George Moore (1852-1933)

Life
[George Augustus Moore; prob. Anglo-Norman descent; gaelicised as Ó Mórdha]; b. 24 Feb. 1852, Moore Hall [built 1795; motto - fortis cadere cedere non potest], Carnacun [Ballyglass], nr. Claremorris, Co. Mayo, eldest son of George Henry Moore (d.1870; q.v.), and member of a family that turned Catholic during the Penal Days; grandson of George Moore, briefly President of the Republic of Ireland during the French invasion of 1798 and gt-grandson of George Moore of Ashbrook, the builder of Moore Hall, who made a fortune in Alicante where he owned ships and took the oath of allegiance to George III; held 12,330 acres of land in freehold lease; the novelist was ed. Oscott College, nr. Birmingham, and sent away for special tuition; moves to London when his father regained a seat at Westminster; attends drawing and painting classes; inherits 12,500 acres at age of 18, with anticipated rents of £5,000; leaves for Paris to paint, 1873; attends École des Beaux Arts, then Académie Julian; turns to writing, studying Balzac; excited by Gautier’s eroticism and stylistic virtuosity; among the first to appreciate Verlaine, Rimbaud, and Laforgue, he meets Mallarmé and other Symbolist poets;
 
writes Martin Luther, verse play, with Bernard Lopez; meets Manet, Degas, Pissarro, Renoir, and other Impressionists, as well as Zola at Nouvelles Athenes café in Montmartre; moves to England, late 1879; issues Flowers of Passion (1878) and Pagan Poems (1881), verse collections; issues Modern Lover (1883), his first novel, to be followed by A Mummer’s Wife (1885), dealing with marriage, seduction, child-birth and child-death, separation, drunkenness, and lonely death of Kate Ede, issued by Vizetelly, Zola’s English publisher; issues Literature at Nurse (1885), pamphlet condemning three-vol. novels and circulating libraries; issues A Drama in Muslin (1886), published serially and banned by circulating libraries, leading Moore to threaten publication in French in future (The Times, 12 Aug. 1886), and later reissued by him as Muslin (1915), omitting chiefly the section on Cecelia’s lesbianism;
 
forms friendships with Olive Schreiner, Eleanor Marx, and Vernon Lee, all ‘independent’ women; makes annual visits to Moore Hall; maintains contacts with French writers and painters, writing on Impressionist painters; settles in Sussex; contrib. “Lettres sur l'Irlande” to Figaro (31 July; 7, 14, 21, 28 Aug.; 4 Sept. 1886), revised and published with additions in M. F. Rabbe, trans., Terre d’Irlande (1887), and finally issued as Parnell and His Island (1887), outraging nationalist opinion with its dismissive view of Ireland as a land of priests and philistines; issues Confessions of a Young Man (1888), in which he declares his relief at the death of father as giving him ‘the power to create myself’ and strikes the pose of an aesthete; issues Impressions and Opinions (1889); attempts to run a rabbit farm in Ireland; moves to London; issues A Mere Accident (1887) and Spring Days (1888), novels; issues Mike Fletcher (1889) and Vain Fortune (1891), both unsuccessful, and both featuring his cousin Edward Martyn as a model for characters;
 
takes rooms in the Temple [London]; writes articles on literature and art for a papers and magazines, incl. that on Antoine's production of Ghosts at the Théâtre libre in Paris, 1890; becomes a founding member of W. J. Grein’s Indepentent Theatre (1891-98); issues Modern Painting (1893); Stein produces his play The Strike at Arlingford (Independent Theatre, 1893), which did not succeed; embarks on an affair with the novelist Pearl Craigie [pseud. “John Oliver Hobbes”], with whom he shares enthusiasm for Wagner, 1893 onwards; issues Esther Waters (1894) and establishes his reputation as a Zolaesque novelist; is introduced to the ideals of Irish Literary Revival by Martyn, 1894; issues Celibates (1895), a short stories collection;
 
writes preface for Martyn’s The Heather Field (1898); issues Evelyn Innes (1898), in which the title character, a Wagnerian singer and a Catholic - thought to be a malicious portrait of Craigie - is seduced by Sir Owen Asher and later by the poet Ulick Dean, based on Yeats, before coming under the influence of Monsignor Mostyn, a priest who persuades her to enter a convent; meets Maud Burke (later Lady Cunard), with whom he has an affair occasioning the belief that he may have been Nancy’s Cunard’s mother; forms friendships with Henry Tonks and Wilson Steer, Arthur Symons, Sir William Eden; introduced to W. B. Yeats by Martyn in 1897; leaves England for Ireland in reaction to English jingoism during the Boer War (‘no whispering … but a resolute voice, saying, “Go back to Ireland”’, acc. Hail and Farewell); settles at 4 [var. 3, Smith’s Buildings], Upper Ely Place (Dublin), 1900;
 
