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career,

was

success might have a cause not dependent on his own exertions. He now quitted business, and devoted himself to the profession of an author, and his first publication was his “ Fables for the Female Sex," printed in 1744.

In this work he received some assistance from Henry Brooke, author of Gustavus Vasa, &c. with whom he had probably become acquainted in Ireland.

The production obtained the public favour, which doubtless encouraged him to proceed in his literary

Mr. (afterwards Lord) Lyttleton now in place, and was distinguished both as a man of letters, and a patron of them. Moore, therefore, in 1748, appeared as the defender of his political character, and his panegyrist, in a poem entitled " The Trial of Selim the Persian for high Crimes and Misdemeanors,” in which, under the mask of Irony, he pays him many elegant compliments. In the same year, his first dramatic piece, the comedy of “ The Foundling," was brought upon the stage, aided by the acting of Garrick and the other principal performers of the time.

Its success was not considerable, and it retains no

place among the stock plays, though it is by no means devoid of entertainment. In 1740 he ventured to marry a beautiful and accomplished young lady, daughter to Mr. Hamilton, table-decker to the princesses. Their reciprocal attachment had already been made known to the public in a sprightly song, written by Francklin, the translator of Sophocles and Lucian, in the person of Miss Hamilton, and ingeniously quibbling upon the equivoque of Moore and More. If he had any hopes of political promotion from the patronage of Lyttleton, they were disappointed; but the kindness of Garrick, which he had secured by an ode to him on his marriage, and a tale entitled “Envy and Fortune,” addressed to Mrs. Garrick, was of substantial advantage to him. When, in 1754, he produced his comedy of “Gil Blas,” it was forcibly carried through nine nights at Drury-lane, notwithstanding a violent opposition. That inimitable actor's powers were likewise vigorously exerted in favour of his friend's tragedy of “The Gamester,” brought on the stage in 1755. This is the dramatic performance by which Moore is most advantageously known, for it is still occasionally represented, and always with striking pathetic effect.

The story being in common life is thereby rendered, if less dignified, more impressive; and the horror inspired by the catastrophe, though painful to the feelings, is salutary in enforcing the moral lesson intended by the writer.

In 1758 he made a commencement of this periodical work, which is among the few that have obtained success since those of Addison and Steele. For this it was chiefly indebted to the contributions of the wits of the age, several of them men of rank and quality, who were induced through regard to Moore, and the influence of his patron, Lord Lyttleton, to become his coadjutors. The names of Lord Chesterfield, Horace Walpole, Richard Owen Cambridge, Sir David Dalrymple, and Soame Jenyns, are sufficient to attest the editor's respectable character and connexions, and to ensure the value of many of the papers. Those by Moore himself are lively and sensible, but the perpetual use of his favourite irony may be thought by some to give them an unpleasing sameness. While yet engaged in this publication, he was carried off by an inflammation of the lungs in February, 1757, at the age of forty-five. He had published, in 1756, a collection of his works by subscription in a quarto volume, dedicated to the Duke of Newcastle, and delicately complimenting his brother, Mr. Pelham ; but it was his fate to live on the

verge

of that indigence which is generally the lot of those who trust to their pen alone for subsistence. He was, however, a man greatly beloved in society for the amiable simplicity of his manners, and the vivacity of his conversation. He left a widow and an only son, whose education and settling in the world were generously undertaken by Lord Chesterfield. As a poet, Edward Moore is chiefly remembered by his Fables, which are sprightly, ingenious, and instructive. They happily enforce some of the points of lesser morality which are peculiarly appropriate to the female sex. Their descriptive merit is not inconsiderable, though as poems they are surpassed by the additional pieces of his friend Brooke.

His other verses are chiefly effusions of the light familiar kind;

of which last several were set to music, and became popular in their day.

Among the contributors of rank to the World we have to name, as the most celebrated for brilliant accomplishments, purity of taste and elegance, Philip DORMER STANHOPE, Earl of

and songs,

Chesterfield. His Lordship continued his correspondence occasionally, and wrote in all twenty-three papers.

This Nobleman was the eldest son of Philip third Earl of Chesterfield, by Lady Eliz. Saville, daughter of George Marquis of Halifax. He was born at London in September, 1694. Losing his mother early, and being neglected by his father, he was educated under the care of his grandmother, Lady Halifax, a lady adequate to such a task. His elementary instruction was received at home from able masters, who had the advantage of finding in their pupil those admirable qualities, an ardent desire of excelling in whatever he undertook, and a resolution to persevere in the track he approved, notwithstanding all difficulties. As an example of the latter disposition, it is related, that Lord Galway, discerning in him, when very young, a strong inclination for political distinction, and at the same time a great love of pleasure with a propensity to laziness, gave him a friendly lesson on the absolute necessity of rising early in order to become a man of business; and that the admonition produced such an effect, that he immediately adopted the practice recommended, and adhered to it during his whole life. He

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