Chapter VIII: Book I: has its scene on Innishrath, an island in Lough Erne (4)

Another series of sketches similar to the previous, but
here, besides making the acquaintance of Cook Street, Great
Britain Street, and Chancery Lane, we have glimpses of Dalkey,
Kingstown, Rathmines, and even Lower Leeson Street. “The
Adventures of Black Pudden” is an exceptionally comic story.

=FITZPATRICK, Kathleen.=

⸺ THE WEANS AT ROWALLAN, Pp. 234. (_Methuen_). 6_s._ Illustr. Second edition. 1905.

“We think it is one of the best books about children published
since the days of Mrs. Ewing.”—(_Speaker_). “Amusing and
pleasant. Some of the fun is tinged with the unconscious pathos
of child-life, and the mixed mirth and melancholy of the Irish
peasantry.”—(_Athenæum_).

=FITZPATRICK, Mary; Mrs. W. C. Sullivan.= Born in Barony of Farney, Co. Monaghan, but belongs to the Fitzpatricks of Ossory. Educated in Dublin and Paris. In 1894 married Dr. W. C. Sullivan, son of the late Dr. W. K. Sullivan, President of the Queen’s College, Cork. Has contributed a good deal to periodicals in Ireland and in America. Her writings are marked by love for Ireland, and faith in Her future.

⸺ THE ONE OUTSIDE. Pp. 245. (_Maunsel_). 3_s._ 6_d._ 1914.

Eight stories, six of which are Irish in subject. Seven of
the stories are tragedies. “The Doctor’s Joke” is the only
comedy. The title story tells how the father, after sixteen
years of absence, bread-winning in England, comes home to
find that the wife and children of the reality are far other
than what his dreams had pictured, and his wife has a similar
disillusionment. He is an outsider, and he realises it
bitterly. Painful tragedy is the outcome. The 2nd is a tragedy
of blighted hopes. The 3rd a lighter story laid in Fenian
times. 4. W. of Ireland. Love’s young dream destroyed by the
plotting of an ambitious and masterful old woman. Atmosphere
of loneliness and terror given to the whole. 5. A London slum
tragedy, with Irish characters. 6. A study in character, and
a peasant love-tale. All are told in beautiful and refined
language, often charged with pathos. The situations are
dramatic. The whole manner, the atmosphere, and the sentiment
are Irish.

=FITZPATRICK, T., LL.D.= Born, 1845, in Co. Down. Became a teacher in early life. He was attached successively to Blackrock Coll., Dublin; St. Malachy’s, Belfast; Athenry, Galway, and Birr schools. Of the last he was headmaster in 1876. Was author of a serious historical work—_The Bloody Bridge and other Studies of 1641._ Died 1912 in Dublin.

⸺ JABEZ MURDOCK, by “Banna Borka.” Two Vols. Pp. 300 + 335. (_Duffy_). 1_s._ 6_d._ (Two vols. in one). [1887]. 1888 still in print.

Scene: South Co. Down. The central figure is a rascally Scotch
settler who dabbles in poetry, and attains to wealth as “ajint”
by unscrupulous means. Between the episodes of his life are
interlarded scenes illustrating nearly every aspect of peasant
life at the time, all minutely and vividly described, and
conversations in which the problems of the times are discussed.
A good deal of humorous incident and character. The Author
evidently writes from first-hand knowledge. He is on the
Catholic and popular side. Period: first quarter of nineteenth
century.

⸺ THE KING OF CLADDAGH. Pp. 249. (_Sands_). Frontisp. ancient map of Galway in 1651. 1899.

Galway City and County during Cromwellian period. Atrocities of
the eight years’ rule of the Roundheads. Forcible and vivid.
Point of view: National and Catholic.

=FITZSIMON, Miss E. A.=

⸺ THE JOINT VENTURE: A Tale in Two Lands. Pp. 327. (N.Y.: _Sheehy_). 1878.

Scene: opens in a valley of the Knockmealdowns, passes to
U.S.A. in ch. 7 (p. 109). Was a first novel, and so somewhat
immature. High moral and Catholic tone (perhaps somewhat
aggressive at times). Attacks Protestant divorce laws. One of
the best incidents, perhaps, is Mrs. Ned O’Leary’s conversion
to Catholicism.—(_Press Notices_). This was republ. in 1881
under title _Gerald Barry; or, The Joint Venture_.

=“FLOREDICE, W. H.”=

⸺ MEMORIES OF A MONTH AMONG THE “MERE IRISH.” Pp. xxix. + 321. (_Keegan, Paul_). [1881]. Second edition, 1886.

A record of conversations held and things seen, but especially
of legends, stories, and anecdotes heard from the peasantry
during a stay made by the Author when a youth at Doe Castle,
near the head of Sheephaven, Co. Donegal. Owen Gregallah
(Gallagher?), an old water-bailiff, with whom the Author
used to go fishing, tells many of these latter, in the local
dialect, which is faithfully reproduced. The stories are
interesting in themselves, and very well told. Dr. Mahaffy
referred in the _Academy_ to one of them as the funniest Irish
story in print. There is no condescension in the Author’s
tone. He likes and respects, as well as enjoys, his peasant
companions. He seems to be an American. The Preface to the
second ed. gives a humorous account of the difficulties of
travel in Donegal in those days. N.B.—The title on the cover is
“‘Mere Irish’ Stories.”

⸺ DERRYREEL. Pp. vi. + 184. (LONDON: _Hamilton, Adams_). 1886.

“A collection of stories from N.W. Donegal.” This writer
published also a volume entitled _Floredice Stories_.

=FLYNN, T. M.= Was living at Carrick-on-Shannon at the time of writing these sketches.

⸺ A CELTIC FIRESIDE: Tales of Irish Rural Life. (_Sealy Bryers_). 1_s._ 1907.

Nine little tales—tragedies and comedies—of Irish life in
country and city. Many little touches show how well the Author
knows Irish life. He has a power, too, of making the truth of
his pictures go home to our hearts.—(_N.I.R._).

=FOREMAN, Stephen.=

⸺ THE OVERFLOWING SCOURGE, Pp. 335. (_Alston Rivers_). 6_s._ 1911.

Career of an unprincipled lawyer, who gains judgeship by a
series of crimes and keeps it by crimes even more heinous. A
greatly overdrawn picture of a dark and unpleasant side of
life. Such incidents as a packed jury condemning unjustly the
presiding judge’s son (with the judge’s own approbation) to
penal servitude seem wholly improbable. The parson and his
wife afford a gleam of humour. Although some of the worst of
the characters are Protestants, there are several apparent
sneers at things Catholic. “It is not written virginibus
puerisque.”—(_I.B.L._). The career of Blanco Hamilton seems
to be founded on that of Judge Keogh, and the incidental
references are to the latter’s times. Other novels of this
writer, a Corkman, living in Cork, are _The Errors of the
Comedy_, _The Fen Dogs_, _The Terrible Choice_.

=FORSTER, C. F. Blake-=, _see_ =BLAKE-FORSTER=.

