He has been accused of forsaking his liberal principles in his latter days, simply and solely from his denunciations of the terrible excesses of the French Revolution. Such reprobation was rather a proof that he understood the difference between liberty and licentiousness, and that his accusers had neither the intellect nor the true nobility to discriminate between the frantic deeds of men, whose bad passions, long indulged, had led them on to commit the crimes of demons, and those noble but long-suffering patriots, who endured until endurance became a fault, and only resisted for the benefit of mankind as well as for their own.
So much space has been given to Burke, that it only remains to add a few brief words of the other brilliant stars, who fled across the Channel in the vain pursuit of English patronage—in the vain hope of finding in a free country the liberty to ascend higher than the rulers of that free country permitted in their own.
Moore was born in the year 1780, in the city of Dublin. His father was in trade, a fact which he had the manliness to acknowledge whenever such acknowledgment was necessary. He was educated for the bar, which was just then opened for the first time to the majority of the nation, so long governed, or misgoverned, by laws which they were neither permitted to make or to administer. His poetical talents were early manifested, and his first attempts were in the service of those who are termed patriots or rebels, as the speaker's opinion varies. That he loved liberty and admired liberators can scarcely be doubted, since even later in life he used to boast of his introduction to Thomas Jefferson, while in America, exclaiming: "I had the honour of shaking hands with the man who drew up the Declaration of American Independence." His countryman, Sheridan introduced him to the Prince of Wales. His Royal Highness inquired courteously if he was the son of a certain baronet of the same name. "No, your Royal Highness," replied Moore; "I am the son of a Dublin grocer." He commenced writing his immortal Melodies in 1807, soon after his marriage. But he by no means confined himself to such subjects. With that keen sense of humour almost inseparable from, and generally proportionate to, the most exquisite sensibility of feeling, he caught the salient points of controversy in his day, and no doubt contributed not a little to the obtaining of Catholic Emancipation by the telling satires which he poured forth on its opposers. His reflections, addresed to the Quarterly Review, who recommended an increase of the Church Establishment as the grand panacea of Irish ills, might not be an inappropriate subject of consideration at the present moment. It commences thus:
"I'm quite of your mind: though these Pats cry aloud,
That they've got too much Church, tis all nonsense and stuff;
For Church is like love, of which Figaro vowed,
That even too much of it's not quite enough."
Nor was his letter to the Duke of Newcastle, who was an obstinate opposer of Catholic Emancipation, less witty, or less in point at the present time, for the Lords would not emancipate, whatever the Commons might do:
"While intellect, 'mongst high and low,
Is hastening on, they say,
Give me the dukes and lords, who go,
Like crabs, the other way."
Curran had been called to the bar a few years earlier. He was the son of a poor farmer in the county of Cork, and won his way to fame solely by the exercise of his extraordinary talent. Curran was a Protestant; but he did not think it necessary, because he belonged to a religion which professed liberty of conscience, to deny its exercise to every one but those of his own sect. He first distinguished himself at a contested election. Of his magnificent powers of oratory I shall say nothing, partly because their fame is European, and partly because it would be impossible to do justice to the subject in our limited space. His terrible denunciations of the horrible crimes and cruelties of the soldiers, who were sent to govern Ireland by force, for those who were not wise enough or humane enough to govern it by justice—his scathing denunciations of crown witnesses and informers, should be read at length to be appreciated fully.[[570]]
Swift's career is also scarcely less known. He, too, was born in Dublin of poor parents, in 1667. Although he became a minister of the Protestant Church, and held considerable emoluments therein, he had the honesty to see, and the courage to acknowledge, its many corruptions. The great lesson which he preached to Irishmen was the lesson of nationality; and, perhaps, they have yet to learn it in the sense in which he intended to teach it. No doubt, Swift, in some way, prepared the path of Burke; for, different as were their respective careers and their respective talents, they had each the same end in view. The "Drapier" was long the idol of his countrymen, and there can be little doubt that the spirit of his writings did much to animate the patriots who followed him—Lucas, Flood, and Grattan. Lucas was undoubtedly one of the purest patriots of his time. His parents were poor farmers in the county Clare, who settled in Dublin, where Lucas was born, in 1713; and in truth patriotism seldom develops itself out of purple and fine linen. Flood, however, may be taken in exception to this inference; his father was a Chief Justice of the Irish King's Bench. When elected a member of the Irish House, his first public effort was for the freedom of his country from the atrocious imposition of Poyning's Law. Unfortunately, he and Grattan quarrelled, and their country was deprived of the immense benefits which might have accrued to it from the cordial political union of two such men.
But a list of the great men of the eighteenth century, however brief, would be certainly most imperfect if I omitted the name of the Earl of Charlemont, who, had his courage been equal to his honesty of purpose, might have been enrolled not merely as an ardent, but even as a successful patriot. He was one of the Hibernis ipsis Hiberniores,—one of those who came to plunder, and who learned to respect their victims, and to repent their oppressions. It is probable that the nine years which the young Earl spent in travelling on the Continent, contributed not a little to his mental enlargement. On his return from countries where freedom exists with boasting, to a country where boasting exists without a corresponding amount of freedom, he was amazed and shocked at the first exhibition of its detestable tyranny of class. A grand procession of peers and peeresses was appointed to receive the unfortunate Princess Caroline; but, before the Princess landed, the Duchess of Bedford was commanded to inform the Irish peeresses that they were not to walk, or to take any part in the ceremonial. The young Earl could not restrain his indignation at this utterly uncalled-for insult. He obtained a royal audience, and exerted himself with so much energy, that the obnoxious order was rescinded. The Earl's rank, as well as his patriotism, naturally placed him at the head of his party; and he resolutely opposed those laws which Burke had designated as a "disgrace to the statute-books of any nation, and so odious in their principles, that one might think they were passed in hell, and that demons were the legislators." In 1766, his Lordship brought a bill into the House of Lords to enable a poor Catholic peasant to take a lease of a cabin and a potato-garden; but, at the third reading, the Lords rushed in tumultuously, voted Lord Charlemont out of the chair, and taunted him with being little better than a Papist. The failure and the taunt bewildered an intellect never very clear; and, perhaps, hopelessness quenched the spirit of patriotism, which had once, at least, burned brightly. In fear of being taunted as a Papist, like many a wiser man, he rushed into the extreme of Protestant loyalty, and joined in the contemptible outcry for Protestant ascendency.
The eighteenth century was also rife in Irishmen whose intellects were devoted to literature. It claims its painters in Barrett, who was actually the founder of the Royal Academy in England, and in Barry, the most eminent historical painter of his age; its poets in Parnell, Goldsmith, Wade, O'Keeffe, Moore, and many others; its musician in Kelly, a full list of whose operatic music would fill several pages; its authors in Steele, Swift, Young, O'Leary, Malone, Congreve, Sheridan, and Goldsmith; and its actors in Macklin, Milliken, Barry, Willis, and Woffington.