In 1799, being then only in his twentieth year, Thomas Moore arrived in London, for the purpose of entering himself of the Middle Temple, and publishing his translation of the Odes of Anacreon. He had already obtained the friendship of Earl Moira, and that nobleman procured him permission to dedicate the work to the Prince of Wales. His poetical career may now be said to have fairly commenced. It was a long and brilliant one, most of his works having rapidly passed through numerous editions, and been, perhaps, more extensively read than those of any contemporary author, always excepting the romances of Scott. There can be no reasonable doubt that Moore owed much of this popularity and success to the accident of his position, and the favoring circumstances of the times in which he wrote. The _enfant gaté_ of high and influential circles; as well as the melodious expositor and poet-champion of the wrongs of a nation to whose glorious music he has, happily for himself, married much of his sweetest verse, he dwelt in a peculiar and irradiating atmosphere, which greatly enhanced his real magnitude and brightness. Even now, when the deceptive medium has lost its influence, it is somewhat difficult, and may seem ungracious, to assign his true place in the splendid galaxy of British poets to a writer who has contributed so largely to the delight of the reading and musical population of these kingdoms. The Odes of Anacreon obtained much present popularity at a time when the moralities of respectable literature were not so strictly enforced by public opinion as in the present day. Many of them are paraphrases rather than translations, containing, as Dr. Laurence, Burke's friend, remarked at the time, "pretty turns not to be found in Anacreon." "Thomas Little's Poems, Songs," &c., given to the world by Mr. Moore in 1801, are a collection of puerile rhapsodies still more objectionable than the Anacreontic Odes: and the only excuse for them was the extreme youth of the writer. Byron thus alluded to the book in his once famous satire: "'Tis Little, young Catullus of his day, As sweet but as immoral in his lay." Many years afterward his lordship, in a letter to Moore (1820), reverted, half in jest, half in earnest, to the work in these words, "I believe all the mischief I have ever done or sung has been owing to that confounded book of yours." The most objectionable of these songs have been omitted from the recent editions of Moore's works, and we believe no one has more deplored their original publication than the author himself.