Part I

. (Hodges & Figgis), 1912.

PREFACE TO A READERS GUIDE TO IRISH FICTION (1910).

The present GUIDE TO IRISH FICTION is intended by the Author as the first part of a work in which it is hoped to furnish notes on books of all kinds dealing with Irish subjects.

Before explaining the scope of this section of the work it may be well, in order to forestall wrong impressions, to say at once what it is _not_. In the first place, then, it does not lay claim to be a bibliography. By this I do not mean that I am content to be inaccurate or haphazard, but simply that I do not aim at exhaustive completeness. In the second place, it is not a catalogue of books _by Irish writers_. Lastly, it does not deal exclusively with books printed or published in Ireland.

The Author’s aim has been to get together and to print in a convenient form a classified list of novels, tales, &c. (whether by Irish or by foreign writers), bearing on Ireland—that is, depicting some phase of Irish life or some episode of Irish history—and to append to each title a short descriptive note.

Two things here call for some explanation, viz., the list of titles and the descriptive notes.

As to the former, I have, with some trifling exceptions, included everything that I have been able to discover, provided it came within the scope of the work, as indicated above. It has been thought well to do this, because a vast amount of fiction that, from an artistic or from any other point of view, is defective in itself may yet be valuable as a storehouse of suggestion, fact, and fancy for later and better writers. For was it not worthless old tales and scraps of half-mythical history that held the germs of “Hamlet” and “Macbeth,” “King Lear” and “Othello”? There remains, indeed a large class of novels and tales that, so far as one may judge, can serve no useful purpose. It may be thought that with such books the best course to pursue is to allow them to pass into merited oblivion. But it must be remembered that booksellers and publishers will naturally continue to push such books because it is their business to do so, and the public will continue to buy them because it has ordinarily no other means of knowing their contents than the publisher’s announcement, the title, or—the cover. A “Guide” would, therefore, surely shirk an important portion of its task if it excluded worthless books, and thereby failed to put readers on their guard.

Next, as regards the descriptive notes: there are three points which I should wish to make clear—the source of the information contained in these notes; their scope, that is, the nature and extent of the information with which they purpose to furnish the reader; and, thirdly, the tone aimed at throughout the work.

Information about the books has been obtained in various ways. A considerable number have been read by the Author. Indeed, there are few writers of note included in the Guide about whose works he cannot speak from first-hand knowledge. Of the books that remain the great majority have been specially read for this work by friends, and a full account of the same written by them according to a formula drawn up for the purpose. In all cases, except in a very few—and these have been indicated—the wording of the final note is mine. In the few cases referred to, printed reviews or notices of the books have been drawn upon, the source of the note being mentioned in each instance.

A word about the _scope_ of the notes. My chief object in undertaking this work was to help the student of things Irish. This object determined the character of the notes. A few years ago there appeared in France an excellent work, entitled _Romans à lire et Romans à proscrire_ (Cambrai: Masson), by the Abbé Bethléem, which has since passed through many editions. In this work novels are classed _au point de vue moral_. In the rare cases in which the books included in my list contain matter objectionable from a moral or a religious standpoint, I have not hesitated to remark the fact in the note. This was, however, but a small part of the task. It will be clear likewise, from what has been said that my object is not to attempt _literary_ criticisms of Irish fiction. Such literary appreciations are to be found in other works already published, accounts of several of which will be found in the Appendix. True, a certain amount of criticism is often needed lest the account given of a book should be misleading, but it has been avoided wherever it did not seem to further the main purpose. This purpose, let me repeat, is, above all, to give _information_ to intending readers. I have, therefore, endeavoured, as well as might be, in the small space available, simply to give a clear idea of the contents of the books. In a good many cases I have further attempted an appreciation, or rather a characterization, of the book in question, but this was not always possible nor, indeed, necessary.

Of the tone adopted in these notes little need be said. I did not consider that it would further my purpose to aim at that literary flavour and epigrammatic turn of phrase affected, and with reason, by reviewers in many periodicals. Moreover, to do so would have been inconsistent with brevity. Then, I must disclaim all intention of saying “clever” things at the expense of any book, however low it may deserve to be rated. I have endeavoured to avoid, too, the technicalities of criticism. Lastly, I trust the little work has not been rendered suspect to any class of Irishmen by the undue intrusion of religious or political bias.

Apology might well be made here for the defects of the work. They will, I fear, be but too evident. But it should be borne in mind that, with the exception of Mr. Baker’s works, to which I cannot sufficiently acknowledge my indebtedness, I have had no guide upon the way, since no writer, so far as I am aware, has hitherto dealt in this way with Irish fiction as a whole.

It may be asked, for whom especially this book is meant? In the first place, I hope it may be useful to the general reader who wishes to study Ireland. Next, it may help in the important and not easy task of selection those who have to buy books for any purpose, such as the giving of presents, the conferring of prizes in school or out of it, the stocking of shops and libraries—in other words, booksellers, library committees, heads of schools and colleges, librarians, pastors, and many others. Again, it may be of some service to lecturers and to popular entertainers. I have some hopes, too, that coming writers of Irish fiction, from seeing what has been done and what has not yet been done, may get from it some suggestions for future work. It may even help in a small way towards the realization of a great work not yet attempted, the writing of a history of Anglo-Irish literature.

ACKNOWLEDGMENTS

(_Reader’s Guide, etc._)

My best thanks are due, in the first place, to the authorities of Clongowes Wood College, without whose constant aid and encouragement my task would have been impossible.

Next, I wish to thank those publishers who courteously sent me copies of a number of their books, viz., the Irish publishers, Messrs. Gill; Duffy; Sealy, Bryers and Walker; Maunsel; and Blackie: and the London publishers, Messrs. Macmillan; Nelson; Methuen; Dent; Chatto and Windus; Burns and Oates; Sands; Blackwood; Nutt; Elliot Stock; and Smith, Elder. I should like to give greater prominence to the publications of these firms. The plan of this book prevents me from doing so but I may say that this little work, which will, I hope, help to make known their books, could not have appeared but for their generosity.

To those who, as already mentioned, have aided in the work by reading books, and supplying information about them, my sincerest thanks are hereby tendered. I should be glad, if it were possible, to express here my obligations to each individually, but I must, for obvious reasons, limit myself to this general acknowledgment. There are, however, some whom, on account of special obligations on my part, I shall have the pleasant task of thanking by name. To Mr. E. A. Baker, M.A., D.LITT., Librarian of the Woolwich Public Library, I am indebted both for kind permission to quote from his books and for constant advice and suggestion given with the greatest cordiality. To Dr. Conor Maguire, of Claremorris, I owe most of my notes of books on Irish Folk-lore, and to Mr. Edmund Downey, the well-known author and publisher, notes on Lever’s books, together with many useful suggestions. Mr. Francis J. Bigger, M.R.I.A., of Belfast, the always ready and enthusiastic helper of every Irish enterprise, has aided me with valuable advice and no less valuable encouragement. Mr. J. P. Whelan, Librarian of the Kevin Street Public Library, Dublin, has rendered me every assistance in his power. Dr. J. S. Crone of London, Editor of the _Irish Book Lover_, has on several occasions kindly opened to me the pages of his periodical. Lastly, I must acknowledge here, with sincere thanks, much help of various kinds given me by many members of my own Order, and notably, Rev. M. Russell, S.J.; Rev. M. Corbett, S.J.; Rev. P. J. Connolly, S.J., and the Rev. J. F. X. O’Brien, S.J.—the last of whom very kindly undertook the tedious labour of revising my proofs.[2]

[_Additional (Present Work)._]

My obligations to my various kind helpers in the present work are even greater than in the case of the former book, and I am at a loss for an adequate expression of them. My thanks have, of course, been privately conveyed, but there are some collaborators who have had so large a share in the making of this book that I cannot but place on record its indebtedness towards them.

For valuable work in the British Museum Library extending over a considerable length of time I have to thank Mrs. Pearde Beaufort, Miss C. J. Hamilton, and Miss G. B. Ryan. For much tedious labour in the rearrangement of the matter contained in the earlier book, I am indebted to the Misses Chenevix Trench (who also supplied many notes), and to Mrs. O’Neill, of Dundalk. To Dr. Crone, whose readiness to help when any Irish literary enterprise is afoot is inexhaustible, I owe many corrections, suggestions, and additions, and the laborious task of revising my MS. and correcting my proofs. Mr. Edmund Downey, of Waterford, has kindly read part of the proofs. Many books have been read for me and notes supplied by Lady Gilbert; Mrs. Concannon, of Galway; Mrs. L. M. Stacpoole Kenny, of Limerick; Miss J. F. Walsh, of Derry; Miss R. Young, of Galgorm Castle, Co. Antrim; Mrs. Macken, of the National University; Fr. MacDwyer, of Killybegs; and, perhaps most of all, Fr. J. Rabbitte, S.J., of St. Ignatius College, Galway. Mr. D. J. O’Donoghue, Librarian of the National University, has given me many suggestions, as well as some useful notes on fiction in Irish periodicals. Mr. Frank Macdonagh also has been very helpful with notes and corrections. I owe likewise a debt of gratitude to the authorities and the staff of the National Library for their courtesy and helpfulness. Nor must I omit a word of thanks to the publishers (including all the Irish publishers, and Messrs. Flynn, of Boston), who, as on a former occasion, made my task much lighter by supplying me with review copies of their books.

Lastly to all the others, and they are many, who have in various ways given me help my very sincere thanks are hereby tendered.

For the matter contained in my notes on the Authors, I am much indebted to Mr. D. J. O’Donoghue’s _Poets of Ireland_, and to the pages of the IRISH BOOK LOVER.

[2] Through an unfortunate oversight the earlier work contained no mention of much kind help rendered me by several students of St. Patrick’s College, Maynooth, notably by Rev. J. Henaghan and Rev. J. Pinkman, at present priests on the mission. I now gratefully acknowledge this help.

SIGNS, ABBREVIATIONS, ETC.

b. = born. c. (before dates) = approximately. d. = died, daughter. ed. = edition, edited, editor, educated. q.v. = which may be referred to. n.d. = no date printed in the book referred to. _sqq._ = and following (years or pages). =C.B.N.= = Catholic Book Notes. =D.R.= = The Dublin Review. =I.B.L.= = The Irish Book Lover. =I.E.R.= = The Irish Ecclesiastical Record. =I.M.= = The Irish Monthly. =N.I.R.= = The New Ireland Review. =T. Lit. Suppl.= = The Times Literary Supplement. =C.T.S.I.= = Catholic Truth Society of Ireland. =S.P.C.K.= = Society for the Promotion of Christian Knowledge. =R.T.S.= = Religious Tract Society. =Allibone= = Allibone’s _Critical Dictionary of English Literature_. =Baker= = Baker’s Guides (_see_ Appendix A) a 2 indicates that the new ed. has been used. =Krans= = Krans’s _Irish Life in Irish fiction_. (Appendix A). =Read= = _The Cabinet of Irish Literature._ (Appendix A). =I. Lit.= = _Irish Literature_ in twelve Vols. (Appendix A). =N.Y.= = New York.

The _place of publication_ has been mentioned in the case of books not published in Dublin or in London. A list of the Irish publishers will be found in Appendix B.

The _price_ of most new novels on first publication is 6_s._, not net. When new fiction is issued at a lower price than that this price is usually net. I have not thought it useful to insert the prices of books no longer to be had otherwise than from second-hand booksellers: second-hand prices are constantly varying. The publication _Book-Prices Current_ might be usefully consulted in some reference library. The price I have given is usually the latest price mentioned in the Publishers’ catalogue.

_Dates_ in square brackets, thus [1829], indicate dates of first publication. Besides these I have mentioned the date of the latest edition I am aware of.

The names of an Author placed within square brackets is an indication that the name in question did not appear on the title page of the book to which it is now affixed, the book having been published anonymously, or under a pen-name.

Inverted commas are used thus “M. E. Francis” to indicate a _pen-name_. The writers’ works are entered under the name most familiar to the public, under Katharine Tynan and Rosa Mulholland rather than under Mrs. Hinkson and Lady Gilbert. However, in the case of old books I have not thought it useful to place the book under the literary disguise. I have entered them under the real name, with a cross-reference. I fear that perfect uniformity and consistency has not been secured, but hope that the book’s usefulness—utility, and not scientific precision, has been the aim—is not thus impaired.

The _publishers_ mentioned are, so far as I have succeeded in discovering them, the publishers not of the first, but of the latest edition.

Books published under a pseudonym which obviously could not be a real name, I have entered as anonymous, except where I have come to know the real name, in which case it will be found under the real name, with a cross reference from the pseudonym.

When the note depends mainly or exclusively on a single already published authority or source, this authority or source is indicated at the end of the note.

IRISH FICTION UNDER NAMES OF AUTHORS, ARRANGED ALPHABETICALLY.

=ANONYMOUS.=

⸺ ADVENTURER, THE.

In Mitchel’s _Life of Hugh O’Neill_ there is a note in reference to his wooing of Sir Henry Bagenal’s sister, stating that a novel was published founded on this story, and entitled _The Adventurer_. (Query in I.B.L., vol. iv., p. 161.) This

## book does not seem to be in the British Museum Library, but

I have found in an old catalogue a book with the title “The Adventurers; or, Scenes in Ireland in the Reign of Elizabeth, 1825.” This is probably the book referred to by Mitchel.

⸺ ADVENTURES OF FELIX AND ROSARITO, THE; or, The Triumph of Love and Friendship. Pp. 58. (Title-p. missing). 1802.

The hero is one Felix Dillon. Though the story begins and ends in Dublin, its scene is chiefly France, and afterwards Spain.

⸺ ADVENTURES OF MR. MOSES FINEGAN, AN IRISH PERVERT. (N.Y.: _Benziger_). $0.30.

⸺ ALBION AND IERNE: A Political Romance; by “An Officer.” Pp. 192. (_Marcus Ward_). 1886.

An allegory in which the personages stand for countries and institutions. Ierne is of course Ireland, Albion is England. Then there are minor characters, such as Dash, Dupe, Plan, Sacrifice. Under this form the relations between the two countries and the possible results of separation are exhibited. Ends with the happy marriage of Albion with Kathleen, Ierne’s sister, and the burial of the hereditary feud.

⸺ ANNA REILLY, THE IRISH GIRL. (N.Y.: _Pratt_). $1.50.

⸺ BALLYBLUNDER: an Irish story. Pp. 291. (LONDON: _Parker_). 1860.

Scene: the N.E. coast of Ireland, with its rugged rocks and lofty cliffs. The plot concerns the kindly family of “Ballyblunder,” on whose estate sheep are constantly being killed. A priest instigates to the crime, and encourages the perpetrators. Mr. Kindly’s son goes out to track the sheep-killers; a friend of his is murdered, and Brady, the murderer, falls off a cliff and is killed. The Kindlys eventually sell the estate. Some social scenes are interspersed. Written in a spirit of religious intolerance.

⸺ BALLYRONAN.

“A wonderfully interesting story, written in an easy, rattling style, with cleverly conceived plot, abundant humour, and no lack of incident. There is an unmistakably Irish atmosphere about it, and it bespeaks an intimate personal knowledge of the people, not only in regard to their speech, but also as to many of their characteristic ways and customs.”—(_Press Notices_).

⸺ BLACK MONDAY INSURRECTION. Pp. 135-328.

Bound up with “The Puritan,” _q.v._ The story opens at Bandon with the rescue of two of the principal characters who had been kidnapped by Rapparees. Then follows the taking of Bandon by McCarthy More. The battles of the Boyne and Aughrim, the sieges of Athlone and Limerick are also dealt with, the two latter being described in detail. Standpoint: Williamite. The Irish are “barbarians,” “brave and savage bacchanalians;” the Rapparees are “infernal banditti,” &c., but on the whole the tone is not violent. Through it all runs an interesting and curious story of the private fortunes of several persons. See _The Last of the O’Mahonys_.

⸺ BOB NORBERRY; or, Sketches from the Note Book of an Irish Reporter; ed. by “Captain Prout.” Pp. 360. Eighteen good illustr. by Henry MacManus, A.R.H.A., and others. Dedicated to C. Bianconi. (_Duffy_). 1844.

The Author (Pref.) tells us that he has written the book to vindicate the character of his countrymen, and to show Irish affairs to Englishmen in their true light. Accordingly we have, not so much a novel, as a series of crowded canvases depicting nearly every phase of life in Ireland from a period before the Union to the date of this book. It begins with the marriage of the hero’s grandparents in Dublin at the end of the 18th century (1780). We have a glimpse of penal laws at work and of agrarian disturbances, but the Author is especially at pains all through the book to set forth how the law works in Ireland. There are swindling attorneys, bribed and perjured jurors, packed benches, partisan judges, endless proceedings in Chancery, and so on. Young Bob is sent first to a private school, then to Stonyhurst (an account is given of the Jesuits). He is first intended for the priesthood and goes to Louvain, but finally becomes a reporter on a Dublin paper. Here we have a picture of low journalism. Bob shows up several frauds of self-styled philanthropists, describes trial at Assizes of Lord Strangeways’ evicted tenants. This brings in much about the agrarian question. The book ends with his elopement to the Continent and marriage with Lady Mary Belmullet. There are innumerable minor episodes and pictures. There is no literary refinement in the style, and the colours of the picture are laid on thickly.

⸺ BRIDGET SULLIVAN; or, The Cup without a Handle. A Tale. 1854.

