Chapter XIV: Part I: tells how a peasant girl is, after a week’s (3)

⸺ THE IRISH BAR SINISTER. Pp. 136. LONDON. 1872.

“New ed. in four chapters.” The original was publ. by Gill,
Dublin, 1871. Really a pamphlet showing up the place-hunting
whiggery that prevailed in the Irish Bar at that time,
and giving a picture of Irish politics after the Fenian
insurrection, and at the outset of the Home Rule movement.

⸺ THE MISADVENTURES OF MR. CATLYNE, Q.C. An Autobiography. Two Vols. (_Tinsley_). 1873.

Elaborates the idea of the above-mentioned work. Depicts, under
assumed names, well-known Irish lawyers of the day. Intrigues
of the candidate for a small Irish borough, and his difficulty
in placating all parties well described. This originally
appeared in FRASER’S MAGAZINE. There is little plot, and no
romantic interest.

⸺ JERPOINT. An ungarnished Story of the Time. Three Vols. (_Chapman & Hall_). 1875.

A satirical study of parvenus, snobs, and various curious
types, very cleverly characterised. The story is chiefly
concerned with the Courtneys, risen from the publichouse to
county-family importance. P. 49 _sq._ gives an excellent
picture of a meet, with a study of the personages present. Full
of close observation and excellent descriptions. Among the best
portraits are those of the Hanlon family, always shabby and
out-at-elbows, yet ever struggling with fortune. We are not
told the situation of “the Cathedral City of Jerpoint on the
Sea.”

=MALONE, Molly.= A Dublin lady, married to a Mr. Riordan, living in Carlow.

⸺ THE GOLDEN LAD. 16mo. (_C.T.S. of Ireland: Iona Series_). 1_s._ 1910.

A study of Dublin slum-children, told with humour, insight, and
sympathy, by one who thoroughly knows their ways. The dialect
is faithfully rendered.

=MANNERS, T. Hartley.=

⸺ PEG O’ MY HEART. Pp. 320. (_Hodder & Stoughton_). 1913.

“Novelized” from a popular play. Peg is daughter of an Irish
agitator of the eighties who goes to America in the troubled
times. On the death of Peg’s mother her father returns to
Ireland, and lives there for many years, till bright prospects
call him back to America. But the main part of the action is
taken up with Peg’s visit of a month to her English relations
in Scarborough. The Author rather overdraws the contrast
between English and Irish types. There is much clever dialogue.
Ends with passing of second reading of Home Rule Bill, and the
glorification of the one-time agitator.

=MANNIX, Mary E.=

⸺ MICHAEL O’DONNELL; or, The Fortunes of a Little Emigrant. (BOSTON: _Flynn_). 0.60. [1900]. In print, 1910.

“Michael, an honest, industrious youngster, not too good to
use his fists when attacked by other boys, comes to the U.S.,
and steps into an excellent situation after three months
of walking across the Continent. By a series of innocent
misunderstandings, combined with hostile malice, he is made to
appear guilty of theft; but the truth is soon manifest.... Told
with much animation and liveliness.”—(AMERICAN ECCLES. REV.)
Juvenile.

⸺ PILGRIM FROM IRELAND. (BOSTON: _Flynn_). 0.36. In print, 1910.

=MAPOTHER, Mary J.=

⸺ THE DONALDS: an Irish Story (_Gill_). 6_s._ _c._ 1879.

Not in British Museum Library.

=MARSH, Mrs.=

⸺ THE NEVILLES OF GARRETSTOWN. Three Vols. (_Saunders & Otley_). 1860.

The main plot is a somewhat slight story of a lost heir
returning to claim his inheritance, which had been usurped
by an intruder. But the chief interest lies in the numerous
side incidents and digressions which are designed to portray
various phases of the life of the times. Opens and closes at
Clonmel, but the scene shifts to Dublin, Bantry, Paris, and
other places. Introduces Jacobite conspiracies, street-rioting,
hedge schools, city entertainments, political discussions, the
working of the Penal laws, and historical personages, such
as Primate Stone, Thurot, Prince Charles Edward, Archbishop
Dillon, and many others. Is more or less on the side of the
English colony, but is not unfair to any party. Has little or
no character study, and not much human interest, but abounds in
incident.

=MARTIN, Miss H. L.=

⸺ CANVASSING. (_Duffy_). Still in print. (N.Y.: _Kenedy_). [1832].

Published as one of the O’Hara’s tales. An elaborate tale of
matchmaking and marriage among the upper classes, written with
a moral purpose. Incidentally there is a good picture of an
election contest in the first quarter of the nineteenth century.

=MARTINEAU, Harriet.=

⸺ IRELAND: a Tale. Pp. 136. (LONDON: _Fox_). 1832.

Appeared in a series of illustrations of political economy.
Written in the cause of the Irish poor, aiming to show “how
long a series of evils may befal individuals in a society
conducted like that of Ireland, and by what a repetition
of grievances its members are driven into disaffection and
violence.” Shows three sources of evils—thriftlessness in
tenants, rapacity in landlords, misplaced benevolence.

=MASON, Miss.=

⸺ KATE GEARY; or, Irish Life in London. (LONDON: _Dolman_). 1853.

“A Tale of 1849.” “The specific object of this work is to
exemplify the various ways in which the poor are placed at a
disadvantage, and the misery and, almost of necessity, the
crime that ensue from their present crowded condition.” “Miss
M. describes the life of one who might be called a Sister
of Charity living in the world.... She tells us she has
witnessed the incidents of her tale, which are described with
vivacity.... The Author has entangled her heroine in a love
affair, which, in itself, is very frigid and tedious.”—(D.R.).

=MASON, A. E. W.=

⸺ CLEMENTINA. (_Methuen_). 2_s._ Eight illustr. by Bernard Partridge. [1901]. Second ed., 1903. (_Nelson_). New ed., 7_d._ 1911.

The story of the romantic escape in 1720 of the Princess
Clementina Sobieski from Austria, and how she was conducted to
Rome to be married to the Pretender by the Chevalier Charles
Wogan, member of an Anglo-Irish family of Clongowes Wood, in
the County Kildare. Some glimpses of the Irish Brigade. A
lively narrative. Mr. Baker calls it “a particularly close
imitation of Dumas.”

⸺ THE FOUR FEATHERS. Pp. 338. (_Smith, Elder_). 6_s._ (_Nelson_). 7_d._ [1903]. 1912.

Scene varies between London, Devonshire, the Soudan, and
Donegal (Ramelton and Glenalla), the scenery of which latter
is finely described. The theme is original and striking. The
hero, an English soldier, is all his life haunted by the fear
of showing “the white feather” at a critical moment. He resigns
his commission rather than risk in a campaign his reputation
for courage. This action brings on him the dreaded imputation
of cowardice. How he redeems his honour is finely told. A
delicate soul-study. The heroic self-sacrifice of Jack Durance
still further raises the moral worth of the book.

=MASON JONES=, _see_ =JONES=.

