In The Treasury of Irish Poetry in the English Tongue, edited by Messrs. Stopford A. Brooke and T. W. Rolliston, Thomas Moore is represented by eleven pieces, to wit, “The Song of Fionnuola,” “The Irish Peasant to his Mistress,” “At the Mid Hour of Night,” “When He who Adores Thee,” “After the Battle,” “The Light of Other Days,” “On Music,” “Echo,” “As Slow our Ship,” “No, not more Welcome,” and “My Birthday.” I do not suppose for a moment that the editors intended to suggest that this selection represents in any sense the more popular of Moore’s writings from the Irish point of view. Only two of the lyrics, indeed, namely, “The Light of Other Days” and “As Slow our Ship,” are really well known among lovers of poetry, even in Ireland. We assume, therefore, that the remaining sets of verses have been inserted because, in the opinion of Mr. Stopford A. Brooke and his co-editor, they are the best of Moore, qua poet in the English tongue. We quote here at length “The Song of Fionnuola”:

As the devil might inquire—Is this poetry? I believe that I shall have with me the sounder critics when I say that it is small sentiment very carelessly set down. In sixteen lines we have quite a number of different measures, and Moore would seem to have labored under the impression that he was writing in one. In other words, the verses halt. As to the sentiment, nobody can question its utter banality. What a critic of Mr. Stopford Brooke’s caliber can see in it, Heaven alone knows. He might have got better verses and better sentiment out of any average breach of promise case. Nor are the remaining pieces much above the standard required by those eminent judges of poetry, the gentlemen who write morceaux for the drawing-room. For myself I venture the opinion that Moore lives on the strength of “Rich and Rare were the Gems she Wore,” “The Meeting of the Waters,” “The Harp that once through Tara’s Halls,” “Believe Me if all Those Endearing Young Charms,” “The Minstrel Boy,” “The Last Rose of Summer,” and the “Canadian Boat Song,” most of which efforts have been set to music, and are thereby materially aided to survival. So that on the whole Thomas Moore may not be reckoned as in any sense a purveyor of the higher kinds of poetry. It is creditable, however, to the Irish people that they should have produced and put their emotional and moral trust in a Moore, rather than a Burns. But morals on one side, Burns is immeasurably the greater poet, even though at times he wrote drivel of the feeblest sort. All the same it must be confessed that the general consent which keeps Moore at the head of the Irish poets is sufficiently grounded. For weak vessel though he may be, we do not find another Irish poet in the English tongue who could properly be placed above him. Right down to and including William Allingham, the history of Irish poetry in the English tongue has been the history of happy-go-lucky mediocrity. Even Mangan, who has latterly been credited with a share of the authentic fire, exhibits a facility, a slipshodness and an aptness to the banal which savor of the librettist. From his most considerable production we take the following stanzas:

There may be lyrical impulse here, but it is of quite an ordinary quality. The much vaunted line about “veins that ran lightning,” could, I think, be paralleled out of previous poets, and the first half of it is clumsy and cacophonous. “Night-hour” and “light our” might have stepped straight out of the comic poets, and the same may be said of “years long” and “tears, long,” which J. K. Stephen would have chortled over for a “metrical effect.” And when we come to “still, still strove” we are among the librettists with a vengeance. I have seen James Clarence Mangan collocated with Poe. If comparisons with America must be made, we should range him alongside that bright spirit, Ella Wheeler Wilcox.

For Sir Samuel Fergusson, he has been highly praised by Mr. Swinburne, Aubrey de Vere, and, of course, by Mr. W. B. Yeats. Mr. Yeats pronounces him to be “the greatest poet Ireland has produced, one who, among the somewhat sybaritic singers of his day was like some aged sea-king sitting among the inland wheat and poppies—the savor of the sea about him and its strength.” Harken to the ancient sea-king:

Surely this is rank butterwoman’s jogtrot to market; the kind of thing perhaps that Mr. J. Hickory Wood and Mr. Arthur Collins might joyously and jointly produce for the delight of the babies of England. But for “the greatest poet Ireland has produced,” for “the aged sea-king sitting among the inland wheat and poppies” it is poor, poor stuff indeed. Of course, I do not suggest that Sir Samuel Fergusson—who really was a Scotchman, and not a sea-king at all—could not do better. The fact, however, that “the greatest poet Ireland has produced” managed to do so badly, and was capable even of worse, speaks at any rate a small volume for Irish poetry.

The sole remaining Irish poet worth troubling about is Aubrey de Vere, and an examination of his work shows that, while he persistently exercised himself on Irish subjects, and laid himself open to the charge of Irish slackness and perfunctoriness, he could write poetry of the kind which is entirely classic in its derivation. But it is certain that he cannot be considered to have belonged to the far-famed Keltic movement, and that he was miles behind Landor, even in the severe classic vein.

I am afraid that, broadly speaking, Ireland has not produced any poet of convincing greatness at all. The “Treasury of Irish Poetry” compared, say, with such a collection of English poetry as Palgrave’s “Golden Treasury” is a ghastly exhibition. Some of the moderns set forward by the editors have, it is true, accomplished work which is not without a certain distinction; but the ancients, Thomas Moore included, are not for the reading of the discriminate. Indeed, Irish poetry in the English tongue is on the whole, like Ireland itself, a decidedly tumble-down affair. In a sense the genius of the country may be said to resemble the genius of Japan. That is to say, while every Irishman may be reckoned something of a poet in himself, there are no Irish poets; just as while the Japanese are all poets, none of them has managed to evolve a respectable poem. This, I cannot help thinking, is a pity for Ireland, and more to be sorrowed over than her lack of commercial aptitude, than her poverty, and than her wrongs. There are those who tell us that the true poetry of the Irish is hidden away in the memories of the peasantry, taking the shape of Gaelic folk-songs, ballads, and so forth. No doubt much may be said for this theory, particularly as there is a Gaelic League which seems to be making a good deal of impression upon certain sections of the people. At the same time, it seems remarkable that, if the poetry of the Gael be so rich, and ornate, and satisfactory as those who are able to read it would have us believe, nobody takes the trouble to put it before us in a form calculated to preserve it. The Gaelic character is pretty enough, and I have seen odd translations of Gaelic poetry which promised rather well for the bulk. Yet it seems more than doubtful if the “Druid Singers,” as I suppose Mr. Yeats would call them, ever had among their ranks a Homer, or, for that matter, an Anacreon or a Theocritus.

And talking of the Gaelic League, I should like to note for the entertainment of persons of humor, that when I visited its establishment in Dublin some months back I found the upper portion of the window occupied by a placard, which announced in large Roman letters that a “well-known Leaguer” was about to open a shop in Dublin—“Object to push the sale of Irish provisions.” People are human even in Ireland.