assists Martyn with The Tale of a Town, later rewritten as The Bending of the Bough (1900), dealing with events and characters associated with the Irish Parliamentary Party - a play in which Kirwan may be identified with Standish O’Grady while holding ideas similar to those of George Russell (as noted by Yeats); collaborates with Yeats in writing Diarmuid and Grania in 1900, from Lady Gregory’s translation of the Irish myth, to be produced by F[rank] R. Benson’s Shakespearean Company, along with Hyde’s Casadh an tSugain, Oct. 1901); wrote at first for The Leader but parted with it when its editor D. P. Moran attacked both the plays, concluding with ‘The Thoughtlessness of the Critic’ (19 Nov. 1901); contributes ‘Literature and the Irish Language’ to Ideals in Ireland (ed. Lady Gregory, 1901), giving it as his view that ‘the language of English fiction has … run stagnant’; issues Sister Teresa (1901);
 
keeps Yeats out of the theatre during unsatisfactory rehearsals of The Countess Cathleen with the English company [Benson], 1902; writes the stories of The Untilled Field (1903), conceived as ‘a landmark in Anglo-Irish literature’ by himself and offered as models for Irish-language writers; contribs. “The Wedding Gown”, “Almsgiving”, and “The Clerk’s Quest” to New Ireland Review (ed. Fr. Tom Finlay) - to be translated as “An Gúna Phósta”; “An Déirc”, and “Tóir Mhic Uí Dhíomasaigh” [by Tadhg Ó Donnchadha]; forced to discontinued publication of the stories due to increasing their anti-clericism; the whole translated by Tadhg Ó Donnchadha and Pádraig Ó Súilleabháin as An-tÚr-Ghort (1902) and published by the Gaelic League with a parallel text;
 
splits finally with Yeats over authorship of Where There is Nothing (1902) - written in a fortnight ‘to keep George Moore from stealing the plot’, acc. Yeats; declares himself a Protestant in The Irish Times, 1903; his ‘Moods and Memories’ a sect. of Memoirs of My Dead Life (1908), appears in Dana, 1-6 (1904); wrote letter to The Irish Times on “Mr. Synge’s New Play” [citing ‘barbarous idiom’ and ‘great literary achievement’], 27 Feb. 1904; also contribs. his preface to Confessions of a Young Man to Dana (No.7); delivers swingeing lecture on ‘The Meaning of Manet for Ireland’, Royal Hibernian Academy [RHA], 8 Dec. 1904; refuses to shake hands with Yeats on meeting him at Arthur Symons House, 1904; appointed High Sherriff of Mayo in 1905; issues The Lake (1905), concerning Fr. Gogarty’s dissatisfaction with the unspiritual attitudes of his fellow-clergy and his eventual acknowledgement of the truth of Rose Leicester’s [rev. to Nora Glynn in 1921 Edn.] liberal and humanist position, communicated to him in letters from abroad after her dismissal from his parish school;
 
leaves Dublin, March 1911, and settles at 121 Ebury Street (Chelsea), London, 1911; issues Ave (1911), Salve (1912), and Vale (1914), volumes of autobiography issued together as Hail and Farewell (1925), which supplies caricatures of literary contemporaries in Dublin in the vein of high comedy, causing Moore to say: ‘One half of Dublin is afraid it will be in the book, and the other his afraid that it won’t’; records much agonising about his own role in the revival and the failings of the Catholic Church in Ireland; Moore travels to Jerusalem, 1913; publishes part of Vale in the English Review (Jan. & Feb. 1914), incl. allegations that Lady Gregory had been a religious proselytiser [“souper”] in early days, and an insolent account of Yeats; issues The Brook Kerith (1916), imagining that Jesus did not die, but live on in a pre-Raphaelite Palestine [W.J. McCormack]; writes a tirade against Ireland when asked to supply Joyce with a Civil List commendation, Aug. 1917; issues A Story-teller’s Holiday (1918) for Irish Folklore Soc. and incl. “Marban”, narrating the Celtic abbot’s acquiescence in the principal of romantic love and based on a misreading of the poem by Mael Isu Ó Brolchan (“The Priest recovereth his Psalmbook”); issues Avowals (1919), conversational memoirs;
 
issues Heloïse and Abélard (1921), a novel on the famous medieval theme; issues In Single Strictness (1922), five stories, and Conversations in Ebury Street (1924), another memoir; Moore Hall is burnt down by Republicans, Feb. 1923; receives compensation of £7,000 from the Free State Govt.; edits Pure Poetry (1924); persuades Nancy Cunard to turn before him naked, acc. her memoir; becomes a fnd. member of Irish Academy of Letters and Medals (MIAL), 1926; trans. novel by Long[in]us as The Pastoral Loves of Daphnis and Chloe (1930); issues Aphrodite in Aulis (1930); becomes ill with uraemia; d. 21 Jan. 1933, at 121 Ebury St., Pimlico; a tribute is written by “AE” at the request of Col. Maurice Moore and is spoken at the funeral by R. I. Best; his ashes buried on Castle Island in Lough Carra, across the lake from Moore Hall; A Communication to my Friends (1933), an autobiographical volume, appears posthumously; the Ebury Edition of his works published by Heinemann in 20 vols. (1937); his papers are held in the National Library of Ireland; a George Moore Symposium was conducted under the auspices of the Princess Grace Irish Library (Monaco), and directed by Mary Pierce, over 3rd-5th Oct. 2014. ODNB PI JMC IF NCBE DIW DIB DIH DIL OCEL ODQ SUTH FDA G20 OCIL
[For information on the Joyce Connection - see under Notes - as infra and Commentary - as infra. ]

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George Moore by J. B. Yeats Photo-port. c.1888

View album of George Moore, see in this frame or as attached.

