ing" (1893) is his great book. Mr. Moore himself says that "Esther Waters" (1894) is his only book that he can read with admiration and content; and those particularly interested in the Renaissance will hold out for "Evelyn Innes" or "The Lake" (1905). To me "A Drama in Muslin" (1886) is the best story of Mr. Moore in his earlier realistic manner and "The Lake" in his later manner, a manner that is now wistful and now mellow, as in "A Drama in Muslin" his manner is uniformly as hard as winter sunshine.
Mr. Moore is, as I said at the outset, a hard-working amateur in "A Modern Lover"; three years later, in "A Drama in Muslin," he writes with authority and insight; as he does, too, in "Parnell and his Island" (1887), though here with scant sympathy; but it is not until "Evelyn Innes" that he becomes deeply concerned with beauty of subject or beauty of background, or, except at haphazard, possessed of any mastery of style. "Evelyn Innes" is very well written,—in spots,—but "The Lake" is of a wholeness of good tissue that is attainable only through an art that has labored long and earnestly to achieve beauty. Had Mr. Moore never recaptured his ancestral tradition, had he remained the writer that Paris and London had made him, he had never written so finely as he writes in "The Lake." An infancy and boyhood in Ireland; a youth in London; the ten years from twenty-one to thirty-one in Paris; eleven years of hard writing in London, years comparatively lean after those of luxury that anteceded them, brought Mr. Moore at forty-two to a knowledge of what was beautiful and significant in his
