Moore, as we have seen, returned to Ireland in August 1808, and on the 10th of October following he made his _début_ at Kilkenny; not alone, for Mr. Power in that year obtained two notable recruits. Isaac Corry, one of Moore's most lasting and agreeable friends, joined the troupe, and remained faithful for years; moreover, the genial Joe Atkinson, who, we may guess, introduced these new actors, wrote the prologue. Moore was only at this time a tentative member of the company, and played three days out of the twelve. We find the _Leinster Journal_ (whose exceedingly well-written notices of the performances are regularly quoted in the volume) noting, to begin with, that "the Theatrical Company have been favoured with the presence of Anacreon Moore." But on the 22nd October the new recruit made his first appearance in the small part of David in _The Rivals_, and "kept the audience in a roar by his Yorkshire dialect and rustic simplicity." The success was renewed by him as Mungo in _The Padlock_, and as Spado (a singing part) in _A Castle of Andalusia_. Next year a list of plays that ran from the 2nd to the 21st of October was produced, and we read that "the delight and darling of the Kilkenny audience appears to be Anacreon Moore," who wrote the prologue for the occasion, and "spoke it in his own bewitching manner." "The vivacity and _naïveté_ of his manner, the ease and archness of his humour, and the natural sweetness of his voice have quite enamoured us." In the solid Shaksperian part of the programme--for Mr. Power and his men did not shrink before _Macbeth_ and _Othello_--this actor took no part. What he did play in was the farce _Peeping Tom of Coventry_--and, let it be carefully observed, the Lady Godiva was Miss E. Dyke. Miss E. Dyke was a beautiful girl, then aged fourteen; her sister, Miss H. Dyke, had appeared the year before, and both, it seems, were professional actresses. Of their talents the recorder in the _Leinster Journal_ makes no mention, but he is eloquent again and again on the successes of Mr. Moore, and the performances of 1809 appear to have marked an epoch. In 1810 Moore was again (and for the last time) a performer. The critic inclines to cavil at the slightness of the part given to this favourite, and emphasises Moore's cleverness with enthusiasm. But, indeed, on two of the evenings Moore had the stage entirely to himself, when, between the plays, he sat down to a piano and spoke his _Melologue upon National Music_, verses which he had written to be declaimed by Miss Smith at the Dublin Theatre for a benefit night, and which were afterwards published in pamphlet form.