Stephen J. M. Brown

“ A gentleman, from unnatural motives, deliberately brings up his son as a common labourer. The boy falls in love with and marries a peasant girl, whom he had saved from the pursuit of a rascally young squire. On her marriage morning she learns that her husband has killed her unworthy lover. She at once leaves her husband, but a priest induces her to return, and the crime is hushed up in a rather improbable manner. As in the Author’s other books, there is a subtle charm of style, delicate analysis of character, and fair knowledge of peasant life. ”

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

“ One of the greatest, if not the greatest, of all Irish novels. Yet it is not so much a novel as a series of pictures of life in a Tipperary village. We are introduced to every one of its inhabitants, and learn to love them nearly all before the end. Everything in the book had been not only seen from without but lived by the Author. It is full of exquisite little humorous and pathetic traits. The description of the details of peasant life is quite photographic in fidelity, yet not wearisome. There is the closest observation of human nature and of individual peculiarities. ”

“ The historical episode of the kidnapping of Hugh Roe O’Donnell and his escape from Dublin Castle evoked in a narrative of extraordinary dramatic power and vividness. The Author has breathed a spirit into the dry bones of innumerable contemporary documents and State Papers, so that the men of Elizabethan Ireland seem to live and move before us. The effect is greatly strengthened by the vigour and rush of the style, which reminds one of that of Carlyle in his French Revolution. The Author has peculiar and decided views about Elizabethan Irish politics. ”

“ A strong contrast is drawn between the ideals which the hero sees at work around him during his stay in England, and those which he finds at work at home. Many phases and incidents of Irish life are shown—the home-life of the priest, the eviction, the funeral, scenes in Dublin churches, the beauty of Irish landscape. One of the best, if not the best, of Irish novels. ”

“ We are used to having depicted with painful realism all our faults, all the defects of Irish life on the material side. This little book denies none of these, but it shows another side of the Irish character, the deep-rooted, intense Catholic faith, the union with the supernatural, that brightens even the most squalid lives. The anecdotes, which are true, are related with delicate insight by one who knows and loves the people. ”

“ No finer character could be depicted than Alice Wentworth, daughter of Sir Geoffrey Wentworth, the representative of an old English Catholic baronetage, who suffered persecution under Elizabeth; whilst Roger O’Brien, attached to the Court of Mary Queen of Scots, affords an opportunity of presenting the high-spirited and brave qualities that ought to belong to an Irish gentleman. Elizabeth appears in anything but a favourable light. ”

“ How a baseless slander nearly ruined the life of Julia, the Cinderella of her family, how she was nearly lost to her lover, and by what strange turns of fortune she was restored. The chief characters belong to two branches of a Kerry family, whose history is that of many another in Ireland. Julia’s mother is a splendid type of the old-fashioned Irish matron. There is touching pathos in the picture of the Grace family (minor personages of the tale) —a mother’s absolute devotedness to a pair of thankless and worthless daughters. The old parish priest, too, is well drawn. ”

“ Yet the hero and heroine start with a peaceful youth in Tipperary as members of the small farmer class. Parents oppose the match, and the hero goes to Dublin, where he falls into the hands of a gang of desperadoes. Then the scene shifts to America, to return to Ireland only for the wedding bells of the close. The Irish peasant at home is appreciatively described, his intense spirit of faith being dwelt on. ”

“ A story of rural life, depicting with much beauty and pathos the sadness of emigration. The book is first and foremost a love story and has no didactic object. It contains one of Carleton’s most exquisite portraits of an Irish peasant girl. The struggle between her love and her stern and uncompromising zeal for the faith is finely drawn. O’Finigan, with his half-tipsy grandiloquence, is also cleverly done. A kindly spirit pervades the book, and it is almost entirely free from the bad taste, coarseness, and rancour which show themselves at times in Carleton. ”

“ Glimpses of real life in Connemara and Aran (described p. 48 sq.) , dealing less with outward incidents than with the beauty of the people’s faith, the hardness of their lot, the joys and sorrows of their lives. Told with a very delicate suggestiveness, full of touches of humour and of feeling, without preaching or moralising, by one in thorough sympathy with the people, and alive, too, to all the influences of nature. The dialect is reproduced with great fidelity. ”

“ We are first introduced to a delightful circle, the three children of Black Abbey (somewhere in Co. Down) and those about them, their German governess and Irish nurse and their playmate Bella, born in America, granddaughter of the old Presbyterian minister. The picture of their home-life is pleasant and life-like, with a vein of quiet humour. Then they grow up and things no longer run smoothly. Bella, by her marriage, well-nigh wrecks four lives, including her own, but things seem to be righting themselves as the story closes. The dialect of the Northern servants is very well done. ”