=FRANCILLON, Robert E.=

⸺ UNDER SLIEVE BÁN: a Yarn in Seven Knots. Pp. 275. (N.Y.: _Holt_). 1881. It originally appeared as a Christmas Annual with Coloured Illustrations. Pp. 128. (_Grant_). 1_s._

A story of faithful love laid (at least its opening and closing
scenes) in Wexford (“Dunmoyle”). Period about 1798. Michael
and Phil both love Kate Callan. Kate loves P. best, and M.
goes away. Returning after three years, he finds Kate mourning
P., said to be lost at sea. M. and Kate are married, but on
the evening of the marriage M. meets P. M. “disappears,” but
in foreign parts meets P.’s French wife. The two couples are
united again. Kate is shot in the rebellion, but survives to
discover that M. was the best man after all. Dialect natural
but refined.

=“FRANCIS, M. E.”; Mrs. Blundell.= Born at Killiney Park, near Dublin. Is the daughter of Mr. Sweetman, of Lamberton Park, Queen’s County; and was educated there and in Belgium. In 1879 she married the late Francis Blundell, of Liverpool. This home of her married life is the background of many of her stories—(_Ir. Lit._). Among her books are: _Whither_ (1892), _In a North Country Village_, _A Daughter of the Soil_, _Among Untrodden Ways_, _Maimie o’ the Corner_, _Pastorals of Dorset_, _The Manor Farm_, _The Tender Passion_ (1910), and several others, besides those noticed in this book—about thirty in all. All Mrs. Blundell’s writings are noted for their delicacy of sentiment, deftness of touch, pleasantness of atmosphere. They are saved from excessive idealism by close observation of character and manners. Her Irish stories show sympathy and even admiration for the peasantry.

⸺ THE STORY OF DAN, (LONDON: _Osgood, M’Ilvaine_). (BOSTON: _Houghton_). 0.50. 1894.

“A brief tale, told with directness and tragic simplicity
of a magnanimous peasant, who adores with infatuation a
worthless girl, and sacrifices himself uselessly and blindly.
Friendly portraits of Irish country people are among the minor
characters.”—(_Baker_).

⸺ FRIEZE AND FUSTIAN. (_Osgood_). 3_s._ 6_d._ 1896.

The book is in two parts—the first a reflection or picture
of the mind and soul of the Irish peasant, the second of
that of the English peasant. The comparison or contrast is
not elaborated nor insisted upon. The pictures are there,
the reader judges. A series of short stories or studies form
the traits of the pictures, bringing out such points as the
kindness of the poor to one another, a mother’s love, a
mother’s pride in her son become priest, a servant’s fidelity,
and various stories of love. All told with delicate feeling and
insight. The Author has lived among both peoples. There is a
good deal of dialect.

⸺ MISS ERIN. Pp. 357. (_Methuen_). 6_s._ [1898]. Included in Benziger’s (N.Y.) series of Standard Catholic Novels at 2_s._; also $1.00.

The story of a girl who, brought up as a peasant, afterwards
becomes a landowner. She tries to do her best for her tenants,
and her difficulties in the task are well depicted, the Author
fully sympathizing with Irish grievances. There are some
sensational scenes—among them an eviction. The love interest is
well sustained, and the character-drawing very clever.

⸺ NORTH, SOUTH, AND OVER THE SEA. Pp. 347. (_Country Life, and Newnes_). Charming Illustr. by H. M. Brock. 1902.

Somewhat on the plan of _Frieze and Fustian_ by the same
Author, _q.v._ Three parts, each containing five stories or
sketches. The first part deals with North of England life, the
second with South of England, the third with Ireland. Humble
life depicted in all. In last part the subject of the first
sketch (an amusing one) is a rustic courtship of a curious
kind; 2, an old woman dying in the workhouse; 4 and 5, a
rural love-story. Studies rather of the minds and hearts of
poor Irish folk than of their outward ways. The author has
reproduced almost perfectly that brogue which is not merely
English mispronounced, but practically a different idiom
expressing a wholly different type of mind.

⸺ THE STORY OF MARY DUNNE. Pp. 312. (_Murray_). 6_s._ 1913.

The love story of Mat, “the priest’s boy,” for Mary, beginning
as a sweet and tender idyll in the home in Glenmalure, ending
in the tragedy of a law-court scene, where the hero is on trial
for murder and Mary faces worse than death in telling the story
of her wrongs—she has been an innocent victim of the white
slave traffic. Full of exquisite scenes, with touches of humour
as well as pathos. But in the main the book is a tragedy.
Its purpose seems clearly to be a warning and an appeal. The
poignant consequences of Mary’s undoing are not suitable for
every class of reader, but there is nothing approaching to
prurient description.

⸺ DARK ROSALEEN. Pp. 392. (_Cassell_). 6_s._ 1915.

The story of a “mixed marriage” between Norah, a Connemara
peasant girl, and Hector, a young engineer of Belfast origin.
They go to live at Derry. Bitterness and misunderstanding come
to blight their love, and the end is tragedy. The two points of
view, Protestant and Catholic, are put with impartiality.—(T.
LIT. SUPPL.).

=FREDERIC, Harold.=

⸺ THE RETURN OF THE O’MAHONEY: a Romantic Fantasy. Pp. 279. (_Heinemann_). 3_s._ 6_d._ Three Illustr. 1893.

Scene: South-west Cork in Fenian times. The O’M., who comes
to Muirisc is not the real O’M. at all, but a Mr. Tisdale,
who has managed to secure the papers of the real O’M., who is
not aware of his own origin and real name. T. becomes a model
landlord, and is beloved of all. Tries his hand at Fenianism,
but soon abandons it and goes abroad to foreign wars. O’Daly,
left as manager, thrusts himself into his master’s place. But
a young American engineer (the real O’M. of course) turns up
and spoils his plans, but does not reveal his own identity till
after Tisdale’s death. Besides this there are numerous exciting
incidents and several mysteries. The characters are well drawn.
The Author is distinctly favourable to Ireland, and seems to
have a good knowledge of the country.

=FREMDLING, A.=

⸺ FATHER CLANCY. Pp. 358. (_Duckworth_). 1904.

Father Clancy is an unselfish devoted country parish priest,
beloved of his people, unworldly and simple to a fault. His
virtue serves to throw into deeper shadow the character of
his curate, Father O’Keeffe, who is an abandoned and vicious
ruffian. The purpose of the book is not at all clear to the
average reader.

=FROST, W. H.=

⸺ FAIRIES AND FOLK OF IRELAND. Pp. xvi. + 290. (N.Y.: _Scribner’s_). Ill. by Sidney Richmond Burleigh. 1900.

=FROUDE, James Anthony.= 1818-1894. This celebrated writer had already published his _History of England_ when, in 1869, he came to live (for the summer) at Derreen, Kenmare, Co. Kerry, where he began his _The English in Ireland in the Eighteenth Century_ (first vol. appeared 1872). Like most of F.’s books, it provoked numerous answers, among others that of Father Thomas Burke, O.P., _Froude on Ireland_. The novel mentioned below embodies his chief ideas on Ireland.

