poetic imagery--loving to sparkle along the floweriest paths, and beneath the balmiest skies--revelling always in fays and flowers--in love, and mingled intellectual and sensual pleasures--playful in the extreme, and always ready to stop to make mirth as joyous and as delightful as the passion--his muse, in his great romantic poems, is the incarnation of a charming Epicureanism; and the mirth and jolity could go a long step further. He had wit, which sparkled as brightly as it could cut deeply; and humor, and sense of the ludicrous, which could be as well, if not more effectually applied to living persons and actual things than to the creations of his own fancy; and accordingly we find him loving to turn from the etherealized voluptuousness of _Loves of the Angels_, or the mystic imaginings of the _Epicurean_, to the sharp and brilliant hittings of political and social squibs--the restless satire with which, in the _Fudge Family_ and hundreds of ephemeral but not the less clever lays, he quizzed his political and literary opponents, abolished the Earl of Mountcashell, or shot stinging shafts through the heart of the Benthamites. It is, indeed, far from probable that Moore's political and satiric poetry, little perhaps as he thought of it at the time, will live after his more ambitious works have sunk into that chronic state of classicism, in which books are labelled with an excellent character, and shelved--turned into the category of works without which no gentleman's library is complete, and doomed, not to actual obscurity, but to honorable retirement. The last of his political squibs and short poems were given to the world in the columns of the _Morning Chronicle_; and referred principally to the earlier struggles of the Anti-Corn Law League--the verses having in most cases been suggested by pasting political events.