In the following essay, Sharafuddin argues that Moore set Lalla Rookh in the exotic locale of the Orient to conceal the fact that the work is a political allegory, espousing the poet's intense support of political independence for Ireland.

In the following essay, Molloy studies the considerable appeal the heroic themes and emotionally-charged language in Moore's Irish Melodies had for many nineteenth-century Irish-Australian poets.

In the following essay, Davis examines the varied responses The Irish Melodies has elicited among both Irish and English audiences in light of its position as the product of a colonized nation.

In the following essay, Brown offers a detailed examination of Moore's Eastern sources for Lalla Rookh, The Loves of the Angels, and The Epicurean, arguing that although Moore's use of Eastern materials was primarily ornamental, his details and references are based in fact and the result of extensive studies of oriental source materials.

In the following essay, DeFord considers the quality of Moore's satirical poetry and examines the targets of his attacks.

In the following essay, Bate contends that Moore's poem “Fragment of a Mythological Hymn to Love,” published in the 1806 collection Epistles, Odes, and Other Poems, served as an important influence on Keats's “Ode to Psyche.”

In the following essay, Wright maintains that English author Thomas Love Peacock's character of Larynx, who appears in Peacock's satirical novel Nightmare Abbey (1818), constitutes a parody of Moore, poking fun at the poet's ingratiating personality, his fondness for pseudonyms, and his weakness for alcohol.

In the following essay, St. Clair alleges that Moore, while writing his massive two-volume biography of Lord Byron, purposefully altered some of Byron's private correspondence with him in order to enhance his own reputation as a member of Byron's respected circle of associates.