The current renaissance in Moore studies – to which this volume unmistakably belongs – seems to me to involve nothing less than an astonishing recovery of Thomas Moore’s reputation in the long aftermath of a no less astonishing neglect. Moore the historian, Moore the satirist, Moore the lyric and romantic poet, Moore the novelist, Moore the biographer and of course Moore the musician are now the focus of a reappraisal that could scarcely have been envisaged even twenty years ago, notwithstanding a continuous (if subdued) stream of scholarship that only recently has come into its own. Moore is back in town. 2