⸺ BY THE BROWN BOG; by “Owen Roe and Honor Urse.” Pp. 296. (_Longmans_). Illustr. by silhouettes. 1913.

An imitation of the Somerville and Ross stories, but with their leading features exaggerated. For Flurry we have Fossy, for Slipper Tinsy Conroy. Instead of by an R.M. the stories are told by a young D.I. There is the same background of comic and filthy peasants, the same general Irish slovenliness and happy-go-luckiness, and universal drunkenness. The brogue is made the most of. Moonlighters of a very sinister kind appear once or twice. The incidents are such as hunting, racing, the local horseshow, country petty sessions, &c. They are very well told, with a jaunty style, and in a vein of broad comedy. There is a chapter purporting to relate experiences in “The Black North,” but for the most part the scene is West Cork. Some of these sketches appeared in the BADMINTON MAGAZINE.

⸺ BYRNES OF GLENGOULAH, THE. Pp. 362. (U.S.A.)

“The incidents related in this tale really and truly occurred, though not in the consecutive order in which they are placed” ... viz., “the trial and execution, in February, 1846, at the town of Mullingar, Co. Westmeath, of Bryan Seery for the murder of Sir Francis Hopkins, Bart.” “The characters introduced are all real.” (Pref.) A sad and touching story of the heartless treatment of the Irish peasantry by certain of the landlords, picturing the deep religious faith of the former, and their patient resignation in their sufferings. The plot, which is vigorously worked out, centres in the execution of Bryan Seery for the attempted murder of Sir Francis Hopkins, a crime of which he was innocent.

⸺ CAVERN IN THE WICKLOW MOUNTAINS, THE; or, Fate of the O’Brien Family. Two Vols. 12mo. (Dublin, _printed for the Author_). 1821.

Told in letters between “Augustus Tranton” and “Sir Edward Elbe.” Said on title-p. to be “a tale founded on facts.” Seems to be a re-issue in a slightly altered form of THE UNITED IRISHMAN, _q.v._ The story is related to “Aug. Tranton” by a gentleman (O’Brien) who had been a U.I., and as a result had lost all, and was then in hiding in a cave near the Dargle river.

⸺ CHARACTERISTIC SKETCHES OF IRELAND AND THE IRISH. 16mo. Pp. 288. (HALIFAX). 1849.

A reprint of an earlier publication by Philip Dixon Hardy, the fourth edition of which appeared in 1842. Contents: I. By Carleton:—“The Horse Stealers,” “Owen McCarthy,” “Squire Warnock,” “The Abduction,” “Sir Turlough.” II. By Lover:—“A Legend of Clanmacnoise” (_sic_), “Ballads and Ballad Singers,” “Paddy Mullowney’s Travels in France.” III. By Mrs. Hall:—“The Irish Agent,” “Philip Garraty.”

⸺ CHARLES MOWBRAY; or, Duelling, a tale founded on fact. Pp. 82. (CORK). 1847.

By the author of “The Widow O’Leary.” Dr. B., whose parents live at Y. (probably Youghal), has a practice in England. He is challenged to fight a duel by Sir J. C. He is killed, and his parents both die from the shock. A dull little book, with much moralising.

⸺ COLONEL ORMSBY; or, the genuine history of an Irish nobleman in the French service. Two Vols. (DUBLIN). 1781.

In form of letters between the Colonel and Lady Beaumont, couched in the most amatory terms. There is no reference to Ireland and little to the history of the gallant Colonel: the correspondence is all about the private love affairs of the writers.

⸺ DUNSANY: an Irish Story. Two Vols. 12mo. Pp. 278 + 308. (LONDON.) 1818.

The principal character and a few of the others, _e.g._, Mrs. Shady O’Blarney (!), happen to be born in Ireland, and there is talk of the usual tumbled-down castle somewhere in Ireland, but at this the Irishism of the story stops. The scene is England, the persons wholly English in sympathy and education. A sentimental and insipid story dealing chiefly with the marrying off of impecunious sons and daughters. Interesting as giving a picture, seen from an English standpoint, of the Irish society of the day. No politics.

⸺ EARLY GAELIC ERIN; or, Old Gaelic Stories of People and Places. (DUBLIN). 1901.

⸺ EDMOND OF LATERAGH: a novel founded on facts. Two vols. (DUBLIN). 1806.

Two lovers kept apart by cruel circumstances and villainous plots meet at last and are happy. This thread serves to connect many minor plots, which bring us from Ireland (near Killarney) to England and then the continent and back again, and introduce a great variety of personages. These latter are nearly all of the Anglo-Irish Protestant gentry—Wharton, Wandesford, Peyton, Ulverton, Blackwood, Elton—no Irish name is mentioned. Great profusion of incident, but not very interestingly told. No historical or social background. Relates rather a large number of instances of misconduct. Speaks of “paraphernalia of Popish doctrine,” yet one of the best characters is Father Issidore (_sic_).

⸺ EDMUND O’HARA: an Irish Tale. Pp. 358. (DUBLIN: _Curry_). 1828.

By the author of “Ellmer Castle.” A controversial story of an anti-Catholic kind. The hero goes to Spain to be educated for the priesthood. He meets Hamilton, who indoctrinates him with Protestantism. They are wrecked off the Irish coast. A priest refuses them the money to take them home to the North of Ireland, while the Protestants generously give it. He falls in love with Miss Williams, who insists on a year’s probation so that he may be sufficiently “adorned with Christian graces.” But he dies, and she marries Hamilton.

⸺ ELLMER CASTLE. Pp. 320. (DUBLIN: _Curry_). 1827.

By the author of “Edmund O’Hara,” _q.v._ Henry Ellmer travels, and comes back converted to convert his family. He causes only anger and disturbance. They turn him out, and he departs with a blessing. But after some adventures returns to his father’s deathbed. Contains much controversial matter.

⸺ EMERALD GEMS. (BOSTON). 1879.

“A Chaplet of Irish Fireside Tales, Historic, Domestic, and Legendary. Compiled from approved sources.”

⸺ FATHER BUTLER; or, Sketches of Irish Manners. 16mo. (PHILADELPHIA). 1834.

I am not sure whether this is the American edition of a little Souper tract by Carleton (_q.v._) published by Curry in 1829, in which Father Butler finally is convinced of the falsity of his religion and becomes a Protestant.

⸺ FATHER JOHN; or, Cromwell in Ireland (1649); by “S. E. A.” Pp. 477. (_Whittaker_, later _Gill_). Still reprinted. [1842].

A well told story, with a love interest and a mystery admirably sustained to the end. The plot largely turns on the misfortunes and sufferings brought about by Father John’s fidelity to the secrecy of the confessional, a fidelity which the author strongly condemns. The hero is a young Irish Protestant, who before the close of the story has converted to his faith such of the Catholic personages of the tale as do not rank as villains. The moral of the story is the iniquity and falseness of the Catholic religion, for which the author throughout displays a very genuine horror. The author’s political sympathies are Ormondist, but Owen Roe O’Neill is favourably described. The massacres of Drogheda and Wexford are described. It is “by the Author of ‘The Luddite’s Sister,’ ‘Richard of York,’” &c.

⸺ FAVOURITE CHILD, THE; or, Mary Ann O’Halloran, an Irish tale: by a retired priest. (DUBLIN). 1851.

⸺ FOLK-LORE AND LEGENDS (Ireland); edited by “C. J. T.” 16mo. Pp. 192. (_Gibbings_). 1889.

A volume of a good popular series which includes vols. on Oriental, English, German, American, and other folk-lores. Thirty-three tales chosen from published collections, chiefly Croker’s. A good selection. Humorous and extravagant element not too prominent. Some in dialect. Some titles:—“Fuin” (_sic_), “MacCumhal and the Salmon of Knowledge,” “Flory Cantillon’s Funeral,” “Saint Brandon” (_sic_), and “Donagha,” “Larry Hayes,” and “The Enchanted Man,” “The Brewery of Egg-shells,” “The Field of Boliauns,” &c.

⸺ FORD FAMILY IN IRELAND, THE. Three Vols. (LONDON: _Newby_). 1845.

Ford, an English merchant comes to the west coast of Ireland to pursue a business speculation in grain, and brings his family. He is imprisoned owing to a misunderstanding, and his daughter marries an officer, Macalbert, who becomes chief of the pikemen, and eventually dies on the scaffold. Period: ’98, soon after the landing of French at Killala. Point of view: very sympathetic towards Ireland and anti-Orange. No religious bias. A pathetic and a dramatic story.

⸺ FRANK O’MEARA; or, The Artist of Collingwood; by “T. M.” Pp. 320. (DUBLIN: _McGlashan & Gill_). 1876.

Frank, of the tenant class, falls in love with the landlord’s daughter, Fanny. Their love is discovered, and Frank finds it best to emigrate to Australia. Here he has various adventures—bush-rangers, gold-diggings, and so on. A comic element is afforded by the sayings and doings of his man, Jerry Doolin. Meanwhile F’s father and his friend, another widower, contend for the favours of the widow Daly—rather broad comedy—while Fanny, without losing her place in society, is running a bookshop while waiting for Frank. All is well in the end. A very pleasant story in every respect. “Collingwood” is a village near Melbourne. Part of the story takes place at Bray.

⸺ GERALD AND AUGUSTA; or, The Irish Aristocracy. Pp. 320. (_Cameron & Ferguson_). 6_d._ paper.

How Gerald, orphan son of Lord Clangore, is brought up in London to be anti-Irish, while his sister is brought up by a Mr. Knightly (a stay-at-home Irish squire absorbed in Ireland) to love Ireland. How chance brings Gerald to Ireland where he is quite won over to her cause. This chance is a wreck off the W. coast of Ireland resulting in Gerald’s falling temporarily into the hands of “Captain Rock.” Many amusing adventures and situations follow. The author’s sympathies are all for Ireland, but they are not blind or unreasoned sympathies. Very ably written both in style and construction.

⸺ HAMPER OF HUMOUR, A; by Liam. Pp. 176. (_Gill_). 2_s._ 1913.

A series of character and _genre_ studies—the shy man, the drunken driver who wakes to find himself in a hearse and thinks it is his own funeral, the returned American, the magistrates who do a good turn for their friends. In this last and in several other sketches (notably in the two concerned with Cork railways) there is a note of satire. There is plenty of genuine humour to justify the title. The Cork accent is cleverly hit off; practically all the sketches are more or less Corkonian.

⸺ HARRY O’BRIEN: a Tale for Boys. (N.Y.: _Benziger_. 0.25 net. _Burns and Lambert_). 1859.

By the author of “Thomas Martin.” A little pious and moral Catholic story. The scene is laid in London.

⸺ HERMITE EN IRLANDE, L’. Two Vols. 12mo. (PARIS: _Pillet Ainé_). 1826.

“Ou observations sur les mœurs et usages des irlandais au commencement du xix siècle.” Interspersed with stories, occupying a large part of the book. Titles:—“Le Cunnemara,” “Le naufrage,” “Mogue le Boiteux,” “Le rebelle,” “La sorcière de Scollough’s Gap,” “Les bonnes gens,” “Les cluricaunes,” “Bill le Protestant,” “Turncoat Watt ou l’apostat,” “Le double vengeance,” “Le retour de l’absent,” etc. These are obviously taken for the most part from Whitty’s book, _q.v._

⸺ HONOR O’MORE’S THREE HOMES. (N.Y.: _Benziger_). 0.25 net.

⸺ HUGH BRYAN: The Autobiography of an Irish Rebel. (BELFAST). Pp. 478. 1866.

Scene: Valley of Blackwater, Lismore. Time: end of eighteenth century (1798) and beginning of nineteenth century. May be described as a Souper story. Purports to be a moving picture of the last struggle of the Gael against the English Planter, ending in failure, and resulting, in the hero’s case, in conversion to Protestantism. He finally marries an escaped nun whom he meets in an English town while engaged in slum-work.

⸺ IRISH BUBBLE AND SQUEAK, THE. Pp. 160. (LONDON: _Clarke & Beeton_). 1854.

“A selection [thirty-five in all] of the most popular Irish tales, anecdotes, wit, and humour, illustrative of the manners and customs of the Irish peasantry.” There is many a hearty laugh in these stories, especially for ourselves, for in them the Irishman always comes out on top. Some of the titles are:—“Serving a writ in Ireland,” “Anecdotes of Curran,” “Irish Bulls,” “Paddy Doyle’s Trip to Cork,” “Lending a Congregation,” &c. &c.

⸺ IRISH COQUETTE, THE: a novel. Vol. I. 1844.

No more published. Scene: an old Castle in the South of Ireland.

⸺ IRISH EXCURSION, THE; or, I Fear to Tell You. Four Vols. Pp. 1205. (DUBLIN: _Lane_). 1801.

How Mrs. M’Gralahan and family came to London and what they heard and saw and did there. The Irish are represented as dishonest, extravagant, and many other things, but all this and more is to be remedied by the great panacea—the Union—and the last of the four volumes closes with, “Bless the Beloved Monarch of the Union.” Full of political discussions and of lectures delivered to Ireland. What the Author “fears to tell” us is not clear.

⸺ IRISH FAIRY TALES. Illustrated by Geoffry Strahan. (_Gibbings_). 2_s._ 6_d._

A neat little volume, prettily illustrated, suitable as a present for children.

⸺ IRISH FIRESIDE STORIES, TALES AND LEGENDS. Pp. 400. (N. Y.: _Kenedy_). 63 cents. net. Illustr. 1910.

“It brings out very well the true Irish wit, for which that race is famous.”—(_Publ._).

⸺ IRISH GIRL, THE: a Religious Tale. Pp. 102. (LONDON: _Walker_). One engraving by Parris. 1814. Second ed. same year.

By the Author of “Coelebs Married.” The girl begins life in a mud hut in the filthiest and most disgusting conditions. She is found in a barn and taken in by kindly English people, and after a little management becomes a Protestant at the age of fourteen, and indeed quite a theologian in her way. A visit to a church in Cork and to Ardman, near Youghal, where the dust of St. Dillon is sold by the bushel for miracle purposes, completes her conversion. The book is full of the vilest slanders against the Catholic Church. The Irish are represented as murderers and savages driven on by their priests.

⸺ IRISH GUARDIAN, THE: a Pathetic Story; by “A Lady.” Two Vols. (DUBLIN). 1776.

Told in a series of letters to Miss Julia Nesbitt, Dublin, from Sophia Nesbitt, of “Brandon Castle,” in Co. Antrim, and from Sabina Bruce, of “Edenvale,” Co. Antrim. The two Miss Nesbitts fall in love, and the course of their love affairs forms the chief subject of the letters. These are dated 1771. There is some vague description of Irish places, but feminine matters, chiefly, absorb the writers. To be found in Marsh’s Library, Dublin.

⸺ IRISH LOVE TALES. (N. Y.: _Pratt_). $1.50.

⸺ IRISHMAN AT HOME, THE. Pp. 302. (_McGlashan & Orr_). Five Woodcuts by Geo. Measom. 1849.

“Characteristic Sketches of the Irish Peasantry.” In part reprinted from the DUBLIN PENNY JOURNAL. “The Whiteboy” (1828) Cahill, a _scullogue_, hanged an innocent man, for which the Whiteboys cut out his tongue. “The Rockite” is a man who took the oath of the secret society when drunk and had to go through with the business. “The Wrestler,” description of the Bog of Allen and of a wake. “The False Step,” a pathetic story of an Irish girl’s ruin, her broken heart, and her mother’s death. “The Fatal Meeting” (1397). How a Palmer meets Raymond de Perrilleaux at St. Patrick’s Purgatory in Lough Derg, and what came of the meeting. They nearly all depict wild times. There is no religious bias, an absence of humour, and much description of scenery.

⸺ IRISHMAN, THE; or, The Favourite of Fortune. Two Vols. (LONDON). 1772.

⸺ IRISHMEN, THE: a Military-Political Novel; by “A Native Officer.” Two Vols. 12mo. (LONDON: _Newman_). 1810.

Title-page:—“Wherein the idiom of each character is carefully preserved and the utmost precaution constantly taken to render the ebullitionary phrases peculiar to the sons of Erin inoffensive as well as entertaining.” Told in letters between Major O’Grady and Major-General O’Lara, Miss Harriet O’Grady, and Lady Arabella Fitzosborne. The letters are full of italics and of the trifling gossip of fashionable or domestic life. The personages all live in England. Letters from Patrick O’Rourke to Taddy McLenna—heavy humour. Seem to contain no politics save a passing reference to the war then (1808) in progress.

⸺ IRISH PEARL, THE: a Tale of the Time of Queen Anne. Pp. 98. (DUBLIN: _Oldham_). 1850.

Reprinted from the CHRISTIAN LADIES’ MAGAZINE for 1847 and published for charitable purposes. A religious tale of a strongly Evangelical and anti-Roman character, in which Father Eustace, the hermit of Gougane Barra, relates to Lady Glengeary his own conversion to Protestantism and that of her mother. Lady G., in her turn, relates her conversion to Lady Ormond, who tells the story to Queen Anne.

⸺ IRISH PLEASANTRY AND FUN. Pp. 380. 9¼ + 7 in. (_Gill_). 3_s._ 6_d._ 16 illustr. by J. F. O’Hea. [1892] 1910.