“ A criticism of Irish political life, free from rancour, and from injustice to any particular class of Irishmen, showing strong sympathy for the Gaelic League, and all it stands for. The hero is left at the parting of the ways, with the choice before him of “respectability” and ease, or work for Ireland. The book should set people asking why is it that Irishmen—no matter what their creed or politics—cannot work together for their common country? ”

“ No one else has written, or perhaps ever will write, like this, of pure love in the heart of a pure peasant girl. These are prose poems, as perfect in artistic construction as a sonnet. They are full too of the love of nature, as seen in the glens and coasts of Donegal. They are all intensely sad, but without morbidness and pessimism. ”

“ The dialect is perfectly reproduced. There is a pleasant picture of the bright and sunny Sally Bruce growing from girlhood into womanhood amid the dull austerity of Coole House, in the society of her two maiden aunts and her bachelor uncle. There are pleasant gleams of Northern humour, not a few gems of rustic philosophy, and vignettes of Antrim scenery. The human interest is, however, strongest of all. ”

“ Most people will have pleasurable recollections of stories read by them in one or other of the magazines which they were accustomed to read in youth—recollections which are only occasionally confirmed on a second reading in after life. I can still recall with delight many stories of Irish and even of alien characters which appeared in The Shamrock, Young Ireland, The Lamp, and other periodicals—not to speak of the numerous tales, serial and otherwise, which were a feature of the weekly editions of the ordinary Irish newspapers. ”

“ It is an excellent Irish tale, full of truth and sympathy, without any harsh caricaturing on the one hand, or any patronizing sentimentality on the other. The heroine, Oonagh M’Dermott, the Dillons, Pat Flanagan, and Father Rafferty are the principal personages, all excellent portraits in their way; and some of the minor characters are very happily drawn. The conversation of the humbler people is full of wit and common sense; and the changes of the story give room for pathos sometimes as a contrast to the humour which predominates. Miss Brew understands well the Irish heart and language ”

“ Dedication in Irish and English. Thirty-four full-page pen and ink drawings, signed “Verbeek.” These latter are quaint and amusingly grotesque. The stories are folk-tales, told just as the peasantry tell them, without brogue, but with all the repetitions, humorous extravagances and naïveté of the folk-tale. They are just the thing for children, and are quite free from coarseness and vulgarity. ”

“ Into the tissue of a pleasant and touching story of quiet country life in North-west Wexford the Author has woven a collection of tales, ballads, and legends, some of which are of high merit. They contain a wealth of information on local customs and traditions. Incidentally, Irish peasant character is truthfully painted in all its phases—grave, gay, humorous, and grotesque. The moral standard is very high throughout. There are many vivid descriptions of scenery. ”

“ Some are pure fancy, some are very closely observed bits of real life; some are humorous, with a kind of sardonic humour; some whimsical, some border on pathos. Many deal with various phases of married life. Little poems are sandwiched between the tales. The book is full of aphorisms, indeed the style is a riot of curious metaphor, flights of fancy, unexpected turns of phrase. The last piece (pp. 277-348) consists of a series of disquisitions by an old gentleman in the style of the Autocrat of the Breakfast Table. An Irish flavour is noticeable at frequent intervals. ”

“ The peasantry are drawn in caricature, usually friendly, and are shown in relation to their social superiors, not in their own life and reality. If these sketches were taken seriously, the peasantry would appear as drunken, quarrelsome, lying, dirty, unconsciously comical—with scarcely a single redeeming trait. The scene is south-western Cork.
All on the Irish Shore has been described (Irish Monthly) as “a blend of Lover and Lever (in his coarser rollicking days) refined by some of the literary flavour of Jane Barlow, but with none of the insight and sympathy of Irish Idylls. ”

“ Hazel leaves Bournemouth and her school days and two rejected suitors—both curates—to live with her adoring parents in the W. of Ireland. She and Denis Martin fall in love, but the course of love does not run smooth. The two are kept apart by their parents, who are intent on other matches. A quarrel completes the breach, but all comes right in the end by help of a divorce and a death. Trips to Dublin and to Bundoran and the performances of a genuine stage-Irishman are introduced to enliven the tale. ”

“ He himself finds out before the end that it is love, not law, that rules the world. The story contains many beautiful and touching scenes, and some fine description, notably in the South African portion of the book. There is some incidental criticism of various features of Irish life—popular politics, religious divisions, the Gaelic League, the change in the mentality of the people, and there is in it food for thought about some of our besetting faults. ”

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