The news & observer. [volume] (Raleigh, N.C.) 1894-current, 1905-03-12

pol1tlcal 1aVOrS he received, and his
pen was really his main-stay in pro-
curing a livelihood. But at first he
really received but little for his writ
ings. He was not prolific Curing the
first decade or SO in London. ajs pro-
auctions consisted of but 1.-TWO small
volumes of elegant and sparkling
trifies.' He received $4,000 from a
publisher named Power for supply
ing words to Irish and other national
melodies Mimic says he really en-
joyed $4,000 a year for eighteen wears
from his Bermuda office. 1t is stated
as a fact, that before Moore came up
! to London when only some nineteen
| or twenty years old, he was quite
popular in Dublin society by reason
| of his songs. Henry Crabb Robinson
| said of him when most famous, that
lin anecdote, small-talk, and especial
/ ~ in singing, he was supreme. -
| to his loving mothers watchfulness
| and training. 1t is not generally
| known tht Moore fought duel with
| the very able and distinguished Lord
| Francis Jeffrey, editor of the "Edin-
burgh Review through so many
years. The duel was harmless, and
grew out of Jeffrey's criticisms in the
great Review
He began to write his Irish Melo-
dies" in 1907, and was married in
| 1911. He was devoted to his wife. He
wrote many sarcastic and witty poems
aimed at public men and measures.
and they are very clever of their kind
ingenious and fanciful. He published
comic verse that is regarded as skilful
and very pointed. He also published
later {. good deal of witty fancfes I'M
der several titles such as 1.-THE Two
penny Post-Bag," Rhymes on Cash,
Corn and Catholics" etc. They are
praised as showing his elegance and
versatility. His short lyrics constitute
the real basis, however, of his chances
tor remembrance in the centuries to
come. A judicious critic of the past
wrote concerning them that they were
written to suit that vast treasury of
beautiful national airs which form
the peculiar pride, joy and consolation
of the Irish people,. They will per-
petuate his memory for many decades
to come among the people of his own
land, as they so properly deserve as
the richest and most winSome express
sion of his genius and love of his ma
tive island. distinguished English
Professor wrote of the Irish Melo-
dies" some fifty or sixty years since
that they have never been surpassed
in their particular kind. The versifi-
cation is SO exquisite, and executed
with such delicacy of rhythm, that
on hearing them we'll read, we in
voluntarily and certainly conceive the
tune, even though we may never have
heard it. Viewed as poetry, these
songs are among the most beautiful
productions of modern literature"
Moore was noble, endowed with
beautiful and exquisite melody that
was absolutely full of charm, while
his diction was SO peculiarly suita BILE,
delicious, fertile and fluent as to give
hi
thral. NeatneSs, grace, refinement OF
touch, appropriateness all united to
make him writer of uncommon fas-
cination. THE great art in song-writ-
ing is to invent something that is
original without being far-fetched."
While Moore commanded such artistic
resources, he was at times given to
cruder, more Sensuous and even
fantastic manner. Moore was not
endowed with the vast and elevated
qualities of the greatest, most insplr-
ed singers, but he had genius and
fancy, and rich resources that gave
him position among the true singers.
and if finally displaced it will per-
haps not be creditable to the then
insight and prevailing taste of the
critical and cultured.
Mr.. KranS, reviewing the new life
of Moore by one of his countrymen,
Mr.. Stephen Guynn, says:
Whatever one may think of Moore
as poet 1t must at least be conceded
that as an artist in verse he held O.
most important place in the develop
ment of English poetry. And upon
Moore's part in the extraordinary ad-
vance In ,poetical technique, which
was characteristic of the last century
Mr.. Guynn dwells very emphatically in
his last chapter and elsewhere. 1t is
far cry from Cowper to Swinburne,
and Moore, by bringing into verse a
variety and multiplicity of musical
rhythms, did good service in bridging
the gap between them.
Moore's long romantic poems,
Lalla Rookh' and The Loves of the
Angels, have long since gone to a
poetic limbo from which they are
never likely to emerge. Florid in
style and sugared in sentiment, they
Will be remembered only as examples
of an extinct taste.
This criticism may be just. 1t at
least expresses prevailing judgment
and taste. But is Italia Roohk,' so
completely Oriental in STYLE descrip-
ton and romance, really so poor and
faulty as to make it deserve sweeping
censure and rejection? There are
many poems that retain place in
critical minds which do not show so
much of poetic splendor, originality
and beauty. Why should a romantic
novel story conveyed with so much of
brightness and spirit, and even beau
ty, be relegated to the limbo of the
neglected and forgotten. when SO
much initiative verse is now publish
ed, read and relished by eager thou
sands? A judicious and able critic. |
Thomas B. Shaw, writing in t240-'5O.
said of this particular Eastern love-
story in verse and prose, that "the
slender plot is related in that in
genious and sparkling prose Of which |
Moore is a consummate master: and
nothing can exceed the gorgeousness, |
splendor and pleasantly with which |
he describes all the details of Oriental
life and scenery = This prose mar
rative. which, though very short, ie
one unceasing sparkle of brilliant an
tithesis, and Eastern imagery, forms
a kind of framing (like the prolcgues
of Chaucer), for the poems. He says
of the prose portion of this entranc-
ing work, it is impossible to speak too
mighty" OF course there are defects
visible, and imperfections abound, and
there are too much of ornament and
gorgeousness, and sometimes coher-