Chapter XV: Part I: tells how a peasant girl is, after a week’s (4)

⸺ LITTLE MERRY FACE AND HIS CROWN OF CONTENT. (_Burns & Oates_). 1889.

Stories for children. Irish and Catholic.

⸺ LITTLE SNOWDROP AND OTHER STORIES. Pp. 192. (_Washbourne_). 2_s._ 6_d._ Illustr. 1889.

The scene of the principal story, a great favourite with
children, is laid in Killiney, near Dublin. It tells of a child
kidnapped by gypsies.

⸺ THE LITTLE BOGTROTTERS. Pp. 188. (BELFAST: _Ward_; BALTIMORE, U.S.A.: _John Murphy_). Illustr. _n.d._

The child heroine actually loves her prospective step-mother,
and is delighted at the approaching marriage. During the
honeymoon Elise visits her cousins the Sullivans in Ireland—a
pleasant houseful of harum-scarum boys and girls, with whom
Elsie has many adventures. “Father John” is a fine type of
Irish priest.

⸺ DIMPLING’S SUCCESS. Pp. 150. (N.Y.: _Benziger_). _n.d._

Reminds one of _Little Lord Fauntleroy_, but Dimpling O’Connor
not only wins her stern old grandfather’s heart, but wins him
to the Catholic Church. There are plenty of adventures and a
good deal of piety, not of the goody-goody description.

⸺ KATHLEEN MAVOURNEEN. Pp. 143. (BALTIMORE: _Murphy_). 1890.

A cruel Donegal landlord fearing that his son is becoming
attached to Kathleen Burke, daughter of a poor tenant of one
of his farms, evicts Mrs. Burke. This blow kills her. Kathleen
goes as a governess to London, and there the lovers meet again.
But the hero has seen the error of his father’s ways, and
goes into Parliament. In the end he and his father too become
Catholics, and all ends well. For young people.

⸺ LINDA’S MISFORTUNES, AND LITTLE BRIAN’S TRIP TO DUBLIN. (_Gill_). (N.Y.: _Benziger_). 0.70 net. [_c._ 1892]. Still in print.

Two stories, the first and longer not being concerned with
Ireland. The second is a delightful little children’s story.

⸺ IN A ROUNDABOUT WAY. Pp. 224. (_Washbourne_). 2_s._ 6_d._ 1908.

Main theme: a plot to defraud an orphan girl of inherited
property, which in a strange manner fails, and all is well
again. Scene: first, London, then Donegal, of the scenery of
which the Author gives vivid descriptions. The life of the
peasants and their relations with their priests are depicted
with sympathy and feeling.

⸺ TERENCE O’NEILL’S HEIRESS. Pp. 358. (_Browne & Nolan_). 3_s._ 6_d._ Illustr. by C. A. Mills. (N.Y.: _Benziger_). 1.35. 1909.

A pleasant story of a young girl left an unprovided orphan, who
is cared for by generous relatives, whom in their hour of need
she strives to repay. Suspected of a theft, she is vindicated
only after much sorrow and heart-burning. The heroine is a
noble and beautiful character. Refined and sensitive, loving
music and art, she is obliged to take service as a governess in
an English family. There she meets the great trial of her life,
but also the final crown of her happiness.

⸺ SWEET DOREEN. (_Washbourne_). 3_s._ 6_d._ 1915.

Poverty and misery in Ballygorst have reached a climax. At the
suggestion of the Agent, Father Ryan goes to Dublin to get
the Landlord to do something. The latter is respectful, but
will do nothing. Just as Father Ryan is going the Landlord’s
daughter and her American friend Laura come in. They will go to
Ballygorst, and Papa is persuaded to be of the party. The story
tells how they came, met “Sweet Doreen” and her brothers and
sister, and met with many adventures, pleasant and unpleasant,
in the effort to do good.

=MULHOLLAND, Rosa; Lady Gilbert.= Born in Belfast, about 1855. She spent some years in a remote mountainous part of the West of Ireland. Of the rest of her life most has been passed in Ireland, where she still lives. In her early literary life she received much help and encouragement from Dickens, who highly valued her work. She has written much poetry of high literary quality and “marked by a thought and diction peculiar to herself.”—(IRISH LIT.). Her novels are intensely Catholic, though without anti-Protestant feeling, and intensely national. But their most striking quality is a literary style of singular purity and grace, and a quiet beauty very different from the flash and rattle of much recent writing. She has publ. several vols. of verse. Among her non-Irish novels may be mentioned _The Late Miss Hollingford_, _The Squire’s Granddaughter_, _The Haunted Organist_. Lady Gilbert has also written many children’s stories full of originality and playful fancy.

⸺ DUNMARA. By “Ruth Murray.” Three Vols. (_Smith, Elder_). 1864.

Wrecked on the coast Ellen, of mysterious antecedents, is taken
into the family of Mr. Aungier, or Dunmara Castle, in the
West. Strange household—the half-witted Miss Rowena, the dark,
vindictive Miss Elswitha, with unpleasant family history in
the background. A will is discovered making Ellen heiress of
Dunmara, but revealing to her that she is the daughter of a man
formerly slain by Mr. Aungier, who had asked her in marriage.
This long keeps the two apart, but they are married in the end.
Little Irish colour. Written in somewhat strained style and at
times over-emotional.

⸺ HESTER’S HISTORY. Pp. 237. (_Chapman & Hall_). 1869.

Pastoral life in the Glens of Antrim at the time of the
Union, the main theme being a love story. Humour and tragedy
alternate. Incidents of the rebellion of ’98, including an
attack on a castle in the Glens by the English soldiery. Some
historical characters are introduced. During part of the action
the scene shifts to London. The story was written at the
request of Charles Dickens, and he thought highly of it.

⸺ ELDERGOWAN; and Other Tales (three). (_Marcus Ward_). Illustr. 1874.

“Eldergowan” is a very careful and clever study of a girl’s
varying moods. “It is an excellent example of artistic work
and perfect in its way.” “Mrs. Archie” is a comedy in which
the chief actors are the antiquated family of the MacArthurs,
dwelling in the glens of Antrim. The third story, “Little Peg
O’Shaughnessy” is written in a lively style, with plenty of
interest of a healthy “real” kind.—(I.M.).

⸺ THE WILD BIRDS OF KILLEEVY. Pp. 311. (_Burns & Oates_). (N.Y.: _Benziger_). 1.10. [1883].

An exquisite little tale, not of the realistic sort, but sweet
and ideal. Kevin and Fanchea are little peasant playmates
together in Killeevy. Kevin is dull at his books, but full
of the love of nature. Fanchea is a fairy with a bird-like
voice. One day she is stolen by gipsies, then by strange
fortune gets into the upper stratum of society. Kevin goes
out into the world to look for her. He gets education and
becomes a poet. After long years they meet again and all is
well. Killeevy is an Irish-speaking district where the people
treasure religiously their Irish MSS. Here and there there
are pen-pictures of much beauty. It is not of course a mere
children’s book. It has been well said of the book: “It is our
own world after all, seen through the crystal of pure language,
artistic sense, and joyous perception of natural beauty.”

