Thomas Moore

Thomas Moore

1779–1852 · lived 72 years -- --

Thomas Moore was an Irish poet, singer, and songwriter, best known for his lyrical work, particularly the "Irish Melodies." His poetry often romanticized Ireland, exploring themes of patriotism, love, and melancholy, set to traditional Irish tunes. Moore was a prominent literary figure of his time, enjoying considerable popularity for his sentimental and accessible verse, which played a significant role in shaping Irish national consciousness through song.

n. 1779-05-28, Dublin · m. 1852-02-25, Bromham, Wiltshire

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Wreath the Bowl

Wreath the Bowl
Wreath the bowl
With flowers of soul,
The brightest Wit can find us,
We'll take a flight
Towards heaven to-night,
And leave dull earth behind us.
Should Love amid
The wreaths be hid
That Joy, the enchanter, brings us,
No danger fear,
While wine is near --
We'll drown him if he stings us.
Then, wreath the bowl
With flowers of soul,
The brightest Wit can find us.
We'll take a flight
Towards heaven to-night,
And leave dull earth behind us.
'Twas nectar fed
Of old, 'tis said,
Their Junos, Joves, Apollos,
And man may brew
His nectar too,
The rich receipt's as follows:
Take wine like this,
Let looks of bliss
Around it well be blended,
Then bring Wit's beam
To warm the stream,
And there's your nectar, splendid!
So, wreath the bowl,
With flowers of soul,
The brightest Wit can find us,
We'll take a flight
Towards heaven to-night,
And leave dull earth behind us.
Say, why did Time
His glass sublime
Fill up with sands unsightly,
When wine, he knew,
Runs brisker through,
And sparkles far more brightly?
Oh, lend it us,
And, smiling thus,
The glass in two we'll sever,
Make pleasure glide
In double tide,
And fill both ends for ever!
Then, wreath the bowl
With flowers of soul


The brightest Wit can find us;
We'll take a flight
Towards heaven to-night,
And leave dull earth behind us.
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Bio

Identification and basic context

Thomas Moore was an Irish poet, lyricist, composer, and political satirist. He is widely regarded as Ireland's national poet.

Childhood and education

Born in Dublin, Moore came from a Catholic background during a time of significant Protestant Ascendancy. He received a good education, attending Trinity College, Dublin, where he studied law. This period exposed him to the political currents of Ireland and fostered his literary talents.

Literary trajectory

Moore's literary career began with translations and satires. His breakthrough came with the "Irish Melodies," a collection of songs that he set to existing Irish folk tunes, imbued with new lyrics. These became immensely popular, establishing him as a leading lyrical poet. He also wrote longer narrative poems, political satires, and a biography of Lord Byron.

Works, style, and literary characteristics

Moore's most significant contribution is the "Irish Melodies," which include famous songs like "The Minstrel Boy" and "Oft, in the Stilly Night." His poetry is characterized by its lyrical flow, romantic sensibility, and exploration of themes such as love, loss, patriotism, and exile. He often employed simple, evocative language and a graceful, musical rhythm, making his verses highly singable. His "Lalla Rookh" was a long, exotic Oriental romance poem that also achieved great success.

Cultural and historical context

Moore wrote during a period of intense political and cultural ferment in Ireland and Europe. He was a staunch advocate for Irish rights and a supporter of Catholic Emancipation, often expressing his sentiments through his writings, sometimes subtly and sometimes through direct political satire. His work tapped into a growing sense of Irish national identity.

Personal life

Moore had a long and successful literary career. He married Bessy Dyke, an actress, and they had several children. He maintained friendships with many prominent literary and political figures of his day, including Lord Byron, whose life and works he later chronicled.

Recognition and reception

Moore was immensely popular during his lifetime, both in Ireland and Britain. His "Irish Melodies" were translated into numerous languages and became a staple of drawing-room music. He was widely celebrated for his wit, charm, and poetic talent, though later critics sometimes found his sentimentality excessive.

Influences and legacy

Moore was influenced by classical poets and the burgeoning Romantic movement. His "Irish Melodies" played a crucial role in preserving and popularizing Irish folk music and in fostering a sense of national pride among the Irish diaspora. He is considered a key figure in the Romantic era of Irish literature.