Still reprinted without change, and is as popular as ever. Seventy-two stories, fourteen anonymous, the bulk of the remainder by Carleton, Lover, and Lever. Maginn, Maxwell, and M. J. Barry are represented by two each; Irwin, Lefanu, Lynam, Coyne, Sullivan by one each. Practically all the tales are of the Lover (_Handy Andy_, _q.v._) type, genuinely funny in their way, but broadly comic, farcical, and full of brogue. The illustrations are some of them clever, but inartistic and of the most pronouncedly Stage-Irish kind.

⸺ IRISH PRIEST, THE; or, What for Ireland? Pp. 171. 16mo. (_Longman, Brown, Green, &c._). 1847.

“This sees the light with the earnest hope that it may conciliate prejudice, disarm opposition....” The Author speaks of his “intensest sympathy for a despoiled, neglected, ill-used people.” Supposed to be a MS. given to a doctor in the W. of Ireland by a doctor on his deathbed. Sentimental and emotional in style. A rambling series of incidents in priest’s life, with much moralising of a non-Catholic tone. Incidents of land agitation given, without explanation of their causes. Suggestions to make Ireland an ideal place, &c.

⸺ IRISH WIDOW, THE; or, A Picture from life of Erin and her Children; by author of “Poor Paddy’s Cabin.” Pp. 205. 12mo. (LONDON: _Wertheim and Macintosh_). 1855.

Like the Author’s former work, this deals with the religious question in Ireland from a Protestant (Evangelical) standpoint. But in this case the personages are drawn from the middle classes, the causes of their enslavement to Rome being set forth. It is full of religious controversy. See ch. xvi. “The Fruits of an Irish Church Missions sermon,” and ch. xviii., “Priest and Landlords.”

⸺ JIM EAGAN. (N.Y.: _Pratt_). $1.00.

⸺ KATE KAVANAGH. (N.Y.: _Benziger_). 0.45 net.

⸺ LAST DROP OF ’68, THE: a Picture of Real Life with Imaginary Characters; by “An Irish Bramwellian.” Pp. 127. (_Hodges Figgis_). 1_s._ 1885.

Begins in Dublin, the teller being a Dublin lawyer, but nearly all the incidents take place out of Ireland. All the personages are more or less disreputable, including the teller, but especially the hero, Helgate, who is a thorough blackguard. The story consists chiefly in the doings of this latter, a drunken, swindling wretch, who deceives foolish people and lives on them. The writer does not seem to adopt any definite moral attitude. ’68 refers to the _vintage_ of that year.

⸺ LAST OF THE O’MAHONYS, THE; and other historical tales of the English settlers in Munster. Three Vols. (_Bentley_). 1843.

Contents:—1. “The Title-story.” 2. “The Physician’s Daughter.” 3. “The Apprentice.” 4. “Emma Cavendish.” 5. “The Puritan.” 6. “Black Monday.” Scene: Co. Cork and chiefly around Bandon. All deal with troublous times of 17th century as seen from the settlers’ point of view, with which the Author is in sympathy. The Irish are painted in no flattering colours. Useful historical notes are appended. Longer notices of Nos. 5 and 6 are given as specimens of the whole.

⸺ LEGENDS AND FAIRY TALES OF IRELAND. With 50 wood engravings. Large 12mo. (N.Y.: _Kenedy_). 63 cents net.

Being a complete collection of all the Fairy Tales published by Crofton Croker and embodying the entire volumes of Kenedy’s _Fictions of the Irish Celts_.

⸺ LIFE IN THE IRISH MILITIA; or, Tales of the Barrack Room. Pp. 255. (LONDON: _Ridgway_). 1847.

The dedication (to O’Connell) is dated 1834, and the first words of the book are “In the summer of 1833....” A very eccentric book, intended by the Author (a lady) as a satire on the “fashionable depravities of the times,” with intent to “exhibit folly and vice to public scorn and reproach.” (Pref.). She is out against proselytism, bigotry, hypocrisy, aristocracy, race-hatred between Ireland and England, and all abuses that bear heavily on the people. This book consists of various parts:—I. “The Sojourner in Dublin”—a young Englishman who lives in lodgings and tells what he sees and hears. II. “The Modern Pharisees of the city of Shim-Sham in Ireland,” in the form of a story. III. “Life in the Irish Militia”—a fierce attack on the militia, especially a Northern and a Kerry regiment. IV. “A Visit to Killarney.” V. An Allegorical Tale.

⸺ MAD MINSTREL, THE; or, The Irish Exile. (_Murray_). 1812.

⸺ MICK TRACY, THE IRISH SCRIPTURE READER; or, The Martyred Convert and the Priest; by “W. A. C.” (_Partridge_). 3_s._ 6_d._ Illustr., but without reference to the story. _n.d._

The hero is “a day labourer reared in the R.C. communion but through mercy enabled to see its delusions and to escape from them.” He is denounced by the priest and assaulted by the parishioners. These are prosecuted, but the only result is moonlighting, murder, and the kidnapping of converts. Yet the converts multiply. The reproduction of the brogue is ludicrous. See _Tim Doolin_.

⸺ MISTLETOE AND THE SHAMROCK, THE; or, The Chief of the North. (GLASGOW: _Cameron & Ferguson_). 6_d._

In C. & F.’s “Sensation Series of Sixpenny Novels.”

⸺ MY OWN STORY: a Tale of Old Times. Pp. 168. (_Curry_). One illustr. by Geo. Petrie, engraved by Kirkwood. 1829.

James O’Donnell is sworn in by a priest and joins the rebels, but later he is made a “Bible Christian,” turns traitor, and is eventually hanged. Period: some time in reign of George III. The country about Fort nan Gall and the woods of Coolmore are described.

⸺ NATIONAL FEELING; or, The History of Fitzsimon: a Novel, with Historical and Political Remarks; by “An Irishman.” Two Vols. (_Dublin_). 1821.

A straggling story of the adventures in Ireland (Co. Mayo and Dublin) and abroad of Edward F. Tells of the progress of his wooing of Matilda, which is much interfered with by the machinations of a wicked lord. There are also some minor love affairs. Pp. 103 _sqq._ of Vol. I. contain some pictures of Dublin life at the time, introducing public personages such as the Duke of Leinster, Lady Rossmore, Mr. Justice Fletcher, Alderman M’Kenny, &c. The hero goes to the U.S. and then to S. America. The title of the tale seems to be due to his meeting various peoples—Greeks, Argentiners, Chilians, &c.—fighting for their national independence. See pp. 206, 217, 222. I failed to come across Vol. II. Preface shows Author to be Nationalist in his Irish views.

⸺ NICE DISTINCTIONS: a Tale. Pp. 330. (_Hibernia Press Offices_). 1820.

Scene: Co. Wicklow. The Courtneys of Glendalough Abbey have a tutor named Charles Delacour, who makes friends with the clergyman’s family—Mr. Vernon and his wife, son, and daughters. Presented ultimately with a living, he marries Maria Vernon. Many subordinate characters of no importance are introduced into this invertebrate tale, the style of which is stilted and unnatural.

⸺ OLD COUNTRY, THE: a Christmas Annual. Pp. 200. Demy 8vo. (_Sealy, Bryers_). 1_s._ 1893.

Irish Stories (and Poems) by Katherine Tynan, F. Langbridge, Dick Donovan, Edwin Hamilton, W. B. Yeats, Edmund Downey, Nora Wynne, &c., &c.

⸺ OUTCAST, THE: a Story of the Modern Reformation. Pp. 172. (_Curry_). 1831.

The “Outcast” was educated for the priesthood, read Voltaire and Rousseau, but did not finally awake to the error of the Roman “system” until he had read _Italy_, by Lady Morgan. He ceases to believe in Catholicism; is turned out by his father, while his mother dies of a broken heart. There is a description of the Slaney. Contains much that would be extremely offensive to Catholics and some remarks about Confession and Mass that would appear to them blasphemous.

⸺ PASSION AND PEDANTRY: a Novel illustrative of Dublin Life. Three Vols. (LONDON: _Newby_). 1853.

A somewhat ordinary tale of the fortunes of young Charles Desmond, an army officer, is made the vehicle for a careful and detailed picture of manners and customs at the period, and for a presentation of the Author’s views on things Irish, though with little reference to politics or to religion. The plot, such as it is, turns chiefly on the question whether Charles will come in for his old uncle’s money and will, in spite of whispering tongues, marry the lady—both of which he does. The conversation of some of the personages is full of pedantry and of quotations in various languages. Dublin life well portrayed by a keen observer.

⸺ PEAS-BLOSSOM; by the Author of “Honour Bright.” (_Wells, Gardner_). 3_s._ 6_d._ 30 illustr. by Helen Miles. C. 1911.

“‘Peas-blossom’ may be described as a rollicking, respectable Irish story, the names of the juvenile pair of heroes being Pat and Paddy.... An exceptionally readable volume.”—(TIMES).

⸺ PHILIP O’HARA’S ADVENTURES [and other tales]. Pp. 144. (_Chambers_). 1885.

A young man’s adventures in the American Civil War. Only the first story has the slightest connection with Ireland.

⸺ POOR PADDY’S CABIN; or, Slavery in Ireland. By “An Irishman.” Pp. xii. + 242. 12mo. (LONDON: _Wertheimer & Macintosh_). 2_s._ 6_d._ Second edition. 1854.

“A true representation of facts and characters,” names of persons and places being disguised. “His [the Author’s] aim has been, along with a matter-of-fact representation of the real state of things in Ireland, to exhibit in a parable ... a just and true view of what the gracious dealings of the Almighty always are.” (Pref.). A pamphlet in story form written against the Catholic Church in Ireland and in support of the “Irish Reformation Movement.” Appendix, giving with entire approval a bitterly anti-Catholic article from the TIMES of November 29th, 1853 (?), and others of like nature from the MORNING ADVERTISER (Oct. 22nd, 1853). The characters are drawn from the peasant class.

⸺ POPULAR TALES AND LEGENDS OF THE IRISH PEASANTRY. Pp. 404. (DUBLIN: _W. F. Wakeman_). Illustr. by Samuel Lover. 1834.

Fifteen stories, including two by Carleton and one by Mrs. S. C. Hall. Five are by Denis O’Donoho, three by J. L. L., and one each by J. M. L. and B. A. P. Titles:—“Charley Fraser,” “The Whiteboy’s revenge,” “Laying a ghost,” “The wife of two husbands,” “Mick Delany,” “The lost one,” “The dance,” “The Fetch,” “The 3 devils,” “The Rebel Chief, 1799,” &c., &c.

⸺ PRIESTS AND PEOPLE: a No-rent Romance; by the Author of “Lotus,” etc. Three Vols. (LONDON: _Eden, Remington_). 1891.

“Lotus” is by I. M. O. A book inspired by the bitterest dislike and contempt for Ireland. The views expressed by the young English soldier (p. 101) seem throughout to be those of the author. The interest turns almost entirely on the relations between landlord, tenant, and League, and no effort is spared to represent the two latter in the most odious light. It is the work of a practised writer, and the descriptions are distinctly good and the story well told. The brogue is painfully travestied. The author is ignorant of Catholic matters.

⸺ PROTESTANT RECTOR, THE. Pp. 216. (_Nesbit_). 1830.

At the hospitable Protestant rectory even the priest is received. This priest “performed several masses on Sundays”: he is frequently drunk. He goes to Rome and, at the “fearful sight” of the Pope treated as God, he recoils in disgust, and is converted. On his return he is again welcomed at the Rectory, where he converts many and dies a holy death.

⸺ PURITAN, THE. Pp. 134.

The interest of this story turns chiefly on the religious differences of the times. The author is for “the calm and rational service of the Church of England” as against the new fanaticism of the Parliamentarians. The characters, such as those of Obadiah Thoroughgood and Lovegrace, are well-drawn. There is but little local colour and no description of scenery. The scene is laid at Bandon, Co. Cork. Bound up in one vol. with “Black Monday Insurrection,” _q.v._, being Vol. III. of _The Last of The O’Mahonys_.

⸺ RIDGEWAY; by “Scian Dubh.” Pp. xx. + 262 (close print). (BUFFALO: _McCarroll_). 1868.

“An historical romance of the Fenian invasion of Canada,” June, 1866. Introd. (pp. xx. close print) gives a view of Irish history and politics from a bitterly anti-English point of view. England has been “a traitor, a perjurer, a robber, and an assassin throughout the whole of her infamous career.” Append. gives in 5 pp. an “Authentic Report” of the invasion of Canada, Fenianism is fully discussed, especially in ch. vi. Career of Gen. O’Neill, ch. vii. A love story of an ordinary kind is used as a medium for politics and historical narrative.

⸺ ROBBER CHIEFTAIN, THE. Pp. 342. Post 8vo. (_Duffy_). 2_s._ [1863]. Still in Print.

## Scene chiefly Dublin Castle. Cromwellian cruelties under Ludlow

depicted, and early years of Restoration. The Robber Chieftain is Redmond O’Hanlon, the Rapparee. The Ven. Oliver Plunket is also one of the characters. Some incidents suggest Catholic standpoint, but in places the book reads like a non-Catholic (though not anti-Catholic) tract. The hero and heroine are Protestant. Full of sensational incidents, duels, waylayings by robber bands, law court scenes, tavern brawls. Also many repulsive scenes of drunkenness among the native Irish, and of murder, wild vengeance, and villainy of all kinds. Hardly suitable for young people.

⸺ ROMAN CATHOLIC PRIEST, THE. Pp. 298. (_Curry_). One illustr. by Kirkwood. 1827.

A Catholic boy, Doyle, risks his life and saves a Protestant boy from drowning. The boy’s father out of gratitude offers to send Doyle to T.C.D., guaranteeing that “he will not have to make even a temporary renunciation of his religion.” But the priest refuses, and soon Doyle becomes a Protestant.

⸺ SAINT PATRICK: a National Tale of the Fifth Century; by “An Antiquary.” Three Vols. (EDIN.: _Constable_). 1819.

A romance of love and vengeance and druidical mysteries into which St. Patrick enters as one of the _dramatis personæ_. There are plenty of exciting incidents, some fine scenes, and a very good picture of druidism in the fifth century. Very well written but for the unfortunate introduction of modern Irish brogue and Scotch dialect. The religious point of view is Church of Ireland, and there is an effort to represent the Christianity of those days as essentially different from the Catholicism of these. Scene: chiefly Tara, Dunluce, the Giant’s Causeway, the Bann.

⸺ SEPARATIST, THE; by “A New Writer.” Pp. 323. (_Pitman_). 6_s._ 1902.

The love story of Stella Mertoun, who is a Royalist, and Philip Venn, who is on the Parliamentary side in the Civil War. Only a small portion of the action takes place in Ireland. The author’s sympathies are with the Puritans, but the bias is not pronounced.

⸺ SIEGE OF MAYNOOTH, THE; or, Romance in Ireland. Two Vols. (CHELSEA: _Ridgeway_). 1832.

A very long novel with a rather confused plot, but containing good scenes. Purports to be a MS. given to her descendant by the old Countess of Desmond, who has fallen on evil days, and relating stirring incidents of the Desmond wars and of the rebellion of Silken Thomas, including the attack on Desmond castle by the Butlers, the defeat and capture of Lord Grey in Glendalough, the escape of Lord Thomas Fitzgerald from the Black Castle of Wicklow, and the siege and betrayal of the Castle of Maynooth. Written on the whole from the Irish point of view.

⸺ SIR ROGER DELANEY OF MEATH; by “Hal.” Pp. 228. (_Simpkin, Marshall_). 6_s._ 1908.

The Sir Roger of the story (he is “10th baron Navan”) is an elderly married man, blustering, cursing, lying, cheating, but described in such a way that one does not see whether the author means him for a hero or not. He falls in love with Lady Kitty, who is in love with somebody else. Sir Roger tries to get the latter into disreputable situations. They fight a duel, and the curtain falls on Sir Roger mortally wounded. The book is quite devoid of seriousness.

⸺ SMITH OF THE SHAMROCK GUARDS; by “An Officer.” (_Stanley Paul_).

⸺ STORIES OF IRISH LIFE, PAST AND PRESENT; by “Slieve Foy.” Pp. 160. (_Lynwood_), 1_s._ 1912.

Ten stories, amusing and pathetic, some of which have appeared in the WEEKLY FREEMAN and the IRISH EMERALD.

⸺ STORY OF NELLY DILLON, THE; by the author of “Myself and my Relatives.” Two Vols. (LONDON: _Newby_). 1866.

Nelly Dillon, daughter of a Tipperary farmer, is abducted in suspicious circumstances by a former lover, who is a Ribbonman and illicit distiller. She is disowned by her parents but befriended and sheltered by Bet Fagan, a fine character. The latter prevails upon the abductor, when under sentence of death, to clear Nelly Dillon’s character in presence of the parish priest, who afterwards tells the facts from the altar. The parents wish to receive Nelly back, but she rejects their advances and dies. A sad story, well told, and with a healthy moral.

⸺ TALES AND LEGENDS OF IRELAND. Two Vols. (CORK: _Bolster_). 1831.

“Illustrative of society, history, antiquities, manners, and literature, with translations from the Irish, biographical notices, essays, etc.”

⸺ THOMAS FITZGERALD THE LORD OF OFFALEY; by “Mac Erin O’Tara, the last of the Seanachies.” Three Vols. (LONDON). 1836.