⸺ THE WALKING TREES; and Other Tales. Pp. 256. (_Gill_). 1885.

Contains “The Girl from under the Lake,” an Irish fairy tale,
occupying about one-third of the book. It is charmingly told.

⸺ MARCELLA GRACE: an Irish Novel. (_Kegan, Paul_). 6_s._ 1886.

A story with an elaborate plot, full of dramatic incident.
Incidentally the evils of landlordism and Fenianism are dwelt
upon, the former in the picture drawn of the hovels, the
starved land, and the meek misery of the people—and here the
author is at her best. The minor characters are clearly and
sympathetically drawn, evidently from life. There is much
sadness and even tragedy in the story. The Phœnix Park Murders
are touched upon.

⸺ A FAIR EMIGRANT. Pp. 370. (_Kegan, Paul_). 2_s._, &c. [1889]. New ed., 1896, &c.

Period: about the ’seventies. Scene: at first in America
(farming life), then in Ireland, north coast of Antrim. A love
story. The heroine, one of those whom all must love, is an only
daughter, whose mission in life is to clear her dead father’s
reputation. Full of romantic incident. There is a picture of
the landlord class of the time, and there are many good things
about the vexed economic and social questions of the day. The
book has the Author’s usual grace of diction, sincerity of
thought, and fine descriptions of scenery. It was very highly
praised in Irish, English, and Scotch literary journals.

⸺ NANNO. Pp. 287. (_Grant Richards_). 3_s._ 6_d._ 1899.

A rural love-story. Scene: Dublin and Youghal and Ardmore. The
heroine is a girl born in the workhouse, who is saved from
its dangerous and degrading atmosphere, and raised, by true
affection and by living among good country people, to high
moral feeling and purpose and to the heights of self-sacrifice.
The most realistic and the strongest of Lady Gilbert’s works.
Esteemed by the literary critics and by herself to be the best
of her novels. It is based on facts, and it occasioned the
reform of certain abuses in workhouses.

⸺ ONORA. Pp. 354. (_Grant Richards_). 1900.

A story of country life in Waterford in the days of the
Land League. Eviction scenes. Life in Land League huts on
the Ponsonby Estate. Has a strong emotional interest, with
much study of the family affections and of the interplay of
character. Many touches of humour. Highly praised in English
literary reviews. Incidentally there are glimpses of Mount
Melleray and of the scenery on the Blackwater. The sterling
goodness of obscure people is rendered with womanly sympathy.
Interwoven with the main story is that of Norah’s little lame
poet brother Deelan, a pathetic episode. Also folk-tales and
ballads.

⸺ TERRY. Pp. 112. (_Blackie_). Thirteen good illustr. by E. A. Cabitt. 1902.

Scene: West of Ireland. A story for children, about a girl and
boy of an adventurous turn, relating their doings while living
with their grandmother and their nurse, their parents being
away in Africa.

⸺ THE TRAGEDY OF CHRIS: The Story of a Dublin Flower-Girl. (_Sands_). [1903]. Second ed., 2_s._ 6_d._ 1914.

Sheelia, the little workhouse girl, is boarded out with Mary
Ellen Brady, and lives a happy life with her in her cottage in
the fold of the hills. But Mary Ellen dies, and Sheelia, to
escape dependence on the worthless cousins of her dead “Mammy,”
runs away to Dublin. Here she is friendless and penniless
till she becomes a flower-girl under the tutorship of Chris.
Tragedy comes when Chris disappears (she had been decoyed away
to London and made a “white slave”), and Sheelia makes it her
life work to find her again. She does so, but in the saddest
circumstances. The pitiful story is told with perfect delicacy.
Scene: Dublin, various other parts of Ireland, and London.

⸺ THE STORY OF ELLEN. Pp. 434. (_Burns & Oates_). 5_s._ 1907.

This is a reprint of an earlier story entitled _Dunmara_
(Smith, Elder), _q.v._

⸺ OUR SISTER MAISIE. Pp. 383. (_Blackie_). 6_s._ Illustr. by G. Demain Hammond, R.I. 1907.

Maisie, aged eighteen, comes from Rome to take charge of a
whole family of step-brothers and sisters. She owns an island
off the West coast. The family goes there. The children, after
many vicissitudes, turn out clever, develope special aptitudes,
and put these to use in helping the poor islanders in various
ways. There is a pretty love-story towards the close.

⸺ COUSIN SARA. Pp. 399. (_Blackie_). 6_s._ Eight fine illustr. by Frances Ewan. 1908.

An ideal love-story woven into a strong plot. There is tragedy
and humour with touches of heroism. High ideals are set forth.
The scene varies between the North of Ireland, Italy, and
London. The central idea of the story is this: Sara’s father, a
retired soldier, has a talent for the invention of machinery.
One of his inventions is stolen, and then patented by one whom
he had trusted. Then Sara shows her true worth.

⸺ A GIRL’S IDEAL. Pp. 399. (_Blackie_). Bound in solid gift-book style; cover attractive though not in perfect taste; many illustr. 1908.

Tells how an Irish-American girl comes to Ireland to spend a
huge fortune to the greatest advantage of her country. There
is also a love interest. Incidentally there is a description
of the Dublin Horse Show; a number of folklore tales are
told by Duncie, and there are good descriptions of Connaught
scenery. The book is rather crowded with somewhat characterless
personages, and there are improbabilities not a few.

⸺ THE GIRLS OF BANSHEE CASTLE. Pp. 384. (_Blackie_). 3_s._ 6_d._ Illustr. by John Bacon. _n.d._

Three girls, brought up in poverty by a governess in London,
migrate to Galway to occupy the castle, pending the discovery
of the missing heir. The latter turns up, but is not what he
was thought to be, and there are complications. The girls hear
a great deal of folk-lore and legend from the servants and from
the peasantry.

⸺ CYNTHIA’S BONNET SHOP. (_Blackie_). 5_s._ Eight illustr. by G. Demain Hammond, R.I.

“Cynthia, daughter of an impoverished Connaught family, wants
to support a delicate mother. She and her star-struck sister
go to London, where Cynthia opens a bonnet shop. How they
find new interests in life is told with mingled humour and
pathos.”—(_Publ._).

⸺ GIANNETTA: A Girl’s Story of Herself. (_Blackie_). 3_s._ Six full-page illustr. by Lockhart Bogle.

“The story of a changeling who is suddenly transferred to
the position of a rich English heiress. She develops into
a good and accomplished woman, and has gained too much
love and devotion to be a sufferer by the surrender of her
estates.”—(_Publ._).

⸺ THE RETURN OF MARY O’MURROUGH. Pp. 282. (_Sands_). 2_s._ (N.Y.: _Benziger_). 0.75. [1908]. Cheap ed., 1915.

Illustrated by twelve exceptionally good photos of Irish
scenery and types. Scene: near Killarney. The girl comes back
from the States to find her lover in jail, into which he had
been thrown owing to the perjury and treachery of some of the
police. We shall not reveal the sequel. The story is told with
a simplicity and restraint which render the pathos all the
more telling. It is faithful to reality, deeply Catholic, and
wholly on the side of the peasantry, of whose situation under
iniquitous laws a picture is drawn which can only be described
as exasperating.

