Thomas Moore

This article is about the 19th-century Irish poet. For the 20th century English poet, see T. Sturge Moore.

Thomas Moore (1779-1852), from A Portrait Gallery of Eminent Men and Women in Europe and America, 1873. Courtesy Wikimedia Commons.

Thomas Moore
Born	May 28 1779(1779-Template:MONTHNUMBER-28) Dublin, Ireland
Died	February 25 1852(1852-Template:MONTHNUMBER-25) (aged 72)
Occupation	Poet, singer, songwriter, entertainer
Nationality	Irish
Notable work(s)	"The Minstrel Boy", "The Last Rose of Summer"
Spouse(s)	Elizabeth Dyke

Thomas Moore (28 May 1779 - 25 February 1852) was an Irish poet, singer, songwriter, and entertainer,

Life

Overview

Moore was born in Dublin, son of a grocer and wine-merchant. He was educatd at Trinity College, after which he went to London, and studied law at the Middle Temple, 1799. He took with him a translation of Anacreon, which appeared, dedicated to the Prince Regent, in 1800, was well received, and made a position for him. In the following year appeared Poems by Thomas Little. In 1803 he received the appointment of Admiralty Registrar at Bermuda, and after visiting the island and travelling in America, he committed his official duties to a deputy (an unfortunate step as it proved), and returned to England. The literary fruit of this journey was Epistles, Odes, and other poems (1806). In 1807 Moore found his true poetic vocation in his Irish-Melodies — the music being furnished by Sir John Stevenson, who adapted the national airs. The reception they met with was enthusiastic, and Moore was carried at once to the height of his reputation. They continued to appear over a period of 25 years, and for each of the 130 songs he received 100 guineas. His charming singing of these airs, and his fascinating conversational and social powers, made him sought after in the highest circles. In 1815 there appeared National Airs which, however, cannot be considered equal to the Melodies. After making various unsuccessful attempts at serious satire, he hit upon a vein for which his light and brilliant wit eminently qualified him — the satirical and pungent verses on men and topics of the day, afterwards collected in The Twopenny Post Bag, in which the Prince Regent especially was mercilessly ridiculed, and about the same time appeared Fables for the Holy Alliance. In 1818 he produced the Fudge Family in Paris, written in that city, which then swarmed with "groups of ridiculous English." Lalla Rookh, with its gorgeous descriptions of Eastern scenes and manners, had appeared in the previous year with great applause. In 1818 the great misfortune of his life occurred through the dishonesty of his deputy in Bermuda, which involved him in a loss of £6000, and necessitated his going abroad. He travelled in Italy with Lord John Russell, and visited Byron. Thereafter he settled for a year or so in Paris, where he wrote The Loves of the Angels (1823). On the death of Byron his memoirs came into the hands of Moore, who, in the exercise of a discretion committed to him, destroyed them. He afterwards wrote a Life of Byron (1830), which gave rise to much criticism and controversy, and he also edited his works. His last imaginative work was The Epicurean (1827). Thereafter he confined himself almost entirely to prose, and published Lives of Sheridan (1827), and Lord Edward Fitzgerald (1831). His last work, written in failing health, was a History of Ireland for Lardner's Cabinet Cyclopædia, which had little merit. Few poets have ever enjoyed greater popularity with the public, or the friendship of more men distinguished page in all departments of life. This latter was largely owing to his brilliant social qualities, but his genuine and independent character had also a large share in it. He left behind him a mass of correspondence and autobiographical matter which he committed to his friend Lord John (afterwards Earl) Russell for publication. They appeared in 8 volumes, 1852-1856.

Youth and education

Moore was born in Dublin on 28 May 1779. His father was John Moore, a prosperous grocer and wine merchant, and his mother's maiden name was Anastasia (Codd).

After receiving some education from an eccentric schoolmaster named Malone, Thomas was placed at the grammar school kept by Samuel Whyte. Whyte had been R.B. Sheridan's schoolmaster as long ago as 1758, and his school was considered the best in Dublin. The instruction given in Latin was very defective, but by the help of extra lessons from an usher named Donovan, Moore, who was a remarkably clever and forward boy, contrived to acquire sufficient Latin to justify his entrance at Trinity College, Dublin (TCD).

