Thomas Rooney's A History of Ireland

Mooney begins the chapter “Lecture XXII: Biographical Sketches” with a description of whose biographical sketches are contained in this chapter. He writes, “I am about to present to the reader a few brief sketches of the most distinguished Irishmen who have flourished during the last hundred years” (Mooney 1097). Thomas Moore is the first of the biographical sketches to be introduced. This comes as no surprise given Moore’s success in Ireland and his recognition as a fundamental national poet. This classification coincides perfectly with Mooney’s description of these “most distinguished Irishmen” as men who “have not bled for Ireland on the scaffold or the field, but have, by their brilliant genius, wrapt her in a blaze of glory, like the fiery coating of the sun, that will shine through all time, proclaiming her entire nationality, which never can be extinguished by the power or machinations of their enemies” (Mooney 1097-1098). Mooney provides an emphatic description of the lengths to which Moore’s melodies have travelled. He argues Thomas Moore is of utmost importance to the Irish people, as his voice and lyrics have provided Ireland an outlet with which to express herself. Speaking of Ireland’s increasing strength and self-sufficiency, Mooney expresses admiration for Moore, his patriotic work, and his effects on Ireland. He praises him, writing, “All this, and much more, has been realized for Erin by the poetry of her own immortal bard” (1098). While other men depicted in the biographical sketches have about a page of description at most, Thomas Moore's biography takes up over 12 pages. It is longer than any other biographical sketch in the book, which proves Moore's importance not just in Ireland, but in the American understanding of Ireland. 

Moore is also given great distinction earlier in the book in “Lecture VI: Music of Ireland.” The sub-chapters in which Moore’s name is explicitly mentioned include “Moore’s Opinion,” Moore revives the music of Ireland,” “Moore’s suggestions for singing his Irish Melodies,” and “Moore’s Visit to the Dublin Theatre.” In all of these subchapters, Moore's work as a fundamental Irish poet is displayed. 

In the pages above, Mooney includes a description and review of one of Moore's live performances in Dublin. He includes quotes from Willis, another man who was also present at the theatre when Moore took the stage. Moore's performance is described as an overhwhelming experience of pure talent. Mooney concludes his memory of the night by writing, "I shall never forget that night, or the effect of that proud swell of my country's music" (235). 

Mooney was not alone in how the music affected him. In a quotation from Willis, it is revealed that a woman fainted at the show he and Mooney attended. Additionally, the men at the theatre were so overhwelmed that Willis credits the music as being responsible for "starting your tears, if you have soul or sense in you" (234). 

This live account of Moore's music provides American readers who may not have the opportunity to personally attend one of Moore's shows a thorough description of Moore's talent. It ensures that Moore will not be overlooked in America because the Irish in America will know that the songs of their land still stir up the most profound emotions in men and women alike, bringing people to tears.