⸺ THE WICKED WOODS. Pp. 373. (_Burns & Oates_). New ed. 1909.

The hero is a scion of a family in which a curse, uttered
against one of its founders by poor peasants whom he had
dispossessed, had worked ruin for many generations. He is
wholly unlike his ancestors, yet he, too, in a strange and
tragic manner, falls under the influence of the curse—for
a time. The story tells how he escapes from the terrible
trial. Incidentally the best qualities of the peasantry are
beautifully shown forth, especially the charity of the poor to
one another.

⸺ THE O’SHAUGHNESSY GIRLS. Pp. 383. (_Blackie_). 6_s._ Eight pleasant half-tone ill. by G. Demain Hammond. (N.Y.: _Benziger_). 1.50. 1910.

Scene: partly in London, partly by the Blackwater, in Munster,
where live Lady Sibyl O’Shaughnessy and her two unmarried
daughters. Of these latter, Lavender lives at home, takes an
interest in things Gaelic, and has fireside ceilidhes. The
other, Bell, runs away and goes on the stage. The search for
Bell and the discovery of the identity of a mysterious boy on
the O’S. farm constitute the main incidents of a delightful
story. There is a love interest. The moral of the whole (not
too obtrusive) is “Do the work that’s nearest, though it’s dull
at times.”

⸺ FATHER TIM. Pp. 314 (large print). (_Sands_). 2_s._ 6_d._ net. One coloured illustr. (_Benziger_). 0.90. 1910. Still in print.

Father T. is a zealous curate, first in a Dublin mountain
parish, afterwards in a parish among the Dublin slums. The
interest centres in his influence and work among upper and
lower classes alike. The story tells, too, of the varying
fortunes of other people that come into his life. Harrowing
pictures are drawn of the Dublin slums. Written with the
Author’s habitual literary charm. The plot is slight, but the
incidents follow one another rapidly and the interest does not
flag.

⸺ FAIR NOREEN: the Story of a Girl of Character. (_Blackie_). 6_s._ Illustr. by G. Demain Hammond. (N.Y.: _Benziger_). 1.50. 1911.

⸺ TWIN SISTERS: An Irish Tale. Pp. 392. (_Blackie_). 6_s._ 1912.

⸺ NORAH OF WATERFORD. Pp. 251. (_Sands_). 3_s._ 6_d._ 1915.

A republication of _Onora_.

=MURPHY, Con. T.=

⸺ THE MILLER OF GLANMIRE: an Irish Story. Pp. 227. (CHICAGO: _Baker_). Illustr. 1895.

=MURPHY, James.= B. Glynn, Co. Carlow, 1839. Ed. locally. He entered the teaching profession, and was for some years Principal of the Public Schools at Bray, Co. Wicklow, being appointed in 1860. He was successively Town Clerk of Bray and Prof. of Mathematics in Cath. Univ. and in Blackrock Coll. He resides in Kingstown. He has written more than twenty-five novels, eleven of which have been published. Others he hopes to publish in the near future.

⸺ THE HAUNTED CHURCH. (LOND.: _Spencer Blackett_). 4 eds.

The story of a treasure buried by buccaneers in an old
graveyard near Dublin, telling how the chief characters of the
tale, after many exciting adventures in Peru at the time of the
revolution there, eventually find the treasure and also the
heir to the earldom of Glenholme.

⸺ THE SHAN VAN VOCHT: a Tale of ’98. Pp. 347. (_Gill_). 2_s._ 6_d._ _n.d._ [1883]. Several since.

A melodramatic story, full of hairbreadth escapes, related with
a good deal of dash, and at times of power. Tells of Tone’s
negotiations in Paris leading to the various attempted French
invasions of Ireland, with a detailed and vivid account of
that in which Admiral Bompart was defeated in Lough Swilly and
Tone himself captured, also details of the latter’s trial and
execution.

⸺ THE FORGE OF CLOHOGUE. Pp. 332. (_Sealy, Bryers, and Gill_). [1885]. 5th ed., 1912.

The story opens on Christmas Eve, 1797, and ends with the
battle of Ross, including very stirring descriptions of the
battle there and at Oulart. As is usual with this Author, the
plot is somewhat loose, there are improbabilities, and the love
interest is of a stereotyped kind; yet the reader is carried
along by the quick succession of exciting incident. Of course
the standpoint is national. A good idea is given of the state
of the country at the time.

⸺ THE HOUSE IN THE RATH. Pp. 291. (_Sealy, Bryers_). 2_s._ [1886]. Fifth ed., 1909.

Has the usual qualities of this Author’s stories: plenty of
exciting and dramatic incident, and stirring descriptions—among
the latter the battle of Camperdown. Deals with Wolfe Tone’s
efforts to obtain aid from France for the United Irishmen and
with the plans of the latter at home. Lord Edward Fitzgerald
and Oliver Bond appear. There are pictures, too, of the
atrocities of the yeomanry. Interwoven with these events there
is a romance of private life centering in the cleverly drawn
characters of Teague, the Fiddler, and Kate Hatchman. As usual,
the Author makes much use of “the long arm of coincidence.”

⸺ CONVICT No. 25; or, The Clearances of Westmeath. Pp. 324. (_Duffy_). 3_s._ 6_d._ [1886]. Fifth ed., 1913.

Depicts landlordism in its worst days and at its worst—about
forty or fifty years ago. A complicated and somewhat
melodramatic plot in which probability is a good deal strained.
A slight love story runs through the book.

⸺ THE FORTUNES OF MAURICE O’DONNELL. 1887, and two others since.

⸺ HUGH ROACH, THE RIBBONMAN. (_Duffy_). 1_s._ [_c._ 1887]. Fourth ed., 1909.

One of the most popular of the author’s stories. The
leading incidents are founded on occurrences of the time.
Full of thrilling and dramatic situations and historical
pictures.—(FREEMAN).

⸺ LUKE TALBOT. Pp. 278. (_Sealy, Bryers_). 1_s._ 1890. Sixth ed. in preparation.

A sensational story, filled, without any interval of dullness,
with exciting adventures—sea battles, wrecks, hairbreadth
escapes, fighting under Wellington in Spain, &c., &c. The
main theme is a murder committed by a wicked land agent in
Ireland—Malcolm M’Nab—and of which Luke is suspected on strong
circumstantial evidence. All through the book, until just the
end, M’Nab is on top, but right finally triumphs. There is no
attempt at character drawing and very little probability.

⸺ THE FLIGHT FROM THE CLIFFS. Pp. 266. (_Duffy_). 1911.

Author’s avowed intention—to present Irish and Catholic view
of the Confederation War. With the political and military
events of the time in mingled the romance of Walter Butler
(the hero), who is on the Confederate side, and the daughter
of Inchiquin. Owen Roe and Father Luke Wadding are prominent
in the tale. Careful description of Benburb. Scene laid in
many parts of Ireland (Dublin, Wicklow, Cork, Donegal, &c.),
and in Spain and Rome. Full of exciting adventures, battles,
sieges, &c. Illustr. very numerous. They are crude, but serve
to enliven the narrative.

⸺ LAYS AND LEGENDS OF IRELAND. (_Duffy_). 1912.

