This contribution consists of two pieces, of which we have room but for the first: which is a striking exemplification (in subject at least) of Wordsworth's aphorism, that "the child is father to the man." It is a sonnet addressed to "Zelia," "_On her charging the author with writing too much on Love!_" Who _Zelia_ was--whether a lineal ancestress of Dickens's "Mrs. Harris," or some actual grown up young lady, who was teased by, and tried to check the chirpings of the little {566} precocious singing bird--does not appear: but we suspect the former, for this sonnet is immediately followed by "A Pastoral Ballad!" calling upon some _Celia_ unknown to "pity his tears and complaint," &c., in the usual namby-pamby style of these compositions. To any one who considers the smart, _espiegle_, highly artificial style of "Tom Moore's" after compositions, his "Pastoral Ballad" will be what Coleridge called his Vision, a "psychological curiosity." Passing on through the volumes, in the Number for February 1794 we find a paraphrase of the Fifth Ode of Anacreon, by "Thomas Moore;" another short poem in June 1794, "To the Memory of Francis Perry, Esq.," signed "T. M.," and dated "Aungier Street." These are all which can be identified by outward and visible signs, without danger of mistake: but there are a number of others scattered through the volumes which I conjecture may be his; they are under different signatures, generally T. L., which may be taken to stand for the _alias_ "Thomas Little," by which Moore afterwards made himself so well known. There is an "Ode to Morning," in the Number for March 1794, above the ordinary run of magazine poetry. And in the Number for May following are "Imitations from the Greek" and Italian, all under this same signature. And this last being derived from some words in Petrarch's will, bequeathing his lute to a friend, is the more curious; and may the more probably be supposed Moore's, as it contains a thought which is not unlikely to have suggested in after years the idea of his celebrated melody, entitled the "Bard's Legacy." The Number for Nov. 1794, last but one in the fourth volume, contains a little piece on "Variety," which independent of a T. M. signature, I would _almost swear_, from internal evidence, to be Moore's; it is the last in the series, and indicates such progress as two years might be supposed to give the youthful poet, from the lack-a-daisical style of his first attempts, towards that light, brilliant, sportive vein of humour in which he afterwards wrote "What the Bee is to the Flowret," &c., and other similar compositions. I now give Moore's first sonnet, including its footnote, reminding us of the child's usual explanatory addition to his first drawing of some amorphous animal--"This is a horse!" or "a bear!" as the case may be. Neither the _metre_ nor the _matter_ would prepare us for the height to which the writer afterwards scaled "the mountain's height of Parnassus:" "TO ZELIA.