=MATHEW, Frank.= A grand-nephew of Father Mathew, the Apostle of Temperance. B. 1865; ed. Beaumont, King’s College School, and London University. The writer of the Preface to the New Ed. of the _Cabinet of Irish Literature_ says: “A good many people of excellent judgment look upon Mr. Mathew as the Irish novelist we have been so long awaiting.... He does not write merely from the point of view of a sympathetic outsider. He has the true Celtic temperament, with the advantage of education, inherited and otherwise, over the peasants of genius who have so long represented the Irish spirit.” Wrote also _Father Mathew, his Life and Times_, _One Queen Triumphant_, _The Royal Sisters_, &c. Resides in London.

⸺ AT THE RISING OF THE MOON. Pp. 240. (_M’Clure_). 3_s._ 6_d._ Twenty-seven good Illustr. (N.Y.: _M’Clure_). 1.50. 1893.

Twenty tales (memories of the old days, says the Author),
picturing many phases of peasant life on the West coast:
incidents of the moonlighting days, faction fights, the joke
of the potheen-makers, the attachment of priests and people,
the hardships of the poor, the days of sorrow, the love of home
and country. Told with sympathy in simple but literary style.
Dialogue clever and full of bright snatches of Celtic humour.

⸺ THE WOOD OF THE BRAMBLES. (_Lane_). 6_s._ 1896.

Gives a grotesque picture, intended for vivid realism, of
the rebellion. The rebels are comic savages, their leaders
(the priests included) little better than buffoons. It is
a burlesque ’98. It is well, however, to add the following
estimate from the prefatory essay to the new edition of _The
Cabinet of Irish Literature_: “A born critic here and there
will find out that Mr. Frank Mathew’s _Wood of the Brambles_ is
as full of wit, wisdom, observation, and knowledge as genius
can make it; but to the ordinary reader it is deliberately and
offensively topsy-turvy, and there’s an end of it.”

⸺ THE SPANISH WINE. Pp. 180. (_Lane_). 3_s._ 6_d._ 1898.

A tale of Dunluce Castle, Co. Antrim, in the days when the
MacDonnells from Scotland were Lords of Antrim, and Perrott was
Elizabeth’s deputy. The story is told in form of reminiscence,
the actual movement of the plot occupying only a few hours.
Little attempt at description of scenes or times. The Author’s
sympathies are with the MacDonnells, who were on the English
side at the time. The book has been greatly admired, especially
for the vividness of its historical atmosphere and its poetic
and romantic glamour.

⸺ LOVE OF COMRADES. (_Lane_). 3_s._ 6_d._ 1900.

“Ultra romantic. The sprightly daughter of a Wicklow squire,
bosom friend of Lord Strafford (then Lord Lieutenant
of Ireland), goes on a perilous journey disguised as a
gallant, with a message of life or death to Strafford at
Dublin.”—(_Baker_, 2).

=MATURIN, Charles Robert.= 1782-1824. Born in Dublin, and educated at Trinity College. Was a clergyman of the Church of Ireland, and all his life the sworn enemy of Catholicism and of Presbyterianism, both of which, especially the latter, he treats unsparingly in some of his books. Besides his novels he wrote tragedies, such as “Bertram,” and bloodcurdling melodramas, such as “Fredolpho.” In his way of life he was somewhat of an oddity—the madness of genius, his admirers said—and this is reflected in his works. “His romances attracted Scott and Byron, and many critics have given them great though qualified praise. Bombastic extravagance of language, tangled plots, and impossible incidents characterize them all. A remarkable eloquence in descriptions of turbulent passion is his strong point.” Besides the novels mentioned below, he wrote _Melmoth, the Wanderer_, generally considered his masterpiece, and “_The Albigenses_, his last and best (1824), which was pronounced by BLACKWOOD to be ‘four volumes of vigour, extravagance, absurdity, and splendour’” (compiled from Krans and Read). It should be noted that this writer sometimes violates good morals by indecency. Mr. N. Idman, of Lotsgotan, Helsingfors, Finland, is at present engaged on a study of M. which he intends to publish. The 1892 ed. of _Melmoth_ contains an introductory memoir of M., a bibliography, and a criticism of each of his works.

⸺ THE WILD IRISH BOY. Three Vols. 12mo. (LONDON). [1808]. 1814, 1839.

Republ. in “The Romancists’ and Novelists’ Library,” two vols.
(_Clements_), 1839. The original ed. was anon.—by the Author
of “Montorio” [_i.e._, “Dennis Jasper Murphy”]. Intended as
an exposition of the unhappy condition of Ireland and as a
picture of the life and manners of the time. The former is
soon lost sight of, but the latter is well carried out. The
hero is a strong Nationalist who works wholly for Ireland’s
cause. Apart from this graver purpose, interest is sustained
by a succession of exciting incidents and by good character
drawing. There is little plot, a great deal of sentiment,
and a great many disreputable intrigues, without, however,
objectionable details. The scene varies between Dublin and the
W. of Ireland—life in the family of a Protestant landowner and
in that of a Catholic feudal chief. Period, _c._ 1806-8. The
society depicted is that of the aristocratic classes. Author’s
standpoint full of sympathy and even admiration for Ireland,
strongly Protestant (Ch. of I.) and anti-“Roman.”

⸺ LE JEUNE IRLANDAIS. Four Vols. (PARIS). 1828.

Traduction per Madame la Comtesse de Molé.

⸺ THE MILESIAN CHIEF. Four Vols. 12mo. (LONDON). 1812.

“Was generally well received by the critics. Even Talfourd,
who had been rather hard on his first novel (_The Fatal
Revenge_), said of this: ‘There is a bleak and misty grandeur
about it which, in spite of all its glaring defects, sustains
for it an abiding place in the soul.’”—(C. A. Read). Deals
with the “prehistoric” Milesian invasion. Gustave Planche
in his critique on M. says of this book, “C’est un livre où
étincellent ça et là des pages magnifiques.”

⸺ CONNAL OU LES MILESIENS. Traduit de l’anglais par Madame la Comtesse [de Molé]. Four tom. (PARIS). 1828.

⸺ WOMEN; or, Pour et Contre. Three Vols. [1818].

Young de Courcy rescues Eva, who had been carried off to be
made a Catholic of by a fanatical grandmother, and he falls in
love. This brings him into Calvinistic Methodist circles in
Dublin. These the Author describes minutely and with satire.
The Methodist gloom and coldness drive the hero to the company
of a brilliant actress (really Zaira, Eva’s mother). He is long
torn between the two, but finally goes to Paris with Zaira.
There he deserts her for another. There is a fine description
of Z.’s despair. Eva dies of decline, and de Courcy, repentant,
soon follows. “A moral and interesting tale.” “The full praise
both of invention and of execution must be allowed to Mr. M.’s
sketch of Eva.” As regards Methodism, Mr. M. “has used the
scalpel, not, we think, unfairly but with professional rigour
and dexterity.”—(From a review by Sir Walter Scott in the
EDINB. REV., xxx., 234).

⸺ EVA; ou, Amour et Religion. Traduit de l’anglais sur la 2e éd. par M. 4 tom. (PARIS). 1818.

=MATURIN, Edward.= Son of the preceding.