Twelve in prose and five in verse. Includes two of Author’s
best short stories—“Maureen’s Sorrow” and “At Noon by the
Ravine,” as well as several of his best known ballads.

⸺ THE INSIDE PASSENGER. (_Duffy_). 1913.

The mail coach from Limerick is overtaken by a snow-storm
near the old castle of Bullock, near Dalkey, and held up by
a snowdrift. Passengers have to get out and shelter in the
castle. To while away the time they tell stories each more
weird and wonderful than the preceding, and all referring
indirectly to the Inside Passenger. Towards morning the I. P.,
the coachman, and the six brass-bound boxes are found to have
disappeared. The story tells what befell on the head of this
and how the mystery was finally solved.

=MURPHY, Nicholas P.= D. 1914. Ed. Clongowes Wood College. Was a member of the English Bar.

⸺ A CORNER IN BALLYBEG. Pp. 256. (_Long_). 6_s._ 1902.

A collection of short, humorous sketches of life in a midland
village in Ireland at the present day. The dialect is well
done. The book is not written in a spirit of caricature.

=MURRAY, John Fisher.= B. Belfast, 1811. Ed. there and T.C.D. Wrote much for Irish and English periodicals, including the NATION and the UNITED IRISHMAN. D. Dublin, 1865.

⸺ THE VICEROY. Three Vols. (LOND.). 1841.

Deals with Dublin official life, satirizing it unmercifully.
First appeared in BLACKWOOD’S MAGAZINE. The Author was born in
Belfast in 1811; died 1865. Wrote for the NATION, the UNITED
IRISHMAN (1848), the DUBLIN UNIVERSITY MAGAZINE, &c. Graduated
M.A. in T.C.D., 1832.

=NAUGHTON, William.=

⸺ THE PRIEST’S BOY: a Story of Irish Rural Life. (DUBLIN: _Hunter_). 1_s._ 1914.

=NEVILLE, Elizabeth O’Reilly.=

⸺ FATHER TOM OF CONNEMARA. (N.Y.: _Rand, McNally Co._). $1.50. Illustr. [1902]. 1903.

Rural life in W. of Ireland.

=NEVILLE, Ralph.=

⸺ LLOYD PENNANT: a Tale of the West. Two Vols. (_Chapman & Hall_). 1864.

First ran as a serial in “Duffy’s Hibernian Magazine,” 1863.
Well-written and exciting melodrama, with a good plot, but very
quiet and plain in style. The hero, who bears an assumed name,
and is really heir of an old Anglo-Irish family, joins the
British navy. He is unjustly accused of disloyalty and intimacy
with Lord Edward Fitzgerald. But all ends well, including his
love affair with Kate Blake, daughter of a family that plays a
principal part in the story. The Humbert invasion is touched
upon, especially the Castlebar “Races.” There is a good deal
about the ways of gombeen men and middlemen in the West.
Sympathies national. Wrote also _The Squire’s Heir_, 1881.

=NEWCOMEN, George.=

⸺ A LEFT-HANDED SWORDSMAN: a Romance of the Eighteenth Century. Pp. 239. (_Smithers_). 6_s._ 1900.

The life and doings of Cicely Grattan and of her adopted son
Victor La Roche, a noble and generous youth, brave and skilled
in sword-play—examples respectively of womanly virtue and manly
character. The interest centres chiefly in Cicely’s wrecked
love affairs and in Victor’s successful ones. Abundance of
incident sustains the interest throughout, and the book gives a
fairly good picture of society in the Dublin of the day, with
not a little reference to its loose morals.

=NEWTON, W. Douglas.=

⸺ THE NORTH AFIRE. Pp. 204. (_Methuen_). 2_s._ 1914.

Sub-t.: “A non-political story of Ulster’s war.” By a Catholic
Conservative.

=NOBLE, Mrs. Nicholas; [Madge Irwin].=

⸺ DRUIDEAN THE MYSTIC, and Other Irish Stories. Pp. 93. Sq. 12mo. (DUNDALK: _W. Tempest_). 1_s._ 6_d._ 1913.

Three little stories, only the last of which has a definite
plot, and a poem. They deal with peasant life. They are told
in a dialect which is not very sure of itself nor very true to
reality. The nine little illustrations by J. E. Corr and the
excellent printing and general get-up make the book very dainty.

=NOBLE, E.=

⸺ AN IRISH DECADE. Pp. 110. (_Digby, Long_). _n.d._ (1891).

Three stories:—1. “The O’Donol (_sic_) Rent,” 1879-80; 2.
“Rosie,” 1885; 3. “By Kerry Moonlight,” 1889. 1. How a
thriftless young farmer went in for anti-rent agitation and
brought ruin on himself and his young wife. 2. Story of a
resisted eviction ending in tragedy. 3. The “moonlighter” phase
of the land war. All three stories are written to show the
wickedness and the uncalled for nature of the land agitation.
They are nicely written and constitute a clever piece of
special pleading. In 2, the priest is represented as “heartily
sympathetic with the Cause but utterly unsympathetic with
gratuitous demonstrations of mass violence.”

=O’BRIEN, Charlotte Grace.= B. 1845. A dau. of William Smith O’Brien, the Young Ireland leader who in 1848 was condemned to death for high treason, a sentence afterwards commuted to transportation. Lived nearly all her life in Co. Limerick. Worked strenuously on behalf of Irish emigrants. Took active part in Nationalist politics and in the Gaelic League. Became a Catholic towards the end of her life. D. 1905. See _Charlotte Grace O’Brien, Selections from her Writings and Correspondence_, with a memoir by Stephen Gwynn [her nephew]. (_Maunsel_). 1909.

⸺ DOMINICK’S TRIALS: an Irish Story. Pp. 120. (_Gall & Inglis_). _n.d._ (1870).

A little tract in story form, telling how Dominick was
converted by his Bible, lost his job as farmer’s scarecrow,
converts his sister Judy, and is sent with her to a Protestant
orphanage in England, after which “they never lost an
opportunity of turning any poor benighted Roman Catholic to the
light of God’s truth.”

⸺ LIGHT AND SHADE. Two Vols. Pp. 287, 256. (_Kegan, Paul_). 1878.

A tale of the Fenian rising by the daughter of William Smith
O’Brien. A double love story runs through the book. The
descriptions of the scenery of the Shannon and neighbouring
districts are derived from livelong observations. Tone pure and
healthy, dialect perfect. Of this story Stephen Gwynn says:
“Violent, even melodramatic, in incident, it lacks the power of
characterisation, but it has many passages of beauty.... She
worked largely upon material gathered from the lips of men who
had been actors in the Fenian rising.”

=O’BRIEN, Dillon.= B. 1817, at Kilmore, Co. Roscommon. Ed. at St. Stanislaus Coll., Tullabeg. Went to U.S.A. and settled in St. Paul, Minn. Wrote a good deal of verse and several novels of Irish-American life. D. 1882. His serial _Dead Broke_, in the IRISH MONTHLY of 1882, is a good example of his pleasant, gay manner of telling a story.

⸺ THE DALYS OF DALYSTOWN. (U.S.A., ST. PAUL). 1866.

