tion of all manner of men in all their changing moods. A personality as intense as was that of Meredith, as is that of Mr. Hardy, Mr. Moore has not always one attitude, as have both Welshman and Saxon of the Saxons, however completely they write from the standpoint of each character they create. By the side of the characters of Meredith is always Meredith, high-hearted and confident, and by the side of the characters of Mr. Hardy is always Mr. Hardy, lamenting what woe fate has brought them, but by the side of Ned Carmady or Oliver Gogarty, the Mummer or Montgomery, Sir Owen Asher or Ulick, there is seldom Mr. Moore. He almost never plays chorus to his characters, either through a commenting character or by direct interposition in the manner of Thackeray, though, of course, the characters again and again express his views. So in "The Wild Goose," in which Ned Carmady represents one year's outlook of Mr. Moore, there is only one choric observation.
When one considers how alien to Ireland were all the interests of Mr. Moore for years, his rendering of the Irish characters of "The Untilled Field" and "The Lake" is realized to be all the more remarkable. It is not easy to pick up threads that one has dropped in a period of one's life that is dead and done, but Mr. Moore has picked them up more than once. From time to time he had, of course, made visits home, writing "A Mummer's Wife" in Galway in 1884 and finding there then, no doubt, the material for "A Drama in Muslin" and the sketches of "Parnell and his Island"; but these visits were none of them of long duration until his "return" in 1901.
