Meanwhile the new King was paying his round of State visits to Ireland, to Hanover, and to Scotland. We have seen already how the royal progress to Ireland was delayed by the inconvenient occurrence of the Queen's death. George soon, however, felt it proper to put away all affectation of grief, and to pay his visit to Ireland. Great hopes were entertained there for the beneficent results of the royal visit. George had been during his earlier days in political sympathy as well as boon companionship with Fox and with Sheridan. Fox had always shown himself a true friend to Ireland. The Irish national poet, Thomas Moore, had, in one of his songs, described the Banshee as wailing over the grave of him "on whose burning tongue truth, peace, and freedom hung." It was fondly believed in Ireland that the King was returning to the sympathies of his earlier days, and that his coming to the island must bring blessings with it. Daniel O'Connell, the orator and tribune of the Irish people, appears to have been thoroughly impressed with the same hopes and the same conviction, and he brought on himself some satirical lines from Byron in scorn of his credulity and his confidence. We shall soon have occasion to see what return O'Connell got for his loyalty and his devotion. The last of the great Irish patriots of the past age, Henry Grattan, had been buried in Westminster Abbey the year before George's visit to Ireland. It was well that so pure-minded and austere a lover of his country should have been spared the necessity of taking any part in the ceremonials of welcome which attended the arrival of the new Sovereign in Ireland. George undoubtedly received what seemed to be a thoroughly national welcome, for it was fully believed all through the country that his visit was {24} to open a new era of peace, prosperity, and well-merited loyalty to Ireland. King George threw himself thoroughly into the spirit of the occasion. He acted his part with admirable effect. He was sympathetic, he was convivial, he was pathetic, he was boisterous, exactly as the theatrical effect of the moment seemed to call for the display of this or that emotion. In truth, the character of George the Fourth never can be thoroughly understood unless we are able to see how much of the artistic, in a certain sense, there was in his temperament. He had that peculiar gift which has lately come to be called "artistic"--sincerely by some critics, satirically by others--the gift which enables a man to throw his whole soul and spirit into any part which the occasion calls on him to act. George was almost always playing a part, but it was his artistic temperament which enabled him to believe that he actually felt at the moment the very emotions which he tried to express. The favorite dramatic type of the conscious hypocrite and the deliberate self-recognized deceiver is much less common in real life than it was believed to be at one period of our literary history.