⸺ FRANK BLAKE. (U.S.A., ST. PAUL). 1876.

=O’BRIEN, FitzJames.=

⸺ THE POEMS AND STORIES OF FITZJAMES O’BRIEN. Pp. lxii. + 485. (BOSTON: _Osgood_). 1881.

Coll. and ed., with sketch of Author, by W. Winter. FitzJames
O’Brien was one of the most distinguished of Irish-American
writers. B. Limerick, 1838. Ed. T.C.D. D. 1862. He is a master
of the weird and eerie, after the manner of Lefanu (_q.v._)
and Poe. His prose works are little if at all concerned with
Ireland.

⸺ THE DIAMOND LENS, and Other Stories. (LOND.). 1887.

Sketch of Author prefixed. Contains no Irish stories.

=O’BRIEN, Hon. Georgina.= Eldest dau. of the late Lord O’Brien of Kilfenora, Lord Chief Justice of Ireland.

⸺ THE HEART OF THE PEASANT, and Other Stories. Pp. 277. (_Sisley_). 6_s._ 1908.

Twelve stories of various types. Some have a slight meaning
behind the mere tale. Four or five do not concern Ireland, and
several others do not touch peasant life. The tone is on the
whole sympathetic towards the external aspects of Catholicism.
The stories do not deal in politics or in problems. They are
chiefly little aspects of life and feeling. The last and
longest is a very modern story of the love affair of Rev. Mark
Dibbs and a certain Lady Glynn.

⸺ A TWENTIETH CENTURY HERO. Pp. 308. (_Maunsel_). 6_s._ 1913.

The scene and most of the characters of this story are
English. Some Irish interest, however, is afforded by Mr. and
Mrs. Flanagan, the latter bright, thrifty, busy; the former
of the happy-go-lucky type, content to let his wife do the
bread-winning.

=O’BRIEN, Morrough.=

⸺ THE LEAGUE OF THE RING and TORN APART. (_Ireland’s Own Library_). 6_d._ _n.d._ (1914).

Exciting stories of mysteries unravelled by the great Irish
detective, Dermod O’Donovan. Villainy is defeated and
couples are happily married. Quite healthy in tone, but very
sensational. The scene is Belfast and neighbourhood.

=O’BRIEN, Mgr. Richard Baptist; “Father Baptist.”= B. at Carrick-on-Suir, 1809. D. 1885. A distinguished priest, who was Dean of Limerick. Was well-known in religious and philanthropic works. He wrote poems for the NATION under the pen-name of “Baptist.”

⸺ AILEY MOORE. Pp. 311. (_Duffy_). 3_s._ 6_d._ [1856]. Fifth ed. _n.d._ (N.Y.: _Benziger_). 0.60.

Period: the years before and after ’48. Plot pleasant, but
main interest abundance of side incidents, character studies
and details of Irish life, introduced chiefly to picture the
evils of misgovernment prevailing at the time. The style is
agreeable, though there are rather lengthy moralizings. It was
advertised by Dolman as “showing how Eviction, Murder, and such
like pastimes are managed and Justice administered in Ireland.”

⸺ JACK HAZLITT, A.M. Pp. 380. (_Duffy_). Third ed. _n.d._ Still in print. (N.Y.: _Benziger_). 0.60. [1875].

The Preface tells us that Jack Hazlitt, whose fortunes are
followed in this book, was a real person known to the Author,
and that many of the adventures recorded are true. Scene:
first, banks of Shannon (King’s County or Westmeath), then
America. Story of sensational kind, but with many moral
lessons, often verging on homilies, directed chiefly against
free-thought and undenominational education.

⸺ THE D’ALTONS OF CRAG. Pp. 283. (_Duffy_). 2_s._ 1882. (N.Y.: _Benziger_). 0.60. [1882].

A tale laid in a time of helplessness and hopelessness, in
which the Author gives “many illustrations of the beautiful and
devoted love that has ever bound together the people and the
priests of Ireland.”—(_Pref._). The Author tells us that every
one of the main incidents is based on fact, and that many of
the characters are portraits of real persons. The story is told
with great vigour, and is full of diversified incident of no
humdrum or commonplace character.—(IRISH MONTHLY).

=O’BRIEN, William.= B. Mallow, Co. Cork, 1852. Ed. Cloyne diocesan seminary and Queen’s Coll., Cork. Early engaged in journalism. He long edited UNITED IRELAND, to which he contributed much prose and verse. He is one of the best known and most remarkable of modern Irish politicians. He has been prosecuted nine times for political offences, and spent more than two years in prison, where _When We Were Boys_ was written. Has been Member of Parliament, except for short intervals, since 1883.

⸺ WHEN WE WERE BOYS. Pp. 550. (_Longmans_). 6_s._ 1890. Frequently republished.

One of the most remarkable of Irish novels. A tale of Ireland
in Fenian times. Scene: Glengarriff, Co. Cork. A very brilliant
book, sparkling with epigram and metaphor. Full of criticism,
argument, thought and dream about Ireland. The story itself is
strong in romantic and human interest. The characterization is
full of life and reality, yet many of the characters are types.
In the course of the tale many aspects of Irish life, among
all classes, pass in review. There are many touches of satire.
Over all the characters and scenes the author’s exuberant
imagination has cast a glare as of the footlights, making them
stand out in vivid colours and clear outlines. Yet there is
little or no distortion or misrepresentation. The Author’s
sympathies are strongly nationalist and Catholic, yet national
failings are not blinked, and some of the portraits of priests
are distinctly satirical. The central interest, perhaps, is the
romantic excitement, enthusiasm, and exaltation of an impending
rising.

⸺ A QUEEN OF MEN. Pp. 321. (_Unwin_). [1898]. Third ed., 1899. There is a cheap ed. in paper covers.

Scene: Galway City, Clare Island, and the opposite coast, just
before the great War of the Earls. A very highly-coloured
romance, full of flashy and dramatic sensation, told with an
exuberance of language that sometimes exceeds, but at times
is very effective. Some of the descriptive pieces are quite
above the common and attain remarkable vividness. The book was
written in the midst of the scenes described. An effective
device to secure colour is the frequent interjection of Gaelic
phrases phonetically spelt. The heroine of the tale is the
famous Gránia Ni Mháille, who appears not only as dauntless
sea-queen of the O’Malleys, but above all in her womanly
character. Fitzwilliam, Bingham, and Perrott also appear,
the last as a hero. Though many of the incidents are quite
fictitious and few happened exactly as narrated, yet some of
those which might seem most incredible to anyone unacquainted
with the State Papers could be paralleled by real happenings.
Some of the incidents narrated are: the Composition of
Connaught, the disgrace of Perrott, the wrecking of the Armada
on the Connaught coast, Gránia’s visit to Elizabeth. With
Gránia’s love story is entwined another, that of Cahal O’Malley
and Nuala O’Donnell.

=O’BRIEN, Mrs. W.= Wife of preceding; _née_ Sophie, dau. of Herman Raffalovich, of Paris. She is a convert to Catholicism, and a thoroughly naturalised Irishwoman for many years past. She has written also a book of reminiscences, _Under Croagh Patrick_. I have also seen mentioned as by her a book entitled _Amidst Mayo Bogs_.

