Thomas Moore. Stephen Lucius Gwynn
"This was of course at that time," Moore observes with that good-humoured candour which is a characteristic of him, "a great event in my life, and among the most vivid of my early English recollections is that of my first night at Donington, when Lord Moira, with that high courtesy for which he was remarkable, lighted me himself to my bedroom; and there was this stately personage stalking on before through the long lighted gallery, bearing in his hand my bed-candle which he delivered to me at the door of my apartment. I thought it all exceedingly fine and grand, but at the same time most uncomfortable, and little I foresaw how much at home and at my ease I should one day find myself in that great house."
After this visit, negotiations with a publisher for the issue of the Anacreon, which had been begun during Moore's first sojourn in London, were resumed, and probably the name of friendship with Lord Moira did no harm. At all events the business was conducted to a successful issue by Moore's friend, Dr. Hume; and on December 19, 1799, the new poet writes rapturously of getting a good number of names for the subscription, adding that he has "received two hard guineas already from Mr. Campbell and Mr. Tinker, which I hope will be lucky. They are the only guineas I ever kissed, and I have locked them up religiously." Dr. Lawrence, a scholar of repute, reported favourably of the translation. Mrs. Fitzherbert was added to the list of subscribers; and finally, to crown all, Moore wrote—
"My dear Mother, I have got the Prince's name and his permission that I should dedicate Anacreon to him. Hurra! Hurra!"
And before the translator returned to the home where he was so eagerly expected, he had been duly presented to "his Royal Highness, George Prince of Wales." "He is beyond doubt a man of very fascinating manners," the letter goes on (dated August 4, 1800); and indeed the Prince's remarks, as Moore reports them, were vastly civil:—
"The honour was entirely his in being allowed to put his name 'to a work of such merit.' He then said that he hoped when he returned to town in the winter, we should have many opportunities of enjoying each other's society; that he was passionately fond of music and had long heard of my talents in that way. Is not all this very fine?"
Very fine indeed. "But, my dearest mother, it has cost me a new coat. By-the-bye, I am still in my other tailor's debt." There one has in a nutshell the epitome of Moore's life, if the life were to be written from a hostile point of view. On the other hand, considered candidly, there is nothing more surprising than the small degree of harm done to Moore by his disproportionate success. For the son of a small Irish tradesman to find himself at the age of one-and-twenty flattered by the heir-apparent—at a time too when the heir-apparent was the all-conquering leader of society—was indeed a dazzling promotion. And from that day onwards, Moore never lost ground. He had through life his choice of whatever was most brilliant in social intercourse, and his choice showed a steadily growing sanity of judgment. Moreover, although his intimates were always people set on a pinnacle, he never for an instant wavered in his fidelity to the home where he had been brought up with so much love. The end of the letter which describes his introduction to the Prince deserves to be quoted for its natural warmth:—
"Do not let any one read this letter but yourselves; none but a father and a mother can bear such egotising vanity; but I know who I am writing to—that they are interested in what is said of me, and that they are too partial not to tolerate my speaking of myself."
It is easy to see that Moore's success was mainly social at first rather than literary. Throughout life he exercised an irresistible charm. An infectious gaiety, joined to copious but never ill-natured wit, made his company desired by all; and his physical presence, though not striking, was always agreeable. Diminutive in size, and plain of feature, he gained something approaching beauty by the constant play of expression centred in his vivacious eyes and the mobile and beautiful mouth. More distinctive still, in youth at least, was his hair, which curled in long tendrils over his head. But the special charm which he exercised—and it was doubtless of greater importance in youth, before his powers as a talker had matured—lay in a gift for singing, which appears to have been something peculiar to himself. He sang always to his own accompaniment, and the performance by all accounts approached declamation rather than ordinary song. Moore is the only poet of modern times who, like the ancient bards, lent to his own verses the added charm of musical expression. Poet first, musician afterwards, he gave the words for all they were worth, and he seems always to have counted it a failure, if there were no wet eyes among his hearers.
To this gift, nearer the actor's than either the musician's or the poet's, he owed probably the suddenness of his fame. It called attention to his literature; but the attention was well deserved, for this boyish production was notable, coming when it did.
In 1800, when the Odes of Anacreon appeared, Wordsworth and Coleridge had, it is true, published Lyrical Ballads. The revolution in taste had begun. Yet these fighters in the van beat heavily upon an armed opposition; and for the moment the tradition of Pope, as modified in different directions by Gray and Goldsmith, was passionately upheld against them. Burns, indeed, had already made a great breach in the solid academic phalanx, and had won through to acceptance. But newcomers, who preached such doctrines as were set out in the preface to Lyrical Ballads, roused fierce hostility; they came with their mouths full of arguments. Moore, on the other hand, troubled no man with controversy, yet was hardly more academic than they. Like them, he boldly discarded the eighteenth-century manner, still flourishing in the hands of Crabbe. "The early poets of our language," says the preface to Little's Poems, "were the models which Mr. Little selected for imitation." A glance at the Anacreon will show the truth of this observation. Take the third ode—
Listen to the Muse's lyre,
Master of the pencil's fire!
Sketch'd in painting's bold display,
Many a city first portray,
Many a city revelling free,
Warm with loose festivity.
Picture then a rosy train,
Bacchants straying o'er the plain,
Piping, as they roam along,
Roundelay or shepherd-song.
Paint me next, if painting may
Such a theme as this portray,
All the happy heaven of love
Which these blessed mortals prove.
Here the suggestion, if not of Fletcher's manner, at least of some manner contemporary with Fletcher, is unmistakable. But since the verses were put forward without comment, no one thought of objecting. It is like the fable of the Wind and the Sun: Moore's genial example relaxed the bonds of 'correctness' by far more quickly than Wordsworth's austere theorising.
The easy way is seldom so good as the hard way, and no one would put Moore's early work into comparison with the wonderful volume that was the fruit of the years spent by Wordsworth and Coleridge at Nether Stowey. Yet it is only just to emphasise the fact that Moore was the first to bring back to English that note of song, natural even in its artificiality, which is heard all through the sixteenth and seventeenth centuries, but, except by Blake, was never sounded during the eighteenth. One can readily imagine the delight with which a generation, nursed on Cowper and Crabbe, turned to these facile yet not vulgar harmonies. And the work, though seemingly so easy, was wrought with delicate care; Lord Moira noted, and Moore gratefully recorded the praise, that few among the best poets had been so strictly grammatical! Always a careful craftsman, Moore never worked harder than on this first attempt. But his labour detracted nothing from the flush of youth, the zest for enjoyment, which pervades the lines. 'The young people will like it,' probably in any generation, whenever they chance to read it.
Moore, however, could never reconcile himself to effacing altogether the traces of his study. Lalla Rookh testifies to his passion for footnotes, and the same unfortunate itch displays itself already in the Anacreon. We find him quoting, not only Ronsard and Lessing—a wide range for one-and-twenty—but commentators and authors by far more recondite—Cornelius de Pauw, the poetess Veronica Cambara, the Epistles of Alciphron, together with