“The first of a projected series illustrative of the history of I.” (Title-p.). See also Introd. (pp. xxx.) containing some interesting remarks about Irish historical fiction. Claims to “give the history as it really occurred.” The book is a quite good attempt to relate the rebellion of Silken Thomas in a romantic vein (though with no love interest) and to picture the times. The conversations, though somewhat long-drawn-out, are in very creditable Elizabethan English, redolent of Shakespeare. Opens with a description of Christmas in Dublin in 1533. The Author is not enthusiastically Nationalist, but is quite fair to the Irish side.

⸺ TIM DOOLIN, THE IRISH EMIGRANT. Pp. 360 (close print). (_Partridge_). 3_s._ 6_d._ Illustr. Third ed., 1869.

By the Author of “Mick Tracy” (_q.v._). Tim, son of a small farmer in Co. Cork, as a result of his conversion to Protestantism, has his house burned down and his cattle killed. He emigrates to U.S.A., but soon passes to Canada, and helps to repel the Fenian raid. He is joined by his family, and all live happily at Castle Doolin. Less offensive than “Mick Tracy” in its allusions to religious controversies.

⸺ UNITED IRISHMAN, THE; or, The Fatal Effects of Credulity. Two Vols. (DUBLIN). 1819.

A United Irishman who had escaped from Dublin Castle by the heroism of a sister, tells the tale of his woes to an Englishman, who meets him by accident. The latter in turn tells his story, equally woeful. The writer seems to be a Catholic and to sympathize more or less with the United Irishman. The

## book contains material for a good story, but it is told in a

rambling manner, without art, and is full of sentimentality. No attempt to picture events or life of the times.

⸺ VERTUE REWARDED; or, The Irish Princess. A New Novel. Pp. 184. 16mo. (LONDON: _Bentley_). 1893.

This is No. III. in Vol. xii. of “Modern Novels,” printed for R. Bentley, 1892-3. Dedicatory Epist. “To the Incomparable Marinda.” (Pref.) “To the ill-natured reader.” A petty foreign prince in the train of William III. falls in love with an Irish beauty whom he sees in a window when passing through Clonmel. The story tells of the vicissitudes of his love suit. It is eked out by several minor incidents. Nothing historical except the mention of the siege of Limerick.

⸺ VEUVE IRLANDAISE ET SON FILS, LA; Histoire véritable. Pp. 36. (PARIS: _Delay_). 1847.

A little Protestant religious tract telling how a poor Irish widow was brought round to Protestant ideas by means of Bible readings.

⸺ WEIRD TALES. Irish. 256 pp. 18mo. (_Paterson_). [1890].

Eleven tales selected from Carleton (“The Lianhan Shee”), Lover (“The Burial of O’Grady”), Lever, Croker (“The Banshee”), Mrs. Hall, and J. B. O’Meara, together with some anonymous items.

⸺ WILLIAM AND JAMES; or, The Revolution of 1689; by “A Lady.” Pp. xiv. + 354. (DUBLIN). 1857.

“An Historical Tale, in which the leading events of that ... period of our history ... are faithfully and truly narrated.” Introduces William III., James II., Tyrconnell, Sarsfield, Richard Hamilton, &c. Describes Boyne and Aughrim. Scene chiefly Co. Fermanagh. Tone strongly Protestant (there are digressions on religious matters), but without offensiveness to the other side. It is a rather rambling, ill-connected story, the work of a prentice hand. The initials of the author seem to be J. M. M. K.

=[ABRAHAM, J. Johnstone]=, a native of Coleraine. B.A., 1898; M.D., T.C.D., 1908; a consulting Surgeon in London; now serving in R.A.M.C. Author of _The Surgeon’s Log_.

⸺ THE NIGHT NURSE. Pp. 318. (_Chapman & Hall_). 6_s._ Fifth edition. 1913. 2_s._

Life in a Dublin hospital, carefully observed. Sex problem of “the greater and the lesser love,” studied in a distinctly “biological” way. As foil to the main characters, who are of the respectable Protestant classes, we have “R.C.’s” of a most undesirable type, and, in the background, the wholly disreputable Irishry of a western town. The four plagues of Ireland are Priests, Politicians, Pawnbrokers, and Publicans, according to one of the personages. The medical interest is prominent throughout. By the same Author: _The Surgeon’s Log_.

=ADAMS, Joseph.=

⸺ UNCONVENTIONAL MOLLY. Pp. 320. (_Methuen_). 6_s._ 1913.

The young heir of the old rackrenting absentee comes (from Cambridge) incognito among his tenantry in the West and lives their life. He meets the heroine who gives its title to the book—with the expected result. The rest is a series of little episodes—fishing in a western mountain-stream, a day’s shooting on a moor, a sail on Clew Bay, a petty sessions court, a matchmaking, a fair, &c., &c., all with a splendid setting of Western scenery. Might be written by a sympathetic and kindly visitor who had enjoyed his holiday.

=ALEXANDER, Eleanor.= Born at Strabane, daughter of the late Dr. Alexander, Archbishop of Armagh (d. 1911), and of Mrs. Cecilia Frances Alexander, both of them well known as poets. Educated at home. Has written verse for the SPECTATOR and for other periodicals. At the outbreak of war was preparing for publication a collection of Ulster stories illustrative of the peculiar humour of the North. Her _Lady Anne’s Walk_, a miscellany of historical reminiscence woven round a place and one who walked there long ago, contains an excellent bit of Ulster dialect—the talk of the old gardener.

⸺ THE RAMBLING RECTOR. Pp. 344. (_Arnold_). Third impression, 1904. (N.Y.: _Longmans_). 1.50.

A story of love, marriage, and social intercourse among various classes of Church of Ireland people in Ulster. Draws a sympathetic picture of clerical life, the hero being a clergyman. Every character, and there are very many interesting types, is drawn with sure and distinct traits. There are no mere lay figures. John Robert is a curious and amusing study of a certain type of servant. Full of shrewd observation and knowledge of human nature, at least in all its outward aspects. Very well written. By the same author: _Lady Anne’s Walk_, _The Lady of the Well_, &c.

=ALEXANDER, Evelyn.=

⸺ THE HEART OF A MONK. Pp. 318. (_Long_). 6_s._ 1910.

The love story of Ivor Jermyn, who for reasons connected with an hereditary family curse is induced by his mother to become a Benedictine. During a vacation five years after his profession he meets his former love at a country house, and a liaison is formed. Taxed with this by his rival, the shock makes him see the family “ghost”—the “old man of horror.” A fatal illness results, and he leaves the field to his rival. Written pleasantly and lightly. Shows little knowledge of Catholic ways and doctrines.

⸺ THE ESSENCE OF LIFE. Pp. 320. (_Long_). 6_s._ 1911.

Youth is “the Essence of Life,” as exemplified in the heroine’s crowded moments in the social life of Dublin and London, closing with her marriage with Lord Portstow, but shadowed by the tragedy of a beautiful actress, who turns out to be her mother. The novel does not rise above the commonplace.—[TIMES LIT. SUPPL.].

=ALEXANDER, L. C.=

⸺ THE BOOK OF BALLYNOGGIN. Pp. 315. (_Grant, Richards_). 6_s._ 1902.

Stories of a miscellaneous kind, mostly humorous, told in a pleasant and readable style. Shows little knowledge of Irish life. The peasantry are treated somewhat contemptuously. The interest at times turns on the absurdities of Irish politics and of Irish legal proceedings.

=ALEXANDER, Miriam (Mrs. Stokes).= Born at Birkenhead. Educated at home, except for a short period at Alexandra College, Dublin. Has almost finished another novel, dealing this time with modern Irish life. Was much interested in the Gaelic League till alienated from it by recent events.

⸺ THE HOUSE OF LISRONAN. Pp. 312. (_Melrose_). 6_s._ 1912.

A tale of the Williamite wars. Dermot Lisronan vows vengeance on the brutal Dutchman who has driven him from his ancestral home and been the death of his mother. The book is the story of that vengeance. Dermot by a strange fatality marries the daughter of this Dutchman, and some fine psychological and human interest is afforded by the struggle in her mind between love (the love of Dermot’s once bosom friend Fitz Ulick) and wifely duty. The book is full of exciting and dramatic incidents and situations, and never flags from the lurid beginning to the tragic close. The characters are clearly drawn and they are worth drawing:—Bartley, the Hedge-schoolmaster; Taaffe, the besotted coward, sorry product of Williamite rule; Father Talbot, the devoted priest of penal days; Barry Fitz Ulick, a kind of Sir Launcelot, and the rest. William III. is painted in darkest colours, and the penal days that he inaugurated are shown in their full horror, though as an offset to this we have a picture of the persecution of Huguenots in France.

N.B.—This novel gained a 250 guinea prize by the unanimous award of three competent judges. Six editions were sold in less than two months.

⸺ PORT OF DREAMS, THE. Pp. 351. (_Melrose_). 6_s._ 1912.

Dedication: To Caitlín ni Houlihan. A stirring and vivid romance of Jacobite days (18th century) in Ireland, containing some intensely dramatic episodes, _e.g._, the escape of Prince Charles Edward. There are many threads in the narrative, but the chief interest, perhaps, centres in a Jacobite who, having served the cause well for twenty years, finds himself confronted with the spectre of physical cowardice. To save the cause from disgrace, his cousin Denis takes his place on the scaffold. The girl marries Clavering for the same reason, not for love. The author interrupts her narrative at times to express her views on Celticism (for which she is enthusiastic), religious persecution, and modern degeneracy.

⸺ RIPPLE, THE. Pp. 367. (_Melrose_). 6_s._ 1913.

Opens in Mayo (Achill scenery described), but soon shifts to Poland and then to France. Adventures of Deirdre van Kaarew (daughter of a recreant Irishman who has Dutchified his name and turned Protestant), who has followed her brother to rescue him from the designs of a hated kinsman. She falls in love with Maurice de Saxe (of whom a careful and vivid portrait is drawn), and the story of this “friendship” takes up much of the book. She refuses him in the end, and marries the hated kinsman. A fine plot, full of dramatic incidents.

⸺ MISS O’CORRA, M.F.H. (_Melrose_). 6_s._ 1915.

Miss O’Corra, who has become a rich heiress, leaves her English home and comes to hunt in Ireland. She is quite ignorant of equine matters, and various amusing difficulties beset her. She meets her fate in the person of a young Irish sportsman.—(_Press_).

=ALEXANDER, Rupert.=

⸺ MAUREEN MOORE: a Romance of ’98. Pp. viii. + 355. (_Burleigh_). 6_s._ 1899.

A well told story, introducing Lord Edward and the other leaders. Maureen, an American, is the niece of John Moore, who is driven into rebellion by the persecution of the “Yeos.” His two sons, one a captain in the army, the other a priest, also join the rebel ranks. A love interest with cross purposes pervades the story. Larry Farrell is a great character, performing wonderful deeds of bravery and having equally wonderful escapes. The book leans entirely to the rebel side. The fight at New Ross and the atrocities of Wexford are vividly described.

=ALGER, Horatio.= Author of over fifty books for Boys.

⸺ ONLY AN IRISH BOY. (N.Y.: _Burt_). $0.75. 1904.

=ANCKETILL, W. R.=

⸺ THE ADVENTURES OF MICK CALLIGHIN, M.P.: A Story of Home Rule; and THE DE BURGHOS: A Romance. Pp. 243. (_Tinsley_). Seven rather rough illustr. 1874. Second ed., Belfast, 1875. 1_s._

1. Mick Callighin leaves Ballypooreen, somewhere near the Galtees, of which there is a fine description, for Dublin and then London. He meets his future wife in Kensington Gardens. The plot is slight, but there is a good deal of pleasant wit, many political hits, and much satire, not of Home Rule but of Home Rulers.

2. Arthur Mervyn meets Col. de Burgho and his daughter, home from Italy. An Italian count, who is also a pirate, carries off Nora, but she is rescued and married to Arthur. A pretty story, with some good descriptions of life among the better classes in the West of Ireland.

=ANDREWS, Elizabeth, F.R.I.A.=

⸺ ULSTER FOLKLORE. Pp. 121. (_Stock_). 5_s._ net. Fourteen illustr., mainly from photos. 1914.

A series of papers read before local learned societies or contributed to archæological journals. An endeavour to deal with the folk belief in fairies from an archæological point of view. The conclusion is that the “souterrains” were originally the abode of a primitive pigmy race. Imbedded in these pages (the outcome of much personal research) are many good fairy and folk stories.

=ANDREWS, Marion.=

⸺ COUSIN ISABEL. Pp. 147. (_Wells Gardner, Darton_). 1_s._ 6_d._ Two illustr. 1903.

A tale, for young people, of the Siege of Londonderry, the hardships of the defenders, and their brave patience. Isabel, a veritable angel of mercy for her uncle and cousins is a pleasant study. Another fine character is old Geoffrey Lambrick, drawn from a quiet life and his tulips into the smoke of battle.

=[ARCHDEACON, Matthew].=

⸺ LEGENDS OF CONNAUGHT, TALES, &c. Pp. 406. (DUBLIN: _John Cumming_). 1829.

Seven stories:—“Fitzgerald,” “The Banshee,” “The Election,” “Alice Thomson,” “M’Mahon,” “The Rebel’s Grave,” “The Ribbonman.” “Almost every incident in each tale is founded on fact.” (Pref.). The first story (165 pp.) depicts Connaught “in a wild and stormy state of society” towards the close of the eighteenth century, and records the wild deeds and memorable exit of the very widely known individual who is its hero.

⸺ CONNAUGHT: a Tale of 1798. Pp. 394. (DUBLIN: _printed for M. Archdeacon_). 1830.

The Author was “from infancy in the habit of hearing details of ‘the time of the Frinch’” ... and has “had an opportunity of frequently hearing the insurrectionary scenes described by some of the Actors themselves.” (Pref.) The Author is loyalist, but not bitterly hostile to the rebels. The rebellion is not painted in roseate colours, but it is not misrepresented. Humbert’s campaign is vividly described, but history does not absorb all the interest. The love story (the lovers are on the rebel side) is told with zest, and there is abundance of exciting incident. Quite well written.

⸺ SHAWN NA SAGGARTH, THE PRIESTHUNTER. (_Duffy_). 6_s._ 1843.

A tale of the Penal times.

=ARCHER, Patrick, “MacFinegall.”= Born at Oldtown, North County Dublin, about fifty years ago. Lives in Dublin, where he is a Customs Official.

⸺ THE HUMOURS OF SHANWALLA. Pp. 162. (_Gill_). 2_s._ 6_d._ Frontisp. photo of Author. [1906]. New edition, 1_s._ 6_d._ 1913.

A series of sketches exhibiting the humorous side of village life in the North County Dublin district, or thereabouts. Quite free from caricature; in fact tending to set the people described in a favourable light, and to make them more appreciated. There is a portrait of a priest, earnest, persevering, and wholly taken up with his people’s good. Thoroughly hearty, wholesome humour.

=ARGYLE, Anna.=

⸺ OLIVE LACY. Pp. 365. (PHILADELPHIA: _Lippincott_). 1874, and earlier editions.

Scene: Wicklow during rebellion. Story told in first person by Olive Lacy, a peasant’s daughter, adopted into a country gentleman’s family. Castlereagh and Curran are introduced. A good specimen of the latter’s table talk is given. Olive’s father becomes a United Irishman, is betrayed by a foreign monk (who goes about in a habit and cowl!), escapes, is rearrested, and finally is shot. A general description of the rising is given. Tone, healthy. Story well told, but for some improbabilities. Wrote also: _Cecilia; or, The Force of Circumstances_. N.Y.: 1866; _Cupid’s Album_; _The General’s Daughter_.

=ARTHUR, F. B.=

⸺ THE DUCHESS. (_Nelson_).

Scene: mainly in Donegal. Standpoint: Protestant and English. Not unfair to peasantry. A pleasantly told little story. The hero implicated in Fenian movement, and arrested, escapes from prison through the cleverness of his little daughter, “the Duchess.”

=[ASHWORTH, John H.]= Author of _The Saxon in Ireland_.

⸺ RATHLYNN. Three Vols. (_Hurst & Blackett_). 1864.

A young Englishman, son of “Admiral Wyville,” takes up and works a property in a remote district in Ireland. Told in first person. The chief interest seems to lie in jealousies and consequent intrigues arising out of love affairs.

=“ATHENE”= _see_ =HARRIS=.

=AUSTIN, Stella.=

⸺ PAT: A Story for Boys and Girls. (_Wells Gardner_). 2_s._ 6_d._ Illustr.

“One of the prettiest stories of child life. Even the adult reader will take a great liking to the lively Irish Boy”—(CHRISTIAN WORLD). By the same Author: _Stumps_, _Somebody_, _Tib and Sib_, _For Old Sake’s Sake_, &c., &c.

=“AYSCOUGH, John” [Mgr. Bickerstaffe Drew].= The Author is a Catholic priest (a convert), now (August, 1915) acting as a chaplain in the British Army in France. He is one of the best-known writers of the day.

⸺ DROMINA. Pp. 437. (_Arrowsmith_). 6_s._ 1909.

The Author brings together in a queer old castle on the Western coast the M’Morrogh, descendant of a long line of Celtic princes, his children by an Italian wife, his French sister-in-law, a band of gypsies of a higher type, whose king is Louis XVII. of France, rescued from his persecutors of the Terror and half-ignorant of his origin. These are some of the personages of the tale. It is noteworthy that not one of the characters has a drop of English blood. I shall not give the plot of the story. The last portion is full of the highest moral beauty. The lad Enrique or Mudo, son of Henry M’Morrogh (whose mother was an Italian) and of a Spanish gypsy princess, is a wonderful conception. When the Author speaks, as he does constantly, of things Catholic (notably the religious life and the Blessed Sacrament) he does so not only correctly but in a reverential and understanding spirit. The one exception is the character of Father O’Herlihy, which is offensive to Catholic feeling, and unnatural. The moral tone throughout is high. One of the episodes is the seduction of a peasant girl, but it is dealt with delicately and without suggestiveness.

