In 1808 and 1809 Moore published his poems, “Intolerance” and “Corruption,” satires; one on the English Constitution, and the other on the English Church. They are fluent, but want vigor, and are read no longer. In the “Skeptic” he writes like a good Catholic who prefers ignorant obedience in all matters of Faith to the philosophy of Locke. But he now prepared to sing a loftier strain. His next publication was the First and Second Numbers of the Irish Melodies—a work which will secure to him whatever immortality awaits his name. The melodies became popular, at once, in England and Ireland alike. The sparkling grace and flexibility of his verse presented an agreeable contrast to the generality of songs sung at that period. The mixture of vivacity, pathos, and epigrammatic point in their composition placed their author at the head of modern song-writers; and, if the politics of poor Ireland were doomed to be disastrous, the poetry of her beautiful music now found itself vindicated and triumphant in the halls and palaces of the British aristocracy. There was a savor of rebellion in some of these songs which wonderfully took the fashionable fancy of the English; while in Ireland the repeated allusions to the ancient glories of the land, and the graceful sorrow which seemed to weep its many misfortunes, touched the popular heart, and led the people—(we mean the reading people)—to look on Moore as the genuine poet of Erin, and to applaud him accordingly. As for the poet himself, it would seem that his sympathy with his native land was more a matter of sentiment than of practical reality. He could excite the finest feelings of drawing-room rebellion. But he was not a Tyrtæus to rouse up that deeper and more daring sentiment which prompts people to rush into the field. He was the friend and college-mate of Emmett and other disaffected spirits; and attended the Debating and Historic Societies in which these ardent and enlightened young men, mostly Protestants, spoke of the rights of man and the liberty of Ireland. They were members of United Irish Societies; but Moore never belonged to the last. The influence of his parents and relations was exercised against the malcontent spirit of the time; and when the unhappy rebellion was crushed, the young bard went to seek his fortune in the very heart of the English aristocracy. There Moore’s patriotism was subdued and refined; and it ever afterward delighted to exhibit itself in the language of polemics and lyric poetry. The Irish sentiment of the Irish Melodies is not strong enough to nourish any sort of rebellion upon. It is remarkable that, in all Moore’s historic allusions, he seldom or never speaks of the prowess of the Irish against the English—the struggles of the Desmonds, O’Neills, O’Moores, and so forth, against the Henries, Elizabeth, or the Stuarts. He goes back into the indistinct times of Milesian sway, the palace of Tara, and the stand of Brian or Malachi against the Danes.