⸺ THE TWO CHIEFS OF DUNBOY, Pp. 456. (_Longmans_). 3_s._ 6_d._ [1889]. Several editions since.

Scene: the O’Sullivan’s country in south-west Cork. Period:
1750-98. The ideas expressed in the Author’s _The English in
Ireland_ put into the form of fiction. Thesis: if the English
had from the first striven to replace the hopeless Celt by
Anglo-Saxon and Protestant colonists she would have avoided her
subsequent troubles in Ireland, and all would have been well.
The English character (Colonel Goring) is throughout contrasted
with the Irish (Morty Sullivan), the whole forming a powerful
indictment of Ireland and the Irish as seen by Froude.

=FULLER, J. Franklin; “Ignotus.”= Born 1835. Is a native of Derryquin, near Sneem, Co. Kerry. In his young days he was a close friend of the priest (Fr. Walsh) who was the original of A. P. Graves’s “Father O’Flynn.” As architect to the Ecclesiastical Commissioners and to the Church Representative Body he has travelled extensively through Ireland and has lived in various parts of it—North, South, East, and West—always on friendly terms with his Catholic neighbours. He resides in Dublin.

⸺ CULMSHIRE FOLK. Pp. 384. (_Cassell_). [1873]. Third edition, _n.d._

The plot is concerned with Sidney Bateman, heir of a family
that has come down in the world, his struggles against
misfortune, and his eventual attainment of fortune and
happiness. But the chief interest is the kindly, thoughtful
study of character and motive, of human nature in fact, also
in the picture of the ways of the little society (largely
clerical, _e.g._, the egregious Mr. M’Gosh) of Culmshire.
Lady Culmshire, woman of the world, but with a warm and true
heart within, is the central figure and is a very pleasant,
happily drawn portrait. The Irish interest is (1) the excellent
description of the homecoming of Sidney Bateman to the
ancestral castle of Rathvarney, in the wilds of Kerry, which
are well described; (2) the doings of Tim Conroy, a sort of
Mickey Free, and the Leveresque stories told of him by Capt.
Howley; (3) the portrait of the old P.P. of Rathvarney, Fr.
Walsh (the original of Graves’s “Father O’Flynn”).

⸺ JOHN ORLEBAR, CLERK. Pp. 293. (_Cassell_). [1878]. Second edition, _n.d._

The plot of a villainous attorney, Joe Twinch, and his clerk,
an absconding Fenian, to cheat the rightful heiress out of
the Arderne estates. Dr. Packenham, a personal friend of
Orlebar, who had married the heiress, suspects foul play and
comes to Kerry, where the first Lady Arderne had for some
time resided, to make enquiries. He puts up at Rathvarney
(see _Culmshire Folk_), meets Tim and Fr. Walsh (who helps to
unravel the mystery), and sees something of Ireland in the
sixties (pp. 240-274). This something, it must be confessed,
is chiefly squalor, described, however, in a humorous and not
unsympathetic way.

=FURLONG, Alice.=

⸺ TALES OF FAIRY FOLKS, QUEENS, AND HEROES. Pp. 212. (_Browne & Nolan_). 2_s._ Four or five Illustr. by F. Rigney. Pretty cover. 1909.

Stories from ancient Gaelic Literature simply and pleasantly
told. Contents:—“Illan Bwee and the Mouse;” “Country under
Wave;” “The Step Mother;” “The Fortunes of the Shepherd’s Son;”
“The Golden Necklet;” “The Harp of the Dagda Mor;” “The Child
that went into the Earth;” and several others.

=GALLAHER, Miss Fannie; “Sydney Starr.”= Daughter of Frederick Gallaher, one time Ed. of FREEMAN’S JOURNAL.

⸺ KATTY THE FLASH. (_Gill_). 1880.

Very low life in Dublin, with no attempt to idealise the rags
and filth and squalor; but clever and realistic.—(_I.M._).

⸺ THY NAME IS TRUTH. Three Vols. (_Maxwell_). 1884.

Incidentally describes the Hospice for the Dying, Harold’s
Cross, and the inner working of a daily newspaper office.
Cleverly written. The conversations are natural, and the human
interest strong. The politics of the time (1881) are discussed,
but they are not the main interest.

=GAMBLE, Dr. John.= I take the following account of this writer from a note on him contributed by Mr. A. A. Campbell, of Belfast, to the IRISH BOOK LOVER (September, 1909): Dr. Gamble was born in Strabane, Co. Tyrone, in the early ’seventies of the eighteenth century. He was educated in Edinburgh. He devoted most of his life to a study of the people and characteristics of Ulster. He used to make frequent journeys on foot, or by coach, through the country, chatting with everyone he met, picking up story and legend and jest, and noting incidents. All his writings were imbued with a deep sympathy for his fellow-countrymen. As a vivid picture of the Ulster of his day his books are invaluable. They did much to produce in England a kindly feeling for his countrymen. He died in 1831.

⸺ SARSFIELD. Three Vols. 12mo. (LONDON). 1814.

The hero is a young Irishman who, under the name of Glisson, is
a French prisoner of war at Strabane. Aided by the daughter of
the postmaster he escapes, and wanders all over Ulster, where
the wildest excitement about the threatened French invasion
prevailed. Thence he goes to Scotland, England, and abroad.
He fights with Thurot at the Siege of Carrickfergus, and
eventually returns to Strabane, where he meets with a tragic
ending. The Author embodies in the story many local traditions
and much of his own observation and experience. Well worthy of
republication.

⸺ HOWARD. Two Vols. 12mo. (LONDON). 1815.

“The subject of the following tale was born in a remote part
of Ireland ... my principal character is not altogether an
imaginary one.” The hero of this autobiography is Irish. The
scene is London. The central incident is his seduction of a
young lady who after attempting suicide dies of remorse and
chagrin.

⸺ NORTHERN IRISH TALES. Two Vols. 8vo. (LONDON). 1818.

“Stanley,” the first tale tells the adventures of a young
profligate, son of a Derry Alderman, chiefly in Dublin. After
life of debauch he gets married, but goes bankrupt. His wife
dies, he attempts suicide, is rescued, and plunges once more
into vice. The rest of the story tells of his determined
pursuit of a young lady, ending in a murder for which he is
tried and hanged. It is founded on a romantic episode well
known in Ulster, the courtship and murder of Miss Knox,
of Prehen, near Derry, by Macnaughton, and his subsequent
execution for the crime. “Nelson” is a story of the American
Revolutionary War. Vol. II. contains only one tale, “Lesley.”
The hero is a North of Ireland man, whose travels and love
adventures on the Continent and at home are described. The
Author indulges in a good deal of moralizing.

⸺ CHARLTON; or, Scenes in the North of Ireland. Three Vols. 12mo. (LONDON). [1823]. New edition, 1827.

Depicts, with sympathy for the views of the United Irishmen,
the state of Ireland during the years that immediately preceded
the rebellion. The hero is a young surgeon in a N. of Ireland
town who is tricked into becoming a United Irishman, and leads
the rebels at Ballynahinch. Under the name of Dimond the Rev.
James Porter is introduced, and many quotations are made from
his satire “Billy Bluff.” Northern dialect very well done.

