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Updated: June 14, 2025
The series of Moore's Irish melodies, on which his poetical fame largely rests, was begun in 1807, though not completed until long afterwards. They were followed by other lyrical pieces of great merit, and by a series of witty and malicious lampoons, collected in 1813 into a volume called the Twopenny Post Bag. Lalla Rookh, his most ambitious effort, was not published until 1817.
Those of her companions who knew her best, could easily understand that her heart was far away from her present home; for her actions spoke this as plainly as might have ever been done by words, and poor Lalla, wherever she had come from, and under whatever circumstances, had evidently left her heart behind her among her childhood's scenes.
The face in the Lalla Rookh had put an end to thoughts of sleep, and he walked up to his office in the Wickiup to work until morning on his report. He lighted a lamp, opened his desk with a clang that echoed to the last dark corner of the zigzag hall, and, spreading out his papers, resumed the figuring he had begun at Wind River station.
They took away my mother first; they dragged her off crying, and I never saw or heard of her again. When she was gone I cried for her, and could not eat till they gave me sugar and sweet dates. At Dár el Baïda I was sold in the market auction to a shareefa named Lálla Moïna, wife of the mountain scribe who taught the kádi's children.
My every thought was alert with naïve, speculative curiosity concerning the mystery of woman. Through Byron I learned about Moore. I procured the latter's Lalla Rookh, his odes of Anacreon.
It is an illustration of the warping effect of friendship upon the critical faculty that his opinion of Moore at this time was totally changed by subsequent intimacy. At a later date the two authors became warm friends and mutual admirers of each other's productions. In June, 1817, "Lalla Rookh" was just from the press, and Irving writes to Brevoort: "Moore's new poem is just out.
On descending from the vehicle, and looking in at the hut door, we perceived lying in his shirt-sleeves on a couch composed of grass-tree tops covered with blankets and a rug made of opossum skins, the illustrious Meliboeus himself, with a short black pipe in his mouth, and a handsome edition of "Lalla Rookh" in his hand.
We left Rome this morning, after troubles of various kinds, and a dispute in the first place with Lalla, our female servant, and her mother. . . . Mother and daughter exploded into a livid rage, and cursed us plentifully, wishing that we might never come to our journey's end, and that we might all break our necks or die of apoplexy, the most awful curse that an Italian knows how to invoke upon his enemies, because it precludes the possibility of extreme unction.
Even in the productions of Mr. Moore, the sweetest lyric poet of this or perhaps any age, this national peculiarity is not infrequently perceptible; and we were compelled, in our review of his Lalla Rookh, a subject which justified the introduction of much Eastern splendour and elaboration, to point out the excessive finery, the incessant sparkle and efflorescence by which the attention of the reader was fatigued, and his senses overcome.
But I presently found that he knew very little of any particular poet, and had a general notion of poetry as the use of artificial language to express unreal sentiments: he instanced "The Giaour," "Lalla Rookh," "The Pleasures of Hope," and "Ruin seize thee, ruthless King;" adding, "and plenty more." On my observing that he probably preferred a larger, simpler style, he emphatically assented.
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