In 1793 Tom Moore's name appeared in print, as a contributor of some verses "To Zelia," to a Dublin periodical, the Anthologia Hibernica. In the same year Roman catholic students began to be admitted to TCD, and in 1794 Moore's name was entered on the books, curiously enough, as a Protestant. At Trinity he made friends with Robert Emmet, and was nearly dragged into the plots of the United Irishmen. His principal performance while at the college was a metrical translation of Anacreon, which the provost, Dr. Kearney, would willingly have recommended for a special reward, but doubted if the university could properly countenance anything 'so amatory and convivial.'

In 1798 Moore graduated, and in the next year left for England to keep his terms at the Middle Temple.

Career

Joseph Atkinson, secretary in Ireland to the ordnance board, had been attracted to Moore in Dublin initially by his gifts as a singer. He now gave him an introduction to Francis Rawdon-Hastings, 2nd earl of Moira, who invited him to his country seat at Donington Park, Leicestershire. Here Moore became a frequent guest.

Moore rapidly became a social success in London. The secret of his social success was less his promise as a poet than his remarkable musical gifts. His playing and singing had already created a furore in Dublin, and speedily opened the mansions of the English aristocracy to him. He soon became virtually domiciled in England, though always maintaining an affectionate correspondence with his family, especially his mother, his devotion to whom is one of the most amiable features of his character.

He had brought with him from Ireland a translation of the Odes of Anacreon, and the prince of Wales consented to have the volume dedicated to him. It was issued in 1800 with notes and a list of distinguished subscribers.

His social successes involved him in expenses far beyond his means. His publisher had advanced him money, and he resolved to pay his debt by the anonymous publication of his juvenile poems, The Poetical Works of the Late Thomas Little, Esq. (1801), a collection of love poems which Moore afterwards regretted.

Through Lord Moira's influence he was, in 1803, appointed registrar of the admiralty prize-court, at Bermuda. He went there to take possession of the post, but soon tired of the monotonous life, and in 1804, after appointing a deputy, returned to England by way of the United States and Canada.

In 1806 he published Epistles, Odes and other Poems. Francis Jeffrey made an unjustifiable onslaught on this collection in the Edinburgh Review for July 1806. Moore was in his view "the most licentious of modern versifiers, and the most poetical of those who, in our time, have devoted their talents to the propagation of immorality," and the book was a "public nuisance." Moore challenged Jeffrey, and a duel was arranged at Chalk Farm. The police interrupted the proceedings. Jeffrey's pistol was found to be unloaded, and the ludicrous affair ended in a fast friendship between them.

At the end of 1806 he went to Dublin, and, with the exception of about 6 months in 1807 spent at Donington Park, the next 3 years were spent in Ireland. Here he met Miss Elizabeth Dyke, an actress, who became his wife in March 1811. They lived initially in London, but soon moved into the country, to Kegworth, near Lord Moira's seat, and then to Mayfield Cottage, near Ashbourne, Derbyshire. Moore had to spend much of his time in London, for the popularity of his songs led to an agreement with his publisher to increase the success of these by singing them himself at great houses.

The inception of his Irish Melodies dates from 1807, and many of the best were written during the 3 years of his Irish visit.

In 1814 he contracted with the firm of Longmans to supply a metrical romance on an Eastern subject, which should contain at least as many lines as Scott's Rokeby, the publishers binding themselves to pay 3000 guineas on delivery. Moore had begun Lalla Rookh 2 years before. He was a careful and laborious writer, and retired to a cottage in the neighborhood of Donington Park, where with the help of Lord Moira's library he read himself slowly into familiarity with Eastern scenery and manners. He was already far advanced in his work when Byron in The Giaour and again in The Bride of Abydos largely forestalled him. The depression following on the peace of 1815 deferred the publication of Lalla Rookh until 1817.

Immediately after the completion of Lalla Rookh, Moore moved with his family to Sloperton Cottage, Wiltshire, where he was close to Bowood, Lord Lansdowne's country seat.

Moore's plans were interrupted by the embezzlement of some £6000 by the deputy he had left in Bermuda, for whose default he was fully liable. To avoid a debtors' prison Moore retired to the Continent.

He visited Byron in Italy, and in October 1819 received from him the opening part of the Memoirs. The continuation was sent to Moore in Paris the next year, with Byron's suggestion that the reversion of the manuscript should be sold. Moore did not remain long in Italy, but made his home in Paris, where he was joined by his wife and children.