=GAUGHAN, Jessie.= Born in Shropshire; one parent Irish, the other Scotch. Educated in Paisley and in Ursuline Convent, Sligo. Besides the book here mentioned she has publ. serially in I.M. _The Brooch of Lindisfarne_, and has in preparation a story dealing with Ireton’s days in Limerick.

⸺ THE PLUCKING OF THE LILY. Pp. 220. (_Washbourne_). 1912.

Reprinted from I.M. 1911-2. A charming little story of
Elizabethan times in Ireland (_c._ 1589-94), telling the
love-story of Eileen daughter of Earl Clancarthy and Florence
M’Carthy. Their love is crossed by the policy of Elizabeth,
who, for State purposes, wants an English husband for Eileen,
and not till the end are the two lovers united again. The
historical setting and colouring are accurate, but never
interfere with the story. The tone is Catholic, but not
obtrusively so. Good portrait of Elizabeth. Burleigh (in a
favourable light), Sir Warham St. Leger, and other historical
personages appear.

=GAY, Mrs. Florence, _née_ Smith.= Born in Molong, N.S.W., Australia. Is an ardent imperialist, but proud of the strain of Celtic blood in her family, and sympathetic towards Ireland. Resides in Surrey.

⸺ DRUIDESS, THE. Pp. 195. (_Ouseley_). 2_s._ 6_d._ 1908.

Cormac, a youth of Pictish royal blood, has a mission from
his dying father to rescue from the Saxons the mother of his
intended bride. His adventures in carrying out this mission
bring him from Damnonia (between the Yeo and the Axe) to
Ireland (Glendalough, Tailltenn, Donegal). He is present at
the half-pagan festival of Beltaine, and at the Convention
of Drumceat. At the latter he meets St. Columba, who is
sympathetically described. The story deals largely with the
lingerings of Paganism in Ireland. Several battles between
Saxons and Britons are described. The savage manners of the
time are pictured with realistic vividness. The wild scenes
of adventure follow one another without a pause. Intended for
“boys and others.”

=[GETTY, Edmund].=

⸺ THE LAST KING OF ULSTER. Three Vols. (LONDON: _Madden_). 1841.

Ostensibly a tale, in reality a kind of historical miscellany
of Elizabethan times, containing memoirs, anecdotes, family
history, &c., of the O’Neills, O’Donnells, and other Irish
chiefs. The Author was one of the best of our Northern
antiquaries.

=GIBBON, Charles.=

⸺ IN CUPID’S WARS. Three Vols. (_F. V. White_). 1884.

The scene is laid in Kilkenny in 1798 or thereabouts, but
both the topographical and historical settings are of the
vaguest—there is very little local colour, and practically no
depiction of historical events, though there is much about
rebellion and secret societies. The story is thoroughly
melodramatic: it has no serious purpose, but the tone is
wholesome. The characters of the story are all represented as
Catholics. This Author wrote upwards of thirty other novels.

=[GIBSON, Rev. Charles Bernard].= (1808-1885). Was chaplain at Spike Island, and sometime minister of the Independent congregation at Mallow, Co. Cork, but afterwards joined the Church of England. He was made M.R.I.A. in 1854. He wrote a _History of Cork City and County_ (1861), and five or six other works, including _Historical Portraits of Irish Chieftains and Anglo-Norman Knights_, 1871.

⸺ THE LAST EARL OF DESMOND. Two Vols. (_Hodges & Smith_). 1854.

Extensive pref., introd. (summarising history of Earls of
Desmond), and notes. Scene: Mallow, various parts of Munster,
and the Tower of London. All the great personages of the time,
English and Irish, figure in the story, but several fictitious
characters are introduced, and many fictitious episodes are
throughout the story mingled with the facts of history. The
main plot turns on the Sugán Earl’s love for, and marriage
with, Ellen Spenser (an imaginary daughter of the poet). The
bias is strongly anti-Catholic. Fr. Archer, S.J., is the
villain of the piece, stopping at no crime to gain his ends.
It is also, though not to the same extent, anti-Irish. He
relies for his facts entirely on _Pacata Hibernia_ (point of
view wholly English). The Irish chiefs are made to speak in
vulgar modern-Irish dialect (“iligant,” “crattur,” “yr sowls
to blazes,” &c., &c.). The humour is distinctly vulgar, as in
the case of the Author’s other novel. Raleigh is one of the
personages.

⸺ DEARFORGIL, THE PRINCESS OF BREFFNY. Pp. 287. (LONDON: _Hope_). [1857]. Second edition (_Longmans_). 1884. Pp. xxiv. + 284.

Story of Diarmuid MacMurrough’s abduction of the wife of
O’Ruairc of Breffni, and subsequent events, including an
account of the Norman Invasion. The tone throughout is
anti-National and most offensive to Catholic feeling. The
frequent humorous passages are nearly always vulgar, and in
some instances coarse. There are many absurdities in the course
of the narrative.

=GIBSON, Jennie Browne.=

⸺ AILEEN ALANNAH. Pp. 86. (_Stockwell_). 1_s._ net. One good illustr. 1911.

Desmond Fitzgerald and Aileen have been sweethearts
from childhood, D. has to go to America. Percy Gerrard
intercepts their letters, and tries to marry Aileen. She is
broken-hearted, and goes as nurse to a London hospital. Percy
at the point of death confesses his wickedness, and No. 27 in
one of the wards turns out to be⸺. Scene: at first Donegal. A
very pleasant story, full of kindly Irish people, entirely free
from bigotry, and with an excellent though unobtruded moral
purpose.

=“GILBERT, George;” Miss Arthur.= Has written also _In the Shadow of the Purple_ (1902), and _The Bâton Sinister_ (1903).

⸺ THE ISLAND OF SORROW. Pp. 384. (_Long_). 6_s._ 1903.

Deals, in considerable detail, with political and social life
in the Ireland of the time. The circles of Lord Edward and
Pamela Fitzgerald (centering in Leinster House), of the Emmet
family (at the Casino, Milltown), and of the Curran family
(at the Priory, Rathfarnham) are fully portrayed and neatly
interlinked in private life. The whole romance of Emmet and
Sarah Curran is related. There are many portraits—Charles James
Fox, Curran (depicted as a domestic monster), many men of
the Government party, above all, Emmet. This portrait is not
lacking in sympathy, though the theatrical and inconsiderate
character of his aims is insisted on. The whole work shows
considerable power of _dramatizing_ history, and is made
distinctly interesting. “The author,” says Mr. Baker, “tries to
be impartial, but cannot divest himself of an Englishman’s lack
of sympathy with Ireland.” The book is preceded by a valuable
list of authorities and sources.

=GILL, E. A. Wharton.=

⸺ AN IRISHMAN’S LUCK. (_Hodder & Stoughton_). 6_s._ 1914.

“A domestic tale of young folk in a British settlement in
Manitoba, and of the Canadian contingent in the Boer War.”—(T.
LIT. SUPPL.).