[ There is a George Moore Association - online; accessed 10.08.2020. ]

Works
197 copies of works by George Moore at Internet Archive - online
18 copies of works by George Moore at Gutenberg Project - online.

Poetry
  • Flowers of Passion (1878);
  • Pagan Poems (1881) [undated in DIL, sole source];
  • ed. Pure Poetry: An Anthology (1924; US Edn. 1925).
Drama
  • Worldliness [1874]; with Lopez, Martin Luther (1879);
  • The Strike at Arlingford (London: Walter Scott Ltd. 1893);
  • The Bending of the Bough, pref. by George Moore (London: T. Fisher Unwin/NY: Herbert S. Stone & Co 1900), xx, 153pp. [being E. Martyn’s Tale of the Town rewritten by Moore], and Do. [rep. edn.; Irish Drama Ser., Vol. 3.] (Chicago: De Paul UP 1969), 87pp.;
  • The Apostle (1911; rewritten, 1923, and rev. as The Passing of the Essenes, 1930);
  • Esther Waters (1913) [as a play];
  • Elizabeth Cooper: A Comedy in Three Acts (Dublin: Maunsel 1913), later rewritten as The Coming of Gabrielle: A Comedy (1920);
  • The Making of an Immortal, A Play in One Act (1927) [1st US edn. NY 1928, 1240 signed copies];
  • Diarmuid and Grania, with W. B. Yeats (produced 1901; published 1951).
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Fiction (novels)
  • A Modern Lover (London: Tinsley Bros. 1883), banned in England, and later rewritten as Lewis Seymour and Some Women, 1917);
  • A Mummer’s Wife (London: Vizetelly & Co. 1885; Heinemann 1933);
  • A Drama in Muslin (London: Vizetelly & Co. 1887), rewritten as Muslin, 1915; Do. [another edn.] (Gerrards Cross: Colin Smythe 1981), and Do. [another edn.], as Drama in Muslin, introduced by James Plunkett [Appletree Classic Irish Novels] (Belfast: Appletree Press 1992);
  • A Mere Accident (London: Vizetelly 1887) [later abbrev. as “John Norton” for Celibates, 1895];
  • Spring Days (London: Vizetelly 1888) [Gil. A13];
  • Mike Fletcher (London: Ward & Downey 1889) [Gil. A14a];
  • Vain Fortune (1891; London: Ward & Downey 1895);
  • Esther Waters (London: Walter Scott 1894) [Booker Prize, 1894]; Do. (NY: Everyman’s Library 1936), and Do., ed. David Skilton [World’s Classics] (OUP q.d.), 424pp.; Do. [another edn.] ed. Stephen Regan [Oxford World’s Classics ] (OUP 2012), 384pp.
  • Evelyn Innes (NY: D. Appleton 1898);
  • Sister Teresa (London: T. Fisher Unwin 1901), author’s port.; and Do., ‘Colonial edn.’, viii+236pp.;
  • The Lake (London: William Heinemann 1905; NY: D. Appleton 1906) [ded. Édouard Dujardin], and Do., with an afterword by Richard Allen Cave (Gerrards Cross: Colin Smythe 1980) [infra];
  • The Brook Kerith (London: T. Werner Laurie; NY: Macmillan 1916); Do. as A Syrian Story [‘heavily revised with a new preface’] (1921) [ltd. edn. 500]; Do. (London: Heinemann 1933); Do. (NY: Macmillan 1956);
  • Fragments from Héloïse and Abélard [priv. printed] (NY 1921) [ltd. edn. 1,500; var. 250 (Sotheby’s], Vol. ii, 3-23pp., and Do. (London: Macmillan 1936);
  • The Pastoral Loves of Daphnis and Chloe (1924) [ltd. edn. 1280], and Do. [Ebury Edn] (London: Heinemann 1936);
  • Ulick and Soracha (1926) [ltd. edn. 1250];
  • Aphroditis in Aulis (1930) [ltd. edn. 1825], and Do. (London: Heinemann 1931).
Find numerous copies of Moore’s works at Internet Archive - online; accessed 31.03.2019]
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Short fiction
  • Celibates: Three Tales [Colonial Edn.] (London: Walter Scott 1895), 559pp. [printed by T. & A. Constable in Edinburgh], and Do. [rev.] (Leipzig: Tauchnitz 1895), 336pp. [“Mildred Lawson”; “John Norton”; “Agnes Lahens”];*
  • Prelozil Jos. Bartos, trans., Mildred Lawsonová jiné povídky (Anglická knihovna 1899), 387pp. [stories from The Celibates” and The Untilled Field];
    • <
  • In Single Strictness (London: Heinemann 1922), vii. 311pp. [ltd. edn. 1030], and Do. reiss. as Celibate Lives (London: Heinemann; NY: Boni & Liveright 1927), ix, 200pp., and Do. (Leipzig: Tauchnitz 1927), 278pp. [copyright edn.] [“Wilfrid Holmes”; “Priscilla and Emily Lofft”; “Albert Nobbs”; “Henrietta Marr”; “Sarah Gwynn”];
  • An tÚr Ghort (Dublin: Conradh na Gaelige 1902), in English as The Untilled Field (1903) - as infra.
  • The Untilled Field (London: T. Fisher Unwin 1903) (viii), 420pp. [see details]; Do. (NY/Philadelphia J. B. Lippincott & Co. 1903); rep. edn., [Gill’s Irish Classics] (Dublin: Gill & Macmillan 1990), 238pp; Do., with an introduction by T.R. Henn (Gerrards Cross: Colin Smythe 1976), xxv, 348pp. [see details], and Do. [another edn.], foreword by Robert Welch (Gerrards Cross: Colin Smythe 2000), 225pp. - and see also story synposes under Notes, infra;
  • A Story-Teller’s Holiday (1918) [limited to 1000 signed copies; incl. ‘Ulick and Soracha’, &c.].

