The Complete Poems of Sir Thomas Moore Collected by Himself with Explanatory Notes — Story, Setting & Ideas

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Moore, Thomas, 1779-1852, Rossetti, William Michael, 1829-1919 [Commentator] Project Gutenberg 2005 Not confirmed
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Words 373,427
Reading time 1624 min
Text sections 51

This digital edition of The Complete Poems of Sir Thomas Moore Collected by Himself with Explanatory Notes — Story, Setting & Ideas is described by source-level measurements including 373,427 words, 27 hr 4 min estimated reading time, and 51 detected text sections.

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This edition of Thomas Moore's complete poems, with a biographical sketch by William Michael Rossetti, includes Moore's own explanatory notes. The excerpts reveal a self-aware poet who embeds criticism within his work, as seen in the Lalla Rookh passage where a character delivers a pointed critique of poetic style.
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uda began now to weigh heavy on Moore. Defalcations of his deputy, to the extent of £6000, were discovered, for which the nominal holder of the post was liable. Moore declined offers of assistance; and, pending a legal decision on the matter, he had found it apposite to revisit the Continent. In France, Lord John (the late Earl) Russell was his travelling companion: they went on together through Switzerland, and parted at Milan. Moore then, on the 8th of October 1819, joined in Venice his friend Byron, who had been absent from England since 1816. The poets met in the best of humor, and on terms of hearty good-fellowship--Moore staying with Byron for five or six days. On taking leave of him, Byron presented the Irish lyrist with the MS. of his autobiographical memoirs stipulating that they should not be published till after the donor's death: at a later date he became anxious that they should remain wholly unpublished. Moore sold the MS. in 1831 to Murray for £2100, after some negotiations with Longman, and consigned it to the publisher's hands. In 1824 the news arrived of Byron's death. Mr. (afterwards Sir Wilmot) Horton on the part of Lady Byron, Mr. Luttrell on that of Moore, Colonel Doyle on that of Mrs. Leigh, Lord Byron's half-sister, and Mr. Hobhouse (afterwards Lord Broughton) as a friend and executor of the deceased poet, consulted on the subject. Hobhouse was strong in urging the suppression of the Memoirs. The result was that Murray, setting aside considerations of profit, burned the MS. (some principal portions of which nevertheless exist in print, in other forms of publication); and Moore immediately afterwards, also in a disinterested spirit, repaid him the purchase-money of £2100. It was quite fair that Moore should be reimbursed this large sum by some of the persons in whose behoof he had made the sacrifice, this was not neglected.

To resume. Bidding adieu to Byron at Venice, Moore went on to Rome with the sculptor Chantrey and the portrait-painter Jackson. His tour supplied the materials for the _Rhymes on the Road_, published, as being extracted from the journal of a travelling member of the Pococurante Society, in 1820, along with the _Fables for the Holy Alliance_. Lawrence, Turner, and Eastlake, were also much with Moore in Rome: and here he made acquaintance with Canova. Hence he returned to Paris, and made that city his home up to 1822, expecting the outcome of the Bermuda affair. He also resided partly at Butte Goaslin, near Sèvres, with a rich and hospitable Spanish family named Villamil. The debt of £6000 was eventually reduced to £750: both the Marquis of Lansdowne and Lord John Russell pressed Moore with their friendly offers, and the advance which he at last accepted was soon repaid out of the profits of the _Loves of the Angels_--which poem, chiefly written in Paris, was published in 1823. The prose tale of _The Epicurean_ was composed about the same time, but did not issue from the press till 1827: the _Memoirs of Captain Rock_ in 1824. He had been under an engagement to a bookseller to write a _Life of Sheridan_. During his stay in France the want of documents withheld him from proceeding with this work: but he ultimately took it up, and brought it out in 1825. It was not availed to give Moore any reputation as a biographer, though the reader in search of amusement will pick out of it something to suit him. George the Fourth is credited with having made a neat _bon mot_ upon this book. Some one having remarked to him that "Moore had been murdering Sheridan,"-- "No," replied his sacred majesty, "but he has certainly attempted his life." A later biographical performance, published in 1830, and one of more enduring interest to posterity, was the _Life of Byron_. This is a very fascinating book; but more--which is indeed a matter of course--in virtue of the lavish amount of Byron's own writing which it embodies than, on account of the Memoir-compiler's doings. However, there is a considerable share of good feeling in the book, as well as matter of permanent value from the personal knowledge that Moore had of Byron; and the avoidance of "posing" and of dealing with the subject for purposes of effect, in the case of a man whose career and genius lent themselves so insidiously to such a treatment, is highly creditable to the biographer's good sense and taste. The _Life of Byron_ succeeded, in the list of Moore's writings, a _History of Ireland_, contributed in 1827 to _Lardner's Cyclopaedia_, and the _Travels of an Irishman in Search of a Religion_, published in the same year: and was followed by a _Life of Lord Edward Fitzgerald_, issued in 1881. This, supplemented by some minor productions, closes the sufficiently long list of writings of an industrious literary life.