⸺ THE IRISH CHIEFTAIN; or, The Isles of Life and Death. Pp. 316, v. close print. 16mo. (GLASGOW: _Griffin_). 1848.

A wild story, in which historical names (O’Ruarc of Breffny,
Dermod MacMurrough, Strongbow, Eva, Devorgilla) are given to
the personages, but which has no foundation in history. The
incidents are supposed to take place some short time after the
Norman invasion, but the book bristles with anachronisms. It is
a series of thrilling adventures, fighting, revenge, murders,
hairbreadth escapes, and so forth. Highly melodramatic,
sentimental, and extravagant.

⸺ BIANCA: a Tale of Erin and Italy. Two Vols. 660 pp. (N.Y.: _Harper_). 1852.

An outlandish sort of story, full of murders, perhaps a dozen,
if not more. Nearly all the characters have some terrible
secret connected with their past; hardly any of them are
legitimate children. A duel between two brothers, and banshees,
and mysterious ladies with dark prophesyings, etc., and all the
fee-faw-fum of the times when all this was popular.

=MAXWELL, W. Hamilton.= 1792-1850. He was a clergyman of the Church of Ireland, with a parish at Ballagh, in the wilds of Connaught, but was largely relieved of pastoral duties by the absence of a flock. He divided his leisure between field sports of all kinds and the writing of books. _Wild Sports of the West_, _Stories of Waterloo_, and _The Bivouac_ were the most successful of these; they are still much read. He tells a story capitally, with verve and spirit, and his situations are as exciting as those of any modern novelist. Maxwell was the first writer of military novels: he is the forerunner and even the inspirer of Lever. Mr. Baker describes his _Stories of Waterloo_ as “A farrago of Irish stories, sensational, with a dash of Hibernian character and local colouring.” This book is still to be had (Routledge, 2_s._), and a new ed. publ. by The Talbot Press, Dublin (Every Irishman’s Library), and ed. by Lord Dunraven, has recently (Sept., 1915) appeared of his _Wild Sports_.

⸺ O’HARA. Two Vols. (_Andrews_). [1825].

A Protestant landowner casts in his lot with the United
Irishmen. The Government attaints him of treason; he is tried
by a jury of drunken bigots, and hanged as a traitor. His
son, the hero of the tale, then throws himself heart and soul
into the rebellion. The interest centres in the accounts
of the fighting in the North. The hero is a leader at the
battle of Antrim. Some light is thrown on the nature of the
friction between the Catholic and the Protestant commanders,
which constantly threatens the disruption of the rebel
forces.—(_Krans_). Publ. anon.

⸺ THE DARK LADY OF DOONA. [1836]. Also (_Smith, Elder_) 1837. Pp. 306. (BELFAST) 1846. (LOND.) 1854. (_Warne_). 6_d._ 1891.

“A weak historical novel, in Scott’s manner, which attempts
a picture of sixteenth-century life.”—(_Krans_). The heroine
is Grace O’Malley. The story opens in 1601, but there is a
retrospective portion going back to tell the early life of the
heroine. A tale of love and wild vengeance. In the story figure
the heir of the Geraldines (who marries Grace’s granddaughter),
Hugh O’Neill, and Sir Richard Bingham. Grace joins the latter
against O’Neill. Well written on the whole.

⸺ LA DAME NOIRE DE DOONA. Roman historique traduit par Pâquis. Two tom. (PARIS). 1834(!).

⸺ ADVENTURES OF CAPT. BLAKE; or, My Life. (_Routledge_). 6_d._ [_Bentley_, 1835]. 1838. Third ed., 1882.

Really two practically independent stories, that of Major Blake
and that of his son, the Captain. The former is far the more
interesting, giving a good account of Gen. Humbert’s invasion
and of the manners of the peasantry at the time (especially
their open-hearted hospitality and kindliness), and some nice
descriptions of Connaught scenery. But for an absurd scene of
confession in a courthouse no religious bias is displayed. The
remaining two volumes are a rambling series of miscellaneous
adventures in Portugal, Paris, and London, consisting largely
of amorous episodes not edifying, to say the least, and told in
a facetious and somewhat vulgar strain.

⸺ THE ADVENTURES OF HECTOR O’HALLORAN AND HIS MAN, MARK ANTONY O’TOOLE. (_Warne_). 6_d._ Paper. (N.Y.: _Pratt_). 0.30. [1842]. _n.d._ (recently reprinted).

The hero is the son of a landlord and ex-soldier living in the
South of Ireland. Beginning with an attack on the castle by
local malcontents, Hector and his man pass through a series
of adventures (some of which are described with considerable
“go”), first in Dublin, then in London, and finally in the
Peninsular War under Wellington. Most of the incidents take
place amid the lowest society, and some of them are distinctly
coarse. There is no character-drawing and little or no attempt
to picture the life of the period. The military experiences in
Spain form, perhaps, the best part of the book. There is no
sympathy for Ireland, and there are some gibes at Catholicism.

⸺ THE ADVENTURES OF CAPT. O’SULLIVAN. Three Vols. (_Colburn_). [1848]. 1855.

“Or adventures civil, military, and matrimonial of a gentleman
on half-pay.” Some of these take place near “Ballysallagh,” in
Connaught, where the hero is stationed, his duties being mainly
to keep down the Ribbonmen and to hunt for illicit stills.
Attitude towards the former somewhat bloodthirsty. The two
chief houses belong to the priest and the tithe-proctor, the
task of the latter being described as the grinding of money
“out of the wretched serfs.” Little plot, long and tedious
conversations.

⸺ ERIN GO BRAGH; or, Irish Life Pictures. Two Vols. (_Bentley_). Portrait. 1859.

A posthumous collection of short stories originally contributed
to BENTLEY’S MISCELLANY and other magazines. Written in the
light, rollicking, high-spirited vein characteristic of
Maxwell. Many of them are recollections of actual experience.
Prefaced by biographical sketch by Dr. Maginn.

⸺ LUCK IS EVERYTHING; or, The Adventures of Brian O’Linn. Pp. 440. (_Routledge_). (N.Y.: _Pratt_). 3.00. 1860.

An infant, child of a dying mother who had been abducted, is
landed on Innisturk. He is adopted by the head man there, grows
up, goes to England, and after many exciting adventures, love
episodes, and hair-breadth escapes, finds out his own origin
and succeeds to ancestral estates. Originally appeared as
serial (with illustrations on steel by John Leech) under the
title of _Brian O’Linn_ in BENTLEY’S MISCELLANY.

=MAYNE, Thomas Ekenhead.= Son of a well-known bookseller of Belfast, was fast earning for himself a considerable literary reputation, but died at 32, 1899.

⸺ THE HEART O’ THE PEAT: Irish Fireside and Wayside Sketches. Pp. 214. (BELFAST: _W. Erskine Mayne_). 1_s._ Paper. 1899.

“These are all Irish stories, written on the spot, with a
faithfulness that can be felt in every line. There is no
attempt at meretricious workmanship, no maudlin sentimentality,
no mock heroics. They are simple tales, simply told; but
occasionally the restraint, which is everywhere discernible, is
relaxed for a moment, and the fire of the poet glows in half a
dozen lines, as a landscape or a sea-piece is enthusiastically
drawn, or some incident touches the gentle human heart of the
writer.”—(James H. Cousins, in SINN FEIN).

