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For that domain of his we must go to the songs which, in extraordinary numbers, make up the whole of the divisions headed Irish Melodies, National Airs, Sacred Songs, Ballads and Songs, and some of the finest of which are found outside these divisions in the longer poems from “Lalla Rookh” downwards. The singular musical melody of these pieces has never been seriously denied by any one, but it seems to be thought, especially nowadays, that because they are musically melodious they are not poetical. It is probably useless to protest against a prejudice which, where it is not due to simple thoughtlessness or to blind following of fashion, argues a certain constitutional defect of the understanding powers. But it may be just necessary to repeat pretty firmly that any one who regards, even with a tincture of contempt, such work (to take various characteristic examples) as Dryden’s lyrics, as Shenstone’s, as Moore’s, as Macaulay’s Lays, because he thinks that, if he did not contemn them, his worship of Shakespeare, of Shelley, of Wordsworth would be suspect, is most emphatically not a critic of poetry and not even a catholic lover of it. Which said, let us betake ourselves to seeing what Moore’s special virtue is. It is acknowledged that it consists partly in marrying music most happily to verse; but what is not so fully acknowledged as it ought to be is, that it also consists in marrying music not merely to verse, but to poetry. Among the more abstract questions of poetical criticism few are more interesting than this, the connection of what may be called musical music with poetical music; and it is one which has not been much discussed. Let us take the two greatest of Moore’s own contemporaries in lyric, the two greatest lyrists as some think (I give no opinion on this) in English, and compare their work with his. Shelley has the poetical music in an unsurpassable and sometimes in an almost unapproached degree, but his verse is admittedly very difficult to set to music. I should myself go farther and say that it has in it some indefinable quality antagonistic to such setting. Except the famous Indian Serenade, I do not know any poem of Shelley’s that has been set with anything approaching to success, and in the best setting that I know of this the honeymoon of the marriage turns into a “red moon” before long. That this is not merely due to the fact that Shelley likes intricate metres any one who examines Moore can see. That it is due merely to the fact that Shelley, as we know from Peacock, was almost destitute of any ear for music is the obvious and common explanation. But neither will this serve, for we happen also to know that Burns, whose lyric, of a higher quality than Moore’s, assorts with music as naturally as Moore’s own, was quite as deficient as Shelley in this respect. So was Scott, who could yet write admirable songs to be sung. It seems therefore almost impossible, on the comparison of these three instances, to deny the existence of some peculiar musical music in poetry, which is distinct from poetical music, though it may coexist with it or may be separated from it, and which is independent both of technical musical training and even of what is commonly called “ear” in the poet. That Moore possessed it in probably the highest degree, will I think, hardly be denied. It never seems to have mattered to him whether he wrote the words for the air or altered the air to suit the words. The two fit like a glove, and if, as is sometimes the case, the same or a similar poetical measure is heard set to another air than Moore’s, this other always seems intrusive and wrong. He draws attention in one case to the extraordinary irregularity of his own metre (an irregularity to which the average pindaric is a mere jog-trot), yet the air fits it exactly. Of course the two feet which most naturally go to music, the anapaest and the trochee, are commonest with him; but the point is that he seems to find no more difficulty, if he does not take so much pleasure, in setting combinations of a very different kind. Nor is this peculiar gift by any means unimportant from the purely poetical side, the side on which the verse is looked at without any regard to air or accompaniment. For the great drawback to “songs to be sung” in general since Elizabethan days (when, as Mr. Arber and Mr. Bullen have shown, it was very different) has been the constant tendency of the verse-writer to sacrifice to his musical necessities either meaning or poetic sound or both. The climax of this is of course reached in the ineffable balderdash which usually does duty for the libretto of an opera, but it is quite as noticeable in the ordinary songs of the drawing-room. Now Moore is quite free from this blame. He may not have the highest and rarest strokes of poetic expression; but at any rate he seldom or never sins against either reason or poetry for the sake of rhythm and rhyme. He is always the master not the servant, the artist not the clumsy craftsman. And this I say not by any means as one likely to pardon poetical shortcomings in consideration of musical merit, for, shameful as the confession may be, a little music goes a long way with me; and what music I do like, is rather of the kind opposite to Moore’s facile styles. Yet it is easy, even from the musical view, to exaggerate his facility. Berlioz is not generally thought a barrel-organ composer, and he bestowed early and particular pains on Moore.