The Politicization of the Harp through Moore’s Irish Melodies

Abstract

Abstract This chapter examines the richly varied representation of the harp within Thomas Moore’s drawing-room songs, the Irish Melodies, focusing, in particular, on the instrument’s increasing politicization throughout the cycle. Moore was one of the most famous Irishmen of his day and through his celebrated cycle of songs, he propagated the harp music of Ireland to a new and much larger audience and increased interest in the ancient art of harping as well as adding to the instrument’s already-established symbolic significance. By the time of Moore, the harp had become deeply politicized through the symbolism of political groups such as the Volunteers and the United Irishmen; both movements recognized music in general, and the harp in particular, as important conduits for their ideology. The impact of these groups is examined along with the contribution of figures such as the philosopher Jean-Jacques Rousseau and the writer and harpist Sydney Owenson. By elevating the harp to the status of a living entity, Moore imbued it with eloquence, potency, and magical qualities, thereby setting it apart from other cultural tropes. The harp embodies Ireland itself, acting as a touchstone for tradition at a pivotal point in history when the ancient art of harping was dying out. Moore continuously celebrates this extraordinary legacy by linking harps, harpers, and harp music in a chronicle of extinction and rebirth. Thus, his songs are multi-layered and complex in their recognition of the harp’s rich symbolism—musical, cultural, and political.