• Ballads in Prose (London: John Lane 1894).
• Under Quicken Boughs, poems (John Lane 1896).
• Songs of the Morning (London: Grant Richards 1900).
• Aquamarines (London: Grant Richards 1902), xiii, 241pp. [see contents]
• Mildred and Her Mills, and Other Poems (London: Raphael Tuck 1903).
• Old Fairy Legends in New Colours, by T. E. Donnison, with verses by N. Chesson [Hopper] (London: Raphael Tuck 1903).
• With Louis Wain to Fairyland (London: Raphael Tuck 1904).
• Dirge for Aoine and Other Poems (London: Alston Rivers MCMVI [1906]) [poems, pp.xvii [Dirge for Aoine] to xxxiv [Dalua];
• A Dead Girl to her Lover and Other Poems (London: Alston Rivers 1906).
• Jack O’Lanthorn and Other poems (London: Alston Rivers 1906).
• The Waiting Widow and Other Poems (London: Alston Rivers 1906).

Journal contributions incl. “A Ghost” [‘Ochone, astore, and it's strange you’ve grown’, in New Ireland Review, 8 (1897/98), p.66 [quoted in Joep Leerssen Remembrance and Imagination (1996), p.170.]

• Selected Poems, ed. db W. H. Chesson; intro. by F. M. Heuffer, 5 vols. (London: Alston Rivers 1908), Vol. I: Biog. note by W. H. Chesson, intro. pp.vii-ix; Introductory, pp.xi-xvi. available online; accessed 10.03.2024]. Note: The vols. correspond to her collections, bound together and each with sep. roman pagination.]

• The Bell and the Arrow, An English Love Story (London: T. Werner Laurie 1905) [a novel].
• Father Felix’s Chronicles, ed. W. H. Chesson (London: T. F. Unwin 1907), 312pp. [front port.]
• Children’s Stories from Tennyson [1914] - a volume of paraphrases;

Drama

• Muirgheis, an Irish opera in three acts, trans. by Torna [Tadhg O’Donoghue], Ireland Review (Sept. 1910).

In 1894 Nora Hopper’s Ballads in Prose announced a newcomer to the group of young Irish poets in [195] London who were striving to add the evidence of their work to the theories for which Yeats had become sponsor. By this time the “Celtic Movement” had become an accepted fact in contemporary journalism, and Yeats, partly because of his incessant propaganda, and partly because of his own success, was the recognised leader of the so-called “school.” If ever this word had any justification, it was in the case of Nora Hopper, who came forward manifestly as a disciple of Yeats. [... T]he poems were flagrantly imitative, even to such a degree as:

I will arise and go hence to the west,
And dig me a grave where the hill-winds call... .

Yeats’s Innisfree is here put under contribution as surely as are the verses, too numerous to quote, from which Nora Hopper borrowed her “long gray twilights,” “sighing sedge” and “gray sea.” The clumsiness of these lines, the triteness of thought and the stereotyped phrase which disfigure them, indicate the general quality of the volume in which they appear. All the clichés which the parodists have found useful when exercising their talents upon Irish poetry are represented in these poems. “silk of the kine,” “dear black head,” “beautiful dark rose” - none is missing.

Nora Hopper’s facile imagination surrendered itself too readily to passing influences. From the extravagant “Celticism” of her first books, and the conventional Anglicisation of the last, it is easy to estimate the instability of her talent. She had nothing of Lionel Johnson’s almost fierce fanaticism in religion and politics, but she resembled him in that both were transplanted Irish, born in England and naturally absorbed by it to some extent. In the first enthusiasm of the emotions awakened by the call to patriotism in literature Nora Hopper was carried away by the charm and wonder of Irish legend. The personal and national prestige of Yeats doubtless appealed to her and she wrote in an exuberance of Celtic feeling. But, as time went on, the encroachment of her actual English life weakened the impulse [199] towards Ireland, until finally her verse was undistinguishable from that of the multitude of minor English poets. The Revival held her just long enough to exhaust the slight vein of Irish poetry it discovered in her.

The verse of Nora Hopper, whose books first appeared in the nineties, may be taken as typical of the spirit of the Celtic revival. To-day she suffers from neglect, as a poet belonging to a period of artificiality, but her verse brings a real breath from Ireland. The notes supplied by her husband, Mr. W.H. Chesson, to his wife’s Selected Poems show Nora [96] Hopper’s conscious attempt to make use of traditional themes and Gaelic words. Her poetry has the wistfulness that is often part of the self-revelation of the sympathetic Irish heart, and is remarkably free from the conventional prettiness of her time. It well represents the Irish literary movement, for the poems deal with the three themes expressive of Irish nationality: the Irish past, the Irish peasant, and Irish patriotism. (pp.95-96.)

O’Connor quotes in full “The Passing of the Shee”, “August”, and in part “A Connaught Lover’s Lament” - with the remarks: ‘The peasant of modern Ireland, ignorant of booklearning but sensitive to natural beauties, is skilfully mirrored in “A Connaught Lover’s Lament”.’ (p.97).