⸺ ROSETTE: a Tale of Dublin and Paris. Pp. 266. (_Burns & Oates_). 1907.

Diary of Rosette, only child of a Parisian bourgeois family.
Deals chiefly with the life of this family in Paris, and
afterwards in Dublin. There is no sensationalism. Rosette’s
religious development is thoughtfully worked out, and there is
good character-drawing (_e.g._, Rosette’s artistically inclined
mother and the old servant, Mélanie). The point of view is, of
course, distinctly feminine. The style is pretty and graceful.

=O’BYRNE, Dermot.=

⸺ CHILDREN OF THE HILLS. Pp. 148. (_Maunsel_). 2_s._ 6_d._ _n.d._ [1913].

Seven stories reprinted from THE IRISH REVIEW and ORPHEUS
(an art periodical). They belong to the literary movement
associated with the Abbey Theatre. They have the weird
imaginativeness and the flavour of the occult and uncanny of
Yeats’s prose stories, together with the vivid word-painting
of “Fiona McLeod.” The Author delights in the portrayal of
primitive and savage passions on the one hand, and on the other
in the suggestion of the wild landscapes, rock-strewn and
mist-shrouded, of Western Donegal (_e.g._, Glencolumbcille, in
“Ancient Dominions”). These stories of pure fancy are strangely
interwoven with settings of extreme realism—drunken tinkers,
peasants, &c. Only here and there have we remarks like the
following (p. 123):—“But those who are intimate with the soul
of the Gaelic peasant know that the God of the Christian is
only one amongst a Pantheon of hidden dominations lovely and
terrible, though the priest at the altar may thunder anathemas
from a fettered intelligence,” &c. The reviewer in the TIMES
LIT. SUPPL. pointed out the real defect of these stories—they
are wanting in heart.

=O’BYRNE, D.=

⸺ THE SISTERS AND GREEN MAGIC. Pp. 76. (_Daniel_). 2_s._ 6_d._ net. 1912.

=O’BYRNE, M. L.=

⸺ THE PALE AND THE SEPTS. Two Vols. (_Gill_). [1876].

The design is to illustrate, in all its cruelty, treachery,
greed, and unscrupulousness, the steady advance of the English
settlement. Yet by no means all the English are painted as
villains. We are shown the forces of government at work at
home in the Castle. Careful portraits of Archbishop Loftus
and the old Earl of Kildare. Descriptions of battle of
Glenmalure, Hungerford’s massacre at Baltinglass, the capture
and recapture of Glenchree, &c., &c. Fine description of
scenery, _e.g._, Gougane Barra. The religious persecutions
are vividly portrayed. Highly praised by the ATHENÆUM. The
original sub-title was “Or, The Baron of Belgard and the Chiefs
of Glenmalure. A Romance of the 16th Century, by Emelobie de
Celtis.”

⸺ LEIXLIP CASTLE. Pp. 649. (_Gill_). [1883]. Others since.

Period: years 1690 _sqq._ Deals with battle of Boyne, flight
of James II., sieges of Limerick and Athlone, the battle of
Aughrim—all fully and vividly described. Standpoint: strongly
national and Catholic. Gives pleasant insight into the
private lives of some Catholic families at the time and their
difficulties with Protestant neighbours. Narrative somewhat
tedious and slow-moving.

⸺ ILL-WON PEERAGES; or, An Unhallowed Union. Pp. 716. (_Gill_). 1884.

At the outset of this book we are introduced in a series of
pictures to the homes of representative people of various
parties, and long, imaginary political conversations between
the prominent men of the time are given. Then there is a full
account of the rebellion from the battle of Kilcullen to
Vinegar Hill. Practically every noteworthy personage of the
time is described in private and in public life. The romantic
interest is entirely subservient to the historical, yet there
is plenty of adventure. The bias is ultra-nationalist. The
style, and especially the descriptions, were highly praised by
a reviewer in the TABLET.

⸺ ART MACMURROUGH O’KAVANAGH. Pp. 706. (_Gill_). [1885].

A full account of the life and exploits of Art MacMurrough,
with many adventures of fictitious characters, and much
description of the manners and life of the times within and
without the Pale. In the conversations the Author attempts to
reproduce the spoken English of the time, with a lamentable
result. They are full of _yclept_, _eftsoons_, _by my halidom_,
_marry_, &c., &c., so as to be unintelligible at times. The
speech of the Irish characters is nearly as full of Gaelic
expressions. “Many of the events narrated in this story are
supplied from tradition,” says the Author. But she has been at
much pains to utilize undoubtedly authentic sources. The style,
on the whole, is pleasant.

⸺ THE COURT OF RATH CROGHAN. Pp. 465. (_Gill_). 2_s._ 6_d._ 1887.

The story of the Norman Invasion of Ireland, together with the
series of events that led to it, and the consequences that
followed, the central idea being that it was the treachery and
disunion of her own princes that wrought the ruin of Ireland.
All the chief men connected with the events narrated play
prominent parts in the story. St. Laurence O’Toole is finely
drawn. The last Ard Righ, Roderick, is shown weak and unfit to
rule in perilous times. Strongbow is a leading character; his
death is vividly described. Art MacMurrough is, of course, the
villain. The style is somewhat highflown and often loaded with
antiquated phrases and latinized expressions. Yet the story,
apart from its historical value, which is considerable, has a
strong interest of its own.

⸺ LORD ROCHE’S DAUGHTERS OF FERMOY. Pp. 344. (_Sealy, Bryers_). (N.Y.: _Pratt_). 1.50. 1892.

In the course of this romance the whole history of the Wars of
the Confederation of Kilkenny and of the Cromwellian Invasion
is related. The story is described by the Author as “a very
encyclopædia of tragedies.” The Author is strongly on the side
of Owen Roe O’Neill as against the Confederate Catholics of the
Pale, and, of course, the Puritans. A fine series of adventures
and of historical pictures, but spoiled by frequent lapses from
literary good taste.

=O’BYRNE, W. Lorcan.= B. in Dublin, 1845. Son of Christopher O’Byrne, of Ballinacor, Co. Wicklow. Delighted from earliest youth in Irish lore of all kinds. Held a position in the Education Office during the greater part of his life. D. 1913. His books, though popular in style, were the result of much patient research.

⸺ A LAND OF HEROES. Pp. 224. (_Blackie_). 2_s._ 6_d._ Well illustr. by J. H. Bacon. (N.Y.: _Scribners_). 1.25. 1899.

“Intended to reach the level of children.” Very interesting
Introduction. The book is a series of Irish hero tales from
various cycles, including the best-known (Sons of Tuirean, Lir,
Usnach, &c.), and the Romance of the early kings very much as
in Miss Hull’s _Pagan Ireland_. The book contains a larger
number of tales than any other except the most expensive. The
bare story is told without any attempt to work up the materials
into poetic or dramatic form.

⸺ KINGS AND VIKINGS. Pp. 240. (_Blackie_). 2_s._ 6_d._ Six illustr. by Paul Hardy. _n.d._ (1900). (N.Y.: _Scribners_). 1.25.