See also David B. Eakin & Helmut E. Gerber, In Minor Keys: The Uncollected Short Stories of George Moore [1882-1927] (Syracuse UP 1985), 229pp.
 

*“Mildred Lawson based in part on “An Art Student” (in Today, Spring 1895); “John Norton” (rev. & abridged from “A Mere Accident”] Note also adaptation as Simon Behussa, The Singular Life of Alfred Nobbs [q.d.].

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Non-fiction (prose)
  • Literature at Nurse, or Circulating Morals (1885) [pamph.];
  • Parnell and His Island [publ. first in French as Terre d’Irlande, 1886] (London: Swan Sonnenschein, Lowrey & Co. 1887; Ebury Edn. 1937); and Do. [rep. edn.], intro. Carla King (Dublin UCD Press 2004), 160pp.; ‘Sir Hugh Lane’s Pictures: Mr. George Moore’s Story of their Origin’, in Observer Journal, 13 Dec. 1904, p.10.
  • Confessions of a Young Man (London: Swan Sonnenschein, Lowry & Co. 1888);
  • Impressions and Opinions (London: David Nutt; NY: Scribner 1891) [incl. ‘Our Dramatists and Their Literature’, Fortnightly Review, 1 Nov. 1899 - revised; listed item 975 in Arnott, English Theatrical Literature, 1970];
  • Modern Painting (1893);
  • Reminiscences of the Impressionist Painters (1906) [pamphlet];
  • Memoirs of My Dead Life (1906), and Do. (1921) [ltd. edn. 1000];
  • Hail and Fairwell, 3 vols. - viz., Ave (1st edn. 1911) [details], Salve (1st edn. 1912), and Vale (1st edn. 1914); as Hail and Farewell [comprising Ave, Salve, & Vale; 2 vols.] (London: Heinemann 1925); Do. [in 3 vols.] (NY 1927); Do., [Uniform Edn. 1933]; Do., 3 vols. (London: Heinemann 1947); Do. (Gerrards Cross: Colin Smythe 1976).
    A Communication to My Friends (London: Nonesuch 1933)
  • Avowals (1919), and Do. (London: Heinemann 1936);
  • Conversations in Ebury Street (1924) [limited to 1,030 signed copies];
Correspondence
  • John Eglinton, ed. and sel., Letters from George Moore to Eduard Dujardin 1886-1922 (NY 1929);
  • Elginton, intro., Letters of George Moore to John Eglinton (Bournemouth: Sydenham 1942);
  • Rupert Hart-Davies, ed., George Moore: Letters ot Lady Cunard 1895-1933 (London 1957) [208pp.]; also ‘Letters to Edmund Gosse, W. B. Yeats, R. I. Best, Nancy Cunard and Mary Hutchinson’ (Maryland thesis, 1958);
  • Helmut E. Gerber, ed., George Moore in Transition: Letters to T. Fisher Unwin and Lena Milman 1894-1910 (Detroit: Wayne State UP 1968);
  • Seamus Mac Donncha, ‘Letters [of] George Moore to his Brother, Col. Maurice Moore’ (NUI Galway thesis 1972-73);
  • Helmet E. Gerber, ed. [asst. by O. M. Brack], George Moore on Parnassus: Letters 1900-1933 [to secretaries, publishers, printers, agents, literati, friends, and acquaintances] (Delaware UP 1988), 896pp. [continuing].

See also Moore versus Harris: An intimate correspondence between George Moore and Frank Harris relating to the Brook Kerith, Heloise and Abelard, astonishing criticism of George Bernard Shaw, Moore's rejection of Oscar Wilde as an artist, important and amazing statements about other contemporary men of letters, disclosing the true valuation George Moore places on his own personality and books. Including facsimile reproductions of letters and auction records of some of the letters printed herein, also caricatures by Max Beerbohm and by the late Claude Lovat Fraser (Detroit [s.n.] 1921), 28pp. [available at Internet Archive - online].
Coll. Editions

