THOMAS MOORE

New Zealand Tablet, 6 November 1913, Page 49

THOMAS MOORE

THE NATIONAL POET OF IRELAND A REPLY TO THE IMPEACHMENT The following article from the pen of Mr. J. J. Sullivan, of Auckland, appeared in a recent issue of the Zyttelton Times: .... In a recent issue of the Lyttelton Times, which has just come to hand to me in Auckland, there appeared an article on Thomas Moore, the National Poet of Ireland, from the pen of Mr. M. Nolan, in which certain specific charges are made against Moore. Mr. Nolan alleges that Moore 'failed to take advantage of his opportunities'—(a) by the display of his genius in Irish national matters, and (b) by the creation of a national spirit. ' Moore, as a matter of fact, found himself face to face, when leaving the secondary school, with the doors of Trinity College, Dublin— only university in Ireland—to use his own phrase, ' a fountain sealed,' and it was the merest accident that in 1793 they were opened to members of his faith, for the first time. On entering Trinity College he could not obtain college distinctions, for they were reserved for the professors of the favored creed but he resolved to show that he deserved them, and entered as a candidate for a scholarship. He succeeded in passing the most difficult examination with credit, but could not, however, as a Catholic, enjoy more than the bare honor of the attempt (Life of Moore, by James Burke, 1852 edition, p. 4). The brilliant Irishman, and 'one of the helots of the land,' far from being what Mr. Nolan states he was, became as if by sympathy the intimate friend of those who were so deeply implicated in the insurrection of 1798, and contributed a long letter to the Dublin Press in support of the national movement—and side by side with articles written by the chiefs of the United Irish Party. Who could expect otherwise from a young Irish Catholic of ardent temperament, not a cold spectator of the stirring scenes which the last few years of the . eighteenth century presented, and who realised, if ever an Irishman did realise, that he had come into the world with ' the slave's yoke around his neck?' It was at this period that a few words dropped by Moore's friend, Edward Hudson, in the hearing of Moore's mother, caused her to implore him to avoid any further connection with the Press, and he, who never disobeyed her, gave the required promise. ' Thus it was,; says Moore, ' that by gentle and womanly watchfulness, by the Providence of the little world of Home, I, although olaced in the very current of the movement and living most familiarly with the most daring of those who propelled it, was guarded from any participation in their secret oaths, counsels or plans, and thus escaped all share in that wild struggle to which so many better men than myself fell victims.' ' • . If men would only, investigate a little, and try to catch the spirit of the times and realise the circumstances, a charge of failing to 'take advantage of his opportunities ' would never be levelled by any man against _ Moore—certainly not by anyone acquainted with his conduct during that ' devilish inquiry ' in Trinity College, when the senators hoped to extract some information from the young poet—and failed to make him turn informer against Emmet and other brave Irishmen.in 1798 (see works of Moore, by Charles Kent, 8.L., 1890 edition, page xxi.). Mr. Nolan goes on to show that Moore had within his reach material—' a history of a cause which despised the scaffold,' and so on—of which he could write and did not, and this grave charge is' not supported by a scintilla of evidence! The very contrary is the case. Moore, although he had before him the words of O'Connell on 'Emmet's rash attempt' at an insurrection in Ireland, not only wrote thrilling melodies on the very subject and the very man—whose attempts were ridiculed by the great O'Connell— he left a monument to Emmet's worth and character that will go on to posterity, establishing Moore's' patriotism, as well as

