Poems List

I Wish I Was By That Dim Lake

I Wish I Was By That Dim Lake
I wish I was by that dim Lake,
Where sinful souls their farewell take
Of this vain world, and half-way lie
In death's cold shadow, ere they die.
There, there, far from thee,
Deceitful world, my home should be;
Where, come what might of gloom and pain,
False hope should n'er deceive again.
The lifeless sky, the mournful sound
Of unseen waters falling round;
The dry leaves, quivering o'er my head,
Like man, unquiet even when dead!
These, ay, these shall wean
My soul from life's deluding scene,
And turn each thought, o'ercharged with gloom
Like willows, downward towards the tomb.
As they, who to their couch at night
Would win repose, first quench the light,
So must the hopes, that keep this breast
Awake, be quench'd, ere it can rest.
Cold, cold, this heart must grow,
Unmmoved by either joy or woe,
Like freezing founts, where all that's thrown
Within their current turns to stone.
195

If Thou'lt Be Mine

If Thou'lt Be Mine
If thou'lt be mine, the treasures of air,
Of earth, and sea, shall lie at thy feet;
Whatever in Fancy's eye looks fair,
Or in Hope's sweet music sounds most sweet,
Shall be ours -- if thou wilt be mine, love!
Bright flowers shall bloom wherever we rove,
A voice divine shall talk in each stream;
The stars shall look like world of love,
And this earth be all one beautiful dream
In our eyes -- if thou wilt be mine, love!
And thoughts, whose source is hidden and high,
Like streams that come from heaven-ward hills,
Shall keep our hearts, like meads, that lie
To be bathed by those eternal rills,
Ever green, if thou wilt be mine, love!
All this and more the Spirit of Love
Can breathe o'er them who feel his spells;
That heaven, which forms his home above,
He can make on earth, wherever he dwells,
As thou'lt own, -- if thou wilt be mine, love!
170

How Dear to Me the Hour

How Dear to Me the Hour
How dear to me the hour when daylight dies,
And sunbeams melt along the silent sea,
For then sweet dreams of other days arise,
And memory breathes her vesper sigh to thee.
And, as I watch the line of light, that plays
Along the smooth wave toward the burning west,
I long to tread that golden path of rays,
And think 'twould lead to some bright isle of rest.
155

I Saw From the Beach

I Saw From the Beach
I saw from the beach, when the morning was shining,
A bark o'er the waters move gloriously on;
I came when the sun o'er that beach was declining,
The bark was still there, but the waters were gone.
And such is the fate of our life's early promise,
So passing the spring-tide of joy we have known;
Each wave that we danced on at morning ebbs from us,
And leaves us, at eve, on the bleak shore alone.
Oh, who would not welcome that moment's returning
When passion first waked a new life through his frame,
And his soul, like the wood that grows precious in burning,
Gave out all its sweets to love's exquisite flame.
176

Go Where Glory Waits Thee

Go Where Glory Waits Thee
Go where glory waits thee,
But while fame elates thee,
Oh! still remember me.
When the praise thou meetest
To thine ear is sweetest,
Oh! then remember me.
Other arms may press thee,
Dearer friends caress thee,
All the joys that bless thee,
Sweeter far may be;
But when friends are nearest,
And when joys are dearest,
Oh! then remember me!
When, at eve, thou rovest
By the star thou lovest,
Oh! then remember me.
Think, when home returning,
Bright we've seen it burning,
Oh! thus remember me.
Oft as summer closes,
When thine eye reposes
On its lingering roses,
Once so loved by thee,
Think of her who wove them,
Her who made thee love them,
Oh! then remember me.
When, around thee dying,
Autumn leaves are lying,
Oh! then remember me.
And, at night, when gazing
On the gay hearth blazing,
Oh! still remember me.
Then should music, stealing
All the soul of feeling,
To thy heart appealing,
Draw one tear from thee;
Then let memory bring thee
Strains I used to sing thee, --
Oh! then remember me.
205

Forget Not the Field

Forget Not the Field
Forget not the field where they perish'd,
The truest, the last of the brave,
All gone -- and the bright hope we cherish'd
Gone with them, and quench'd in their grave!
Oh! could we from death but recover
Those hearts as they bounded before,
In the face of high heaven to fight over
That combat for freedom once more; --
Could the chain for an instant be riven
Which Tyranny flung round us then,
No, 'tis not in Man, nor in Heaven,
To let Tyranny bind it again!
But 'tis past -- and, though blazon'd in story
The name of our Victor may be,
Accurst is the march of that glory
Which treads o'er the hearts of the free.
For dearer the grave or the prison,
Illumed by one patriot name,
Than the trophies of all who have risen
On Liberty's ruins to fame.
165