The “Carra Edition”, 21 vols. (NY: Boni & Liveright 1922-24), with two more vols. (1925-26); Heinemann Uniform Edn. (1924-33), reissued as Ebury Library (1937).
Collected Works of George Moore [Printed for subscribers only (NY: Boni and Liveright 1922) - Contents: Vol. 1. Lewis Seymour and some women; Vol. 2. A mummer's wife; Vol. 3. Muslin; Vol. 4. Spring days; Vol. 5. Esther Waters; Vol. 6. Evelyn Innes; Vol. 7. Sister Teresa; Vol. 8. The untilled field & the lake; Vol. 9. Confessions of a young man: avowals; Vol. 10. Memoirs of my dead life; Vol. 11. Hail and farewell, Ave; Vol. 12. Hail and farewell, Salve; Vol. 13. Hail and farewell, Vale; Vol. 14. A story-teller's holiday; Vol. 15-16. Héloïse and Abélard; Vol. 17. The Brook Kerith; Vol. 18. In single strictness; Vol. 19. Modern painting; Vol. 20. Conversations in Ebury Street. (Details available at Internet Archive - online.]
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Bibliographical details
An t-úr-Ghort [being The Untilled Field in Irish] sgéaltha le Seórsa Ó Mórdha, aistrighthe ó’n Sacsbhéarla ag Pádraig Ó Súilleabhain, B.A. (Baile-an-atha-Cliath; Sealy Bryers & Walker [1902]. [See title page photo in Peter Costello, The Heart Grown Brutal: The Irish Revolution in Literature, Gill & Macmillan 1977, pl.8.]

The Untilled Field by George Moore (London: William Heinemann 1903; new edn. Oct. 1914; new imp. Jan 1915), Preface, v-xi; CONTENTS, In the Clay [1]; The Exile [32]; Home Sickness [50]; Some Parishioners [68]; Patchwork [86]; The Wedding Feast [102]; The Window [131]; A Letter to Rome[150]; A Play-House in the Waste [165]; Julia Cahill’s Curse [173]; The Wedding Gown [187]; The Clerk’s Quest [194]; Almsgiving [201]; So on He Fares [217]; The Wild Goose [?-316; End]. [For summaries, see Notes, infra.]

See full-text version in as attachments
  I. In the Clay VIII. The Wedding-Gown  
  II. Some Parishioners IX. The Clerk’s Quest  
  III. The Exile X. ”Alms-giving”  
  IV. Home Sickness XI. So On He Fares  
  V. A Letter To Rome XII. The Wild Goose  
  VI. Julia Cahill’s Curse XIII. The Way Back
  VII. A Playhouse in the Waste    
—or Go To Ricorso Library “Irish Classics” - via index .

The Lake (London: William Heinemann 1905; NY: D. Appleton 1906) [ded. Edouard Dujardin]; Do. [rep. edn.], with an afterword by Richard Allen Cave (Gerrards Cross: Colin Smythe 1980), 274pp. Contents: Epître dédicatoire (1905) [vii]; Preface to the New Edition of 1921 [ix]; The Lake [1]; Afterword [181]; Appendices [241]: A. Chapter IX of the first edition of 1905; B. Gogarty’s dinner party, from the second 1905 edition [257]; C. “King and Hermit” and “Monk and His Pet [Cat]” translated by Kuno Meyer [269].

Hail and Farewell (1911-13) - at Internet Archive
  • Ave (London: Heinemann 1911 - online;
  • Salve (London: Heinemann 1912), 397pp. - online;
  • Vale (London: Heinemann 1914), 365pp. - online.

Ave (London: Heinemann [NY: Appleton] 1911), 367pp. - and Do. rep. edition 1914; rev. & rep. 1919; rep. 1921, 1927; Uniform Edn. 1933; Ebury Edn. 1937; rep. 1947).

Selected Plays of George Moore and Edward Martyn, ed. by David B. Eaken & Michael Case [Irish Dramatic Selections] (Washington: Catholic UP 1996), 362pp., incls. Moore, ‘The Strike at Arlingford’; ‘The Bending of the Bough’; ‘The Coming of Gabrielle’; ‘The Passing of the Essenes’; Martyn, ‘The Heather Field’; ‘Maeve’; The Tale of the Town’; An Enchanted Sea’.

