Darrell Figgis - Works

Works

  • A Vision of Life (1909) poems
  • Shakespeare: A Study (1911)
  • The Crucibles of Time (1911) poems
  • Studies and Appreciations (1912)
  • Broken Arcs (1912) novel
  • Queen Tara (1913) play
  • Jacob Elthorne (1914) novel as Michael Ireland
  • The Mount of Transfiguration (1915) poems
  • AE (George W. Russell). A Study of a Man and a Nation (1916)
  • The Gaelic State in the Past & Future, or, "The Crown of a Nation" (1917)
  • A Chronicle of Jails (1917)
  • Bye-Ways of Study (1918) essays
  • Children of Earth (1918) novel as Michael Ireland
  • The Historic Case for Irish Independence (1918)
  • Carleton's Stories of Irish Life (1918/9) by William Carleton, editor
  • A Second Chronicle of Jails (1919)
  • Bogach Bán (1922) poem
  • The Economic Case for Irish Independence (1920)
  • Planning for the Future (1922) address to the Architectural Association of Ireland
  • The House of Success (1922) novel as Michael Ireland
  • The Irish Constitution Explained (Dublin: Mellifont Press, 1922)
  • The Return of the Hero (1923) novel, as Michael Ireland
  • The Paintings of William Blake (1925)
  • John Milton and Darrell Figgis
  • Comus: A Mask with Eight Illustrations By William Blake (1926) John Milton, editor
  • Recollections of the Irish War (1927)

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    “Night and Day ‘ve been tampered with,
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    That works its will on age and hour.”
    —Ralph Waldo Emerson (1803–1882)

    “The slightest living thing answers a deeper need than all the works of man because it is transitory. It has an evanescence of life, or growth, or change: it passes, as we do, from one stage to the another, from darkness to darkness, into a distance where we, too, vanish out of sight. A work of art is static; and its value and its weakness lie in being so: but the tuft of grass and the clouds above it belong to our own travelling brotherhood.”
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    “A complete woman is probably not a very admirable creature. She is manipulative, uses other people to get her own way, and works within whatever system she is in.”
    —Anita Brookner (b. 1938)