=BANIM, John and Michael “The O’Hara Family.”= John Banim (1798-1842) and Michael Banim (1796-1876) worked together, and bear a close resemblance to one another in style and in the treatment of their material; but the work of John is often gloomy and tragic; that of Michael has more humour, and is brighter. They have both a tendency to be melodramatic, and can picture well savage and turbulent passion. They have little lightness of humour or literary delicacy of touch, but they often write with vigour and great realistic power. The object with which the “O’Hara” Tales were written is thus stated by Michael Banim: “To insinuate, through fiction, the causes of Irish discontent and insinuate also that if crime were consequent on discontent, it was no great wonder; the conclusion to be arrived at by the reader, not by insisting on it on the part of the Author, but from sympathy with the criminals.”

P. J. Kenedy, of New York, publishes an edition of the Banims’ works in ten volumes at seven dollars the set.

=BANIM, John.=

⸺ JOHN DOE; or, The Peep o’ Day. 1825.

The story of a young man who, for revenge, joins the Shanavests, a secret society, terrible alike to landlord, tithe-proctor, and even priest. The first of the _Tales by the O’Hara Family_, republished separately by _Simms & M’Intyre_, 1853; and _Routledge_, _n.d._

⸺ THE FETCHES. (_Duffy_). [1825].

A gloomy story, turning on the influence of superstitious imaginations on two nervous and high-strung minds. The fetch is the spirit of a person about to die said to appear to friends. The story is somewhat lightened by the introduction of two farcical characters.

⸺ THE NOWLANS. Pp. 256 (close print). [1826], 1853, &c.

The temptation and fall of a young priest, resulting in misery which leads to repentance. Contains some of Banim’s most powerful scenes.

⸺ PETER OF THE CASTLE. Pp. 191. (_Duffy_). [1826].

A sensational and romantic tale. The opening chapters (by Michael Banim) give a detailed description of country matchmaking and marriage festivities at the time, c. 1770.

⸺ THE BOYNE WATER. Pp. 564. (_Duffy_). 2_s._ [1826]. Many editions since.

In this great novel, which is closely modelled on Scott, scene after scene of the great drama of the Williamite Wars passes before the reader. Every detail of scenery and costume is carefully reproduced. Great historical personages mingle in the

## action. The two rival kings with all their chief generals are

represented with remarkable vividness. Then there are Sarsfield and Rev. George Walker, Galloping O’Hogan the Rapparee, Carolan the bard, and many others. The politics and other burning questions of the day are thrashed out in the conversations. The intervals of the great historical events are filled by the adventures of the fictitious characters, exciting to the verge of sensationalism, finely told, though the _deus ex machina_ is rather frequently called in, and the dialogue is somewhat old-fashioned. The wild scenery of the Antrim coast is very fully described, also the scenes through which Sarsfield passed on his famous ride. The standpoint is Catholic and Jacobite, but great efforts are made to secure historical fairness. The book ends with the Treaty of Limerick.

⸺ THE ANGLO-IRISH OF THE NINETEENTH CENTURY. Three Vols. (_Colburn_). [1828]. Republ. in one volume by Duffy in 1865 under title _Lord Clangore_.

Opens in London. Several members of Anglo-Irish Society are introduced—the Minister (Castlereagh) and the Secretary (Wilson Croker). There are long disquisitions on Emancipation, the conversion of the peasantry, &c. Gerald Blount, younger son of an Irish peer, has all the anti-Irish bias of this set. Flying after a duel he reaches Ireland, where he has many exciting adventures with the Rockites. Finally he succeeds to the title and settles down. The “double” (or mistaken identity) plays a part in this story, as in so many of Banim’s. A meeting of the Catholic Association with O’Connell and Shiel debating is finely described, also a Dublin dinner-party, at which Scott’s son appears. The early part is somewhat tedious, but the later scenes are powerful.

⸺ THE CONFORMISTS. Pp. 202. (_Duffy_). [1829].

Period: reign of George II. A very singular story, whose interest centres in the denial under the Penal Laws of the right of education to Catholics. A young man, crossed in love, resolves to become a “conformist” or pervert, and thus at once disgrace his family, and oust his father from the property.

⸺ THE DENOUNCED; or, The Last Baron of Crana. Pp. 235. (_Duffy_). [1826]. (_Colburn_). 1830. (N.Y.: _Benziger_). 0.75.

Deals with the fortunes of two Catholic families in the period immediately following the Treaty of Limerick. Depicts their struggles to practise their religion, and the vexations they had to undergo at the hands of hostile Protestants. The tale abounds in incident, often sensational. There is a good deal in the story about the Rapparees.

⸺ THE CHANGELING. Three Vols. Pp. 315 + 350 + 414. (LONDON). 1848.

Published anonymously. Preface tells us it was written some few years before date of publication. Scene: City of Galway and Connemara (including Aran). The main plot is concerned with the mystery surrounding the heir of Ballymagawley, got out of the way in early childhood by the present owner, Mr. Whaley, but returning in disguise to claim his rights. The interest is threefold:—First, Mr. Whaley’s awful secret unknown to the daughter, whom he loves with his whole soul, and who returns his love, and the desperate efforts he makes to avert the revelation; 2nd, the study of character: Clara Whaley, high-souled, intellectual, unworldly, scorning fashion and flirtation, the astute worldly intellectual Hon. Augustus Foster, the empty-headed Miss Fosters and so on; 3rd, a series of quite admirable and amusing vignettes of the _petite bourgeoisie_ of Galway—the vulgar and showy Mrs. Heffernan with her absurd accent, the match-making Mrs. Flanagan (an inimitable portrait), the mischief-making Peter Harry Joe, Considine the Butler, the consequential Captain O’Connor, and the endless flirtations of the marriageable young ladies. The peasantry are well drawn, but it is quite an outside view of their life. The conversations are clever, but sometimes tediously long, as are also the Author’s reflections.

=BANIM, Michael.=

⸺ CROHOORE OF THE BILLHOOK. (_Duffy_). [1825].

Has been a very popular book. The action lies in one of the darkest periods of Irish history, when the peasantry, crushed under tithe-proctor, middleman, and Penal laws, retorted by the savage outrages of the secret societies. One of these latter was the “Whiteboys,” with the doings of which this book largely deals. The Author does not justify outrage, but explains it by a picture of the conditions of which it was an outcome. A dark and terrible story. The scene is Kilkenny and neighbourhood. It must be added that most of the characters savour strongly of what is now known as the “stage Irishman.”

⸺ THE CROPPY. Pp. 420. (_Duffy_). 2_s._ Still reprinted. [1828].

Opens with a long and serious historical introduction. There follow many pages of a love story of the better classes which is, perhaps, not very convincing. Samples of the outrages by which the people were driven to revolt are given. Then there are many scenes from the heart of the rebellion itself, some of them acquired from conversation with eye-witnesses. The attitude is that of a mild Nationalist, or rather Liberal, contemplating with sorrow not unmixed with contempt the savage excesses of his misguided countrymen. The rebellion is shown in its vulgarest and least romantic aspect, and there are harrowing descriptions of rebel outrages on Vinegar Hill and elsewhere. The one noble or even respectable character in the book, Sir Thomas Hartley, is represented as in sympathy with constitutional agitation, but utterly abhorring rebellion. The other chief actors in the story are unattractive. They have no sympathy with the insurgents, and the parts they play are connected merely accidentally with the rebellion. There is much movement and spirit in the descriptive portions.

⸺ THE MAYOR OF WINDGAP. Pp. 190. (_Duffy_). [1834].

Romantic and sensational—attempted murders, abductions, &c. Not suitable for the young. Interest and mystery well sustained. Scene: Kilkenny in 1779. There was a Paris edition, 1835.

⸺ THE BIT O’ WRITING.

This is the title-story of a volume of stories. First published in London, 1838. It may be taken as typical of Michael Banim’s humour at his best. It is a gem of story-telling, and, besides, a very close study of the ways and the talk of the peasantry. The “ould admiral,” with his sailor’s lingo, is most amusing. It was republished along with another story, _The Ace of Clubs_, by Gill, in a little volume of the O’Connell Press Series, pp. 144, cloth, 6_d._, 1886. The original volume, with twenty stories, is still published by Kenedy, New York.

⸺ FATHER CONNELL. Pp. 358. [1840].

The scene is Kilkenny. The hero is an Irish country priest. The character, modelled strictly (see Pref.) on that of a priest well known to the author, is one of the noblest in fiction. He is the ideal Irish priest, almost childlike in simplicity, pious, lavishly charitable, meek and long-suffering, but terrible when circumstances roused him to action. Interwoven with his life-story is that of Neddy Fennell, his orphan protégé, brave, honest, generous, loyal. Father Connell is his ministering angel, warding off suffering and disaster, saving him also from himself. The last scene, where, to save his protégé from an unjust judicial sentence, Father Connell goes before the Viceroy, and dies at his feet, is a piece of exquisite pathos. There is an element of the sombre and the terrible. But the greater part of the book sparkles with a humour at once so kindly, so homely, and so delicate, that the reader comes to love the Author so revealed. The episodes depict many aspects of Irish life. The character-drawing is masterly, as the best critics have acknowledged. There is Mrs. Molloy, Father Connell’s redoubtable housekeeper; Costigan, the murderer and robber; Mary Cooney, the poor outcast and her mother, the potato-beggar; and many more. The Author faithfully reproduces the talk of the peasants, and enters into their point of view. Acknowledged to be the most pleasing of the Banims’ novels.

⸺ THE GHOST HUNTER AND HIS FAMILY. (_Simms & M’Intyre_). [1833]. 1852.

Still published by P. J. Kenedy, New York: 75 cents. An intricate plot skilfully worked out, never flagging, and with a mystery admirably sustained to the end. Gives curious glimpses of the life of the times (early nineteenth century), as seen in a provincial town (Kilkenny). But the style often offends against modern taste. The book soon turns to rather crude, if exciting, melodrama. Moreover, though the Author is always on the side of morality, there is too much about abduction, &c., and too many references to the loose morals of the day to make it suitable reading for certain classes.

⸺ THE TOWN OF THE CASCADES. Two Vols. Pp. 283 + 283. (_Chapman & Hall_). 1864.

Scene: sea-board town in West. A powerful story in which the chief interest is a tragedy brought about by drink. The town seems to be Ennistymon, Co. Clare. The characters belong to the peasant class, and of course are drawn with thorough knowledge. The work could easily go in one not very large volume.

=“BAPTIST, Father”= _see_ =Mgr. R. B. O’BRIEN=.

=BARBOUR, M. F.=

⸺ THE IRISH ORPHAN BOY IN A SCOTTISH HOME. Pp. 87. (LONDON). [1866]. 1872.

“A sequel to ‘The Way Home,’ &c.” A little religious tract (Protestant) in story form.

=BARDAN, Patrick.=

⸺ THE DEAD-WATCHERS. Pp. 83. (MULLINGAR: _Office of_ WESTMEATH GUARDIAN). 1891.

“And other Folk-lore Tales of Westmeath.” The author is a member of the Royal Society of Antiquaries. Intended as a contribution to folk-lore. But the title-story (54 pp.) is a fantastic story told in melodramatic modern English, and has little or no connexion with folk-lore. The remainder consists of ghost stories, spirit-warnings, superstitions, chiefly of local interest. Appended are a few explanatory notes of some value.

=BARLOW, Jane.=

⸺ IRISH IDYLLS. Pp. 284. (_Hodder & Stoughton_). 6_s._ [1892]. Ninth ed. (N.Y.: _Dodd & Mead_). 2.00. 1908.

Doings at Lisconnell, a poverty-stricken little hamlet, lost amidst a waste of unlovely bogland. These sketches have been well described as “saturated with the pathos of elementary tragedy.” Yet there is humour, too, and even fun, as in the story of how the shebeeners tricked the police. The illustrated edition contains about thirty exceptionally good reproductions of photographs of Western life and scenery.

⸺ KERRIGAN’S QUALITY. Pp. 254. (_Hodder & Stoughton_). 6_s._ Eight Illustr. [1893]. (N.Y.: _Pratt_). 1.75. Second edition.

In this story the peasants only appear incidentally. The main characters are Martin Kerrigan, a returned Irish-Australian; the invalid Lady O’Connor; her son, Sir Ben; and her niece, Merle. The story is one of intense, almost hopeless, sadness, yet it is ennobling in a high degree. It is full of exquisite scraps of description.

⸺ STRANGERS AT LISCONNELL. Pp. 341. (_Hodder & Stoughton_). 6_s._ [1895]. (N.Y.: _Pratt_). 1.75.

A second series of Irish Idylls, showing the Author’s qualities in perhaps a higher degree even than the first. A more exquisite story than “A Good Turn” it would be hard to find. Throughout there is the most thorough sympathy with the poor folk. The peasant dialect is never rendered so as to appear vulgar or absurd. It is full of an endless variety of picturesqueness and quaint turns. No problems are discussed, yet the all but impossibility of life under landlordism is brought out (see p. 15). There are studies of many types familiar in Irish country life—the tinkers; Mr. Polymathers, the pedagogue (a most pathetic figure); Mad Bell, the crazy tramp; and Con the “Quare One.” It should be noted that, though there is in Miss Barlow’s stories much pathos, there is an entire absence of emotional gush.

⸺ MAUREEN’S FAIRING. Pp. 191. (_Dent_). Six Illustr., of no great value. [1895]. (N.Y.: _Macmillan_). 0.75.

Eight little stories reprinted from various magazines in a very dainty little volume. Like all of Jane Barlow’s stories, they tell of the “tear and the smile” in lowly peasant lives, with graceful humour or simple, tender pathos. The stories are very varied in kind.

⸺ MRS. MARTIN’S COMPANY. (_Dent_). Uniform with _Maureen’s Fairing_. [1896]. (N.Y.: _Macmillan_). 0.75.

“Seven stories, chiefly of a light and humorous kind, very tender in their portrayal of the hearts of the poor. There is a touching sketch of child-life and a police-court comedy.”—(_Baker_).

⸺ FROM THE EAST UNTO THE WEST. Pp. 342. (_Methuen_). 1_s._ 8vo. Cloth. First ed., 1898; new ed., 1905.

The first six of this collection of fifteen stories are tales of foreign lands—Arabia, Greece, and others. The remainder deal with Irish peasant life. They tell of the romance and pathos that is hidden in lives that seem most commonplace. “The Field of the Frightful Beasts” is a pretty little story of childish fancies. “An Advance Sheet” is weird and has a tragic ending.

⸺ FROM THE LAND OF THE SHAMROCK. Pp. 318. (_Methuen_). 5_s._ (N.Y.: _Pratt_). 1.75. 1900. (N.Y.: _Dodd & Mead_). 1.50.

Fourteen stories, some humorous, some pathetic, including some of the author’s best work. There is the usual sympathetic insight into the eccentricities and queernesses of the minds of the peasant class, but little about the higher spiritual qualities of the people, for that is not the author’s province. Among the most amusing of the sketches is that which tells the doings of a young harum-scarum, the terror of his elders.

⸺ THE FOUNDING OF FORTUNES. Pp. 335. (_Methuen_). 1_s._ Cloth. 8vo. [1902]. New ed. 1906.

The tale of how Timothy Galvin, a ragged urchin living in a mud cabin and remarkable only for general dishonesty and shrewd selfishness, is given a start in life by an ill-gotten purse, and rises by his mother wit to wealth. The study of the despicable character of the parvenu is clever and unsparing. Other types are introduced, the landlord of the old type, and two reforming landlords, who appear also in _Kerrigan’s Quality_. The book displays Jane Barlow’s qualities to the full.

⸺ BY BEACH AND BOGLAND. Pp. 301. (_Fisher Unwin_). 6_s._ One Illustr. 1905.

Seventeen stories up to the level of the author’s best, the usual vein of quiet humour, the pathos that is never mawkish, the perfect accuracy of the conversations, and the faithful portrayal of characteristics. The study in “A Money-crop at Lisconnell,” of the struggle between the Widow M’Gurk’s deep-rooted Celtic pride and her kind heart, is most amusing. As usual, there are delightful portraits of children.

⸺ IRISH NEIGHBOURS. Pp. 342. (_Hutchinson_). 1907.

Seventeen stories of Irish life, chiefly among the peasantry. They have all Miss Barlow’s wonted sympathy and insight, her quiet humour and cheerful outlook.

⸺ IRISH WAYS. Pp. 262. (_George Allen_). 15_s._ Sq. demy 8vo. Sixteen Illustr. in colour. Headpieces to chapters. 1909.

## Chapter I., “Ourselves and Our Island,” gives the author’s

thoughts about Ireland, its outward aspect, the peculiarities of its social life, its soul. It includes an exquisite pen-picture of Irish landscape beauty. The remaining fourteen sketches are “chapters from the history of some Irish country folk,” whom she describes as “social, pleasure-loving, keen-witted,” but “prone to melancholy and mysticism.” The last sketch is a picture, almost photographic in its fidelity, of a little out-of-the-way country town and its neighbourhood. The illustrations are pretty, and the artist, who, unlike many illustrators of Irish books, has evidently been in Ireland, has made a great effort to include in his pictures as much local colour as possible. Yet it seems to us that un-Irish traits often intrude themselves despite him.