=“MEADE, L. T.”; Elizabeth Thomasina Toulmin Smith.= She was a daughter of Rev. R. T. Meade, of Nohoval, Co. Cork. She was b. at Bandon. She lived in England from 1874 till her death in 1915. Mudie’s catalogue enumerates 185 of her novels, many of which were stories for school girls. Of these novels several, no doubt, besides those here mentioned, relate to Ireland.

⸺ THE O’DONNELLS OF INCHFAWN. (_Hatchards_). 6_s._ 1887.

⸺ THE WILD IRISH GIRL. Pp. 444. (_Chambers_). 6_s._ Eight coloured Illustr. by the well-known PUNCH artist, Lewis Baumer. 1910.

Warm-hearted, impulsive Patricia has been allowed to run wild
at her own sweet will in Ireland. She is brought to London,
finds the conventional restraints of society too narrow for
her, and as a consequence gets into many amusing and harmless
scrapes, and out of them again.—(_Press Notices_).

⸺ DESBOROUGH’S WIFE. Pp. 319. (_Digby, Long_). 6_s._ One Illustr. 1911.

Scene: near Tralee, in Kerry. Patrick D. contracts a runaway
marriage with a beautiful peasant girl. He falls heavily in
debt, finds that his mother, on whom he had relied, is even
more heavily involved, and that the only way out is a marriage
with a rich heiress. Patrick basely yields, and the poor wife
consents to “disappear,” but in a strange way, connected with a
certain “silent room” in the D. mansion, whose secret we shall
not divulge, things right themselves at last. Peter Maloney,
Patrick’s faithful foster-brother, is curiously similar to
Griffin’s Danny Mann. The moral tone is high.

⸺ PEGGY FROM KERRY. Pp. 330. (_Chambers_). 6_s._ Pretty cover and eight coloured Illustr. by Miss A. Anderson. 1912.

Peggy is the daughter of a poor Irish peasant and of an
officer. She is now an orphan, but has been adopted by an
English friend of her father’s and sent to an English boarding
school. The story is made up of plots and petty jealousies
amongst the schoolgirls. Peggy, though much ridiculed for
her dreadful brogue, triumphs over her special enemy and the
latter’s followers and ends by being popular and happy.

⸺ KITTY O’DONOVAN. Pp. 330. (_Chambers_). 5_s._ Six good coloured Illustr. by J. Finnemore. 1912.

Doings in a select English boarding school, where the pretty
heroine from Kerry comes scatheless through the spiteful plots
of her jealous rivals, and is crowned Queen of the May. There
is a pretty description of Kerry scenery, but most of the
action takes place outside of Ireland.

⸺ THE PASSION OF KATHLEEN DUVEEN. Pp. 284. (_Stanley Paul_). 6_s._ 1913.

“A tale of the novelette class about a young Irishman forced
into crime and faithlessness to his young wife by his family’s
need of money.”—[TIMES LIT. SUPPL.]. Another “Colleen Bawn”
story. Brilliant young officer marries penniless girl.
Financial straits. Murder; and nemesis.

⸺ AT THE BACK OF THE WORLD. (_Hurst & Blackett_). 6_s._ _n.d._

Scene: “Arranmore,” on the sea coast of Cork. Sheila O’Connor
is long sundered from her lover by the suspicion, shared by
herself, that he is the murderer of her father, the Squire.
Whether they are ever united again we leave the reader to
discover. There are many scenes that show us the life of the
peasantry, in particular their religious customs. The book
seems free from bias, and the brogue is not exaggerated.

=[MEANY, Mary L.].=

⸺ CONFESSORS OF CONNAUGHT; or, The Tenants of a Lord Bishop. Pp. viii. + 319. (PHILADELPHIA: _Cunningham_). [1864]. _n.d._ (still in print).

Hardly a story: rather a relation of real incidents in
which the names are thinly disguised. Turns chiefly on the
proselytising efforts of Lord Plunkett, Protestant Archb. of
Tuam, resulting in the Partry evictions. Archb. MacHale,
Father Patrick Lavelle, Mgr. Dupanloup, and J. F. Maguire play
parts in the tale. Written with strong Catholic bias, but among
the chief characters are a Protestant minister and his wife,
who are represented as estimable in every way. Style lively,
and at times humorous. Dialogue good and natural. The Author is
a great admirer of William Smith O’Brien. She has also publ.
_Grace Morton; or, The Inheritance_. _A Catholic Tale._

=MEANY, Stephen Joseph.= B. nr. Ennis, Co. Clare, 1825. A noted journalist, first in his native Clare, then in Dublin. In 1848 he was imprisoned for some months. Then he went to Liverpool, where he founded the first English Catholic paper outside London—THE LANCASHIRE FREE PRESS. Went to U.S.A., 1860. Returned to England, and was arrested on a charge of Fenianism, 1867, and sentenced to 15 years. D. N.Y., 1888. His “Life” has been written by John Augustus O’Shea.

⸺ THE TERRY ALT: a Tale of 1831. Three Vols. 1841.

The “Terry Alts” was a name adopted by the secret agrarian
agitators in Munster, previously known as “Whiteboys.” Not in
British Museum Library.

=[MEIKLE, James.]=

⸺ KILLINCHY; or, The Days of Livingston. Pp. 156. 12mo. (BELFAST: _McComb_). 1839.

Description of Presbyterian life in Ulster immediately after
the Scottish Plantation, with biographical details concerning
Rev. John Livingston, a Scot from Kilsyth, who was minister of
Killinchy, Co. Down, from 1630-5. Story element slight. The
Author was a schoolmaster in the district.

=MELVILLE, Theodore.=

⸺ THE IRISH CHIEFTAIN AND HIS FAMILY. Four Vols. Pp. 910. (LONDON: _Lane, Newman_). 1809.

The chieftain is The O’Donoghue of Killarney, dispossessed for
loyalty to the Stuarts. His family, that of Lord Roskerrin, a
Williamite, rewarded with an estate, and an exiled Venetian
are the _dramatis personæ_. Scene: chiefly Killarney. Period,
only vaguely indicated, 18th century. Conrad O’D. the hero,
falls in love with the daughter of the hated Lord R. There are
kidnappings and highly sensational adventures of all kinds,
told in a romantic manner, among others how Conrad helps to
reinstate the exiled Venetian grandee. Author’s sympathies
thoroughly on the Irish side, but does not seem unfair to the
English. He wrote also _The White Knight_, _The Benevolent
Monk_, &c. Good descriptions of Killarney.

=MEREDITH, George.= B. Portsmouth, 1828. He had, as he used to boast, both Welsh (from his father) and Irish blood (from his mother) in his veins. Ed. chiefly in Germany. The writer of his life in the ENCYCLOPEDIA BRITTANICA says of him, “In Meredith went the writer who had raised the creative art of the novel, as a vehicle of character and constructive philosophy, to its highest point.... The estimate of his genius formed by “an honourable minority,” who would place him in the highest rank of all, by Shakespeare, has yet to be confirmed by the wider suffrage of posterity.” He died in 1909.

