Still reprinted without change, and is as popular as ever. Seventy-two stories, fourteen anonymous, the bulk of the remainder by Carleton, Lover, and Lever. Maginn, Maxwell, and M. J. Barry are represented by two each; Irwin, Lefanu, Lynam, Coyne, Sullivan by one each. Practically all the tales are of the Lover (Handy Andy, q.v.) type, genuinely funny in their way, but broadly comic, farcical, and full of brogue. The illustrations are some of them clever, but inartistic and of the most pronouncedly Stage-Irish kind.
⸺ IRISH PRIEST, THE; or, What for Ireland? Pp. 171. 16mo. (Longman, Brown, Green, &c.). 1847.
“This sees the light with the earnest hope that it may conciliate prejudice, disarm opposition....” The Author speaks of his “intensest sympathy for a despoiled, neglected, ill-used people.” Supposed to be a MS. given to a doctor in the W. of Ireland by a doctor on his deathbed. Sentimental and emotional in style. A rambling series of incidents in priest’s life, with much moralising of a non-Catholic tone. Incidents of land agitation given, without explanation of their causes. Suggestions to make Ireland an ideal place, &c.
⸺ IRISH WIDOW, THE; or, A Picture from life of Erin and her Children; by author of “Poor Paddy’s Cabin.” Pp. 205. 12mo. (London: Wertheim and Macintosh). 1855.
Like the Author’s former work, this deals with the religious question in Ireland from a Protestant (Evangelical) standpoint. But in this case the personages are drawn from the middle classes, the causes of their enslavement to Rome being set forth. It is full of religious controversy. See ch. xvi. “The Fruits of an Irish Church Missions sermon,” and ch. xviii., “Priest and Landlords.”
⸺ JIM EAGAN. (N.Y.: Pratt). $1.00.
⸺ KATE KAVANAGH. (N.Y.: Benziger). 0.45 net.
⸺ LAST DROP OF ’68, THE: a Picture of Real Life with Imaginary Characters; by “An Irish Bramwellian.” Pp. 127. (Hodges Figgis). 1s. 1885.
Begins in Dublin, the teller being a Dublin lawyer, but nearly all the incidents take place out of Ireland. All the personages are more or less disreputable, including the teller, but especially the hero, Helgate, who is a thorough blackguard. The story consists chiefly in the doings of this latter, a drunken, swindling wretch, who deceives foolish people and lives on them. The writer does not seem to adopt any definite moral attitude. ’68 refers to the vintage of that year.