⸺ FLAWS. Pp. 344. (_Hutchinson_). 6_s._ 1911.

Embroidered upon an exceptionally involved plot—four times we are introduced to a wholly new set of characters—we have the author’s usual qualities, minute observation and depiction of curious aspects of character, snatches of clever picturesque conversation, an occasional vivid glimpse of nature. But in this case the caste is made up of spiteful, petty, small-minded and generally disagreeable personages. They are nearly all drawn from the middle and upper classes in the South of Ireland, Protestant and Anglicized. The snobbishness, petty jealousies, selfishness of some of these people is set forth in a vein of satire. The incidents include an unusually tragic suicide.

⸺ MAC’S ADVENTURES. (_Hutchinson_). 6_s._ 1911.

Eight stories in which Mac, or rather Macartney Valentine O’Neill Barry, who is four years old in the first and six in the last, plays a leading part. Indeed he is quite a little _deus ex machina_, or rather a good fairy in the affairs of his elders. Mac is neither a paragon nor a youthful prodigy. He is just a natural child, with a child’s love of mischief and “grubbiness,” and full of quaint sayings. Bright and genial in tone.—(_Press Notices_).

⸺ DOINGS AND DEALINGS. Pp. 314. (_Hutchinson_). 6_s._ 1913.

Thirteen stories, all but one (the longest) dealing with peasant life in the author’s wonted manner. Perhaps scarcely so good as some of her earlier collections.

⸺ A CREEL OF IRISH STORIES. (_Methuen_). 1_s._ Cloth. 8vo. (N.Y.: _Dodd & Mead_). 1.25.

The first of these, “The Keys of the Chest,” is a curious and original conception, showing with what strange notions a child grew up in a lonely mansion by the sea. The story of the suicide is a gem of story-telling. “Three Pint Measures” is a comic sketch of low Dublin life.

⸺ ANOTHER CREEL OF IRISH STORIES. Published, I believe, in U.S.A. (On sale by _Pratt_: N.Y.). 1.75.

=[BARRETT, J. G.], “Erigena.”=

⸺ EVELYN CLARE; or, The Wrecked Homesteads. Pp. viii. + 274. (DERBY: _Richardson_). 1870.

“An Irish story of love and landlordism.” Crude melodrama with all the usual accessories—a landlord, “Lord Ironhoof,” and an agent, “Gore”—eviction, agrarian murders, a disguised priest, and secret Mass, a poteen still, an elopement, a changeling brought up in wealth, a lover supposed drowned, and an innocent man unjustly convicted. No sense of reality. Scene: West of Ireland, _c._ 1850. Several anachronisms.

=BARRINGTON, F. Clinton.=

⸺ FITZ-HERN; or, The Irish Patriot Chief. Pp. 122. (GLASGOW: _Cameron & Ferguson_). _n.d._

Scene: Galway Bay. Crude melodrama, without historical significance. Wicked married bishops, scheming foreign monks, and coarse fat friars are the villains of the piece. But the hero, a smuggler of noble birth, always escapes from their clutches, and finally marries the heroine. Specimen of dialect:—“Arrah, gorrah, avic, father John, it’s the Pope o’ Rome ye bate, out and out.” (p. 13).

=BARRON, Percy.=

⸺ THE HATE FLAME. Pp. 382. (_Hodder & Stoughton_). 6_s._ 1908.

The story of a noble life wrecked by racial hatred. The hero, a young Englishman, Jack Bullen, fights a duel, in Heidelberg, with an Irish student, and kills him. This deed comes in after years between him and the Irish girl (cousin of the slain student, and pledged against her will to vengeance by his father) whom he was to marry—and this through the plotting of her rejected lover and a priest. Bullen had, for the upraising of the Irish people, started a great peat factory in Ireland, and it had prospered. This work is wrecked by the same agency that ruins his private happiness. Throughout the book the Author attacks all the cherished ideas of Irish Nationalism and of the present Irish revival, and sets over against them the ideals of England and his personal views. Much bitterness is shown against the priests of Ireland. The scene-painting and the handling of situation and of narrative are very clever. There is nothing objectionable from a moral point of view.

=BARRY, Canon William, D.D.= Born in London, 1849. Educated at Oscott and Rome. He is a man of very wide learning, a theologian and a man-of-letters, known in literature both by his novels (_The New Antigone_, &c.) and by important historical and religious works. Is now Rector of St. Peter’s, Leamington.

⸺ THE WIZARD’S KNOT. Pp. 376. (_Unwin_). 6_s._ Second ed. (N.Y.: _Pratt_). 3.00. 1900.

Dedicated to Douglas Hyde and Standish Hayes O’Grady. Scene: coast of South-west Cork during famine times, of which some glimpses are shown. There is a slight embroidery of Irish legend and a good deal about superstition, but the incidents, characters, and conversations have little, if any, relation to real life in Ireland. It is mainly a study of primitive passions. It might be described as a dream of a peculiarly “creepy” and morbid kind. It is wholly unlike the Author’s _New Antigone_.

=BAYNE, Marie.=

⸺ FAIRY STORIES FROM ERIN’S ISLE. Pp. 131. (_Sands_). 2_s._ 6_d._ net. Illustr. by Mabel Dawson and John Petts. 1908.

Pretty and attractive picture-cover. Six little stories told in pretty, poetic style, one about a fairy changeling, another about the mermaids. The “Luck of the Griddle Darner” is in pleasant swinging verse. So is the “Sleep of Earl Garrett.” Though intended for small children, none of the stories are silly.

=BENNETT, Louie.= Born in Dublin, educated there by private tuition and in London. Has done some journalistic work, but is chiefly interested in social questions, in particular the woman’s movement and pacifism. Resides near Bray, Co. Wicklow.

⸺ THE PROVING OF PRISCILLA. Pp. 303. (_Harper_). 1902.

Scene: varies between Mayo and Dublin. Story of an ill-assorted marriage. The wife, daughter of a Protestant rector, is a Puritan of the best type, simple, religious, and sincere. The husband is a fast man of fashion, who cannot understand her “prejudices.” After much bickering they part. Troubles fall on both. In the end his illness brings them together again—each grown more tolerant. Quiet and simply but well written, with nothing objectionable in the treatment.

⸺ PRISONER OF HIS WORD, A. Pp. 240. (_Maunsel_). 6_s._ Handsome cover. 1908. New edition. 1s. 1914.

“A tale of real happenings” (sub-title). Opens at Ballynahinch, Co. Down, in June, 1797. A pleasant, exciting romance, written in vigorous and nervous style. A young Englishman joins the Northern rebellion. He pledges himself to avenge his friend taken after the fight at Ballynahinch, and hanged as a rebel. The story tells how he carries out the pledge. The only historical character introduced is Thomas Russell. His pitiful failure in 1803 to raise another rebellion in Ulster is related. The little heroine, Kate Maxwell, is finely drawn.

=BERENS, Mrs. E. M.=

⸺ STEADFAST UNTO DEATH. Pp. 275. (_Remington_). Frontisp. by Fairfield. 1880.

“A tale of the Irish famine of to-day.” Period: 1879-80. Place: Ballinaveen, not far from Cork. Black Hugh, a kind of outlaw of the mountains is the hero. He had loved Mrs. Sullivan before she married the drunken, worthless Pat. He promises her when she is on her deathbed to care for the children she is leaving, and the worthless husband. Hugh takes the blame of the latter’s crime, and is hanged in Dublin. The family is rescued by benevolent English people. A well-told, but very sad story. The people’s miseries are feelingly depicted. Standpoint of a kind-hearted Englishwoman who pities, but does not in the least understand Ireland.

=BERTHET, Elie.=

⸺ DERNIER IRLANDAIS, LE. Three Vols. 16mo. (BRUXELLES: _Meline_). 1851.

Ireland in the eighteen forties. Abortive rising under one of the O’Byrnes of Wicklow (_Le dernier Irlandais_). O’Connell looms in the background as the opponent of all this. The rebellion, which at once fizzles out, is the result of an insult to O’Byrne’s sister by a _roué_ named Clinton. O’B. flies to Cunnemara (_sic_) with Nelly Avondale, daughter of the landlord of Glendalough, is besieged there in a fortress. Nelly returns to marry the above-mentioned _roué_ and O’B. flies. The Author is evidently not consciously hostile to Ireland, but he is totally ignorant of it. The peasants are travestied. They are all drunkards, slovenly, sly, mean, lawless. Some descriptions of scenery in Wicklow and Connemara.

=BERTHOLDS, Mrs. W. M.=

⸺ CONNOR D’ARCY’S STRUGGLES. (N.Y.: _Benziger_). 2_s._ 1914.

=BESTE, Henry Digby, 1768-1836.= Son of the prebendary of Lincoln. Became a Catholic 1798. An interesting biographical sketch of him (largely autobiographical) is prefixed to the novel here noticed. It includes a full account of his conversion.

⸺ POVERTY AND THE BARONET’S FAMILY: An Irish Catholic Novel. Pp. xxxii. + 415. (LONDON: _Jones_). 1845.

Bryan O’Meara, son of a poor Irish migratory labourer, is educated as a gentleman by Sir Cecil Foxglove, of Denham, near Grantham, in gratitude for the rescue of his child by Bryan’s father. Coming to man’s estate, and being refused by the Baronet’s daughter he returns to his father’s people at Athlone, where for some time he plays at being a farmer’s lad—and at rebellion. But a fortunate chance puts great wealth into his hands, and he returns to marry the Baronet’s daughter. Interesting glimpses of Catholic life in penal days (the story opens in 1805) when Catholicism was at the lowest ebb in England. The DUBLIN REVIEW says (1848, Vol. xxiv., p. 239): “The hero is a pious pedant, a truculent fellow, and a self-conceited proser. The story itself is purposeless; bitter in sentiment, and swamped in never-ending small-talk.” The “small-talk,” however is, if anything, over-serious and moral.

=“BIRMINGHAM, George A.”= Rev. James Owen Hannay, M.A., Canon of St. Patrick’s Cathedral (1912). Born 1865, son of Rev. Robert Hannay, vicar of Belfast. Educated at Temple Grove, East Sheen; Haileybury; T.C.D. Curate of Delgany, Co. Wicklow. Rector of Westport, 1892-1913. Has resigned this cure in order to devote himself to literature. Is a member of the General Synod of the Church of Ireland. He has shown himself equally at home in political satire, humorous fiction and historical fiction. He is in sympathy with the ideals of the Gaelic League, and has actively shown this sympathy. He seems on the whole Nationalist in his views, but has nothing in common with the Parliamentary Party. His earlier books showed strong aversion for the Catholic Church, but, except perhaps in _Hyacinth_, he has never striven to represent it in an odious light, and he is an enemy of all intolerance.

⸺ THE SEETHING POT. Pp. 299. (_Arnold_). 6_s._ 1904.

Main theme: the apparently hopeless embroilment of politics and ideas in Ireland. Many aspects of Irish questions and conditions of life are dealt with. Many of the characters are types of contemporary Irish life, some are thinly disguised portraits of contemporary Irishmen, _e.g._, Dennis Browne, poet, æsthete, egoist; Desmond O’Hara, journalistic freelance (said to be modelled on Standish O’Grady); Sir Gerald Geoghegan, nationalist landlord; John O’Neill, the Irish leader, who is deserted by his party and ruined by clerical influence; and many others. All this is woven into a romance with a love interest and a good deal of incident.

⸺ HYACINTH. (_Arnold_). 6_s._ 1906.

An account, conveyed by means of a slight plot, of contemporary movements and personages in Ireland. Most of these are satirized and even caricatured, especially “Robeen” Convent, by which seemed to be meant Foxford Mills, directed by the Sisters of Charity (see NEW IRELAND REVIEW, March, 1906). A grasping, unscrupulous selfishness is represented to be one of the chief characteristics of the Catholic Church in Ireland.

⸺ THE BAD TIMES. Pp. 312. (_Methuen_). 6_s._ [1907]. New edition, 1_s._ 1914.

Period: chiefly Isaac Butt’s Home Rule movement. Stephen Butler, representative of a landlord family of strong Nationalist sympathies, determines to work for Ireland. He joins the Home Rule Party, but he hates agrarian outrage, and so, through the Land League, becomes unpopular in his district in spite of all he has done. The author introduces types of nearly every class of men then influential in Ireland: a priest who favours and a priest who opposes the new agrarian movement, an incurably narrow-minded English R.M., an old Fenian, and so on. The impression one draws from the whole is much the same as that of the _Seething Pot_. The Author’s views are strongly National, and there is no bitter word against any class of Irishmen, _except_ the present Parliamentary Party.

⸺ BENEDICT KAVANAGH. Pp. 324. (_Arnold_). 6_s._ 1907.

Dedication in Irish. Foreword in which the Author states that by “Robeen” Convent he did not intend Foxford (cf. _Hyacinth_). A criticism of Irish political life, free from rancour, and from injustice to any particular class of Irishmen, showing strong sympathy for the Gaelic League, and all it stands for. The hero is left at the parting of the ways, with the choice before him of “respectability” and ease, or work for Ireland. The book should set people asking why is it that Irishmen—no matter what their creed or politics—cannot work together for their common country?

⸺ THE NORTHERN IRON. Pp. 320. (_Maunsel_). Bound in Irish linen. 1907. New ed. at 1_s._, 1909. Cheap ed. (_Everett_), 7_d._, 1912.

Scene: Antrim; a few incidents of the rising woven into a thrilling and powerful romance. Splendid portraits—the United Irishmen James Hope, Felix Matier, and Micah Ward, the loyal Lord Dunseverick, chivalrous and fearless, Finlay the Informer, and others. Vivid presentment of the feelings and ideas of the time, without undue bias, yet enlisting all the reader’s sympathies on the side of Ireland.

⸺ SPANISH GOLD. (_Methuen_). 6_s._ 1908. Cheap ed., 1_s._ (N.Y.: _Doran_). 1.20.

A comedy of Irish life, full of the most amusing situations. Scene: a lonely island off the coast of Connaught, in which treasure is hidden. The action consists of the adventures of various people who come to the island—an Irish chief secretary, a retired colonel, a baronet, a librarian, a Catholic priest, and a Protestant curate. This last, the Rev. J. J. Meldon, is a most original creation. There are touches of social satire throughout, but without bitterness or offensiveness.

⸺ THE SEARCH PARTY. Pp. 316. (_Methuen_). 6_s._ 1909. (N.Y.: _Doran_). 1.20.

“How a mad Anarchist made bombs in a lonely house on the west coast of Ireland, and imprisoned the local doctor for fear lest he should reveal the secret. Mr. Birmingham’s irresponsible gaiety and the knowledge of Irish character revealed in his more serious fiction carry the farce along at a fine pace.”—(TIMES LIT. SUPPL.).

⸺ LALAGE’S LOVERS. Pp. 312. (_Methuen_). 6_s._ (N.Y.: _Doran_). 1.20. 1911.

The main idea—in so far as the book is serious—may be stated thus:—How much can one young person (aetat 14 _sqq._) of perfect candour and fearlessness do to upset the peace of comfortable people, who are jogging along in the ruts of convention and compromise. Lalage begins with her governess, then tries the bench of bishops, but causes most consternation by disturbing an election with her Association for the Suppression of Public Lying. The whole is full of fun and laughter. L. has been well described as “an especially enterprising and slangy schoolboy in skirts.”

⸺ THE MAJOR’S NIECE. Pp. 302. (_Smith, Elder_). 6_s._ 1911.

Rev. J. J. Meldon in new situations. Major Kent expects from Australia a grown-up niece, who turns out to be a naughty little girl of ten. Mr. Meldon had made innumerable plans for the reception and treatment of the young lady. How does he face the new situation? There are capital minor characters—Doyle the hotel keeper, and Father MacCormack, and the housekeeper, Mrs. O’Halloran.

⸺ THE SIMPKINS PLOT. Pp. 384. (_Nelson_). 2_s._ net. (N.Y.: _Doran_). 1.20. 1911.

Scene: “Ballymoy.” Problem: how to get rid of Simpkins, a meddlesome busybody. The interest of the plot mainly turns on the amusing manœuvres of Rev. J. J. Meldon (the hero of _Spanish Gold_) to marry Simpkins to a mysterious “Miss King,” a lady supposed to be identical with a Mrs. Lorimer, recently acquitted, against the opinion of the Judge, of the murder of her husband. Full throughout of fun, clever talk, and deftly sketched character study. Sabina Gallagher, Sir Gilbert Hawksby, and Major Kent are all well done, and there is no mistaking the nationalities.

⸺ THE INVIOLABLE SANCTUARY. Pp. 370. (_Nelson_). 2_s._ 1912.

How Frank Mannix comes for vacation to Rosnacree (in the wildest west of Ireland) in all the glory and dignity of a Haileybury prefect. How, owing to a sprained ankle, he is obliged to spend the time sailing in the bay with Priscilla, his fifteen-year-old madcap cousin. How various exciting adventures follow, including the finding, in most unexpected and comical circumstances, by a Cabinet Minister of his daughter, who had eloped with a clergyman, and how Frank and Priscilla were responsible for the reconciliation. Told with all the Author’s sense of fun and _flair_ for comic situations. But why must _all_ Irish peasants appear as liars?