Drawn from published translations of Gaelic MSS., _e.g._,
Standish H. O’Grady’s _Silva Gadelica_; Dr. Todd’s edition
of the _Wars of the Gael and Gall_; Dr. O’Donovan’s _Battle
of Magh Rath_, &c. Contents: stories of early Christian
times, chiefly from the lives of St. Patrick, St. Brigid, St.
Columbkille, and St. Brendan; the trial of the Bards; the
battles of Dunbolg, Moira, &c.; stories of the Danish invasions
and in particular of Brian Borumha. Full of good information,
but not strong in narrative interest.

⸺ CHILDREN OF KINGS. Pp. 240. (_Blackie_). 2_s._ 6_d._ Illustr. by Paul Hardy. 1904.

“The aim of this book is to present tales from Three Cycles of
Romance, viz., the Cuchulain, the Ossianic, and the Arthurian,
interwoven after the manner of a Celtic design” (Introduction).
The chief characters of the three cycles appear in various
stories (there are thirty-one in all). A truly wonderful
knowledge of the period embraced by these tales is displayed in
the book, but the glamour of romance and the magic of words are
wanting.

⸺ THE KNIGHT OF THE CAVE; or, The Quest of the Pallium. Pp. 248. (_Blackie_). 2_s._ 6_d._ Six illustr. by Paul Hardy. 1906.

A thin thread of narrative connecting much interesting and
valuable information about historical events and about the life
of the people at the period. The hero passes from England, then
laid waste by the wars of Stephen’s reign, to Ireland, where
we are shown in great detail the civil and ecclesiastical life
of the day. Thence he accompanies St. Malachi to Clairvaux on
a visit to St. Bernard. Then he visits Italy—Tivoli, Horace’s
Sabine Farm, and Rome, whose antiquities are described at
length. Finally, he returns to Ireland, whose state is again
dwelt upon. The narrative is relieved by exciting adventures
and by stories told incidentally. The Author’s erudition is
extensive and accurate. The title refers to St. Patrick’s
Purgatory, Lough Derg.

⸺ THE FALCON KING. Pp. 240. (_Blackie_). 2_s._ 6_d._ Six illustr. by Paul Hardy. Picture Cover. 1907.

“A series of historical episodes (beginning in Wales, 1146),
vignettes of contemporary life, and stories from Celtic
and Icelandic sagas and Norman French _chansons de geste_,
illustrating events, manners, and religion.... Shows Henry II.
and his barons engaged in the conquest of Ireland, and gives
a good account of Dermot MacMurrough, and also of life in
Dublin.”—(_Baker_, 2).

=[O’CONNELL, Mrs. K. E.]=, of Leenane, Co. Galway; =“Aroon.”=

⸺ NOREEN DHAS. Pp. 62. (_Sealy, Bryers_). 1_s._ 1902.

A pretty love-story of Connemara (the Killaries). The Author is
for the language movement, and strongly opposed to the bargain
marriages of the West.

⸺ WHITE HEATHER. Pp. 62. (_Sealy, Bryers_). 1_s._ 1903.

Three tales of Connemara. The first is a graceful little fairy
story, the third a story of faithful love.

=O’CONNOR, Barry.=

⸺ TURF-FIRE STORIES, and Fairy Tales of Ireland. Pp. 405. (N.Y.: _Kenedy_). 0.63. Illustr. with woodcuts. 1890.

“The greater number of the following sketches are original;
the others have been transcribed, and in most cases materially
altered, from the musty pages of some ‘Quaint and curious
volumes of forgotten lore.’” (Pref.) Most of the stories
are comic. The persons and incidents are mostly drawn from
peasant life. Most of them are capitally told. A few are
somewhat journalistic and hurriedly written. There is no
caricaturing nor “Stage Irishism.” Some are legends of places,
others typical fairy or folk tales. There are a large number
of woodcuts, which, however, have no connection with the
letter-press.

=[O’CONNOR, Joseph K.]; “Heblon.”=

⸺ STUDIES IN BLUE. (_Sealy, Bryers_). 2_s._ Illustr. by C. A. Mills. _n.d._ (_c._ 1903).

Sketches, true to life, and cleverly told, of the most
disreputable side of Dublin slum-life, as seen, chiefly, in the
Police Courts. Amusing, but at times verging on vulgarity.

=O’DONNELL, Lucy.=

⸺ ST. PATRICK’S CATHEDRAL. Pp. 86. (DUBLIN: _Curry_). 1855.

The fortunes of the house of Desmond in the 16th century,
and chiefly those of Lord James Fitzgerald (son of the great
Earl) who became a Protestant, and was therefore rejected
by his people and retired to England. The story opens with
a Protestant service in St. Patrick’s Cathedral in 1581. It
contains interesting allusions to Glendalough, Dublin, and
Adare. Author’s viewpoint Protestant.

=O’DONOGHUE, ⸺.=

⸺ THE PRINCE OF KILLARNEY. (LONDON).

=O’DONOVAN, Gerald.=

⸺ FATHER RALPH. Pp. 494. (_Macmillan_). 6_s._ Six impressions within a few months. 1914.

An anti-clerical and modernist novel by an Author with inside
knowledge of the Catholic Church in Ireland. It is the story
of a young priest from his birth until we take leave of him
(_défroqué_) on board a ship leaving Ireland. In the course
of the narrative there is presented a general view of Irish
life as seen from the standpoint of such writers as M. J.
F. M’Carthy, W. P. O’Ryan, and “Pat,” but clerical life
is depicted with far more minute knowledge than by any of
these. Sensational features such as the amours of priests,
nuns, &c., are avoided, though much innuendo is indulged in.
All the estimable characters in the book are represented
as either Modernists, or else voteens and people who avoid
thinking on serious problems. The Bishop, Father Molloy, and
Ralph’s mother, as depicted by the Author, are revolting in
the extreme. Except in rare instances all the outward details
of Irish life are true to reality, but seen with jaundiced
eyes. It may fairly be said that there is scarcely a page
of this book that does not appeal in one form or another to
non-Catholic prejudice.

⸺ WAITING. Pp. 387. (_Macmillan_). 6_s._ 1914.

Maurice Blake is a young National Schoolmaster, an ideal
teacher, an enthusiast for Irish Ireland and for industrial
revival. He falls foul of Father Mahon, the P.P., who is made
as odious as possible. Maurice cannot get a dispensation to
marry Alice Barton, a Protestant, and is compelled to marry her
in a registry office. Maurice is selected as candidate by his
constituency but, through the agency of Fr. Mahon, is set aside
in favour of a worthless drunkard, and a mission is preached
by “Seraphists.” Ch. XXIII., describing this mission, is most
offensive and vulgar. Minor characters are Driscoll, the
former Master; Breslin, editor and free-thinker; Fr. Malone,
a lovable character; Dr. Hannigan with his “diffident, humble
manner covering the pride of Lucifer”; Fr. Cafferley, fond of
tea parties in publicans’ back parlours, &c. THE CHURCH TIMES
says of the book, “It is much more angry and malevolent than
its predecessor,” and the TIMES LIT. SUPPL., in an article
obviously written by a non-Catholic, “It is a bitter and,
if true, a deadly attack on the priesthood, and an almost
rancorous indictment of the practice and influence of the Roman
Catholic Church in Ireland.”

