Works
Oakeley published 42 works. Before his conversion were:
- Whitehall Chapel Sermons, 1837;
- Laudes Diurnæ; the Psalter and Canticles in the Morning and Evening Services, set and pointed to the Gregorian Tones by Richard Redhead, with a preface by Oakeley on antiphonal chanting, 1843.
Also a number of articles contributed to the British Critic.
After his conversion he brought out many books in support of Catholicism, including:
- The Ceremonies of the Mass, 1855, a standard work at Rome, where it was translated into Italian by Lorenzo Santarelli, and published by authority;
- The Church of the Bible, 1857;
- Lyra Liturgica, 1865;
- Historical Notes on the Tractarian Movement, 1865;
- The Priest to the Mission, 1871;
- The Voice of Creation, 1876.
He was a constant contributor to the Dublin Review and The Month. To Cardinal Manning's Essays on Religious Subjects (1865) he contributed The Position of a Catholic Minority in a Roman Catholic Country. The last article he wrote was one in Time (March 1880), on Personal Recollections of Oxford from 1820 to 1845 (reprinted in Lilian M. Quiller-Couch's Reminiscences of Oxford, 1892, Oxf. Hist. Soc.) His Youthful Martyrs of Rome, a verse drama in five acts (1856), was adapted from Cardinal Wiseman's Fabiola.
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My works are all stamped down into the sultry mud.”
—William Butler Yeats (1865–1939)
“His character as one of the fathers of the English language would alone make his works important, even those which have little poetical merit. He was as simple as Wordsworth in preferring his homely but vigorous Saxon tongue, when it was neglected by the court, and had not yet attained to the dignity of a literature, and rendered a similar service to his country to that which Dante rendered to Italy.”
—Henry David Thoreau (1817–1862)
“My plan of instruction is extremely simple and limited. They learn, on week-days, such coarse works as may fit them for servants. I allow of no writing for the poor. My object is not to make fanatics, but to train up the lower classes in habits of industry and piety.”
—Hannah More (1745–1833)