⸺ THE RED HAND OF ULSTER. Pp. 318. (_Smith, Elder_). 6_s._ Cheap ed., 6_d._ 1912.

How an Irish-American millionaire runs a revolution in Ireland, sweeping into his plans the rabid Orangemen, who are in deadly earnest, the Tory M.P. who only meant to bluff, and members of the Irish Tory aristocracy who meant nothing in particular. Of this class is poor Lord Kilmore, who tells the story, and was an unwilling actor in the whole business. The book is a mixture of shrewd satire (_e.g._, Babberley, M.P., the Dean, and McConkey) in which all parties receive their share, and of Gilbertian extravaganza. The _dénouement_ is both amusing and unexpected.

⸺ DOCTOR WHITTY. Pp. 320. (_Methuen_). 6_s._ 1913.

Types and humours of a west Connaught village—the P.P., the Protestant Rector, Colonel Beresford, Thady Glynn, proprietor of “The Imperial Hotel,” chairman of the League, and popular demagogue, J.P., general philosopher, and “ipse dixit” of the village, and then the Doctor himself, genial, sociable, “all things to all men” to an extent that gets him into fixes, and that is not easily reconcilable with the moral order. There are broadly comical situations from which the Doctor extricates himself, and emerges radiant as ever. The seamy side of Irish life is depicted in the Author’s usual vein of satire.

⸺ GENERAL JOHN REGAN. Pp. 324. (_Hodder & Stoughton_) 6_s._ Second ed., 1913.

A very slight plot, centering in the erection of a statue to an imaginary native of Ballymoy. The real interest lies in the Author’s satirical pictures of Irish life, and in his humorous delineations of such types as Dr. O’Grady, Doyle the dishonest hotel-keeper, Major Kent, whom we have met in _Spanish Gold_, Thady Gallagher, the editor of the local paper, and a rather undignified and not wholly honest P.P. The thesis, if there be any, would seem to be that the Irishman is so clever and humorous that he will allow himself to be gulled, and will even gull himself for the pleasure of gulling others.

⸺ MINNIE’S BISHOP, and Other Stories of Ireland. Pp. 320. (_Hodder & Stoughton_). 6_s._ 1915.

Not all of these stories deal with Ireland, and those that do are very varied in character. Some are in the Author’s most humorous vein, others are more serious in tone. In several he pokes fun at Government methods in the West, and some show the comic side of gun-running, despatch-riding, and other Volunteer

## activities. In the background, at times, is a vision of the

hopeless poverty of the Western peasant’s lot.

=BLACK, William.= Born in Glasgow, 1841. One of the foremost of English nineteenth century novelists. Published his first novel 1864; thirty-three others appeared before his death in 1898, at Brighton, where he had long resided.

⸺ SHANDON BELLS. Pp. 428. (_Sampson, Low_). 2_s._ 6_d._ [1883]. (N.Y.: _Harper_). 0.80. New and revised ed. 1893.

Scene: partly in London, partly in city and county of Cork. A young Irishman goes to London to make his fortune. Disappointed in his first love, he turns to love of nature. The book has all the fine qualities of W. Black’s work. Sympathetic references to Irish life and beautiful descriptions of Irish scenery in Cork. Willy Fitzgerald, the hero, had for prototype William Barry, a brilliant young Corkman and a London journalist.

=“BLACKBURNE, E. Owens.”= Elizabeth O. B. Casey, 1848-1894. Born at Slane, near the Boyne. Lived the first twenty-five years of her life in Ireland; then went to London to take up journalistic work. In 1869 her first story was accepted, and in the early seventies her _In at the Death_ (afterwards published as _A Woman Scorned_) appeared in THE NATION. To the end she used the pen-name “E. Owens Blackburne.” Other works of hers were _A Modern Parrhasius_, _The Quest of the Heir_, _Philosopher Push_, _Dean Swift’s Chest_, _The Love that Loves alway_. “Her stories are mostly occupied with descriptions of Irish peasant life, in which she was so thoroughly at home that she has been compared to Carleton. They are for the most part dramatic and picturesque; and she understood well the art of weaving a plot which should hold the reader’s interest.”—(_Irish Lit._).

⸺ A WOMAN SCORNED. Three Vols. (_Tinsley_). [1876]. Also one Vol. (_Moxon_). 1878.

Out-at-elbows Irish household—upper class—brother, sister, and young step-sister (the heroine) Katherine. Captain Fitzgerald falls in love with Katherine. The elder sister (the woman scorned) filled with jealousy plots to marry K. to a rich elderly suitor. The plot miscarries, and she dies a miserable death. Scene: near the Boyne. Some good descriptions of river scenery.

⸺ THE WAY WOMEN LOVE. Three Vols. (_Tinsley_). 1877.

Hugh O’Neill, a Donegal man, after an unsuccessful career as an artist in London, settles near Weirford (Waterford). He has two daughters—Moira, handsome, proud of her ancient lineage and a poet, and Honor, plain and domestic. The story is concerned with the loves of these two. Local society cleverly hit off. Local newspapers and their editors come in for a good deal of banter; several real characters, thinly disguised, being introduced. Brogue very well done.

⸺ A BUNCH OF SHAMROCKS. Pp. 306. (N.Y.: _Munro_: “_Seaside Library_”). [1879]. 1883.

A collection of tales and sketches, illustrating for the most part the gloomier side of the national character, viewed, apparently, from a Protestant standpoint. In one, “The Priest’s Boy,” there is much pathos.

⸺ MOLLY CAREW. Three Vols. (_Tinsley_). _n.d._ (1879).

A tale of the unrequited love of an Irish girl of talent, but of humble origin, for a selfish and ruffianly English author named Eugene Wolfe. She falls in love with him as a child and then, in young womanhood, falls still more deeply in love with the ideal of him which she forms from his books. Nothing can kill or even daunt this love, and for its sake she undergoes the supremest sacrifices, but all in vain. The two chief characters are carefully and consistently drawn, and there are some dramatic scenes. The action passes chiefly in London, whither Molly Carew had followed her ideal.

⸺ THE GLEN OF SILVER BIRCHES. Two Vols. (_Remington_). 1880. (N.Y.: _Harper_). 1881.

Nuala O’Donnell’s extravagant father has mortgaged his estate in the Donegal Highlands, near Glenvich (The Glen of Silver Birches). A scheming attorney tries to get the family into his toils, and to marry N. The scheme is defeated, and N. marries Thorburn, an English landlord, who has bought the neighbouring estate. Some good characters, _e.g._, kindly old Aunt Nancy and N.’s nationalist poet cousin.

⸺ THE HEART OF ERIN: An Irish story of To-day. Three Vols. (N.Y.: _Munro_: “_Seaside Library_”). [1882]. 1883.

Standish Clinton, a clever speechmaker, raises himself to a foremost position in Parliament. Getting into higher social circles he breaks with his faithful Mary Shields. The mystery of his birth is cleared up in the end, and he succeeds as lawful heir to the family mansion of the Hardinges. The campaign of the Land League, with which the Author is in sympathy, forms the background. The famous letter of Dr. Nulty, of Meath, is cited as an argument for land reform. Interesting picture of the peasantry.

=BLAKE-FORSTER, Charles Ffrench.=

⸺ A COLLECTION OF THE OLDEST AND MOST POPULAR LEGENDS OF THE PEASANTRY OF CLARE AND GALWAY.

⸺ THE IRISH CHIEFTAINS; or, A Struggle for the Crown. Pp. 728, demy 8vo. (_M’Glashan & Gill_). 1872.

An account, in the form of a tale, of the Williamite Wars, from the landing of James II. at Kinsale to the surrender of Galway, with all the battles and sieges (except Derry). Into this is woven large sections of the family history of the O’Shaughnessy and Blake-Forster clans of Co. Galway. This latter story is carried past the Treaty of Limerick down to the final dispossession of the O’Shaughnessys in 1770. It includes many episodes in the history of the Irish Brigade in France and of the history of the period at home (including the Penal Laws and the doings of the Rapparees). A surprising amount of erudition drawn from public and private documents is included in the volume. The notes occupy from p. 429 to 573. An Appendix, pp. 574 to end, contains many valuable documents, relating largely to family history, but also to political history. The standpoint is Jacobite and national.

=“BLAYNEY, Owen,” Robert White.=

⸺ THE MACMAHON; or, The Story of the Seven Johns. Pp. x + 351. (_Constable_). 6_s._ 1898.

Founded on a County Monaghan tradition. Colonel MacMahon escaping from the defeat at the Boyne entrusts his infant son to John M’Kinley, a settler. The boy grows up, falls in love with M’Kinley’s daughter, and after unsuccessfully pleading his cause with the father, abducts her. M’Kinley calls to his aid six other settlers of the name of John, pursues the fugitives, seizes them, and hangs MacMahon on the windmill at Carrickmacross. A powerful story giving a faithful picture of the times. Ulster dialect good.

=[BLENKINSOP, A.]=

⸺ PADDIANA; or, Scraps and Sketches of Irish Life, Past and Present. Two Vols. (_Bentley_). [1847]. Second ed. 1848.

By the Author (an Englishman, _see_ p. 2) of _A Hot Water Cure_. Contents:—1. “Mr. Smith’s Irish Love.” 2. “Mick Doolan’s Head.” 3. “Still-Hunting.” 4. “A Mystery among the Mountains.” 5. “The Adventure of Tim Daley.” 6. “Mrs. Fogarty’s Tea Party.” 7. “A Quiet Day at Farrellstown.” 8. “A Duel.” 9. “Mr. H⸺.” 10. “The Old Head of Kinsale.” 11. “Barney O’Hay.” 12. “Headbreaking.” 13. “Cads, Fools, and Beggars.” 14. “The Mendicity Association.” 15. “The Dog-Fancier.” 16. “Dublin Carmen.” 17. “Horses.” 18. “Priests: Catholic and Others.” 19. “An Irish Stew.” Vol. II.—1. “Executions.” 2. “Ronayne’s Ghost.” 3. “The Last Pigtail.” 4. “The Green Traveller.” 5. “Larry Lynch.” 6. “Potatoes.” Then (pp. 142-275) follows “Irish History”—scraps from various Irish annals and histories, told in a facetious and anti-Irish spirit. All the old calumnies are raked up and set down here. The Author concludes that the Irish are an uncivilized people, and that their national character is “a jumble of contradictions.” The stories are told with considerable verve.

=BLESSINGTON, Countess of.= Marguerite Power, born near Clonmel, 1789, daughter of Edmund Power and Ellen Sheehy. In 1818 she married the Earl of Blessington, and became a leader of society in London, afterwards in Paris, and then again in London. Wrote upwards of thirty books—novels, travel, reminiscences, &c. Died 1849.

⸺ THE REPEALERS; or, Grace Cassidy. (LONDON). [1833].

“Contains scarcely any plot and few delineations of character, the greater part being filled with dialogues, criticisms, and reflections. Her ladyship is sometimes sarcastic, sometimes moral, and more frequently personal. One female sketch, that of Grace Cassidy, a young Irish wife, shows that the Author was most at home among the scenes of her early days.”—(_Chambers’_ CYCLOPÆDIA OF ENGLISH LITERATURE).

⸺ COUNTRY QUARTERS. Three Vols. (LONDON: _Shoberl_). [1850]. Port. Second ed. 1852.

In Vol. I., pp. iii.-xxiii., memoir of Author by M. A. P. Scene: South of Ireland (descriptions of Glanmire and references to Waterford and to the Blackwater), among county and garrison people. There is a great deal about their courtships and marriages, much small talk and pages of reflections. Grace, the heroine, is loved by two officers, friendly rivals. Mordaunt makes Vernon propose. V. is refused, but M. is too poor to marry. However, after many vicissitudes, Grace is united to M. Full of sentimentality.

=BLOOD SMITH, Miss=, _see_ =“DOROTHEA CONYERS.”=

=BODKIN, M. M’Donnell, K.C.=; County Court Judge of Clare since 1907. Born 1850. Son of Dr. Bodkin, of Tuam, Co. Galway. Educated at Tullabeg Jesuit College; Catholic University. Was for some years Nationalist M.P. for North Roscommon. Besides works of fiction, has published an historical work on Grattan’s Parliament. Resides in Dublin.—(WHO’S WHO).

⸺ POTEEN PUNCH. (_Gill_). 1_s._ 1890.

“After-dinner stories of love-making, fun, and fighting,” supposed to be told in presence of Lord Carlisle, one of the Viceroys, in a house at Cong, whither he had been obliged to go, having been refused a lodging at Maam by order of Lord Leitrim. The stories are of a very strong nationalist flavour, some humorous, some pathetic.

⸺ PAT O’ NINE TALES. (_Gill_). 1894. (N.Y.: _Benziger_). 0.90.

Stories of various kinds, all pleasantly told. The first and longest is a pathetic tale, introducing an eviction

## scene vividly described. Among other stories there is “The

Leprachaun,” humorous, and told in dialect; a “ghost” story; a story of unlooked for evidence at a trial; a tale of Fontenoy, &c. The last, “The Prodigal Daughter,” is, from its subject, hardly suitable for certain classes of readers.

⸺ LORD EDWARD FITZGERALD. Pp. 415. (_Chapman & Hall_). 1896.

The story of the earlier years of Lord Edward is woven into the love-story of one Maurice Blake. Pictures Irish social life at the time in a lively, vivid way. Hepenstal, the “walking gallows,” Beresford and his riding school, the infamous yeomanry and their doings, these are prominent in the book. The standpoint is strongly national. “History supplies the most romantic part of this historical romance. The main incidents of Lord Edward’s marvellous career, even his adoption into the Indian tribe of the Great Bear, are absolutely true. Some liberties have, however, been taken with dates.”—(Pref.).

⸺ THE REBELS. Pp. 358. (_Duffy_). 2_s._ [1899]. (N.Y.: _Benziger_). 0.60. 1908.

Sequel to _Lord Edward_. Later years of Lord Edward’s life. Shows Castlereagh and Clare planning the rebellion. Shows us Government bribery and dealings with informers. Some glimpses of the fighting under Father John Murphy, also of Humbert’s invasion and the Races of Castlebar. A stirring and vigorous tale, strongly nationalist.

⸺ SHILLELAGH AND SHAMROCK. (_Chatto_). 3_s._ 6_d._ 1902.

Short stories dealing mainly with the wild scenes of old election days. Pictures of evictions and the old-time fox-hunting, whiskey-drinking landlord. Always on the peasants’ side. Tales full of voluble humour and “go.” The peasants’ talk is faithfully and vividly reproduced.

⸺ IN THE DAYS OF GOLDSMITH. Pp. 309. (_Long_). 6_s._ 1903.

A panegyric of Goldsmith, dealing with the part of his life spent in England. Conversations introducing Reynolds, Beauclerk, Johnson, etc., the latter’s talk recorded with Boswellian fidelity. A picture, too, of the life and manners of the day drawn with such frankness as to render the book unfit for the perusal of certain classes of readers.

⸺ PATSY THE OMADHAUN. Pp. 260. (_Chatto_). 3_s._ 6_d._ (N.Y.: _Benziger_). 0.60. 1904.

A dozen short stories, in which the village tailor recounts the exploits of Patsy, who proves to be by no means the fool he seems, and extricates himself and his friends from all kinds of comical situations. All told in broadest brogue. Somewhat farcical comicality.

⸺ TRUE MAN AND TRAITOR. (_Duffy_). 1910.

The career of Robert Emmet from his Trinity days to his tragic end, told in the Author’s usual spirited fashion. Emmet is represented as an able and practical organizer, but the story of his love for Sarah Curran is not neglected. The historical facts are thoroughly leavened with romance—Emmet’s perilous voyage to France in a fishing-hooker, the detailed accounts of his interviews with Napoleon, the character of Malachi Neelin, the traitor: these and many other things are blended with the narrative of real events.

=[BOLES, Agnes], “J. A. P.”=

⸺ THE BELFAST BOY. Pp. 464. (_Nutt_). 5_s._ 1912.

Opens in Belfast during the great riots of twenty-five years ago. The hero, falsely accused of murder, flees to South Africa, where he becomes a millionaire, and is known as “The Belfast Boy.” The heroine, when she is going out to marry him, omits to mention that she is leaving a son and his father (the villain) in Belfast. These are conveniently got rid of, one by lightning, the other by lightning-like small-pox. Several real persons are introduced as personages in the story. Many of the incidents are sensational, there is much dialect, and the style in places is far from refined. An intense love for Belfast and its surroundings pervades the book.—(_Press Notices_).

=BOVET, Madame.=

⸺ TERRE D’EMERAUDE.

=BOWLES, Emily.=

⸺ IRISH DIAMONDS: A Chronicle of Peterstown. Pp. 219. (_Richardson_). 1864.

A story of landlord and tenant, of illicit distilling, and of proselytising. A Bible reader, an agent, and the sister of a landlord are the villains of the piece. Tone strongly Catholic and anti-Protestant. There is a love interest and a certain amount of adventure, which are not made subordinate to the pictures of Souperism. In 1878 a writer in the DUBLIN REVIEW said of it: “It has not been surpassed since it was written.... The characters are so well drawn that even those in barest outline are interesting and individual.... Told in the brightest, most natural, and most quietly humorous way.” Miss B. published more than a dozen other books, largely translations.

