The intimacy thus commenced, if we may judge from the biography of Byron, ripened into a lasting friendship on the part of Moore. This feeling was but faintly reciprocated by Byron. Indeed, if we are to believe his own statement, made in one of his latest letters, the noble poet was almost incapable of friendship, "never having," he says, "except toward Lord Clare, whom he had known from infancy, and perhaps little Moore," experienced any such emotion. "Little Tommy dearly loves a lord," was Byron's sneering expression more than once; and perhaps he believed Moore's loudly-expressed regard for himself to be chiefly based on that predilection. Moore had before this married a Miss Dyke, who is described as a lady of great beauty and amiability, and moreover distinguished for considerable decision of character and strong common sense--qualities which more than once proved of essential service to her husband. They had several children, the loss of whom, as we have before stated, has darkened and embittered the close of the poet's days. In 1811, Moore made a first and last appearance before the world as a dramatist, by the production at the Lyceum theatre of an operatic piece called "An M.P.; or, The Blue Stocking." It was emphatically damned, notwithstanding two or three pleasing songs, which somewhat redeemed its dull and vapid impertinence. The very pretty song of "Young Love lived once in an humble shed," occurs in this piece. Moore's acquaintance with Leigh Hunt dates from the acting of the "Blue Stocking." Mr. Hunt was at the time editor of the "Examiner" newspaper, in which he had just before paid some compliments to Moore's poetry; and the nervous dramatist, naturally anxious to propitiate a critic whose opinion was esteemed oracular in certain circles, wrote him a rather fulsome letter, in which he set forth, as an _ad misericordiam_ plea for lenient judgment, that he had rashly been induced to promise Arnold a piece for his theatre, in consequence of the state of attenuation to which the purses of poets are proverbially liable. The "M.P." was, as we have said, condemned, and Esop's disappointed fox received another illustration. "Writing bad jokes," quoth Mr. Moore, "for the Lyceum to make the galleries laugh is in itself sufficiently degrading; but to try to make them laugh, and fail to do so, is indeed deplorable." In sooth, to make "galleries" either laugh or weep was never Mr. Moore's aim or vocation. His eye was ever fixed upon the gay company of the "boxes," occasionally only glancing apprehensively aside from its flattering homage to scan the faces of the sour critics of the pit. And yet to make the galleries of the theatre and the world laugh has tasked and evidenced wit and humor, in comparison with which the gayest sallies, the most sparkling of Mr. Moore's fancies, are vapidity itself. The mortified dramatist gave up play-writing forever, or, as he contemptuously expressed it, "made a