=GODFREY, Hal=, _see_ =CHARLOTTE O’C. ECCLES=.

=GOODRICH, Samuel Griswold; “Peter Parley.”= Born 1793 in Connecticut. Author of 170 volumes, the list of them, with notes, occupying 7½ columns of Allibone, of which 116 appeared under pseud. “Peter Parley.” Seven millions had, according to the Author, been sold at date of Allibone.

⸺ TALES ABOUT IRELAND AND THE IRISH. 16mo. Pp. 300. (LONDON: _Berger_). [1834]. 1836, 1852, 1856. _n.d._ _c._ 1865.

In Ch. I. there is a short account of the physical features,
climate, etc., of I. Pages 20-140 give a popular account of
Irish history from the English point of view, but on the whole
not unfair to Ireland. At p. 150 commences a pleasant little
description of a tour round I., with some little account of
antiquities seen on the way; also occasional legends and
stories connected with places. Illustrated by a number of small
nondescript woodcuts of no value. The above work seems to be
a portion of the Author’s _Tales about Great Britain_. First
publ. Baltimore, 1834.

=GRANT, John O’Brien; “Denis Ignatius Moriarty.”= The former of these two names is signed to a dedication in _The Wife Hunter_, one of the “Tales by the Moriarty Family.” I am not sure that it is not as fictitious as the second.

⸺ THE HUSBAND HUNTER. Three Vols. 1839.

A society novel. Scene: Kerry, _c._ 1830. There is very little
plot, and the matrimonial complications (a Russian prince and
a German baron are involved) of the lady who gives to the
story its title form by no means the central episode. The
conversations are rather artificial and the humour a little
insipid. Pleasant portrait of a priest of the old sporting
type. Nothing objectionable.

⸺ INNISFOYLE ABBEY. Three Vols. (LONDON). 1840.

A story dealing with the religious question in Ireland, as seen
from a Catholic standpoint. It is full of able controversy
and shows keen observation. The hero Howard’s Protestant
and anti-Irish prejudices are made to give way as the real
situation of things is forced in on him. The restoration of
Innisfoyle Abbey is one of the main incidents. Some of the
incidents are taken from facts, _e.g._, the Rathcormac tithe
massacre. These incidents are related with energy and pathos.
But in general the story is of a lighter character, full of
broad Irish humour, and placing the sayings and doings of our
Orange fellow-countrymen in a point of view as ludicrous as it
is horrible. “A rambling, spirited, and racy tale, eccentric
and even absurd sometimes, but very original and entertaining.”
“This writer is known as the author of several amusing and
clever novels.”—(_D. R._).

=GRAVES, Alfred Perceval.= Born in Dublin, 1846, but his family resided in Kerry. Son of late Dr. Graves, Bp. of Limerick. Educated at Windermere Coll. and T.C.D. Was Inspector of Schools from 1875-1910. For eight years Hon. Sec. of Irish Literary Society. Publ. upwards of seventeen books, nearly all on Irish subjects—poems, songs (including the famous “Father O’Flynn”), translations from the Irish, essays. Resides in Wimbledon.

⸺ THE IRISH FAIRY BOOK. (_Fisher Unwin_). Illustr. by George Denham. 1909. A new ed. at 3_s._ 6_d._, with fresh introd., is forthcoming.

A collection of fairy, folk, and hero-tales, nearly all
selected from books already published, together with poems by
Mangan, Tennyson, Nora Hopper, &c. Also tales from Standish
H. O’Grady, Brian O’Looney, Thomas Boyd, Mrs. M’Clintock,
Mrs. Ewing, Douglas Hyde, O’Kearney, &c. All are inspired by
Gaelic originals. “The book is one to delight children for its
simple, direct narratives of wonder and mystery,” while the
fairy mythology will interest the student of the early life
of man. The illustrations are as fanciful and elusive as the
beings whose doings are told in the tales. Mr. Graves’s Preface
is a popular review of the origin and character of fairy
lore.—(_Press Notice_).

=GREER, James.=

⸺ THREE WEE ULSTER LASSIES; or, News from our Irish Cousins. (_Cassell_), 1_s._ 6_d._ Illustr. by old blocks. 1883.

The three lassies are Bessie Strong, the Ulster-Saxon, a
landlord’s daughter; Jennie Scott, the Ulster-Scot, a farmer’s
daughter; and Nelly Nolan, the Ulster-Kelt, a peasant girl.
The Author insists throughout on the vast superiority of the
English and Scotch elements of the population—“the grave,
grim, hardy, sturdy race.” Interlarded with texts and hymns.
In the end Nelly, after an encounter with the priest and
stormy interviews with the neighbours, is converted and goes
to America. The Author died in Derry in 1913 at an advanced
age. He edited a _Guide to Londonderry and the Highlands of
Donegal_, 1885, which went through several editions.

=GREER, Tom.= Was born at Anahilt, Co. Down, a member of a well known Ulster family. Ed. at Queen’s College, Belfast. M.A. and M.D., Queen’s University, and practised in Cambridge. Unsuccessfully contested North Derry as a Liberal Home Ruler, 1892, and died a few years afterwards. The central idea of this tale was suggested by the old Co. Derry folk tale of Hudy McGuiggen. See HARKIN, Hugh.

⸺ A MODERN DÆDALUS. Pp. 261. (LONDON: _Griffith, Farran_, &c.). 1885.

The introd. is signed John O’Halloran, Dublin, 30th Feb.,
1887! A curious story, told in first person, of a Donegal
lad who learned the secret of aerial flight by watching the
sea-birds. He flies over to London. Is in the House of Commons
for a debate. Parnell is well described. The way Parliament
and the Government and the Press dealt with the new invention
is cleverly and amusingly told. Jack, the hero, is imprisoned
but escapes, and on his return there is a successful rising in
Ireland, who establishes her independence by her air fleet.
The book is full of politics (Nationalist point of view).
An eviction scene in Donegal—“The Battle of Killynure”—is
described. Shrewd strokes of satire are aimed at the Tories
throughout.

=GREGORY, Lady.= Daughter of Dudley Persse, D.L., of Roxborough, Co. Galway. She has identified herself with the modern Irish literary movement. Besides the books here noted she has written a great many plays for the Abbey Theatre. Her home is Coole Park, Gort, Co. Galway.

⸺ CUCHULAIN OF MUIRTHEMNE. Pp. 360. (_Murray_). 6_s._ Pref. by W. B. Yeats. (N.Y.: _Scribner_). 2.00. 1902.