=BOYCE, Rev. John, D.D.= [From _Inishowen and Tirconnell_, by W. J. Doherty]. Born in Donegal, 1810. Ordained, Maynooth, 1837. Emigrated to U.S.A., 1845. Died 1864. Besides the three novels mentioned in the body of this work, he published lectures on the Influence of Catholicity on the Arts and Sciences, Mary Queen of Scots, Queen Elizabeth, Charles Dickens, Henry Grattan, &c.

⸺ SHANDY MAGUIRE; or, Tricks upon Travellers. (N.Y.: _Pratt_). 1.75. [1848]. Also (_Richardson_) 1855, and _Warren_, Kilmainham, _n.d._

“First appeared in a Boston periodical, with the pen-name of Paul Peppergrass. It attracted at once the attention of Bishop Fenwick of Boston. Dr. Brownson, in his QUARTERLY REVIEW, pronounced upon the book the highest eulogium, and assigned to the writer a place equal if not superior to any writers of Irish romance. _Shandy Maguire_ was recognised by the London Press and the DUBLIN REVIEW as a work of great merit. It has been successfully dramatized and translated into German” (from _Inishowen and Tirconnell_, by W. J. Doherty).

⸺ THE SPAEWIFE: or, The Queen’s Secret. [1853]. Still in print. (BOSTON: _Marlier_). 1.50.

Begins at Hampton Court. The facility with which Father Boyce makes Nell Gower, the Scotch Spaewife (a woman gifted with second sight), discourse in broad Scotch dialect, in contrast with the stately and imperious language of Elizabeth, displays an unusual power of transition. No finer character could be depicted than Alice Wentworth, daughter of Sir Geoffrey Wentworth, the representative of an old English Catholic baronetage, who suffered persecution under Elizabeth; whilst Roger O’Brien, attached to the Court of Mary Queen of Scots, affords an opportunity of presenting the high-spirited and brave qualities that ought to belong to an Irish gentleman. Elizabeth appears in anything but a favourable light.

⸺ MARY LEE; or, The Yankee in Ireland. (U.S.A.). (N.Y.: _Pratt_). 1.75. (BALTIMORE: _Kelly & Piet_). 1864. Pp. 391. Frontisp. by J. Harley.

The last story written by this Author, for whom see General Note. It is considered to display an intimate knowledge of Irish character and to contain an excellent description of the typical Yankee. The scene is Donegal. Time 185-.

=BOYLE, William.= Born in Dromiskin, Co. Louth, 1853; educated St. Mary’s College, Dundalk. Has written many poems, songs, and plays, including some of the best of modern Irish comedies. The atmosphere of his stories is thoroughly Irish and their humour and pathos are genuine.

⸺ A KISH OF BROGUES. (_O’Donoghue_). Pp. 252. 2_s._ 6_d._ 1899.

The humour and pathos of country life, Co. Louth. The Author knows the people thoroughly, and understands them. There is much very faithful character-drawing of many Irish peasant types and a few good poems.

=BOYSE, E. C.=

⸺ THAT MOST DISTRESSFUL COUNTRY. Three Vols. (_F. V. White_). 1886.

A tale of love and marriage. Scene: first in Wexford, opening with pleasant pictures of country-house life and merry-making. Then there is an account of some minor incidents of the rebellion, viewed from loyalist standpoint, with insistence on savage cruelty of rebels. Then the scene shifts to London, and thence to Dublin, where we have pictures of life in military society. Finally, the scene is transferred to Tuam, where word is brought of Humbert’s campaign in the West. Pleasant style, but the conversations, full of chaff and nonsense, are long drawn out. Author says in preface that the incidents are taken from private letters or accounts of eye-witnesses.

=BRAY, Lady.=

⸺ EVE’S PARADISE. (_Wells, Gardner_). 6_s._ Etched frontispiece and title-page.

“Lady B.’s descriptions of child life are admirable, well-observed, and cleverly done.”—(PALL MALL GAZETTE).

⸺ A TROUBLESOME TRIO; or, Grandfather’s Wife. (_Wells, Gardner_). 2_s._ 6_d._ Second ed.

=BRERETON, F. S.=

⸺ IN THE KING’S SERVICE. Pp. 352. (_Blackie_). Attractive cover. Eight Illustr. by Stanley L. Wood. (N.Y.: _Scribner_). 1.50. _n.d._ (1901).

Exciting adventures, abounding in dramatic climaxes, of an English cavalier during Cromwell’s Irish campaign. Chief scenes of latter described from English cavalier standpoint. Burlesque brogue. Juvenile.

=BREW, Margaret W.= Wrote much for the IRISH MONTHLY and other Irish periodicals.

⸺ THE BURTONS OF DUNROE. Three Vols. Pp. 934. (_Tinsley_). 1880.

Scene: Munster _c._ 1810, also Dublin and (in third vol.) Spain, when the hero, William Burton, takes part in the Peninsular War. Robert marries beneath him, and is disinherited by disappointed father, who had meant him for his cousin Isabella. Rose, Robert’s wife dies. Robert goes to the wars, and returns covered with glory to marry Isabel and settle down in respectable prosperity. Conventional and a little dull. Much brogue as comic relief to the prevailing appeal to the tender feelings.

⸺ CHRONICLES OF CASTLE CLOYNE. Three Vols. (_Chapman & Hall_). 1886.

Highly praised by the TIMES, the STANDARD, the MORNING POST, the SCOTSMAN, &c., &c. The IRISH MONTHLY says: “It is an excellent Irish tale, full of truth and sympathy, without any harsh caricaturing on the one hand, or any patronizing sentimentality on the other. The heroine, Oonagh M’Dermott, the Dillons, Pat Flanagan, and Father Rafferty are the principal personages, all excellent portraits in their way; and some of the minor characters are very happily drawn. The conversation of the humbler people is full of wit and common sense; and the changes of the story give room for pathos sometimes as a contrast to the humour which predominates. Miss Brew understands well the Irish heart and language; and altogether her “Pictures of Munster Life” (for this is the second title of the tale) is one of the most satisfactory additions to the store of Irish fiction from _Castle Rackrent_ to _Marcella Grace_.”

=[BRITTAINE, Rev. George].= Was Rector of Kilcormack, Diocese of Ardagh. Died in Dublin, 1847. The ATHENÆUM of December 14, 1839, said of the first three works mentioned below: “The sad trash which is here put forward as a portraiture of the social condition of the Irish peasantry needs no refutation; in his ardour to calumniate, the Author has forgotten that there are limits to possibility, and that when they are overstepped the intended effect of the libel is lost in its absurdity.” All this writer’s books seem to have appeared anonymously.

⸺ CONFESSIONS OF HONOR DELANY. Pp. 86. (DUBLIN: _Tims_). 1_s._ 6_d._ [1830]. Third ed., 1839.

She admits getting a pension as a reward for “turning.”

⸺ IRISH PRIESTS AND ENGLISH LANDLORDS. Pp. 249. (DUBLIN: _Tims_). [1830]. Second ed., 1839; others 1871, 1879.

“By the author of _Hyacinth O’Gara_.” A priest has authority from a bishop to marry a girl to a man against her will. She refuses, and subsequently dies—a martyr for the Protestant faith.

⸺ RECOLLECTIONS OF HYACINTH O’GARA. Pp. 64. (DUBLIN: _Tims_). 6_d_. Fifth ed., 1839.

The above three books were originally written by Rev. Geo. Brittaine, Rector of Kilcormack, Co. Limerick. They were “re-written and completely revised” by Rev. H. Seddall, Vicar of Dunany, Co. Louth, and published by Hunt, London, 1871. They are frankly proselytising tales designed “to give a true picture of the Irish peasantry, and how priestcraft has wound itself into all their concerns.” (Pref.) The peasantry are represented as exceedingly debased, the priesthood as conscienceless and selfish tyrants. Religion is practically the sole theme throughout. There is practically no reference to contemporary questions. One reviewer says: “There is nothing more graphic in all the pages of _The Absentee_, or _Castle Rackrent_ than the account of Kit M’Royster’s disclosures to his brother, the Popish Bishop, about the heretical purity of their niece; or the description of Priest Moloney’s oratory about the offerings at the funeral of old Mrs. O’Brien.”—CHRISTIAN EXAMINER.

⸺ IRISHMEN AND IRISHWOMEN. Pp. 219. (DUBLIN: _Tims_). 1831.

⸺ JOHNNY DERRIVAN’S TRAVELS. Pp. 36. (DUBLIN: _Tims_). 6_d._ [1833]. Second ed., 1839.

Not religious in subject. Deals with Irish amusements, drinking, &c.

⸺ MOTHERS AND SONS. Pp. 297. (DUBLIN: _Tims_). 1833.

A lady turns Methodist at the age of 44. The Author thereby takes occasion to condemn dyed hair and wigs, and many other things. The story includes a murder of which a Curate is the victim. The murderer dies howling for the priest.

⸺ NURSE M’VOURNEEN. Pp. 33. (DUBLIN: _Tims_). Second ed., _c._ 1839.

⸺ THE ELECTION. Pp. 331. (DUBLIN: _Tims_). 1840.

Election manœuvres described. There is a murder in the story. Tone very anti-Catholic.

=[BRONTE, Rev. Patrick, B.A.].= 1777-1861. A county Down man, father of the famous novelists.

⸺ THE MAID OF KILLARNEY; or, Albion and Flora. Pp. 166. (_Baldwin_). [1818]. 1898.

Albion, an Englishman, visits Killarney, and falls in love with Flora Loughlean. The tale exhibits the anti-Catholic bias of the time.

=BROOKE, Richard Sinclair, D.D.= (1802-1882). Incumbent of Mariners’ Church, Kingstown, afterwards Rector of Eyton. Published several volumes of verse and prose. Father of Stopford Brooke.

⸺ THE STORY OF PARSON ANNALY. Pp. 429. (_Drought_). 1870.

A long, rather involved story, in part reprinted from DUBLIN UNIVERSITY MAGAZINE. It contains some excellent descriptions of Donegal scenery—Glenveagh and Barnesmore.

=BROPHY, Michael=, ex-Sergeant, R.I.C.

⸺ TALES OF THE ROYAL IRISH CONSTABULARY. Pp. xx. + 192. (DUBLIN: _Bernard Doyle_). 2_s._ [1888]. 1896.

Intended as the first volume of a series. Introduction gives a condensed history of the Force. This is followed by a long story founded on facts—“The Lord of Kilrush, Fate of Marion, and Last Vicissitudes of Lord Edward Fitzgerald’s Estate.” This tells how Sub-Constable Butler, a real “character,” bought in the Encumbered Estates Court the property of Lord Edward near the Curragh of Kildare, but was subsequently dispossessed—a curious tale, containing much out-of-the-way information, including an enquiry into the parentage of Pamela. Then follow “Episodes of ’48” (Ballingarry, &c.), and “The Story of a Sword,” (8 pp.) Sub-Constable Butler and Sub-Inspector Tom Trant are amusing personages.

=BROWN, Rev. J. Irwin.= Minister of the Scottish Church in Rotterdam, and son of Rev. Dr. Brown, of Drumachose, Derry, in his time a well-known public speaker, and a defender of the Irish tenant farmers.

⸺ IRELAND: Its Humour and Pathos. (ROTTERDAM: _J. M. Bredee_). 1910.

The book contains some racy stories, and is bright and readable throughout.—I.B.L.

=BRUEYRE, Loys.= Born in Paris, 1835. A French folk-lorist, Vice-President of the _Société des Traditions Populaires_. A frequent contributor to French folk-lore periodicals.

⸺ CONTES POPULAIRES DE LA GRANDE BRETAGNE. Pp. 382. (PARIS: _Hachette_).

Contains 100 tales. A very few are English (chiefly Cornish), none are Welsh. The majority are Scotch (largely from Campbell’s collection) but there are a good many Irish, taken from Croker and Kennedy. The book is entirely in French.

=BUCHANAN, Robert=, 1841-1901. Born in Staffordshire, son of Robert B., “Socialist, Missionary, and Journalist.” Educated at Glasgow. Published many volumes of poetry and several plays, among others a dramatised version of Harriett Jay’s _Queen of Connaught_ (_q.v._). In 1876 published his first novel—_The Shadow of the Sword_. Many others followed. In 1874 he settled at Rosspoint, Co. Mayo, but left Ireland in 1877. _Father Anthony_ was written during this period, but not published till later. _See_ the notice in D.N.B., and the LIFE, published in 1903, by Harriet Jay, his adopted daughter.

⸺ FATHER ANTHONY. (_Long_). 6_s._ Sixteen illustr. Many editions. 1903. New edition, 6_d._ 1911.

Scene: a country village in the West of Ireland. Father Anthony is a young priest, who for his brother’s sake has sacrificed a career in the world to devote himself to God’s poor. He finds himself called upon in virtue of his sacred office to keep the secret of the confessional when by a word he could save his brother from the hangman’s hands. The pathos of the young priest’s agony of mind is depicted with great power and sympathy. The other priest, Father John, is drawn as the true parish priest of the old type, blood and bone of the people, jovial, homely, lovable and beloved. The Author, though alien in faith and race, tells us that he knew intimately and loved both priests and people during his stay in Ireland.

⸺ THE PEEP-O’-DAY BOY: A Romance of ’98. (_Dicks_). 6_d._ _n.d._

A conventional sensational tale, little above the “shilling shocker,” with oath-bound societies meeting in under-ground caverns, abductions, informers, an absentee landlord, the Earl of Dromore, whose daughter loves the expatriated owner, The O’Connormore, and soforth. The three chapters on the insurrection are from Cassell’s _History of Ireland_. The story is scarcely worthy of this Author.

=BUCKLEY, William.= Born in Cork, and educated there at St. Vincent’s Seminary and the Queen’s College. His first literary work appeared in MACMILLAN’S MAGAZINE. Resides in Dublin.

⸺ CROPPIES LIE DOWN. Pp. 511. (_Duckworth_). 6_s._ 1903.

Scene: Wexford, the year of the rising. The Author banishes all romance and artistic glamour, and deals with the horrors of the time in a spirit of relentless realism. Quite apart from historical interest, the book is thrilling as a story of adventure. The tone is impartial, but the writer clearly means the events and scenes described to tell for the Irish side. The NEW IRELAND REVIEW says that “it sketches the origin and course of the Wexford insurrection with a conscientious accuracy which would do credit to a professed historian”; and it praises the Author’s “exceptional literary ability” and the “intense reality of his characters.” “Rather more than justice is done to the English authorities (_e.g._, Castlereagh), to the Irish Protestants, and even to the government spies.”—(_Baker_, 2).

⸺ CAMBIA CARTY AND OTHER STORIES. Pp. 230. (_Maunsel_). 1_s._ 1907.

Close descriptions of lower and middle classes in modern Youghal. In places will be unpleasant reading for the people of Youghal. Picture of Cork snobbery decidedly unfavourable to Cork people, and on the whole disagreeable and sordid.

=BUGGE, Alexander=, Professor in University of Christiania, ed.

⸺ CATHREIM CELLACHAIN CAISIL: The Victorious Career of Cellachain of Cashel. Pp. xix. + 171. (_Christiania_). 1905.

The original Irish text, from the Book of Lismore, is edited in a scholarly way and accompanied with an English translation, notes, and index. There is an interesting introduction. It is a story of the struggles of Cellachan and the Danes in the tenth century.

=BULLOCK, Shan F.= Born Co. Fermanagh, 1865. Son of a Protestant landowner on Lough Erne. Depicts with vigour and truth the country where the Protestant North meets the Catholic and almost Irish-speaking West. There is at times a curious dreariness in his outlook which mars his popularity. But his work is “extraordinarily sincere, and at times touched with a singular pathos and beauty.... He writes always with evident passion for the beauty of his country, and an almost pathetic desire to assimilate, as it were, national ideals, of which one yet perceives him a little incredulous.”—(_Stephen Gwynn_).

⸺ THE AWKWARD SQUADS. (_Cassell_). 5_s._ 1893.

The Author’s first book. Has all the qualities for which his subsequent books are remarkable. It is a study of the people of his native country—the borders of Cavan and Fermanagh—their political ideas, general outlook, humours and failings, their peculiar dialect and turns of thought. Four stories in all:—“The title story,” “The White Terror,” “A State Official,” “One of the Unfortunates.”

⸺ BY THRASNA RIVER. Pp. 403. (_Ward, Lock)_. 6_s._ Illustr. 1895.

The experiences of two lads on an Ulster farm in the district where the Author lays nearly all his scenes. There are many clever studies of peasant types. The hero is an Englishman, an amusing character. The story of his unsuccessful love-affair with the “Poppy Charmer” is told by one of the lads familiar to us as Jan Farmer. There is no approach to anything objectionable in the book. Chapter XXI., “Our Distressful Country,” is good reading.

⸺ RING O’ RUSHES. Pp. 195. (_Ward, Lock_). 1_s._ 6_d._ (CHICAGO: _Stone_). 1.00. 1896.

A cycle of eleven stories dealing with various aspects of Ulster life in the neighbourhood of Lough Erne. In “His Magnificence” an enriched peasant returns to his native village and tries to show off his grandeur. “Her Soger Boy” recounts a mother’s innocent fraud and her soldier lad’s savage retaliation.—(_Baker_, 2).

⸺ THE BARRYS. Pp. 422. (_Methuen_). 1_s._ Full-sized cloth. 1899. (N.Y.: _Doubleday_). 1.25.

## Book I . has its scene on Innishrath, an island in Lough Erne.

Frank Barry, on a visit from London to his uncle, betrays a peasant girl named Nan. In