⸺ CELT AND SAXON. Pp. 300. (_Constable_). 6_s._ 1910.

Left unfinished, like Dickens’s _Edwin Drood_. The plot has
hardly begun to work out. The chief interest lies in the
purpose which was—the author tells us—to contrast English,
as typified in John Bull, to the description of whose
characteristics a whole chapter is devoted, with Celtic
character and ideals. This purpose is manifest throughout the
book. There is a set of Irish and a set of English characters,
and within these two sets are types differing widely from
one another. One of the most pronounced types of Irishman is
married to a lady of peculiarly English characteristics, and
the resulting ménage affords the author scope for much dry
humour. A romantic episode is just beginning to develop. The
highly-wrought Meredithian style is as distinctive as in his
former books, and there are stray glimpses of the Meredithian
philosophy.

=“MERRY, Andrew”; Mrs. Mildred H. G. Darby=, _née_ =Gordon-Dill=. B. 1869, in Sussex, d. of a North of Irelander, a cousin of Sir Samuel Dill, and of an English mother. Ed. at home. Married in 1889 J. C. Darby, Esq., D.L. Her writings are noted for their impartial standpoint as regards Irish questions, and for their virile style. Never in the criticisms of her literary work has it been suggested that the pen-name hid a woman.

⸺ THE GREEN COUNTRY. Pp. viii. + 378. (_Grant, Richards_). 1902.

Little studies, humorous or pathetic, of the Irish people of
to-day. Both the landlord class and the peasantry, Catholics
as well as Protestants, figure in the tale. The Author makes
(_c.f._ Pref.) her characters responsible for the views they
express. She applies herself with insight and sympathy and
without bias to a careful presentation of various aspects of
the national character, its shadows no less than its lights.
But there is no preaching. The story entitled “The love of God
or Men” is full of true religious feeling.

⸺ PADDY RISKY; or, Irish Realities of To-day. Pp. 367. (_Grant, Richards_). 1903.

Seven stories dealing with aspects of Irish life from the
landlord and Unionist point of view, yet tone not anti-Irish,
nor unjust to any class. The spirit is that of Davis’ “Celt and
Saxon,” quoted at outset:—

“What matter that at different times
Your fathers won this sod?
In fortune and in name we’re bound
By stronger links than steel,” &c.

One story shows the hardship of compulsory sale of grass lands.
Another deals (delicately) with seduction in peasant life. Most
of the characters in the stories are peasants of the Midlands.
Charming descriptions of Irish scenery.

⸺ THE HUNGER: Being Realities of the Famine Years in Ireland, 1845-1848. Pp. 436. (_Melrose_). 6_s._ 1910.

This is, in the form of fiction, a narrative of happenings in
one district, with a plot and personal drama and talk proper
to the novel, and all of these show the gifts of a practised
and able novelist; but “every incident,” the writer assures
us, “is fact, not fiction.” His matter is mainly derived from
oral statements, helped and verified from books, records, and
trustworthy private sources; and in an introduction Mr. Merry
deals with the causes and characteristics of the famine, the
horrors of which were such that even many of the incidents
here selected had to be modified in their details to become
publishable.—(TIMES LIT. SUPPL.).

=MEYER, Kuno.= B. Hamburg, 1858. Ed. Hamburg and Leipzig. Lecturer in Teutonic Languages at Univ. Coll., Liverpool, 1884; Professor, 1895. Founded the ZEITSCHRIFT FUR CELTISCHE PHILOLOGIE, 1895, and, along with Whitley Stokes, the ARCHIV. FUR CELTISCHE LEXICOGRAPHIE, 1898; founded the School of Irish Learning in Dublin, 1903; Prof. of Celtic in Univ. of Berlin since 1911. Has publ. a long series of most valuable works on Celtic-Irish subjects.

⸺ THE VISION OF MACCONGLINNE: a Twelfth Century Irish Wonder-Tale. (_Nutt_). 7_s._ 6_d._ net. 1892.

“Transl. by K. Meyer, literary introd. by W. Woolner. A
primitive tale combining two elements—satire of the Abbot
and Monks of Cork, and the vision of the Lake of Milk, which
reveals to the gleeman MacConglinne how King Cathal may be
delivered from the demon of gluttony that has been the bane of
his land. Full of extravagance and comic fancy.”—(_Baker_, 2).

⸺ THE VOYAGE OF BRAN, SON OF FERBAL, TO THE LAND OF THE LIVING. An old Irish saga, now first edited, with translation. Notes and Glossary by Kuno Meyer. With an Essay upon the Irish Vision of the Happy Otherworld, and the Celtic Doctrine of Rebirth by Alfred Nutt. [Grimm Library, Vols. 4 and 6].

Vol. I. “The Happy Otherworld.” Pp. xviii. + 331. 1895.

Vol. II. “The Celtic Doctrine of Rebirth.” Pp. xii. + 352.
1897. (_Nutt_). 10_s._ 6_d._ each.

⸺ LIADAIN AND CUIRITHIR. (_Nutt_). 1_s._ 6_d._ 1902.

An Irish love-story of the ninth century, partly in prose,
partly in verse. Old Irish text and English translation.
Introduction by Editor. Interesting chiefly to the student of
Old Irish and the folk-lorist.

=MILLIGAN, Alice and W. H.=

⸺ SONS OF THE SEA KINGS. Pp. 404. (_Gill_). 6_s._ Ten illustr. by J. Carey. 1914.

Based on the Scandinavian sagas—the Burnt Njal, Snorri
Sturleson’s Saga of Olaf, Tryggvesons, the Heimskringla,
&c. Iceland is the centre of these sagas, but Ireland looms
in the background, for the hero, Kiartain, comes of famous
Irish-Danish stock. The Authors have vividly realised and
vividly pictured these far times (end of 10th century). The
tone and “atmosphere” of the sagas has been preserved with
great fidelity, and the tale, told in language of much dignity
and beauty, is of high dramatic force and interest. Miss
Milligan is well known as poetess, journalist, and lecturer on
Irish subjects. Resides in Bangor, Co. Down.

=[MILLINGEN, John Gideon].= B. Westminster, 1782. Son of a Dutch merchant. Served as Surgeon in Peninsular War under Wellington, 1809-1814. Wrote many plays, a history of duelling, and other works. D. 1862. (Boase).

⸺ ADVENTURES OF AN IRISH GENTLEMAN. Three Vols. (_Colburn & Bentley_). 1830.

A very unpleasant book. Only the opening and closing scenes
are in Ireland (neighbourhood of Bantry Bay, Skibbereen, and
Tralee), the interval being filled by adventures in Portugal
(where the Inquisition is held up to obloquy), and in Paris
(where Freemasonry is praised and convents vilified). These
adventures are, for the most part, more or less scandalous
“love” affairs. At the outset there is a good deal about Irish
disaffection and lawlessness. The Author seizes every occasion
to drag in the confessional, the Pope, &c., and to inveigh
against them.

=MONTGOMERY, J. W.=

⸺ MERVYN GRAY; or, Life in the R.I.C. (EDINBURGH: _Cameron & Ferguson_). 1_s._ _c._ 1875.