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Criticism

Monographs & Essays
    1916 - 1969
  • Susan Mitchell, George Moore (Dublin: Maunsel 1916) [available at Internet Archive - online].
  • John Freeman, A Portrait of George Moore in a Study of His Work (London: Werner Laurie 1922).
  • Geraint Goodwin, Conversations with George Moore [New Lib. Ser.] (London: Ernest Benn Ltd. 1929; NY: Knopf 1930), Do. (London: Jonathan Cape 1937), 249pp;
  • Humbert Wolfe, George Moore (London: Butterworth 1931) [ltd. edn. 250]; Do., rev. edn. ([London: Butterworth] 1933).
  • John Eglinton, ‘George Moore’, in Irish Literary Portraits (London: Macmillan 1935).
  • Charles Morgan, Epitaph on George Moore (London: Macmillan 1935).
  • Joseph M. Hone, Life of George Moore, with an account of his last years by his cook and housekeeper, Clara Warville (London: Gollancz 1936; NY: Macmillan 1936), 515pp. [incls. Desmond Shawe-Taylor, “The Achievement of George Moore”, pp.465-92; “Authorities and acknowledgments”, pp.9-12; “The Works of George Moore: A Short Bibliography”, pp.498-502].
  • J. H. Hone, The Moores of Moore Hall (London: Jonathan Cape 1939).
  • Elizabeth Bowen, ‘The Moores’, in New Statesman, 18 (1939), pp.758-60 [rep. in The Mulberry Tree: Writings of Elizabeth Bowen, ed. Hermione Lee (Dublin: Poolbeg 1978; London: Virago 1986)].
  • Malcolm Brown, George Moore: A Reconsideration (Seattle: Washington UP 1955).
  • Nancy Cunard, GM: Memories of George Moore (London: Hart-Davis 1956).
  • F. S. L. Lyons, ‘George Moore and Edward Martyn,’ Hermathena, XCVIII (Spring 1964), [q.p.].
  • Jean C. Noël, George Moore: L’Homme et l’oeuvre (Paris: M. Didier 1966), 707pp. [plates].
  • Seán McMahon, ‘“The Untilled Field”’, Éire-Ireland, 1, 4 (Winter 1966), pp.87-93.
  • Graham Owens, A Study of George Moore’s Revisions of his Novels and Short Stories (PhD Thesis: University of Leeds 1966).
  • Graham Owens, ed., George Moore’s Mind and Art (Edinburgh: Oliver Boyd 1968), 182pp. [see contents];
  • Jack Wayne Weaver, ‘sAn Exile Returned: Moore and Yeats in Ireland', Éire-Ireland, 3, 1 (Spring 1968), pp.40-47.
  • Meredith Cary, ‘Yeats and Moore: An Autobiographical Conflict', in Éire-Ireland, 4, 3 (Autumn 1969), pp.94-109.

    1970 - 1979
  • Eileen Kennedy, ‘sMoore’s Untilled Field and Joyce’s Dubliners', in Éire-Ireland, 5, 3 (Autumn 1970), pp.81-89.
  • John Cronin, ‘sGeorge Moore’s The Lake: A Possible Source', in Éire-Ireland, 6, 3 (Autumn 1971), pp.12-15.
  • Douglas A. Hughes, ed., The Man of Wax: Critical Essays on George Moore (NY UP 1971), 364pp. [see contents];
  • William Robert Rodgers, Irish Literary Portraits: W.B. Yeats, James Joyce, George Moore, George Bernard Shaw, Oliver St John Gogarty, F.R. Higgins, A.E. [broadcast conversations with those who knew them] (London: BBC 1972).
  • Janet Egleson Dunleavy, George Moore: The Artist’s Vision - The Storyteller’s Art (Lewisburg: Bucknell UP 1973).
  • Bonnie Kime Scott, ‘Joyce’s Schooling in the Field of George Moore’, in Éire-Ireland, 9, 4 (1974), pp.117-41.
  • Frederick W. Seinfelt, George Moore: Ireland’s Unconventional Realist (Phil: Dorrance & Co. 1975).
  • T. R. Henn, foreword to George Moore, The Untilled Field (Gerrards Cross: Colin Smythe 1976), [i]-xxv. [see extract]
  • Richard Allen Cave, “Afterword” to The Lake [1905] (Gerrards Cross: Colin Smythe 1980), pp.181-239 [see extract].
  • Richard Allen Cave, A Study of the Novels of George Moore (Gerrards Cross: Colin Smythe; NY: Barnes & Noble 1978).
  • Anthony Farrow, George Moore (Boston: Twayne 1978), 169pp.
  • Anito Gandolfo, ‘A Portrait of the Artist as Critic, Moore and the Background of ‘The Dead”’, in English Literature in Transition, 22 (West Virginia UP 1979), pp.239-250.

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    1980 - 1989
  • Ronald Schleifer, ‘George Moore’s Turning Mind: Digression and Autobiographical Art in Hail and Farewell’, in Schleifer, ed., The Genres of Irish Literary Revival (Oklahoma: Pilgrim; Dublin: Wolfhound 1980), pp.61-92.
  • John Cronin, ‘George Moore, A Drama in Muslin’, in The Anglo-Irish Novel: The Nineteenth Century [Vol. I] (Belfast: Appletree 1980), pp.115-34.
  • John Cronin, ‘George Moore: The Lake’, in The Anglo-Irish Novel 1900-1940 [Vol. 2] (Belfast: Appletree 1980), pp.30-46.
  • Alan Warner, ‘George Moore’, A Guide to Anglo-Irish Literature (Dublin: Gill & Macmillan 1981), pp.61-71.
  • Robert Welch, ed., The Way Back: George Moore’s “The Untilled Field” and “The Lake” (Dublin: Wolfhound; NJ: Barnes & Noble 1982), 140pp. [see contents];
  • Patrick A McCarthy, ‘The Moore-Joyce Nexus: An Irish Literary Comedy’, in Janet Egleson Dunleavy, ed., George Moore in Perspective (Gerrards Cross: Smythe 1983), pp.99-116.
  • Alexander G. Gould, ‘Paralysis and Exile in George Moore’s A Drama in Muslin’, Colby Library Quarterly, 20, 3 (Sept 1984), pp.152-63.
  • Anthony Cronin, ‘George Moore: The Self-Made Modern’, in Heritage Now: Irish Literature in the English Language (Dingle: Brandon 1982), pp.69-74.
  • Janet Egleson Dunleavy, ed., George Moore in Perspective (Gerrards Cross: Smythe 1983), 174pp. [see contents].
  • Richard Allen Cave, ‘George Moore and his Irish Novels’, in Augustine Martin, ed., The Genius of Irish Prose (Dublin & Cork: Mercier Press, 1985), pp.22-31.
  • John Montague, ‘George Moore: The Tyranny of Memory’, in The Figure in the Cave and Other Essays, ed. Antoinette Quinn (Dublin: Lilliput 1989), pp.86-97.