Interpretation and critical analysis

Moore's work is often interpreted as a romantic expression of Irish identity and longing. His patriotic sentiments, while celebrated, are sometimes seen through the lens of a nationalist romanticism that can be both empowering and potentially simplistic. His ability to blend music and poetry was a significant achievement.

Curiosities and lesser-known aspects

Beyond his poetry, Moore was known for his social life and his ability to entertain. He was also a composer, though his primary fame rests on his lyrics. His extensive travels and correspondence reveal a keen observer of society and politics.

Death and memory

Thomas Moore died on February 25, 1852. He is remembered as Ireland's most beloved poet and songwriter, whose "Irish Melodies" continue to resonate and evoke a deep connection to Irish culture and history.

Poems

73

She is Far From the Land

She is Far From the Land
She is far from the land where her young hero sleeps,
And lovers are round her, sighing;
But coldly she turns from their gaze, and weeps,
For her heart in his grave is lying.
She sings the wild song of her dear native plains,
Every note which he loved awaking; --
Ah! little they think, who delight in her strains,
How the heart of the Minstrel is breaking.
He had lived for his love, for his country he died,
They were all that to life had entwined him;
Nor soon shall the tears of his country be dried,
Nor long will his Love stay behind him.
Oh! make her a grave where the sunbeams rest,
When they promise a glorious morrow;
They'll shine o'er her sleep, like a smile from the West,
From her own loved island of sorrow.
131

Remember Thee!

Remember Thee!
Remember thee! yes, while there's life in this heart,
It shall never forget thee, all lorn as thou art;
More dear in thy sorrow, thy gloom, and thy showers,
Than the rest of the world in their sunniest hours.
Wert thou all that I wish thee, great, glorious, and free,
First flower of the earth, and first gem of the sea,
I might hail thee with prouder, with happier brow,
But oh! could I love thee more deeply tha now?
No, thy chains as they rankle, thy blood as it runs,
But make thee more painfully dear to thy sons --
Whose hearts, like the young of the desert-bird's nest,
Drink love in each life-drop that flows from thy breast.
289

Quantum Est Quod Desit

Quantum Est Quod Desit
'Twas a new feeling - something more
Than we had dar'd to own before,
Which then we hid not;
We saw it in each other's eye,
And wish'd in every broken sigh
To speak, but did not!
She felt my lips' impassion'd touch;
'Twas the first time I dar'd so much,
And yet, she chid not;
But whisper'd o'er my burning brow,
'Oh! do you doubt I love you now?'
Sweet soul! I did not!
Warmly I felt her bosom thrill,
I prest it closer, closer still,
Though gently bid not;
Till - oh! the world hath seldom heard
Of lovers, who so nearly err'd,
And yet who - did not!
165

On Music

On Music
When through life unblest we rove,
Losing all that made life dear,
Should some notes we used to love,
In days of boyhood, meet our ear,
Oh! how welcome breathes the strain!
Wakening thoughts that long have slept,
Kindling former smiles again
In faded eyes that long have wept.
Like the gale, that sighs along
Beds of oriental flowers,
Is the grateful breath of song,
That once was heard in happier hours.
Fill'd with balm the gale sighs on,
Though the flowers have sunk in death;
So, when pleasure's dream is gone,
Its memory lives in Music's breath.
Music, oh, how faint, how weak,
Language fades before thy spell!
Why should Feeling ever speak,
When thou canst breathe her soul so well?
Friendship's balmy words may feign,
Love's are even more false than they;
Oh! 'tis only music's strain
Can sweetly soothe, and not betray.
196

Oh, Ye Dead!