The Author was a native of Virginia, Co. Cavan. He was
a zealous antiquary, and wrote on antiquarian subjects.
Published, besides the above, two volumes of verse and one of
prose sketches. D. Bangor, Co. Down, 1911.

=MOORE, F. Frankfort.= B. in Limerick, 1855, but brought up and ed. in Belfast. Began to write at 16. For sixteen years worked on staff of BELFAST NEWS-LETTER. See his _Journalist’s Note Book_, 1894. All this time he was turning out at least one book a year. In 1893 he scored a great success with his _I Forbid the Banns_. Since then his output has been very large. He resides at Lewes.

⸺ THE JESSAMY BRIDE. (_Hutchinson_). 6_s._ (N.Y.: _Fenno_). 50c. 1897.

The story of the last years and death of Goldsmith, told with
all the Author’s well-known verve. Full of dialogue, witty
and lively, yet not merely flashy, in which Johnson, Burke,
Garrick, and other wits and worthies of the day take part. The
central theme is Goldsmith’s attachment to the beautiful Mary
Horneck, called the Jessamy Bride. There is much true pathos in
the story, and not a word that could offend susceptibilities.

⸺ CASTLE OMERAGH. (_Constable_). 2_s._ 6_d._ (N.Y.: _Appleton_). 1.50. 1903.

Scene: the West of Ireland (Co. Clare) during Cromwell’s
invasion. The central figures are the Fawcetts, a Protestant
planter family, whose sympathies have become Irish. The eldest
son is an officer in the army of O’Neill. The second, the hero,
is literary and unwarlike, and inclined to Quakerism. A Jesuit
friend of the family figures prominently in the story, and is
presented in a very favourable light. The Drogheda massacre and
Cromwell’s repulse at Clonmel are included.

⸺ THE ORIGINAL WOMAN. Pp. 343. (_Hutchinson_). 1904.

Thesis: whatever culture may have done for the modern woman,
she reverts to the instincts of the original woman in the
crisis of a life-decision. Scene: first, country house in
Galway. The heroine is a typical modern girl of the best kind.
The hero, who is also the villain, is a singularly attractive
personality, the complicated workings of whose mind the Author
delights to analyse. Later the scene changes to Martinique.
Here an element of the supernatural and uncanny enters the
story. The style is witty, the character-drawing very clever.

⸺ CAPTAIN LATYMER. (_Cassell_). 6_s._ Also 6_d._ ed. 1908.

A sequel to _Castle Omeragh_. The eldest Fawcett is condemned
by Cromwell to the West Indies, but escapes along with the
daughter of Hugh O’Neill, nephew of Owen Roe. There are
exciting adventures. The book, as does _Castle Omeragh_, gives
a faithful picture of the times.

⸺ THE ULSTERMAN: a Story of To-day. Pp. 323. (_Hutchinson_). 6_s._ 1914.

A very candid, plainspoken, and judicious picture of life in
North-East Ulster. Pictures what the TIMES LIT. SUPPL. calls
“the unsympathetic materialism, the drab ugliness of a life
which finds its chief recreation in religious strife, and
much of its consolation in strong drink.” But dwells upon the
sterling good qualities that go to counterbalance these others.
Opens in a mid-Antrim town on the eve of “the 12th.” Story of
a bigoted Ulster mill-owner whose sons eventually marry into
Catholic families of a lower class. Not political.

⸺ THE LADY OF THE REEF. Pp. 348. (_Hutchinson_). 6_s._ 1915.

A young English artist in Paris suddenly inherits a
property in North Co. Down, and arrives to find himself in
a puzzling environment. Cleverly sketched characters are
introduced—MacGowan, the pushful attorney, the excellent parson
Gilliland, and the dipsomaniac captain. Then there is a wreck,
a rescue, and enter the “Lady of the Reef.” The sequel tells
whether she accepts the artist or not.—(I.B.L. and T. LIT.
SUPPL.).

=MOORE, George.= A distinguished poet, novelist, dramatist, and art critic. Was born in Ireland, 1857, of a Catholic family of Co. Mayo, many of whose members were distinguished nationalists. He has produced some twenty books. Much of Mr. Moore’s education has been acquired in France, with the result that, as Dr. William Barry says, “he is excessively, provokingly un-English.” At the same time he has little but scorn for things Irish. He has, as he tells us in _Confessions of a Young Man_, abandoned the Catholic Church. He may be said to be at war with all prevailing types of religion and current codes of morality. His books bear abundant evidence of the fact. Many of them treat of most unsavoury topics, and that with naturalistic freedom and absence of reserve. They were consequently excluded from lending libraries such as Mudie’s and Smith’s. Many critics rank Mr. Moore very high as a psychologist and as a critic. An interesting article on him will be found in G. K. Chesterton’s _Heretics_. His non-Irish stories include _Evelyn Innes_, _Sister Theresa_, _Esther Waters_, _A Mummer’s Wife_, _Celibates_, _Vain Fortune_, _A Mere Accident_, &c. Within the last two or three years he has published at intervals three vols. of reminiscences entitled _Ave, Salve, Vale_, in which no privacies are respected and which in other respects resemble his novels.

⸺ A DRAMA IN MUSLIN. Pp. 329. (_Vizetelly_). 1886.

Period: just before and just after the Phœnix Park murders.
Some attention is given to Land League tyranny before, and
coercion after. The interest centres in a party of girls
educated at a convent school at St. Leonard’s, and their
subsequent adventures in Irish society looking for husbands,
and all eventually going to the bad, with two exceptions. Of
these latter, one is a mad missionary and a Protestant, who
becomes a Catholic and a nun, the other is a free-thinker and
an authoress, a combination which the Author considers natural.
For the Irish peasant the Author has only disgust. The picture
of a Mass in an Irish chapel (pp. 70-72) would be offensive and
painful to a Catholic. Re-issued as _Muslin_, 1915.

⸺ THE UNTILLED FIELD. (_Unwin_). 6_s._ (PHILADELPHIA: _Lippincott_). 1.50. [1903]. New ed. (_Heinemann_). 1914.

A series of unconnected sketches of Irish country life, most
of which deal with relations between priests and people—evil
effects of religion on the latter, banishing joy, producing
superstition, killing art. In some of the stories priests are
depicted favourably. In the first the subject of the nude in
artist’s models is treated with complete frankness. Another
contains warnings against emigration. Some of the sketches are
exquisite; most of them, religious bias apart, true to life.
Has been transl. into Irish under title _An t-Ur Gort_ by P.
O’Sullivan.

⸺ THE LAKE. Pp. 340. (_Heinemann_). 6_s._ 1905. (N.Y.: _Appleton_). 1.50.

“A vague and inchoate novel with some passionate and delightful
descriptions of Nature. The theme, very indecisively worked
out, is that of a young priest’s rebellion against celibacy,
stimulated by the attractions of a girl whom he drove from the
parish because she had gone wrong.”—(_Baker_). Scene: Connaught
and Kilronan Abbey. The story seems meant to uphold the purely
Hedonistic view of life.