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    1990 - 2000
  • Jean Noel ‘George Moore’s Drama in Muslin’, in Jacqueline Genet, ed., The Big House in Ireland (Dingle: Brandon; NY: Barnes & Noble 1991), pp. 113-120.
  • Jane Roberts, ‘George Moore, A Wild Goose’s Portrait of His Country’, Irish University Review (Autumn/Winter 1992), pp.305-19.
  • Elizabeth McConnell, “‘Give me a Passion for God or Man ...’: A Study of George Moore’s Celibates Series, 1895-1927” (MA thesis, University College Galway/NUI 1992).
  • Robert Welch, ‘George Moore: “The Law of Change is the Law of Life”’, in Changing States: Transformations in Modern Irish Writing (London: Routledge 1993), pp.35-54.
  • Declan Kiberd, ‘George Moore agus an Ghaeilge’, in Idir Dhá Chultúr (Dublin: Coiscéim 1993), pp.129-30 [Irish language].
  • Elizabeth Grubgeld, George Moore and the Autogenous Self (Syracuse: Syracuse UP 1994), 304pp.
  • Julian Moynihan, ‘Spinsters Ball: George Moore and the Land Agitation’, in Anglo-Irish: The Literary Imagination in a Hyphenated Culture (Princeton: Princeton UP 1995), pp.144-61.
  • Tony Gray, A Peculiar Man: The Life of George Moore (London: Sinclair-Stevenson 1996), 352pp., [8 plates].
  • James H. Murphy, ‘Insouciant Rivals of Mrs Barton: Gender and Victorian Aspiration in George Moore and the Women Novelists of the Irish Monthly’, in Kelleher, Margaret, and Murphy, eds., Gender Perspectives in Nineteenth-Century Ireland: Public and Private Spheres (Dublin: Irish Academic Press 1997), pp.221-28.
  • Adrian Frazier, ‘Paris, Dublin: Looking at George Moore Looking at Manet’, New Hibernia Review, 1, 1 (Spring 1997), pp.19-30.
  • Adrian Frazier, George Moore: 1852-1933 (London: Yale UP 2000), 448pp.
  • Brendan Fleming, ‘French Spectacles in an Irish Case: From Lettres sur l’Irlande to Parnell and His Island’, in Aaron Kelly & Alan Gillis, eds., Critical Ireland: New Essays in Literature and Culture (Dublin: Four Courts Press 2001), pp.69-75.

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    2001 -
  • Brendan Fleming, ‘French Spectacles in an Irish Case: From Lettres sur l’Irlande to Parnell and His Island’, in Aaron Kelly & Alan Gillis, eds., Critical Ireland: New Essays in Literature and Culture (Dublin: Four Courts Press 2001), pp.69-75.
  • Patrick Ward, ‘Exile, Art and Alienation: George Moore’s Irish Writings’, in Exile, Emigration and Irish Writing (Dublin IAP 2002), pp.182-231
  • Declan Kiberd, ‘Feudalism Falling: A Drama in Muslin’, in Irish Classics (London: Granta 2000), pp.287-301.
  • Mary Pierse, ed., George Moore: Artistic Visions and Literary Worlds (Cambridge Scholars Press 2007), 246pp. [contribs. Lucy McDiarmid, Pádraigín Riggs, et al.]
  • Brendan Fleming, “Rethinking the Cultural Politics of George Moore” (PhD Diss. Oxford, 2002).