Oh, Ye Dead!
Oh, ye Dead! oh, ye Dead! whom we know by the light you give
From your cold gleaming eyes, though you move like men who live,
Why leave you thus your graves,
In far off fields and waves,
Where the worm and the sea-bird only know your bed,
To haunt this spot where all
Those eyes that wept your fall,
And the hearts that wail'd you, like your own, lie dead?
It is true, it is true, we are shadows cold and wan;
And the fair and the brave whom we loved on earth are gone;
But still thus even in death,
So sweet the living breath
Of the fields and the flowers in our youth we wander'd o'er,
That ere, condemn'd, we go
To freeze 'mid Hecla's snow,
We would taste it a while, and think we live once more!
186

Oh, Banquet Not

Oh, Banquet Not
Oh, banquet not in those shining bowers,
Where Youth resorts, but come to me,
For mine's a garden of faded flowers,
More fit for sorrow, for age, and thee.
And there we shall have our feast of tears,
And many a cup in silence pour;
Our guests, the shades of former years,
Our toasts, to lips that bloom no more.
There, while the myrtle's withering boughs
Their lifeless leaves around us shed,
We'll brim the bowl to broken vows
To friends long lost, the changed, the dead.
Or, while some blighted laurel waves
Its branches o'er the dreary spot,
We'll drink to those neglected graves
Where valour sleeps, unnamed, forgot.
211

Oh, the Shamrock

Oh, the Shamrock
Through Erin's Isle
To sport awhile
As Love and Valour wander'd,
With Wit, the sprite,
Whose quiver bright
A thousand arrows squander'd;
Where'er they pass,
A triple grass
Shoots up, with dew-drops streaming,
As softly green
As emeralds seen
Through purest crystal gleaming.
Oh the Shamrock, the green, immortal Shamrock!
Chosen leaf
Of Bard and Chief,
Old Erin's native Shamrock!
Says Valour, "See,
They spring for me,
Those leafy gems of morning!" --
Says Love, "No, no,
For me they grow,
My fragrant path adorning."
But Wit perceives
The triple leaves,
And cries, "Oh! do not sever
A type that blends
Three godlike friends,
Love, Valour, Wit, for ever!"
Oh, the Shamrock, the green, immortal Shamrock!
Chosen leaf, etc.
So firmly fond
May last the bond
They wove that morn together,
And ne'er may fall
One drop of gall
On Wit's celestial feather.
May Love, as twine
His flowers divine,
Of thorny falsehood weed 'em:
May Valour ne'er
His standard rear
Against the cause of Freedom!
Oh the Shamrock, the green, immortal Shamrock!
Chosen leaf, etc.
214

Oh! Breathe Not His Name

Oh! Breathe Not His Name
Oh! breathe not his name, let it sleep in the shade,
Where cold and unhonour'd his relics are laid:
Sad, silent, and dark, be the tears that we shed,
As the night-dew that falls on the grass o'er his head.
But the night-dew that falls, though in silence it weeps,
Shall brighten with verdure the grave where he sleeps;
And the tear that we shed, though in secret it rolls,
Shall long keep his memory green in our souls.
160

Oh! Had We Some Bright Little Isle of Our Own

Oh! Had We Some Bright Little Isle of Our Own
Oh! had we some bright little isle of our own,
In a blue summer ocean, far off and alone,
Where a leaf never dies in the still blooming bowers,
And the bee banquets on through a whole year of flowers;
Where the sun loves to pause
With so fond a delay,
That the night only draws
A thin veil o'er the day;
Where simply to feel that we breathe, that we live,
Is worth the best joy that life elsewhere can give.
There with souls ever ardent and pure as the clime,
We should love, as they loved in the first golden time;
The glow of the sunshine, the balm of the air,
Would steal to our hearts, and make all summer there.
With affection as free
From decline as the bowers,
And, with hope, like the bee,
Living always on flowers,
Our life should resemble a long day of light,
And our death come on, holy and calm as the night.
176

Oh! Arranmore, Loved Arranmore

Oh! Arranmore, Loved Arranmore
Oh! Arranmore, loved Arranmore,
How oft I dream of thee,
And of those days when, by thy shore,
I wander'd young and free.
Full many a path I've tried, since then,
Through pleasure's flowery maze,
But ne'er could find the bliss again
I felt in those sweet days.
How blithe upon thy breezy cliffs
At sunny morn I've stood,
With heart as bounding as the skiffs
That danced along thy flood;
Or, when the western wave grew bright
With daylight's parting wing,
Have sought that Eden in its light
Which dreaming poets sing;
That Eden where the immortal brave
Dwell in a land serene --
Whose bowers beyond the shining wave
At sunset, oft are seen.
Ah, dream too full of saddening truth!
Those mansions o'er the main
Are like the hopes I built in youth --
As sunny and as vain!
214

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