Fairest! Put on a While

Fairest! Put on a While
Fairest! put on a while
These pinions of light I bring thee,
And o'er thy own green isle
In fancy let me wing thee.
Never did Ariel's plume,
At golden sunset, hover
O'er scenes so full of bloom
As I shall waft thee over.
Fields, where the Spring delays
And fearlessly meets the ardour
Of the warm Summer's gaze,
With only her tears to guard her;
Rocks, through myrtle boughs
In grace majestic frowning,
Like some bold warrior's brows
That Love hath just been crowning.
Islets, so freshly fair,
That never hath bird come nigh them,
But, from his course through air,
He hath been won down by them; --
Types, sweet maid, of thee,
Whose look, whose blush inviting,
Never did Love yet see
From heaven, without alighting.
Lakes, where the pearl lies hid,
And caves, where the gem is sleeping,
Bright as the tears thy lid
Lets fall in lonely weepin.
Glens, where Ocean comes,
To 'scape the wild wind's rancour;
And harbours, worthiest homes
Where Freedom's fleet can anchor.
Then, if, while scenes so grand,
So beautiful, shine before thee,
Pride for thy own dear land
Should haply be stealing o'er thee,
Oh, let grief come first,
O'er pride itself victorious --
Thinking how man hath curst
What Heaven hath made so glorious.
161

Fill the Bumper Fair

Fill the Bumper Fair
Fill the bumper fair!
Every drop we sprinkle
O'er the brow of Care
Smooths away a wrinkle.
Wit's electric flame
Ne'er so swiftly passes,
As when through the frame
It shoots from brimming glasses.
Fill the bumper fair!
Every drop we sprinkle
O'er the brow of Care
Smooths away a wrinkle.
Sages can, they say,
Grasp the lightning's pinions,
And bring down its ray
From the starr'd dominions:
So we, Sages, sit,
And, 'mid bumpers brightening,
From the Heaven of Wit
Draw down all its lightning.
Fill the bumper, etc.
Wouldst thou know what first
Made our souls inherit
This ennobling thirst
For wine's celestial spirit?
It chanced, upon that day,
When, as bards inform us,
Prometheus stole away
The living fires that warm us:
Fill the bumper etc.
The careless Youth, when up
To Glory's fount aspiring,
Took nor urn nor cup
To hide the pilfer'd fire in. --
But oh, his joy, when, round
The halls of heaven spying,
Among the stars he found,
The bowl of Bacchus lying!
Fill the bumper, etc.
Some drops were in that bowl,
Remains of last night's pleasure,
With which the Sparks of Soul
Mix'd their burning treasure.
Hence the goblet's shower
Hath such spells to win us;
Hence its mighty power
O'er that flame within us.
Fill the bumper fair!


Every drop we sprinkle
O'er the brow of Care
Smooths away a wrinkle.
197

Erin, Oh Erin

Erin, Oh Erin
Like the bright lamp, that shone in Kildare's holy fane,
And burn'd through long ages of darkness and storm,
Is the heart that sorrows have frown'd on in vain,
Whose spirit outlives them, unfading and warm.
Erin, oh Erin, thus bright through the tears
Of a long night of bondage, thy spirit appears.
The nations have fallen, and thou still art young,
Thy sun is but rising, when others are set;
And though slavery's cloud o'er thy morning hath hung,
The full noon of freedom shall beam round thee yet.
Erin, oh Erin, though long in the shade,
Thy star will shine out when the proudest shall fade.
Unchill'd by the rain, and unwaked by the wind,
The lily lies sleeping through winter's cold hour,
Till Spring's light touch her fetters unbind,
And daylight and liberty bless the young flower.
Thus Erin, oh Erin, thy winter is past,
And the hope that lived through it shall blossom at last.
160