Thomas Moore's Complete Poems, as collected by the author himself with explanatory notes, offers a rare glimpse into the poet's own framing of his work. The volume includes a biographical sketch by William Michael Rossetti, which traces Moore's early life in Dublin, his education at Trinity College, and his political associations. The excerpts, drawn from the narrative poem Lalla Rookh, reveal a self-conscious engagement with poetic criticism: the character Fadladeen delivers a lengthy, sardonic critique of a young poet's work, mocking its style, versification, and structure. This embedded critique suggests Moore's awareness of contemporary literary standards and his willingness to play with them.

The Poet as Critic: Fadladeen's Harangue

In the excerpt from Lalla Rookh, the chamberlain Fadladeen delivers a withering assessment of a young poet's work. He condemns the story as a series of "long speeches and absurdities" and derides the versification as "execrable," comparing its movement to "the gait of a very tired dromedary." He singles out a line—"Like the faint, exquisite music of a dream"—as an example of "syllabic superfluities." This critique is notable not only for its humor but for its specificity: Fadladeen invokes Persian poets Ferdosi, Hafez, and Sadi as benchmarks, grounding his judgment in a literary tradition. The passage functions as a meta-commentary on poetic reception, showing how criticism can be both authoritative and absurd.

Audience and Aftermath: The Sleep of the Critics

Fadladeen's harangue has a tangible effect on his audience: most fall asleep, and the lamps "seemed inclined to follow their example." The narrator observes that the poet, unfamiliar with criticism ("wholly unknown in that Paradise of the Indies, Cashmere"), feels the shock, while the ladies begin to doubt their own pleasure. Only Lalla Rookh, guided by love, persists in her delight. This scene dramatizes the gap between critical authority and personal response, suggesting that poetic value is not solely determined by learned judges. Moore's inclusion of this episode within a romantic tale underscores his interest in the social dynamics of literary judgment.

Biographical Context: Moore's Dublin Roots

Rossetti's biographical sketch situates Moore within the political and religious tensions of late eighteenth-century Ireland. Born to Roman Catholic parents in Dublin, Moore was educated by Samuel Whyte, Sheridan's former teacher, and showed early aptitude for verse. His father, a "spirit-grocer," took him to a dinner honoring the French Revolution in 1792, launching him into a circle of ideas that would later connect him to the executed rebel Robert Emmet. At Trinity College, Moore studied French and Italian rather than classics, and his political sympathies led to a reprimand from university authorities. These details illuminate the environment that shaped Moore's poetic voice, marked by both cultural fluency and political awareness.

Readers approaching this collection should note that Moore's own explanatory notes accompany the poems, offering insight into his intentions and allusions. The excerpts from Lalla Rookh demonstrate his willingness to embed self-critique within his work, while Rossetti's biography provides essential context for Moore's Irish identity and political milieu. Together, these elements invite a reading that attends to both the poems and the paratexts that frame them.

Moore knew criticism stings sweetest when wrapped in melody. His explanatory notes often whisper that quiet ache of the poet’s craft. I recall another voice, anonymous, years later, offering the same gentle burden—blank verse weighing a nation’s conscience. Both collections sit, comfortably worn, on my shelf: An Essay on War, in Blank Verse; Honington Green, a Ballad; the Culprit, an Elegy; and Other Poems, on Various Subjects — Text and Context. They are old friends, whispering to one another.

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