The Irish poetry of the romantic age is dominated by its best-known figure, Thomas Moore. While Moore claimed that his songs were responsible for saving the national literary and musical culture, there were, of course, many other writers producing poetry in differing modes, languages, and registers. This chapter begins and ends with Moore’s considerable achievements, but it also deals with three issues that preoccupied Irish poetic and cultural debate in the period and after: translation, authenticity, and quality. The debate gains its first focus in the work of Charlotte Brooke, but continues through Moore’s contact with music in the collections of Edward Bunting. This period was also one of considerable historical moment, and the chapter also addresses poetry written out of the contact with French revolutionary ideas, the United Irishmen, 1798, and Union. Among poets considered are also William Drennan, Mary Tighe, James Orr, and Thomas Dermody, writing in English and Ulster Scots as well as in contact with the Irish-language tradition, mock-epic, and the oriental.