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Critical Essay Collections
  • Graham Owens, ed., George Moore’s Mind and Art (Edinburgh: Oliver Boyd 1968), 182pp. [see contents];
  • Douglas A. Hughes, ed., The Man of Wax: Critical Essays on George Moore (NY UP 1971), 364pp. [see contents];
  • Robert Welch, ed., The Way Back: George Moore’s “The Untilled Field” and “The Lake” (Dublin: Wolfhound; NJ: Barnes & Noble 1982), 140pp. [see contents];
See also General studies ....
  • Herbert Howarth, The Irish Writers 1880-1940 (London: Rockliff 1958; NY 1959);
  • Hugh Kenner, Flaubert, Joyce, and Beckett: The Stoic Comedians (Boston: Beacon 1962), 106pp.;
  • Georg Lukacs, The Meaning of Contemporary Realism (London: Merlin 1962);
  • Frank O’Connor, The Lonely Voice (London: Macmillan 1963);
  • George J Becker, Documents of Modern Literary Realism (Princeton: Princeton UP 1963);
  • Ian Watt, The Rise of the Novel (Harmondsworth: Penguin 1972);
  • C. P. Snow, The Realists (London: Macmillan 1978);
  • J. P. Stern, On Realism (London: Kegan & Paul 1973);
  • Gabriel Josipovici, The World and the Book: A Study of Modern Fiction (London: Macmillan 1979);
  • Dorothy Averill, The Irish Short Story from George Moore to Frank O’Connor (Washington: Catholic University of America 1982);
  • John Vernon, Money in Fiction: Literary Realism in the 19th and Early 20th Centuries (Ithaca: Cornell UP 1984);
  • James H. Murphy, Catholic Fiction and Social Reality in Ireland, 1873-1922 (Westport: Greenwood 1997), espec. Part I: ‘Upper Middle-Class Fiction 1873-1890’, pp.29-31;
  • Ruth Frehner, The Colonizers’ Daughters: Gender In The Anglo-Irish Big House Novel (Tubingen: Franacke 1999), 256pp.
Bibliographies
  • Iolo Aneurin Williams, George Moore: A Bibliography of his Works, with Prefatory letter by Moore (London: Leslie Chaundy 1921), 13pp.;
  • Helmut E[dwin] Gerber, ed., ‘George Moore: An Annotated Bibliography of Writings About Him’, in Literature in Transition, II, 1 & 2 (1951), pp.1-91 [2 pts.];
  • Edwin Gilcher, A Bibliography of George Moore (DeKalb: Northern Illinois UP 1970), and Supplement (1988) [reviewed by Thomas C. Ware, in Éire-Ireland, 6, 2 (Summer 1971), pp.182-85]
  • Richard Finneran, Anglo-Irish Literature (MLA 1974).

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Bibliographical details
Graham Owens, ed., George Moore’s Mind and Art (Edinburgh: Oliver Boyd 1968), 182pp. CONTENTS: incls. William Blissert, ‘George Moore and Literary Wagnerism’, pp.53-76; Herbert Howarth, ’Dublin 1899-1911: The Enthusiasms of a Prodigal’, cp.94; Graham Owens, ’The Melodic Line in Narrative’, pp.99-121; Brendan Kennelly, ’George Moore’s Lonely Voices’, pp.146-159.

Douglas A. Hughes, ed., The Man of Wax: Critical Essays on George Moore (NY UP 1971), 364pp. CONTENTS: F. Swinnerton, ‘George Moore’; J. Eglinton, ‘Recollections of George Moore’; W. B. Yeats, ‘Thoughts on George Moore’; A. Clarke, ‘A Visit with George Moore’; V. Woolf, ‘George Moore’; E. Starkie, ‘George Moore and French Naturalism’; W. C. Frierson, ‘George Moore Compromised with the Victorians’; P. Ure, ‘George Moore as Historian of Consciences’; G[raham] Hough, ‘George Moore and the Nineties’; G. Hicks, ‘The Miracle of Esther Waters’; B. Nicholas, ‘The Case of Esther Waters’; W. F. Blissett, ‘George Moore and Literary Wagnerism’; C. Burkhart, ‘The Short Stories of George Moore’; W. Shumaker, ‘The Autobiographer as Artist: George Moore’s Hail and Farewell’;J. C. Noël, ‘The Brook Kerith: Heretical Romance’; Bonny Dobrée, ‘George Moore’s Final Works’; M. Brown, ‘The Craftsman as Critic’; Selected Bibliography [355-58].

Robert Welch, The Way Back: George Moore’s “The Untilled Field” and “The Lake” (Dublin: Wolfhound 1982), 140pp. CONTENTS: Declan Kiberd, ‘George Moore’s Gaelic Lawn Party’; Robert Welch, ‘Moore’s Way Back: The Untilled Field and The Lake’; Richard Allen Cave, ‘Turgenev and Moore, A Sportsman’s Sketches and The Untilled Field’; Tomás Ó Murchadha, ‘A Naked Gael Screaming “Brian Boru”’; John Cronin, ‘George Moore’s The Lake: A Possible Source’; Clive Hart, ‘The Continuous Melody of The Lake’; Max E. Cordonnier, ‘Siegfried in Ireland, A Study of Moore’s The Lake’’; Joseph Stephen O’Leary, ‘Father Bovary’ [105-18].

Janet Egleson Dunleavy, ed., George Moore in Perspective (Gerrards Cross: Smythe 1983), 174pp. CONTENTS: Jane Egleson Dunleavy, ‘George Moore: A Reappraisal’; Richard J. Byrne, ‘Moore Hall, 1952: An Introduction to George Moore on the 100th Anniversary of his Birth’; Jane Crisler, ‘George Moore’s Paris’; James Liddy, ‘George Moore’s Dublin’; Robert Stephen Becker, ‘Private Moore, Public Moore: The Evidence of the Letters’; Gareth W. Dunleavy, ‘George Moore’s Medievalism: A Modern Triptych’; Patrick A. McCarthy, ‘The Moore-Joyce Nexus: An Irish Literary Comedy' [99-116]; Melvin J. Friedman, ‘George Moore and Samuel Beckett: Cross Currents and Correspondences’; Edwin Gilcher, ‘Collecting Moore’.

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