He was not able to return to England until 1822, when the Bermuda affair was compromised by a payment through Longmans of £1000. Moore had had many offers of help, but preferred to be indebted to his publishers only. During his exile he had written another Oriental poem, The Loves of the Angels (1822), which was hardly less popular than Lalla Rookh.

He now became a contributor of satirical verse to The Times, the connection lasting until 1827. He now wrote his Memoirs of the Life of Sheridan, first contemplated in 1814, which appeared, after some delay, in 1825. The Memoirs of Captain Rock (1824), in which he gives a humorous but convincing account of English misgovernment in Ireland, was the result of a tour with Lord Lansdowne in western Ireland. His prose tale, The Epicurean, appeared in 1827, and the Legendary Ballads in 1830. In 1831 he completed his Life and Death of Lord Edward Fitzgerald, probably his best piece of prose work.

The death of Byron in 1824 raised the question of the publication of his Memoirs. Moore had parted with them in 1821 to John Murray for £2000. After they had come into Murray's possession, Moore began to have doubts about the propriety of publishing them, and an arrangement was therefore made that the £2000 should be regarded as a loan, to be repaid during Byron's lifetime, and that the manuscript should be retained as security. When Byron died the Memoirs were still unredeemed, and the right of publication therefore rested with Murray. Moore now borrowed the money from Longmans and induced Murray to give up his claim. The money was paid, and, after a heated discussion with Byron's executors, the manuscript was burnt. It was partly the pressure of the debt thus contracted, and partly the expressed wish of Byron, that induced Moore to undertake for Murray The Letters and Journals of Lord Byron, with Notices of his Life (1830). The difficult task was executed with great skill and tact, and it remains, with all its defects and omissions, a valuable record.

Moore's countrymen desired him to accept a seat in parliament for Limerick. The offer was accompanied by a scheme to present Moore with an estate in the county worth £300 a year. It was made through poet Gerald Griffin, who has left on record an account of the interview. Moore declined the honor.

In 1830 he allowed himself to be drawn into a project for writing a History of Ireland (4 vols., 1835, 1837, 1840 and 1846) for Lardner's Cyclopaedia. He hoped that by writing the history of Ireland he might arouse in his own countrymen an interest in their past, and open the eyes of Englishmen to the misgovernment of the country. He had neither the historical training nor the despatch in writing which enabled Scott to scribble off the companion volumes on Scotland, and the history sat like a nightmare on him, and was left unfinished on the melancholy collapse of his powers in 1845. He had, however, the temper of the student, and was always a voracious reader.

Last years

Moore's last years were harassed by monetary difficulties, and by the weakness and misconduct of his sons, the elder of whom retired from the English army to enter the foreign legion of France.

After the death of his last child in 1845, Moore became a total wreck, but he lived until 25 February 1852. He left sufficient provision for his wife in the Diary which he kept chiefly on her behalf.

Writing

Moore's position as a poet cannot be considered high in comparison with that of his great contemporaries. Nevertheless, alone among modern poets, he united the arts of poetry and music in the same person, and revived the traditions of the minstrel and the troubadour of the middle ages. This affords a sufficient answer to most of the objections which have been urged against his 'Irish Melodies' and similar pieces, except those of occasional false taste and false glitter, against which no defense is possible. They have been said to be of little value divorced from their music; but, replies Professor Minto, they were never intended to be divorced from their music. On the same ground, deep thought would have been out of place.

Better isolated pieces have no doubt been written by some of his successors, but he, and he alone, has produced an imposing body of national song ; nor have his fancy, melody, and pathos, on the whole, been yet equalled by any competitor.

Recognition

Bust of Thomas Moore in Central Park, New York. Photo by Jim Henderson. Licensed under Creative Commons, courtesy Wikimedia Commons.

Moore is considered Ireland's National Bard and is to Ireland what Robert Burns is to Scotland. (Citation needed) Moore is commemorated in several places: by a plaque on the house where he was born, by busts at The Meetings and Central Park, New York, and by a large bronze statue near Trinity College Dublin.

4 of his poems ("The Young May Moon," "The Irish Peasant to His Mistress," "The Light of Other Days," and "At the Mid Hour of Night") were included in the Oxford Book of English Verse, 1250-1900.