The Cuchulain legends woven into an ordered narrative. The
translation for the most part is taken from texts already
published. Lady Gregory has made her own translation from them,
comparing it with translations already published. “I have fused
different versions together and condensed many passages, and I
have left out many.” The narrative is not told in dialect, but
in the idiom of the peasant who speaks in English and thinks
in Gaelic. “I have thought it more natural to tell the stories
in the manner of thatched houses, where I have heard so many
legends of Finn, &c. ... than in the manner of the slated
houses where I have not heard them.” The matter also is often
such as the peasant Seanchuidhe might choose; the clear epic
flow being clogged with garbage of the Jack-the-Giant-killer
type. Fiona MacLeod says very well of the style that it is
“over cold in its strange sameness of emotion, a little chill
with the chill of studious handicraft,” and speaks elsewhere of
its “monotonous passionlessness” and its “lack of virility.”
Yet to the book as a whole he gives high, if qualified, praise.
W. B. Yeats, in his enthusiastic Preface, speaks of it as
perhaps the best book that has ever come out of Ireland. All
these remarks apply also to the following work.

⸺ GODS AND FIGHTING MEN. Pp. 476. (_Murray_). 6_s._ Pref. by W. B. Yeats. (N.Y.: _Scribner_). 2.00. 1906.

Treats of: Part I. “The Gods” (Tuatha De Danaan, Lugh, The
Coming of the Gael, Angus Og, the Dagda, Fate of Children
of Lir, &c.); II. “The Fianna” (Finn, Oisin, Diarmuid, and
Grania). The Finn Cycle is treated as being wholly legendary.

⸺ A BOOK OF SAINTS AND WONDERS. (_Murray_). 5_s._ 1907.

A series of very short (half page or so) and disconnected
stories of fragmentary anecdotes. Told in language which is
a literal translation from the Irish, and in the manner of
illiterate peasants. First, there are stories of the saints,
all quite fanciful, of course, and usually devoid of definite
meaning. Then there is the Voyage of Maeldune, a strange piece
of fantastic imagination often degenerating into extravagance
and silliness. The book is not suitable for certain readers
owing to naturalistic expressions.

⸺ THE KILTARTAN WONDER-BOOK. Pp. 103. 9 in. + 7. (_Maunsel_). 3_s._ 6_d._ net. Illustr. by Margaret Gregory. Linen cover. 1910.

Sixteen typical folk-tales collected in Kiltartan, a barony in
Galway, on the borders of Clare, from the lips of old peasants.
“I have not changed a word in these stories as they were told
to me.”—(Note at end). But some transpositions of parts have
been made. It does not appear whether the stories were told
to Lady Gregory in Irish or in English. Nothing unsuited to
children. All the tales are distinctly _modern_ in tone if not
in origin. The illustrations are quaint and original, with
their crude figures vividly coloured in flat tints.

=GRIERSON, Elizabeth.=

⸺ THE CHILDREN’S BOOK OF CELTIC STORIES. Pp. 324. (_Black_). 6_s._ Twelve very good illustrations in colour from drawings by Allan Stewart. 1908.

Sixteen fairy, folk, and hero-tales, partly Irish, partly
Scotch, dealing, among other things, with wonderful talking
animals that prove to be human beings transformed, adventures
of king’s sons amid all kinds of wonders, &c. One is “The Fate
of the Children of Lir,” and there are five or six about Fin.
There is little or no comicality. The style is simple and
refined, free from the usual defects of folk-lore. The book is
beautifully and attractively produced.

⸺ THE SCOTTISH FAIRY BOOK. Pp. 384. (_Fisher Unwin_). 6_s._ 100 Ill. by M. M. Williams. 1910.

Same series as Mr. A. P. Graves’s _Irish Fairy Book_, _q.v._
Illustr. in a similar way. Not all of these tales will be new
to Irish children.

=GRIERSON, Rev. Robert.= Resides at 41 Ormond Road, Rathmines. His two books are long out of print. I have been unable to obtain information about them. They are not in the British Museum Library.

⸺ THE INVASION OF CROMLEIGH: a Story of the Times.

⸺ BALLYGOWNA. (ABERDEEN: _Moran_). 1898.

=GRIFFIN, Gerald.= Is one of our foremost novelists of the old school. Born 1803, died 1840. Brought up on the banks of the Shannon, twenty-eight miles from Limerick, at twenty he went to London, where all his writing was done. Two years before his death he became a Christian Brother. “He was the first,” says Dr. Sigerson, “to present several of our folk customs, tales, and ancient legends in English prose.” P. J. Kenedy, of New York, publishes an edition of his works in seven volumes, and Messrs. Duffy have an edition in ten vols. at 2_s._ each.

⸺ HOLLAND TIDE. Pp. 378. (_Simpkin & Marshall_). 1827.

First series of _Tales of the Munster Festivals_, _q.v._ Often
published separately.

⸺ THE COLLEGIANS; or, The Colleen Bawn. (_Duffy_). 2_s._ [1828]. Still reprinted. (N.Y.: _Benziger_). 0.75. A new ed. forthcoming (_Talbot Press_). 2_s._ 6_d._

Pronounced the best Irish novel by Aubrey de Vere, Gavan Duffy,
and Justin M’Carthy. Its main interest lies in its being a
tragedy of human passion. The character of Hardress Cregan,
the chief actor, is powerfully and pitilessly analysed. Eily
O’Connor is one of the most lovable characters in fiction.
Danny Man, with his dog-like fidelity; Myles, the mountainy
man, simple yet shrewd; Fighting Poll of the Reeks; Hardress
Cregan’s mother, are characters that live in the mind, like the
memories of real persons. There are pictures, too, of the life
of the day, the drunken, duelling squireen, the respectable
middle-class Dalys, the manners and ways of the peasantry,
whose quaint, humorous, anecdotal talk is perfectly reproduced,
but who are shown merely from without. The scene is laid partly
in Limerick and partly in Killarney. Dion Boucicault’s drama
“The Colleen Bawn” is founded on this story, which itself is
founded on a real murder-trial in which O’Connell defended the
prisoner and which Griffin reported for the press.

⸺ CARD-DRAWING, &c. 1829.

Second series of _Tales of the Munster Festivals_, _q.v._

⸺ THE CHRISTIAN PHYSIOLOGIST. Tales illustrative of the Five Senses. Pp. xxvi. + 376. (_Bull_). 1830.

The tales are:—1. _The Kelp Gatherers_; 2. _The Day of Trial_;
3. _The Voluptuary Cured_; 4. _The Self Consumed_; and, 5. _The
Selfish Crotarie_. All are clever little stories of ancient and
modern Ireland, several of which have been reprinted separately.

⸺ THE INVASION. Very long. (_Duffy_). 2_s._ [1832]. Still reprinted. (N.Y.: _Benziger_). 0.75.

Scene: chiefly the territory of the O’Haedha sept on Bantry
Bay. The story deals chiefly with the fortunes of the
O’Haedhas, but there are many digressions. The innumerable
ancient Irish names give the book a forbidding aspect to one
unacquainted with the language. The narrative interest is
almost wanting, the chief interest being the laborious and
careful picture of the life and civilization of the time, the
eve of the Danish Invasions. The archæology occasionally lacks
accuracy and authority, but these qualities are partly supplied
in the notes, which are by Eugene O’Curry. The invasion
referred to is an early incursion on the coasts of West Munster
by a Danish chief named Gurmund. Some of the characters are
finely drawn, _e.g._, the hero, Elim, and his mother and Duach,
the faithful kerne.

