“O breathe not his name, let it sleep in the shade,
Where cold and unhonoured his relics are laid;
Sad, silent, and dark, be the tears that we shed,
As the night-dew that falls on the grass o’er his head.
But the night-dew that falls, though in silence it weeps,
Still brightens with verdure the grave where he sleeps,
And the tear that we shed, though in secret it rolls,
Shall long keep his memory green in our souls.”
On the death of the celebrated Richard Brinsley Sheridan, some of his Notes and Manuscripts were put into Moore’s hands, and the alliance constituted by the Whiggism of both was presumed to insure a satisfactory tribute to the remembrance of perhaps the most gifted man of the age. But their Whiggism was different; Sheridan’s was party, and Moore’s was prejudice. Sheridan had put on and off his Whiggism, with the grave affectation, or the sarcastic ease, of one who knew its worthlessness; Moore adopted it with the simplicity of ignorance, and the blind passion of the native character. The result was, a biography that pleased no one. Those whom Sheridan had lashed in the House of Commons, thought that it was too laudatory; while his admirers charged it with injustice. However, to those who cared nothing for the partisanship of either, the volume was amusing, occasionally eloquent, though less anecdotical than was to be expected from a career almost one anecdote from the beginning. On the whole, it sustained Moore’s reputation.
His Life of Byron, at a later period, had an increased popularity. The subject was singularly difficult; Byron had provoked a quarrel with the world, and was proud of the provocation. He had led a career of private petulance, which was deeply offensive to individuals, and he disclaimed all respect for those higher decorums which society demands. The power of his verse had thrown a shield over the living poet, but a severe tribunal apparently awaited the dead. Moore accomplished his task with dexterity, judicious selection, and still more judicious suppression, were exercised; and he was enabled to produce a performance at once faithful to the fame of the dead, and free from insult to the living.