A portrait of Moore (aged 40), engraved by Holl after Thomas Phillips, is prefixed to vol. i. of the 'Memoirs,' and another portrait of him (aged 58), after Maclise, to vol. viii. of the same work. The author of 'Lalla Rookh' also forms one of the sketches in the 'Maclise Portrait Gallery' (ed. Bates, 22-30), and there are other portraits by Shee and Sir Thomas Lawrence.

In popular culture

Many composers have set the poems of Thomas Moore to music. They include Gaspare Spontini, Robert Schumann, Hector Berlioz, Charles Ives, William Bolcom, Lori Laitman, Benjamin Britten and Henri Duparc.

Many songs of Thomas Moore are cited in works of James Joyce, for example Silent, O Moyle! in Two Gallants (Dubliners) or The Last Rose of Summer.

The song Believe Me If All Those Endearing Young Charms is often used in a famous gag in a number of Warner Brothers cartoons, usually involving a piano or xylophone rigged to explode when a certain note is played. The hero, typically Bugs Bunny, tries to play the melody line of the song, but always misses the rigged note (C above middle C). The villain or rival, finally exasperated, pushes the hero aside and plays the song himself, striking the correct note and blowing himself up. In one instance, however, the protagonist plays the melody on a xylophone and, upon striking the rigged note, the antagonist explodes in an "old gag, new twist."

Publications

Poetry

• Poetical Works of the Late Thomas Little Esq. (as "Thomas Little"). London: J. & T. Carpenter, 1801; Philadelphia: Printed & published by Hugh Maxwell, 1804.
• Epistles, Odes, and other poems. London: Printed for James Carpenter, 1806; Philadelphia: Published by John Watts, 1806.
• Corruption and Intolerance, Two poems. London: Printed for J. Carpenter, 1808.
• The Sceptic: A philosophical satire. London: Carpenter, 1809.
• Intercepted Letters; or, The two-penny post-bag (as "Thomas Brown the Younger"). London: J. Carr, 1813; Baltimore: Published by E.J. Coale, Wm. Warner, Joseph Robinson, J. & T. Vance, and P. Mauro; A Finlay, & P.H. Nicklin, Philadelphia; A. T. Goodrich, New York; Bradford & Read and C. Williams, Boston; Printed by P. Mauro, 1813; Philadelphia: Published by Moses Thomas, printed by J. Maxwell, 1813
• Lalla Rookh, An Oriental romance. London: Longman, Hurst, Rees, Orme & Brown, 1817; New York: Kirk & Mercein, 1817; New York: Van Winkle & Wiley, 1817; Philadelphia: Published by M. Thomas, printed by J. Maxwell, 1817.
• Tom Crib's Memorial to Congress. London: Longman, Hurst, Rees, Orme, & Brown, 1819; New York: Kirk & Mercein, 1819.
• The Fudge Family in Paris (as "Thomas Brown the Younger"). London: Printed for Longman, Hurst, Rees, Orme & Brown, 1818; New York: Published by W.B. Gilley, 1821.
• The Loves of the Angels: A poem. London: Longman, Hurst, Rees, Orme & Brown, 1823; revised, 1823; New York: James & John Harper, 1823; Philadelphia: E. Littel / New York: R. Norris Henry, 1823.
• Fables for the Holy Alliance (as "Thomas Brown the Younger"). London: Printed for Longman, Hurst, Rees, Orme & Brown, 1823; Philadelphia: E. Littell, 1823.
• Odes upon Cash, Corn, Catholics, and Other Matters. London: Longman, Rees, Orme, Brown & Green, 1828; Philadelphia: Carey, Lea & Carey, 1828.
• The Fudges in England (as "Thomas Brown the Younger"). London: Longman, Rees, Orme, Brown, Green & Longman, 1835; Philadelphia: Carey, Lea & Blanchard, 1835.
• Alciphron: A Poem. London: John MacRone, 1839; Philadelphia: Carey & Hart, 1840.
• The Poetical Works of Thomas Moore, Collected by Himself (10 volumes). London: Longman, Orme, Brown, Green & Longman, 1840-1841. Volume I, Volume II, Volume III, Volume IV, Volume V, Volume VI, Volume VII, Volume ViII, Volume IX, Volume X.
• The Poetical Works of Thomas Moore: Complete in one volume. New York: D. Appleton & Co., 1850.
• Poetry of Thomas Moore. London & New York: Macmillan, 1903.