=O’DONOVAN, Michael.=

⸺ MR. MULDOON. Pp. 328. (_Greening_). 6_s._

Scene: Dublin and suburbs. A book for an idle hour, recounting
the whimsical adventures of the hero and his experiments with
professions of all kinds. Humour broad, but not vulgar.

=O’DONOVAN ROSSA=, _see_ =ROSSA=.

=O’FLANAGAN, James Roderick, B.L., M.R.I.A.=

⸺ BRYAN O’REGAN. 1866.

The Author was b. at Fermoy in 1814, and wrote some important
works on Irish biography and topography, such as _The
Blackwater in Munster_; _The History of Dundalk_ (with John
Dalton); _Lives of the Lord Chancellors of Ireland_; _The
Munster Circuit_; _The Irish Bar_. Founded the FERMOY JOURNAL,
and published his autobiography, _An Octogenarian Literary
Life_, Cork, 1896.

⸺ CAPTAIN O’SHAUGHNESSY’S SPORTING CAREER. Two Vols. 1872.

⸺ GENTLE BLOOD.

A novel founded on the remarkable Yelverton Marriage Case at
Killowen, Co. Down, mentioned in the Author’s Autobiography.

=[O’FLANAGAN, T.]; “Samoth.”=

⸺ NED M’COOL AND HIS FOSTER BROTHER. Pp. 281. (DERRY: printed at Offices of DERRY JOURNAL). 1871.

Sub-t., “An Irish tale founded on facts.” The Author was a
native of Castlefin, Co. Donegal. He wrote also _Strabane and
Lifford_, _The Consequences of a Refusal_, &c.

=OGLE, Thomas Acres.=

⸺ THE IRISH MILITIA OFFICER. Pp. 314. 12mo. (DUBLIN: no name of publ.). 1873.

“The tale embraces the services of the old Wexford Regiment
from 1810 to its disbandment in 1816, and is a true picture
of the rollicking and free life of that half-disciplined
soldiery.” (Pref.). Full of stories, good, bad, and
indifferent, told with considerable spirit. One chapter goes
back to ’98, and gives some interesting personal reminiscences.
There are a good many love affairs. The Author is a firm
loyalist, and something of an Orangeman, but displays little
bias. The scene is laid in various parts of Ireland.

=O’GRADY, Standish.= B. 1846, at Castletown Berehaven, on Bantry Bay, Co. Cork, of which his father was rector. Ed. at home and in Tipperary, and at T.C.D. Was called to the Bar, but his main occupations have been literary. Besides the works here mentioned he has written much on literary, political, and economic subjects, and is one of the most distinguished of living Irish writers.

⸺ HISTORY OF IRELAND. The Heroic Period.[10] Two Vols. Pp. xxii. + 267 + 348. (_Sampson, Low_). 1878.

Described by the Author (Pref.) as “the reduction to its
artistic elements of the whole of that heroic history taken
together, viewing it always in the light shed by modern
archæologians, frequently using the actual language of the
bards, and as much as possible their style and general
character of expression.”... “Through the loose chaotic mass
... I have endeavoured to trace the mental and physical
personality of the heroes and heroines, and to discover the
true order of events.” The chapter headings read like those of
a novel—“Only a Name,” “Perfidy,” “In Vain,” “Swift Succour.”
Vol. I. deals with the Fianna, Cuchulain, the Cattle-raid of
Cuailgne. Vol. II. is entirely taken up (all but the first 88
pp.) with the Cuchulain cycle. The above work is carefully
to be distinguished from the Author’s _History of Ireland,
Critical and Philosophical_. Vol. I. (all publ.) pp. 468
(Sampson, Low), 1881. In the Pref. to this latter he says, “The
books already published by me on this subject are portions of a
work in which I propose to tell the History of Ireland through
the medium of tales, epic or romantic.”

[10] This is not a work of fiction. But it seems well to mention it here for it is really an elaborate re-telling of the ancient Irish hero-myths and romances.

⸺ RED HUGH’S CAPTIVITY. 1889.

An early ed. of _The Flight of the Eagle_, _q.v._

⸺ FINN AND HIS COMPANIONS. Pp. 182. Size, 4 × 6½. (_Unwin, Children’s Library_). Illustr. by J. B. Yeats. 1892.

Delightful tales of the heroic age of the Fianna told in poetic
but very simple language. Will appeal not to children only but
to all. Part IV., “The Coming of Finn,” is particularly fine.
“Most of these tales are, I think, quite new.”—(Preface).

⸺ THE BOG OF STARS. Pp. 179. (_Fisher Unwin, New Irish Library_). 2_s._ 1893.

Stories and pictures, nine in number, of Ireland in the
days of Elizabeth “not so much founded on fact as in fact
true.”—(Pref.). (1) How a drummer-boy saved Clan Ranal from
destruction by the Deputy; (2) A sketch of Philip O’Sullivan,
historian, soldier, and poet; (3) The destruction of the
O’Falveys by Mac an Earla of the Clan M’Carthy; (4) The
vengeance of the O’Hagans on Phelim O’Neill; (5) A sketch
of Sir Richard Bingham, the infamous but mighty Captain of
Connaught; (6) How the English surprised by treachery Rory Og
O’More and his people; (7) The story of Brian of the Ramparts
O’Rourke; (8) Don Juan del Aquila, the heroic defender of
Kinsale; (9) Detailed and vivid description of the battle
of the Curlew Mountains from the Irish point of view. These
have all the great qualities of the _Flight of the Eagle_,
and indicate the same views of history—the selfishness and
frequent savagery of some of the Irish chieftains, their hatred
of one another, their constant readiness to submit to the
Queen’s grace when it suited—all this is brought out. Yet the
Author is on the side of Ireland: he dwells on what is heroic
in our history, he paints the Elizabethan deputies and their
subordinates in dark colours.

⸺ COMING OF CUCHULAINN. Pp. 160. (_Methuen_). Six good illustrations by D. Murray Smith. 1894.

The story of the hero’s boyhood told in epic language, full
of antique colour and simile, and rising at times to wild
grandeur. The great shadows of ancient De Danaan gods are never
far from the mortal heroes who figure in the saga.

⸺ THE GATES OF THE NORTH. New ed. Pp. 151. (_Sealy, Bryers_). 3_s._ 6_d._ 1908.

A sequel to the preceding, telling the heroic tale of how
Cuchulainn held the fords of Ulster alone against the hosts of
Maeve. It is even fuller than is the first book of the myth
and lore of the primitive Gael. There is a very interesting
introduction by the Author.

⸺ LOST ON DHU CORRIG. Pp. 284. (_Cassell_). Nine good illustr. 1894.

Strange adventures among the caves and cliffs of the west
coast, with a touch of the uncanny, and some interesting and
curious things about seals.

⸺ THE CHAIN OF GOLD. Pp. 304. (_Fisher Unwin_). Sixteen good illustr. Nice cover. 1895.

A story of adventure on the wild west coast of Ireland. Curious
and original plot, with an element of the supernatural.