Emmet's devotion to Ireland, . : for 'all time. (Life of Lord Edward Fitzgerald, by Thomas Moore, CameronFerguson edition, pp. 141 et seq.) " .'.'- Again we hear the same old story, for the thousandth time, when Mr. Nolan tells us of the ' fatuous smiles of the London drawing-rooms' debauching Moore ' from his plain duty and his first love.' Why does not Mr. Nolan give us the whole truth? Was it not mainly through the instrumentality of Lord Moiraone of Ireland's best sons— Moore received that sympathy in London that was unknown to anybody mentioning Ireland's sorrow and wrongs in those extraordinary years? (See speech of Hon. McMahon Glynn, Federal Parliament,. Australia, August 3, 1905). Read Moore's poems written in 1808 and 1809, and will you find there a vestige of evidence to support the insinuation of his Christchurch critic that Ireland was forgotten by him in the London drawing-rooms? In his poem ' Corruption '; he recounts many of Ireland's wrongs and speaks with indignation of the union thrown Into her' bitter cup, when that alone / Of Slavery's draught was wanting.' In 'lntolerance' he deals with those who, like the irreconcilables in Ulster,to-day, disgrace religion by making her the pretext for bigotry—- ' a canting crew, So smooth, so Godly, yet so devilish too; Who, armed at once with prayerbooks and with whips, Blood on their hands and Scripture on their lips, Tyrants by creed and torturers by text, Makes this life hell in horror of the next.' And in the ' Sceptic' we have again conclusive proof that he had not been overcome at this time (1808) '..by the enervating odors of the London drawingrooms.' He shows England sympathising with patriots abroad while crushing them at Home—- ' Self-pleased still the same dishonoring chain, r. She binds in Ireland, she would break in Spain; While praised at distance, but at home forbid, Rebels in Cork are patriots in Madrid.' Not even in the Melodies of Ireland did Moore forget Ireland's wrongs, and who can deny this in an age when to write as he felt would have cut short a splendid career and deprived Ireland and the world of some of the finest contributions to literature ? Moore did not fail in national sentiment in ' She is far from the land,' ' O, breathe not his name,' 'Erin, O Erin,' ' Dear harp of my country,' Where is the slave?' and ' Forget not the field,' in which he sang— Far dearer the grave or prison, Ilium'd by one patriot name, Than the trophies of all who have risen On liberty's ruins to fame.' One of the most ungenerous statements made by Mr. Nolan about Moore is that 'while his country was suffering all the pangs of famine' he had the hardihood to sing—- ' My dream of life from noon till night Was love, still love.' This poem appeared in 1811 and not, as suggested by Mr. Nolan, in 1847, and wanting indeed is he in 'the higher sensations of the souls which enables one to perceive ' that in that poem ' Love's young dream' there is that 'spiritualising influence ' which is rarely met with in the works of the great poets of England. At the time this poem was published there were eleven others given to the worldly Moore, and to avoid the appearance of selection I take from the first to hand, and in one of them the national sentiment is not wanting • ; ' 'Yes, Monarch, though sweet are our home recollections, Though sweet arc the tears that from tenderness fall, Though sweet are our friendships, our hopes, our affections, ...Revenge on the tyrant is sweetest of all.' (Moore's Poems, Longmans, 15th edition, x 1843, p. 8.)

i 7/ 'Strange as . it may appear,' says Mr. Nolan, 'it is .a fact 3 that the intentions of the promoters of the melodies were largely frustrated by Moore,' and," adds Moore's critic, that anyone can see this who takes the trouble to go through them ' taking 'twenty-seven years for their publication.' No one can deny that the Melodies of Ireland are a great work and any work of the kind—if really great —is not made to order. The 'Elegy" occupied the best eight years of Gray's life to write, and who would have the courage to say on read- . ing intelligently, this great work that the" period was either wasted or too long ? The ' Elegy,' did not deal with the music of a nation as the Irish Melodies, arid Moore, . who , had . other great works : to a.ttend tosuch as that masterly and enduring Oriental romance Lallan Rookh,' in which Irish characters are at home—chided for producing such a national work in the time! What evidence does Mr. Nolan submit in support of Moore's frustrations of the promoters' intentions? There is no such evidence in existence. On the contrary, the promoters in their advertisements state that their intention was to form a collection of the best original Irish Melodies with characteristic symphonies and accompaniments; and with words, containing as frequently as -possible allusions to the manners and history of the country. Sir John Stevenson has very kindly consented to take the arrangement of the airs,' add the promoters, and the lovers of simple national music may rest secure that in such tasteful hands the native charms of the original melody will not be sacrificed to the ostentations of science.' (Moore's Poems, Longmans, 15th edition, 1843, London.) And, although the promoters had promises of assistance from several distinguished literary characters, it fell entirely on'Moore to produce the Melodies of which _ every —William Rosetti's' ludicrously supercilious critical memoir on one sidemay well feel proud. ; ; Mr. Nolan asserts that Moore altered or tampered with the original airs, and submits in support a statement made by one Professor Stanford! Mr. Nolan should state the period to which these airs belong, as I, with Moore, believe, while some musical antiquaries refer us for some of our melodies to the fifth century, that there are few of a civilised description (and by this I mean to exclude all the savage ceanans, cries and so on) which can claim quite so ancient a date as is allowed to the Scotch by Mr. Pinkerton (see Pinkerton's second volume Scotch Ballads), that none of the Scotch popular airs are as old as the middle of the sixteenth century. But music is not the only subject upon which our taste for antiquity is rather unreasonably indulged; and, however heretical it may be to dissent from these romantic speculations, I cannot help thinking that it is possible to love our country very zealously, and to feel deeply interested in her honor and happiness, without believing that Irish was the language spoken in Paradise. (Vide Translations Gaelic Society, Dublin, 1809.) ■ John Boyle O'Reilly— writings are by no means to be despised— that Moore's Melodes were his'best work; in them he preserved the music of his nation and made it imperishable. ' He struck it out,' says O'Reilly, 'like a golden coin with Erin's Harp upon it, and it has become current and unquestioned in all•; civilised nations.' (Life of John Boyle O'Reilly, by J. J. Roche.) . Is not this evidence, taken from publications in the author's lifetime, the utterances of men whose intentions are alleged to have been ' frustrated,' sufficient, satisfactory, and conclusive to disprove such allegations as have been made by Mr. Nolan! ' ' Mr. Nolan submits Sir Robert Stewart in support of. Moore's mutilation of Irish airs. Who was Sir Robert Stewart I Was he a more ardent or enthusiastic patriot than Moore, as it is primarily on the question of patriotism that Moore is impeached? Is not the best evidence of this so-called mutilation to be obtained from the writings of Moore himself, who frankly and honestly explains the . position, . and replies to his