Songs

• A Selection of Irish Melodies
  • parts 1-7 (lyrics by Moore and musical arrangements by John Stevenson). London: James Power; Dublin: William Power, 1808-1818
  • parts 8-10 and supplement (lyrics by Moore and musical arrangements by Henry R. Bishop). London: James Power, 1821-1834.
• A Series of Sacred Songs, Duetts and Trios, The Words by Thomas Moore, Esqr. The Music, Composed and Selected by Sir John Stevenson
  • part 1. London: J. Power; Dublin: William Power, 1816; Philadelphia: Published by Geo. E. Blake, [1817?].
  • part 2. London: J. Power, 1824.
• A Selection of Popular National Airs
  • part 1 (lyrics by Moore and musical arrangements by Stevenson). London: James Power, 1818; Dublin: William Power, 1818;
  • part 2 (lyrics by Moore and musical arrangements by Bishop). London: James Power, 1820; Dublin: William Power, 1820
  • parts 3-6. London: James Power, 1822-1827.
• Irish Melodies (Moore's lyrics only)
  • unauthorized edition, Dublin: William Power, 1820
  • authorized edition, London: Printed for James Power and Longman, Hurst, Rees, Orme & Brown, 1821; Philadelphia: T. Jekyll, 1821.
• Evenings in Greece. First Evening (lyrics by Moore and musical arrangements by Bishop). London: Published by J. Power, 1826.
• Legendary Ballads (lyrics by Moore and musical arrangements by Bishop). London: Published by J. Power, 1828.
• The Summer Fête: A poem with songs; the music composed and selected by Henry R. Bishop and Mr. Moore. London: J. Power, 1831; Philadelphia: Carey, Lea & Blanchard, 1833.
• Evenings in Greece: The Second Evening (lyrics by Moore and musical arrangements by Bishop). London: J. Power, 1831.

Plays

• M.P.: or, The Blue-Stocking: A comic opera, in three acts (first performed at the English Opera, Theatre Royal, Lyceum, on Monday, Sept. 9, 1811). London: J. Power, 1811; New York: Published by the Longworths, 1812.

Novel

• The Epicurean: A tale. London: Longman, Rees, Orme, Brown & Green, 1827; Boston: Wells & Lilly, 1827.

Non-fiction

• A Letter to the Roman Catholics of Dublin. London: Printed for J. Carpenter, 1810.
• An Inquiry into the Scriptural Authority for Social Worship. London: privately printed, 1821.
• The Life and Death of Lord Edward Fitzgerald. (2 volumes) London: Longman, Rees, Orme, Brown & Green, 1831; New York: J. & J. Harper, 1831. Volume I, Volume II.
• Travels of an Irish Gentleman in Search of a Religion. (2 volumes), London: Longman, Rees, Orme, Brown, Green & Longman, 1833; (1 volume), Baltimore: J. Murphy, 1833; New York: Printed for M. Carey, 1833; Philadelphia: Carey, Lea & Blanchard, 1833. Volume I, Volume II.
• The Fudges in England (as "Thomas Brown the Younger"). London: Longman, Rees, Orme, Brown, Green & Longman, 1835; Philadelphia: Carey, Lea & Blanchard, 1835.
• History of Ireland, Volumes 80-92 of The Cabinet Cyclopædia (edited by Dionysius Lardner). (4 volumes), London: Printed for Longman, Brown, Green & Longmans & John Taylor, 1835, 1837, 1840, 1846; (2 volumes), Philadelphia: Lea & Blanchard, 1843, 1846. Volume I, Volume II, Volume III, Volume IV.
• Life of Lord Byron: With his letters and journals. (6 volumes), London: John Murray, 1854. Volume I, Volume II, Volume III, Volume IV, Volume V, Volume VI.

Collected editions

• Works. (6 volumes), Paris: Galignani, 1819; (5 volumes), New York: W.B. Gilley, 1821.
  • (7 volumes),Paris: Galignani, 1823. Volume I, Volume II, Volume III, Volume IV, Volume V, Volume VI Volume VII
  • (17 volumes), Paris: Galignani, 1832. Volume I, Volume III, Volume IV, Volume V, Volume VI, Volume VII, Volume VIII, Volume IX, Volume X, Volume XI, Volume XII, Volume XIII, Volume XIV, Volume XV, Volume XVI, Volume XVII
• Prose and Verse: Humorous, satirical, and sentimental (introduction by Richard Herne Shepherd). London: Chatto & Windus, 1878.