⸺ THE RIVALS. 1832.

Third series of _Tales of the Munster Festivals_, _q.v._

⸺ TALES OF THE MUNSTER FESTIVALS. (N.Y.: _Pratt_). 0.50.

Scene: the wild cliffs and crags of Kerry and West Clare.
Theme: the play of passions as wild and terrible as the scenes;
yet there are glimpses of peasant home-life and hospitality,
and many touches of humour. The tales appeared in three series,
1827, 1829, and 1832. The first (Holland Tide) contained the
_Aylmers of Ballyaylmer_, a story about a family of small
gentry on the Kerry coast, with many details of smuggling; _The
Hand and Word_, _The Barber of Bantry_, with its picture of
the Moynahans, a typical middle-class family, like the Dalys
in _The Collegians_, and several shorter tales. The second
series contains _Card-drawing_, _The Half-Sir_, and _Suil Dhuv
the Coiner_, which deals with the “Palatines” of Limerick. The
third series contains _The Rivals_ and _Tracy’s Ambition_.
These are sensational stories. The first has an interesting
picture of a hedge-school, the second brings out the people’s
sufferings at the hands of “loyalists” and government
officials. They contain several instances of seduction and of
elopement. Perhaps the best of these is _Suil Dhuv the Coiner_.
The characters of the robbers who compose the coiner’s gang are
admirably discriminated, and the passion of remorse in _Suil
Dhuv_ is pictured with a power almost equal to that of _The
Collegians_.

⸺ TALES OF MY NEIGHBOURHOOD. Three Vols. (_Saunders & Otley_). 1835.

Vol. 1 contains _The Barber of Bantry_. Vol. 2. Three sketches
and the dramatic ballad _The Nightwalker_. Vol. 3. Eight short
sketches and the poems _Shanid Castle_ and _Orange and Green_.

⸺ THE DUKE OF MONMOUTH. Pp. 423. (_Maxwell_). 1842.

A clever historical novel, dealing with this unfortunate
nobleman and the battle of Sedgmoor. Two Irish soldiers, Morty
and Shemus Delany, supply the comic relief. The fine ballad,
_The Bridal of Malahide_, first appears here, and the song, “A
Soldier, A Soldier.”

⸺ TALES OF A JURY ROOM. Pp. 463. (_Duffy_). 2_s._ [1842]. Still reprinted.

The scenes of three of these tales are in foreign lands—Poland,
the East, France in the days of Bayard. The remaining ten
are Irish. Among them are fairy tales, tales of humble life,
an episode of Clontarf, a story of the days of Hugh O’Neill,
and several, including the Swans of Lir, that deal with
pre-Christian times. All are well worth reading, especially
“Antrim Jack”—Macalister, who died to save Michael Dwyer.

=GRIFFITH, George.=

⸺ THE KNIGHTS OF THE WHITE ROSE. Pp. 311. (_J. F. Shaw_). 3_s._ 6_d._ Several good illustr. by Hal Hurst. 1908.

The adventures of three young soldiers, an Englishman (the
hero), an Irishman, and a Scotchman, in a Royalist crack
regiment. Lively descriptions of fighting before Derry and at
the Boyne. Good outline of the campaign but little historical
detail or description. Told in pleasant style with plenty of
go. For boys.

=GRIMSHAW, Beatrice.= An Irish Authoress, born in Cloona, Co. Antrim. Hitherto her novels do not deal directly with Ireland, but some of her chief characters are Irish. Thus Hugh Lynch, a Co. Clare man, is the hero of her _When the Red Gods Call_ (Mills & Boon), 1910, and Geo. Scott, a typical Belfastman, plays a prominent part in _Guinea Gold_ (Mills & Boon), 1912. These novels deal with New Guinea life.

=GRINDON, Maurice.=

⸺ KATHLEEN O’LEOVAN: a Fantasy. Pp. 107. Two illustr. (_Simpkin, Marshall_). 1896.

Levan, grandson of an O’Leovan who had settled in England,
visits the home of his ancestors, Castle Columba, Kilronan, and
meets the heroine.

=GUINAN, Rev. Joseph.= Father Guinan is P.P. of Dromod, in Co. Longford. Before his appointment to an Irish parish he passed five years in Liverpool. This gave him “the fresh eye,” the power to see things which, had he remained in Ireland, he might never have observed. His books deal with two things—the life of the poorest classes in the Midlands and the life of the priests. Of both he has intimate personal knowledge, and for both unbounded admiration. He writes simply and earnestly. To the critic used only to English literature, his work may seem wanting in artistic restraint, for he gives free vein to emotion. But this is more than atoned for by its obvious sincerity.

⸺ SCENES AND SKETCHES IN AN IRISH PARISH; or, Priests and People in Doon. (_Gill_). 2_s._ Fourth edition. 1906.

A faithful picture of typical things in Irish life: the
Station, the Sunday Mass, the grinding of landlordism, the
agrarian crime, the eviction, the emigration-wake. See
especially the chapter “Sunday in Doon.” This is the Author’s
first novel and is somewhat immature.

⸺ THE SOGGARTH AROON. (_Gill & Duffy_). 2_s._ 6_d._ (N.Y.: _Benziger_). 1.00. Second edition, 1907. Third, 1908.

Pathetic experiences of a country curate in an out-of-the-way
parish, where the people’s faith is strong and their lives
supernaturally beautiful. The Soggarth shares the few joys and
the many sorrows of their lives.

⸺ THE MOORES OF GLYNN. Pp. 354. (_Washbourne_). 3_s._ 6_d._ (N.Y.: _Pratt_). 2.00. [1907]. Third edition. 1915.

The fortunes of a family of four children whose mother is a
beautiful and lovable character. The book is full of pictures
of many phases of Irish life, the relations between landlord
and tenant, priests and people, evictions, emigration, a
“spoiled priest.” A typical description is the realistic
picture of the pig fair. Full of true pathos, with an
occasional touch of kindly humour.

⸺ THE ISLAND PARISH. Pp. 331. (_Gill_). 1908.

The work of an ideal young priest in Ballyvora, a kind of
Sleepy Hollow where all is stagnation, poverty, and decay.
The picture of these squalid conditions of life is one of
photographic and unsparing exactness. Yet with loving insight
the Author shows the peasant’s quiet happiness, beauty of soul,
and downright holiness of life in the midst of all this. There
is no plot, the book is a series of pictures loosely strung
together. There is a chapter on Lisdoonvarna.

⸺ DONAL KENNY. (_Washbourne_). 1910. (N.Y.: _Benziger_). 1.10.

Donal tells his own story—his mother’s early death, followed
by his father’s rapid fall into habits of drink; his own early
struggles; his love for Norah Kenny; his search for traces of
her real identity; and the happy ending of it all. Displays all
the Author’s knowledge of Irish life in sketches of priests and
people. Especially good is the character study of the faithful
old nurse, Nancy, with her quaint sayings.—(_Press Notice_).

⸺ THE CURATE OF KILCLOON. Pp. 282. (_Gill_). 3_s._ 6_d._ 1913.