;•'. fastidious critics who think; that his symphonies have nothing kindred with the airs which they and who , anticipated the criticisms >of v Sir :i Robert Stewart, Professor Stanford and Mr. Nolan in his letter on'Music,' in which he shows the absurdity of the contention raised by the three gentlemen?; ''See letter, third number, Irish Melodies.) <■ .'-,'--.; ~.':; The final paragraphs of Mr. Nolan's article are not relevant to the questions raised in the other portions of the article, the allegations in these paragraphs being —(1) that Moore blundered in entrusting to Lord John Russell the publication of his works; (2) the dedication of- his poems to Lord Lansdowne; and (3) practically abandoning ; - his "country and his. having, as \ Mr. Nolan alleges, died in 1852 without the consolations of his church. With regard to (1), it cannot be, maintained that Lord John Russell failed in the task committed to his care (see edition Lord John Russell's. Life of Moore, Auckland Public Library) ; and the very least that can be said of (2) and- (3)— latter of which' is hot true, in fact—is to subjoin the weighty tribute to Moore's patriotism and sterling qualities by that great ecclesiastic, Archbishop Mcllale. 'Moore's genius,' wrote that eminent prelate, 'must ever command the admiration of his compatriots from generation to generation. Seated amidst the tuneful followers of Apollo,' ' concluded that illustrious man, who translated the melodies into Irish, ' he essayed the instrument of every muse and became master of them all. Sighing at,length for some higher and holier source of poetic feeling he turns to the East and listens with rapture to its poetical melodies. Subdued by the strain he lets fall the lyre, seizes the harp of Sion and Erin at once, and gives its boldest and most solemn chords to his own impassioned inspirations of country and patriotism.' The testimony of Thomas Davis, of Thomas Francis Meagher, of O'Connell, of Madden, of Sydney Smith, and of scores of others—not to mention two of Moore's immortal prose worksin support ,of my contention and to disprove the absurd and ridiculous charges levelled against the national poet of Ireland, has not. been requisitioned, and high above them all stands the one man— one —that could be said to have, taken Moore's place, a warm and enthusiastic Irishman,Denis' Florence McCarthy, and in Moore's Centenary Ode (1878) he said of him— - ' And so we rank him with the great departed, The kings of song who rule us from their urns. The soul inspired, the nature noble-hearted, And place him proudly by the side of Burns.' This discussion is ' not without its lesson. In this great and young land of our many another - Irishman like Moore, will be criticised for being ' too ardent' by some, and perhaps with being 'too lukewarm'- by others;; but if an Irishman, young or old, is.true to himself he will require no teaching in the principles of liberty and loyalty. It is the inherent language of humanity, which has often been criticised and checked, but never crushed, and to-day is found in the immortal melodies of Ireland's national —Thomas Moore. }

Mr. John McCormack, the renowned Irish tenor, who is now touring Australia with triumphant success, has received a most flattering offer from Oscar Hammer stein, the famous American interpresario. Mr Hammerstein, who is building a new opera house in New York, has offered Mr. McCormack 2250 dollars a performance for ten appearances with a hew : company which he is forming for, the opening of the edifice. He has already engaged Tetrazzini,. the renowned "soprano,- Titto Ruffo, the greatest baritone . of■ modern times, Mary Garden,: Charles Dalmores, Frida Hempel, and other operatic notabilities, and he considers that if: he can engage Mr. McCormack he will be able to give the finest presentations of ' Rigoletto and similar operas that the world has yet seen. If he can possibly arrange his concert dates to fit, Mr. McCormack will accept Mr.. Hammerstein's offer, for the fee proposed is equal to that received by Caruso, the well-known Italian tenor/