Translated

• The Odes of Anacreon. London: Printed for John Stockdale, 1800; Philadelphia: Printed & published by Hugh Maxwell, 1804.

Edited

• Memoirs of Captain Rock, The Celebrated Irish Chieftain: With some account of his ancestors. London: Longman, Hurst, Rees, Orme, Brown & Green, 1824; New York: J. M'Laughlin, 1824.
• Memoirs of the Life of the Right Honourable Richard Brinsley Sheridan. London: Longman, Hurst, Rees, Orme, Brown & Green, 1825; Philadelphia: H.C. Carey & Lea, 1825. Volume I, Volume II
• Letters and Journals of Lord Byron: With notices of His life (edited, with biography, by Moore). (2 volumes), London: John Murray, 1830; New York: J. & J. Harper, 1830. Volume I, Volume II.

Letters and journals

• Memoirs, Journal, and Correspondence (edited by Lord John Russell). (8 volumes), London: Longman, Brown, Green & Longmans, 1853-1856. Volume I, Volume II, Volume III, Volume IV, Volume V, Volume VI, Volume VII, Volume VIII.
• Tom Moore's Diary (edited by J.B. Priestley). Cambridge, UK: Cambridge University Press, 1925.
• Journal (edited by Wilfred S. Dowden). (4 volumes)< Newark, NJ: University of Delaware Press; London & Toronto: Associated University Press, 1983-1987.
• Letters (edited by Wilfred S. Dowden). (2 volumes), Oxford, UK: Clarendon Press, 1964.

Except where noted, bibliographical information courtesy the Poetry Foundation.

Poems of Thomas Moore

Last Rose of Summer ~ Celtic Woman ~ Joanna Henwood

1. The Last Rose of Summer

See also

• Early Romantics
• List of Irish poets
• List of English-language songwriters

References

•  Garnett, Richard (1894) "Dictionary of National Biography, 1885-1900/Moore, Thomas (1779-1852)" in Lee, Sidney Dictionary of National Biography 38 London: Smith, Elder, p. 384 . Wikisource, Web, Sep. 27, 2022.
•  Chisholm, Hugh, ed (1911). "Moore, Thomas". Encyclopædia Britannica. 18 (11th ed.). Cambridge University Press. pp. 810-811. . Wikisource, Web, Sep. 27, 2022.

External links

Poems

• 2 poems by Moore: "The Last Rose of Summer," "To My Mother"
• Moore in the Oxford Book of English Verse, 1250-1900: "The Young May Moon," "The Irish Peasant to His Mistress," "The Light of Other Days," "At the Mid Hour of Night"
• Moore, Thomas (1779-1852) (5 poems) at Representative Poetry Online
• Thomas Moore at the Poetry Foundation
• Moore in The English Poets: An anthology: "When He, Who Adores Thee," "Believe Me, If All Those Endearing Young Charms," "By That Lake, Whose Gloomy Shore," "Lesbia Hath a Beaming Eye," "At the Mid Hour of Night," "The Young May Moon," "The Time I've Lost in Wooing," "Dear Harp of My Country," "Echo," "Oft in the Stilly Night" (from National Airs)
  • Extracts from Lalla Rookh: The Light of the Haram, The Fire-Worshippers
• Thomas Moore index entry at Poets' Corner
• Thomas Moore at PoemHunter (153 poems)
• Thomas Moore at Poetry Nook (1,516 poems)

Audio / video

• Thomas Moore at LibriVox

Books

• Works by Thomas Moore at Project Gutenberg
• Moore's Irish Melodies, arranged by C.V. Stanford
• Thomas Moore at Amazon.com

About

• Thomas Moore in the Encyclopædia Britannica
• The Contemplator's Short History of Thomas Moore.
• Thomas Moore in the Catholic Encyclopedia.
• Thomas Moore in the Cambridge History of English and American Literature.
• Thomas Moore in the 1911 Encyclopædia Britannica.
• Moore, Thomas in the Dictionary of Irish Biography

This article incorporates text from a publication now in the public domain, the Dictionary of National Biography (edited by Leslie Stephen). London: Smith, Elder, 1885-1900. Original article is at: Moore, Thomas (1779-1852)
 This article incorporates text from a publication now in the public domain, the 1911 Edition of the Encyclopædia Britannica.. Original article is at Moore, Thomas