Labours, sorrows, and consolations of a young priest in
a very out of the way country parish. He had been very
distinguished at Maynooth and seemed thrown away on such a
place as Kilcloon, but he finds that there is work there worth
his doing—temperance to be promoted, the Gaelic League to be
established, industries to be fostered. The story has the same
qualities as the Author’s former books, and in fact differs
little from them.

=GWYNN, Stephen.= Born in Donegal, 1864. Eldest son of Rev. John Gwynn of T.C.D. Is a grandson of William Smith O’Brien. Educated St. Columba’s College, Rathfarnham, and Oxford, where he read a very distinguished course. Since 1890 he has published a great deal—literary criticism, translations, Irish topography, journalism, novels, politics. Has been Nationalist M.P. for Galway City since 1906, and is one of the most active members of the Irish Parliamentary Party.

⸺ THE OLD KNOWLEDGE. (_Macmillan_). 6_s._ 1901.

A book quite unique in conception. Into the romance are woven
fishing episodes and cycling episodes and adventures among
flowers. There are exquisite glimpses, too, of Irish home life,
and the very spirit of the mists and loughs and mountains of
Donegal is called up before the reader. But above all there
is the mystic conception of Conroy, the Donegal schoolmaster,
whose soul lives with visions, and communes with the spirits of
eld, the nature gods of pagan Ireland.

⸺ JOHN MAXWELL’S MARRIAGE. (_Macmillan_). 6_s._ 1903.

Scene: chiefly Donegal, _c._ 1761-1779. A strong and intense
story. Interesting not only for its powerful plot, but for
the admirably painted background of scenery and manners, and
for its studies of character. It depicts in strong colours
the tyranny of Protestant colonists and the hate which it
produces in the outcast Catholics. One of the main motives of
the story is a forced marriage of a peculiarly odious kind. In
connexion with this marriage there is one scene in the book
that is drawn with a realism which, we think, makes the book
unsuitable for certain classes of readers. The hero fights on
the American side in the war of Independence, and takes a share
in Nationalist schemes at home.

⸺ THE GLADE IN THE FOREST. Pp. 224. (_Maunsel_). 1_s._ Cloth. 1907.

Seven short stories, chiefly about Donegal, five of them
dealing with peasant life, of which the Author writes with
intimate and kindly knowledge. “The Grip of the Land” describes
the struggles of a small farmer and the love of his bleak
fields that found no counterpart in his eldest boy, who has his
heart set on emigration. Compare Bazin’s _La Terre qui Meurt_.
All the stories had previously appeared in such magazines as
the CORNHILL and BLACKWOOD’S.

⸺ ROBERT EMMET. (_Macmillan_). 6_s._ Map of Dublin in 1803. 1909.

An account of the Emmet rising related with scrupulous
fidelity to fact and in minute detail. The Author introduces
no reflections of his own, leaving the facts to speak. His
narrative is graphic and vivid, the style of high literary
value. The minor actors in the drama—Quigley, Russell,
Hamilton, Dwyer—are carefully drawn. Though he gives a
prominent place in the story to Emmet’s romantic love for Sarah
Curran, Mr. Gwynn has sought rather to draw a vivid picture of
the event by which the young patriot is known to history than
to reconstruct his personality.

=HALL, E.=

⸺ THE BARRYS OF BEIGH. Pp. 394. (_M’Glashan & Gill_). [1875.]

Scene: banks of Shannon twenty miles below Limerick. Story
opens about 1775.

=HALL, Mrs. S. C.= Born in Dublin, 1800. Brought by her mother (who was of French Huguenot descent) to Wexford in 1806. Here she lived, mixing a good deal with the peasantry, until the age of fifteen, when she was taken away to London, and did not again return to Wexford. Wrote nine novels, and many short stories and sketches. Besides the works noticed here, she and her husband produced between them a very large number of volumes. See his _Reminiscences of a Long Life_. Two vols. London. 1883. A reviewer in BLACKWOOD’S describes her work as “bright with an animated and warm nationality, apologetic and defensive.” She died in 1881.

⸺ SKETCHES OF IRISH CHARACTER. Pp. 443. (_Chatto & Windus_). 7_s._ 6_d._ With Sixty-one Illustrations by Maclise, Gilbert, Harvey, George Cruikshank, &c. [1829]. 1854 (5th), 1892, &c., &c.

Mrs. Hall intends in these sketches to do for her village
of Bannow, in Wexford, what Miss Mitford did for her
English village. This district, she says, “possesses to a
very remarkable extent all the moral, social, and natural
advantages, which are to be found throughout the country.”
The author proclaims (cf. Introduction) her intention “so
to picture the Irish character as to make it more justly
appreciated ... and more respected in England.” She applies
to the peasantry the saying “their virtues are their own;
but their vices have been forced upon them.” Again she
says, “the characters here are all portraits.” Yet it must
be confessed that the standpoint is, after all, alien, and
something strangely like the traditional stage Irishman appears
occasionally in these pages. There is, however, not a shadow of
religious bias. The “Rambling Introduction” makes very pleasant
reading.

⸺ LIGHTS AND SHADOWS OF IRISH LIFE. Three vols. (long). (_Colburn_). 1838.

In five parts:—1. “The Groves of Blarney” (whole of Vol.
I.). 2. “Sketches on Irish Highways during the Autumn of
1834” (whole of Vol. II.). 3. “Illustrations of Irish Pride”
(two stories). 4. “The Dispensation.” 5. “Old Granny.” No. 1
“derives its title from an occurrence ... in ... Blarney ...
about the year 1812.”—(_Pref._). It is a thoroughly good story,
telling how Connor in order to win the fair widow Margaret,
his early love, takes an oath against drinking, flirting, and
faction-fighting for a year, and how a vengeful old tramp woman
makes him break it on the very last day. Amusingly satirical
portrait of the little Cockney, Peter Swan. Author’s sympathies
thoroughly Irish. Contents of Vol. II.:—“The Jaunting Car,”
“Beggars,” “Naturals,” “Servants,” “Ruins” [or stories told _a
propos_ of them], &c. The dialect is very well done, full of
humour and flavour. Characters all drawn from peasant class.

⸺ STORIES OF THE IRISH PEASANTRY. Pp. 302, (close print). (_Chambers_). [1840]. 1851, &c.

Aims to reconcile landlords and peasantry. To this end tries
to show each to what their enmity is due and how they may
remedy the evil. The stories are to show the peasantry that
their present condition is due to defects in the national
character and in the prevailing national habits—chiefly drink,
early marriages, laziness, conservatism, superstition. The
Authoress has a good grasp of the ways of the people, but her
reasoning is peculiar. When a peasant, driven to desperation by
a cruel eviction, swears vengeance, this is put down to innate
lawlessness, sinfulness, and a murderous disposition. Twenty
stories in all, some melodramatic, some pastoral.

⸺ THE WHITEBOY. (_Ward, Lock, Routledge_). 2_s._, and 6_d._ [1845]. Several eds. since. (N.Y.: _Pratt_). 0.50.