=MOORE, Sidney O.=

⸺ THE FAMILY OF GLENCARRA: a Tale of the Irish Rebellion. Pp. 154. (_Bath_). Six illustr. of little value. _n.d._ (1858).

Ninety-eight (Humbert’s Invasion) seen from the standpoint
of the “Irish Society” (a proselytising organisation). The
book is intended to set forth “the ignorance and degradation
peculiar to the Romish districts of Ireland,” and tells how
Aileen who was engaged to one of the rebels (a murderer) is
converted, and endeavours to convert others, with varying
success. The book is full of calumnies against, and grotesque
misrepresentations of, the Catholic Church. It closes with an
appeal to the “Daughters of England” for funds for the Irish
Society.

=MORAN, D. P.= Editor since its inception of the LEADER (Dublin). A Waterford man.

⸺ TOM O’KELLY. Pp. 232. (_Duffy_). 3_s._ 6_d._ 1905.

An ugly picture of lower middle class life in a small Irish
provincial town. It depicts the vulgarity and shoneenism
of this class, its drunkenness, its efforts to imitate the
well-to-do Protestant better classes, &c., &c. Unsparing
ridicule is showered upon Nationalist politics and politicians.
The unpleasantness of the picture is somewhat relieved by the
doings of Tom O’Kelly and the juvenile Ballytowners. Very
slight plot.

=MORAN, J. J.=

⸺ THE DUNFERRY RISIN’. (_Digby, Long_). 1894.

A study of the Fenian movement. The EVENING SUN of London
devoted a two-column review to the book, written by an old
participator in the Fenian movement (we understand that the
writer was the late J. F. X. O’Brien, M.P.), in which the story
was described as one of the most vivid pictures of the Irish
Republican Brotherhood and their movement that had yet been
written.

⸺ IRISH STEW. (_Digby, Long_). 1895.

A collection of humorous stories. “Jack Arnold’s Tour,” the
longest story, may be taken as typical. It relates the comical
adventures of an English visitor at Bundoran. The stories are
remarkable for their spirited and racy dialogue.

⸺ STORIES OF THE IRISH REBELLION. (ABERDEEN: _Moran_). 1_s._ 6_d._

Short stories, noteworthy for vividness and dramatic power (for
example, the story of Leonie Guiscard and Teeling). Humour and
pathos alternate. Neither is overdone.—(Publ.).

⸺ TWO LITTLE GIRLS IN GREEN. (ABERDEEN: _Moran_). 6_s._ 1898.

Land League story—extreme popular point of view; gives vivid
idea of feelings of people during hottest years of the
agitation. Introduces amiable Englishman who sees justice done
for his tenants. Clear and pleasant style.—(IRISH MONTHLY).

⸺ IRISH DROLLERIES. (_Drane_). 3_s._ 6_d._ 1909.

Ten comic stories such as “Pat Mulligan’s Love-making,”
a bashful young man “proposing” by proxy; “Miss Mullan’s
Mistake,” story of an elderly spinster who answers a
matrimonial advertisement with amusing results. Others are:
“Torsney’s Ghost,” “O’Hagan’s Golden Weddin’,” “Tim Mannion the
Hero,” “The Wake at Mrs. Doyle’s,” and so on.—(_Press Notice_).
“Mr. Moran has done much good work as a publisher of Irish
books in Aberdeen. In his humorous sketches of Irish life he
has ever striven to eschew the ‘Stage-Irishman’ type of vulgar
comicality. He writes much for various papers. Besides the
books noted here, he has published _A Deformed Idol_, &c.”

=MORGAN, Lady.= She was the daughter of a poor Dublin actor,
named Owenson, and was born in 1777. Her self-reliance, gaiety,
and accomplishments won her a prominent place in the literary
and social life of Dublin. She married Sir T. C. Morgan,
physician to the Lord Lieutenant. She protests energetically
in her books against the religious and political grievances
of Ireland. “Her books are a sign of the growth of a broader
spirit of Irish nationality and reflect the growing interest in
Irish history and antiquities.”—(_Krans_). She is said to have
published more than seventy volumes. Her satires of the higher
social life of Dublin are spirited and readable even to-day,
but their tone is often sharp and bad-tempered. She caught
well the outward drolleries of the lower classes: postillions,
innkeepers, Dublin porters, &c.; but she seldom looks beneath
the surface. It has been well said that her novels are
“thoroughly Irish in matter, in character, in their dry humour,
and cutting sarcasm; no less than in their vehemence and
impetuosity of feeling.” Twenty-two of her works are mentioned
by Allibone. She died in 1859.

⸺ ST. CLAIR; or, the Heiress of Desmond. [1803]. 1807, 1812.

“_St. Clair_, in sentiment and situation a weak imitation of
Werter, introduces an Irish antiquary, who discourses upon
local legends and traditions, ancient Irish MSS., and Celtic
history, poetry, and music.”—(_Krans_). Aims at upsetting the
notion of the possibility of platonic love between the sexes
without any approach to real attachment. Into the description
of places and scenes the Authoress worked much of her Connaught
experience.

⸺ ST. CLAIR EN OLIVIA ... MET PLATEN. Dutch trans. by F. van Teutem. (AMSTERDAM). 1816.

⸺ THE WILD IRISH GIRL. [1806]. (N.Y.: _Haverty_). 1.50. (_Routledge_). _n.d._ 6_d._

A love story of almost gushing sentiment. The scene is the
barony of Tirerragh, in Sligo (where the book was actually
written). Here the “Prince” of Inismore, though fallen on evil
days, still keeps up all the old customs of the chieftains, his
ancestors. He wears the old dress, uses the old salutations,
has his harper and his shanachie, &c. His daughter, Glorvina,
is the almost ethereal heroine. The personages of the book
frequently converse about ancient Irish history, legend,
music, ornaments, weapons, and costumes. There is much acute
political discussion and argument in the book. It is fervently
on the side of Irish nationality. “Father John” is a fine
character modelled on the then Dean of Sligo. It contains
many other portraits drawn from real life. Its success at
the time was enormous. In two years it passed through seven
editions.—(Fitzpatrick, Krans, &c.).

⸺ O’DONNEL. Pp. 288. (_Downey_). 2_s._ 6_d._ [1814]. 1895.

The central figure of this tale is a scion of the O’Donnells
of Tyrconnell, proud, courteous, travelled, who has fought
in the armies of Austria and of France, and finally that of
England. He is a type of the old Catholic nobility, and his
story is made to illustrate the working of the Penal laws.
Nearly all the personages of the story are people of fashion,
mostly titled. There is much elaborate character-study, and not
a little social satire. The native Irish of the lower orders
appear in the person of M’Rory alone, a humorous faithful old
retainer, whose conversation is full of bulls. Lady Singleton,
the meddling, showy, flippantly talkative woman of fashion,
and Mr. Dexter, the obsequious, a West Briton of those days,
are well drawn. The main purpose of the book, says the Author,
was to exhibit Catholic disabilities. There are interesting
descriptions of scenery along the Antrim coast and in Donegal.
As fiction it is slow reading, yet Sir Walter Scott speaks
highly of it.