Enigma

Enigma
Come riddle-me-ree, come riddle-me-ree,
And tell me, what my name may be.
I am nearly one hundred and thirty years old,
And therefore no chicken, as you may suppose; --
Though a dwarf in my youth (as my nurses have told),
I have, ev'ry year since, been outgrowing my clothes;
Till, at last, such a corpulent giant I stand,
That if folks were to furnish me now with a suit,
It would take ev'ry morsel of scrip in the land
But to measure my bulk from the head to the foot.
Hence, they who maintain me, grown sick of my stature,
To cover me nothing but rags will supply;
And the doctors declare that, in due course of nature,
About the year in rags I shall die.
Meanwhile I stalk hungry and bloated around,
An object of int'rest, most painful, to all;
In the warehouse, the cottage, the palace I'm found,
Holding citizen, peasant, and king in my thrall.
Then riddle-me-ree, oh riddle-me-ree,
Come, tell me what my name may be.
When the lord of the counting-house bends o'er his book,
Bright pictures of profit delighting to draw,
O'er his shoulders with large cipher eye-balls I look,
And down drops the pen from his paralyz'd paw!
When the Premier lies dreaming of dear Waterloo,
And expects through another to caper and prank it,
You'd laugh did you see, when I bellow out "Boo!"
How he hides his brave Waterloo head in the blanket.
When mighty Belshazzar brims high in the hall
His cup, full of gout, to Gaul's overthrow,
Lo, "Eight Hundred Millions" I write on the wall,
And the cup falls to earth and -- the gout to his toe!
But the joy of my heart is when largely I cram
My maw with the fruits of the Squirearchy's acres,
And, knowing who made me the thing that I am,
Like the monster of Frankenstein, worry my makers.
Then riddle-me-ree, come, riddle-me-ree,
And tell, if thou knows't, who I may be.
240

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Identification and basic context

Thomas Moore was an Irish poet, lyricist, composer, and political satirist. He is widely regarded as Ireland's national poet.

Childhood and education

Born in Dublin, Moore came from a Catholic background during a time of significant Protestant Ascendancy. He received a good education, attending Trinity College, Dublin, where he studied law. This period exposed him to the political currents of Ireland and fostered his literary talents.

Literary trajectory

Moore's literary career began with translations and satires. His breakthrough came with the "Irish Melodies," a collection of songs that he set to existing Irish folk tunes, imbued with new lyrics. These became immensely popular, establishing him as a leading lyrical poet. He also wrote longer narrative poems, political satires, and a biography of Lord Byron.

Works, style, and literary characteristics

Moore's most significant contribution is the "Irish Melodies," which include famous songs like "The Minstrel Boy" and "Oft, in the Stilly Night." His poetry is characterized by its lyrical flow, romantic sensibility, and exploration of themes such as love, loss, patriotism, and exile. He often employed simple, evocative language and a graceful, musical rhythm, making his verses highly singable. His "Lalla Rookh" was a long, exotic Oriental romance poem that also achieved great success.

Cultural and historical context

Moore wrote during a period of intense political and cultural ferment in Ireland and Europe. He was a staunch advocate for Irish rights and a supporter of Catholic Emancipation, often expressing his sentiments through his writings, sometimes subtly and sometimes through direct political satire. His work tapped into a growing sense of Irish national identity.

Personal life

Moore had a long and successful literary career. He married Bessy Dyke, an actress, and they had several children. He maintained friendships with many prominent literary and political figures of his day, including Lord Byron, whose life and works he later chronicled.

Recognition and reception

Moore was immensely popular during his lifetime, both in Ireland and Britain. His "Irish Melodies" were translated into numerous languages and became a staple of drawing-room music. He was widely celebrated for his wit, charm, and poetic talent, though later critics sometimes found his sentimentality excessive.

Influences and legacy

Moore was influenced by classical poets and the burgeoning Romantic movement. His "Irish Melodies" played a crucial role in preserving and popularizing Irish folk music and in fostering a sense of national pride among the Irish diaspora. He is considered a key figure in the Romantic era of Irish literature.

Interpretation and critical analysis

Moore's work is often interpreted as a romantic expression of Irish identity and longing. His patriotic sentiments, while celebrated, are sometimes seen through the lens of a nationalist romanticism that can be both empowering and potentially simplistic. His ability to blend music and poetry was a significant achievement.

Curiosities and lesser-known aspects

Beyond his poetry, Moore was known for his social life and his ability to entertain. He was also a composer, though his primary fame rests on his lyrics. His extensive travels and correspondence reveal a keen observer of society and politics.

Death and memory

Thomas Moore died on February 25, 1852. He is remembered as Ireland's most beloved poet and songwriter, whose "Irish Melodies" continue to resonate and evoke a deep connection to Irish culture and history.