* Vail, Jeffery W.: 'The Literary Relationship of Lord Byron and
Thomas Moore' (Baltimore: Johns Hopkins University Press, 2001).
* Vail, Jeffery W.: "Thomas Moore in Ireland and America: The Growth
of a Poet's Mind", in: 'Romanticism' 10.1 (2004), pp. 41-62.
* Vail, Jeffery W.: "Thomas Moore: After the Battle", in: Julia M.
Wright (ed.), 'The Blackwell Companion to Irish Literature', 2 vols
(New York: Wiley-Blackwell, 2010), vol. 1, pp. 310-25.
* Vail, Jeffery W. (ed.): 'The Unpublished Letters of Thomas Moore', 2
vols (London: Pickering and Chatto, 2013), .
* Vail, Jeffery W.: "Thomas Moore", in: Gerald Dawe (ed.), 'The
Cambridge Companion to Irish Poets' (Cambridge: Cambridge University
Press, 2017), pp. 61-73.
* White, Harry: 'The Keeper's Recital. Music and Cultural History in
Ireland 1770-1970' (Cork: Cork University Press, 1998), .
* White, Terence de Vere: 'Tom Moore: The Irish Poet' (London: Hamish
Hamilton, 1977).


                           External links
======================================================================
*
*
*
*
* [http://theotherpages.org/poems/poem-mn.html#moore Thomas Moore
index entry at Poets' Corner]
* [http://www.libraryireland.com/Irish-Melodies/Home.php/ Moore's
Irish Melodies, arranged by C. V. Stanford]
*
[https://www.youtube.com/results?search_query=machinehay+%22thomas+moore%22
Thomas Moore melodies] by 'machinehay' on YouTube
*
*
* Thomas Moore collection, 1813-1833 (John J. Burns Library, Boston
College)
* [https://adp.library.ucsb.edu/names/102361 Thomas Moore recordings]
at the Discography of American Historical Recordings.


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