⸺ FLORENCE MACARTHY. (N.Y.: _Sadlier_). 1.50. 1816.

Combines, as so many of Lady Morgan’s books do, political
satire with a romantic love tale. A kidnapped heir asserts
his claim to a peerage and estates and unwittingly woos the
romantic Florence, to whom he had been betrothed in his youth.
Mr. Fitzpatrick calls the book “an exceedingly interesting
and erudite novel,” and tells us how, before attempting
it, she had “saturated her memory with a large amount of
reading which bore upon the subject of it.” The character of
Counsellor Con Crawley constitutes a bitter attack on Lady
Morgan’s unscrupulous enemy, John Wilson Croker. The half-mad
schoolmaster, Terence Oge O’Leary, is a curious type.

⸺ THE O’BRIENS AND O’FLAHERTYS. Three eds. in one year. [1827]. (N.Y.: _Haverty_).

May be said to have for its object Catholic Emancipation, yet
the author was no admirer of O’Connell, and in this book keen
strokes of satire are aimed at the Jesuits, and even at the
Pope. Mr. Fitzpatrick says that “though professedly a fiction
it is really a work of some historical importance, and may
be safely consulted in many of the details by statistic or
historic writers.” He tells us also that it “contains a few
coarse expressions; and, in common with its predecessors,
exhibits a somewhat inconsistent love for republicanism and
aristocracy.” The novel is the story of a young patriot who,
expelled from Trinity College along with Robert Emmet and
others, becomes a volunteer and a United Irishman, and is
admitted to the councils of Tone, Napper Tandy, Rowan, and
the rest. After ’98 (which is not described in detail) he
goes to France, where he rises to be a General, and marries
the heroine. The book depicts with vividness and fidelity the
manners of the time (hence the occasional coarseness). There
are lively descriptions of Castle society in the days of the
Duke of Rutland. Lord Walter Fitzgerald was the original of
“Lord Walter Fitzwalter.”

⸺ LES O’BRIEN ET LES O’FLAHERTY OU L’IRLANDE EN 1793 is the title of a French translation of the preceding by J. Cohen. Three Vols. (PARIS: _C. Gosselin_). 1828.

⸺ DRAMATIC SCENES FROM REAL LIFE. Two Vols. (_Saunder’s & Otley_). [1833].

Contains a piece entitled “Mount Sackville.” “It possesses a
great deal of her peculiar power, has much truth, and much good
feeling, alloyed with some angry prejudice. There are some
scenes inimitable for their racy humour, and the characters
of Gallagher, the orange-agent, his ally the housekeeper, and
Father Phil, are worthy the hand that sketched M’Rory and the
Crawley family.... The Whiteboy scenes, though forcibly drawn,
are perhaps too melodramatic. Shows much bitterness against the
Repealers.”—(DUBL. REV.).

=MORIARTY, Denis Ignatius.= Ed. by.

⸺ THE WIFE HUNTER AND FLORA DOUGLAS. Three Vols.[9] (_Bentley_). 1838.

Prefatory notice signed by “John O’Brien Grant,” of Kilnaflesk,
the teller of the story. K. is “situated in a remote corner
of the kingdom,” near Bandon (vol. II., p. 186); it is
an old rambling family mansion, dating from 1713. We are
introduced to a set of hard-drinking, Orange squireens. The
hero, refused by his nurse’s daughter Mary, has a “go” at a
rich heiress, merely to better himself. He also, in company
with Morrough O’Driscoll, a “restless, blustering, dexterous,
successful, ambitious, amusing and farcical genius,” throws
himself into politics. Then there are a number of burlesque
electioneering scenes. Duly elected, the hero goes to Dublin,
meets Charlemont, &c., in high society. Hero marries Mary
after all; then, on her death, rescues an heiress and marries
her.... A third matrimonial venture is unsuccessful. There is
no seriousness in the book.

[9] The first two (pp. 342 + 332) are taken up by _The Wife Hunter_.

=MORRIS, E. O’Connor.=

⸺ KILLEEN: a Study of Girlhood. Pp. 348. (_Elliot Stock_). 1895.

Scene: “Killeen Castle,” Queen’s County. The plot turns on
misunderstandings that keep lovers apart. The characters are
of the Anglo-Irish and English upper classes. The book is
religious and moral in tone, the standpoint Protestant. Peasant
character sympathetically treated.

⸺ CLARE NUGENT. Pp. 324. (_Digby, Long_). 1902.

A rather sentimental tale of an Irish girl who goes to work
in England, in order to retrieve the fallen fortunes of the
family. This a particularly successful marriage enables her to
do, and all ends most ideally. An ordinary plot, somewhat long
drawn out. One or two charming descriptions of Irish scenery.

⸺ FINOLA. Pp. 304. (_Digby, Long_). 6_s._ 1910.

Scene: chiefly Dublin at the present day. Murrough O’Brien is
to get a great inheritance on condition of marrying Finola
de Burgh. He gives his consent. Then he is ordered off to
S. Africa. On his return he falls in love with a certain
Kathleen Burke, and is resolved to lose his inheritance for
her sake. The situation has been planned by the romantic Lady
Mary Eustace. Her plans nearly turn out in an unforeseen way.
The interest then settles on the identity of Kathleen Burke.
Several of the characters are well sketched. Notably, Eleanor
Butler, a sharp and amusing spinster.

=MORRIS, W. O’Connor.= B. 1824 at Kilkenny. Son of B. Morris, Rector of Rincurran, near Kinsale. Ed. in England. Became a County Court Judge. He devoted himself largely to politics; was a Liberal Unionist, strongly opposed to Home Rule, and especially to the land agitation. Was himself a good landlord, and an estimable man. D. 1904. _See_ his reminiscences, _Memories and Thoughts of a Life_.

⸺ MEMOIRS OF GERALD O’CONNOR. Pp. 311. (_Digby, Long_). 1903.

Reminiscences (told in the first person) of one Gerald
O’Connor, an ancestor of the Author. “Compiled partly from
old documents and papers in my possession, partly from
reminiscences handed down from father to son during five
generations, and partly from my own researches.”—(Pref.).
But the Author has freely filled in gaps in the authentic
records and supplied colouring, though there is practically
no dialogue. O’Connor served in the Williamite Wars, 1689-91,
emigrated to France with Sarsfield, and joined the staff of
Marshal Villars. Was in all the great battles of the War of the
Spanish Succession. The Author describes effects on Ireland of
conquest and confiscation from point of view of O’Connor, but
admits in Preface that he himself looks at modern Ireland from
the landlord’s standpoint.

=MULHOLLAND, Clara.= Is a sister of Lady Gilbert. Was born in Belfast, but left it at an early age, and was educated at convents in England and Belgium. The style of her stories is simple and bright, their tone thoroughly wholesome. Even when there is nothing directly about religion, they breathe an atmosphere of Catholicism. All of them can safely and with profit be given to the young. Many of them are specially meant for young readers. Some of her non-Irish stories are _The Miser of Kingscourt_, _A Striking Contrast_.

⸺ PERCY’S REVENGE. (_Gill_). 1887.

Irish and Catholic.