“Alonzo Monçada’s story from the Melmoth” by Eugène Delacroix (oil on canvas, 1831).

The Universe (London: H. Colburn & Co, 1821), 108pp. actually by James Wills [q.v.].

• Bertram; or, The Castle of St. Aldobrand (London: John Murray 1816), 1+94pp. [2 edns.; ded. to Walter Scott, The Scotsman, the only Friend of the Irish Author’].
• Manuel, A Tragedy in Five Acts, as performed at The Theatre Royal, Drury-Lane by the author of Bertram (London: John Murray 1817) [second edition].
• Fredolfo, A Tragedy, in five acts by the Rev. C. R. Maturin, author of Bertram, &c. (Edinburgh: Archibald Constable & Co.; London: Longman Hurst, Rees, Orme & Brown [Paternoster-Row]; Hurst Robinson & Co. [Cheapside] 1819).
• The Sybil’s Prophecy, dramatic fragment in The Literary Souvenir, or Cabinet of Poetry and Romance (1926), Vol. 2, pp.128-36.
• Osmyn the Renegade, or The Seige of Salerno [unpublished, MS lost; extracts in Irish Quarterly Review, II, March 1852, pp.166-69].

• The Fatal Revenge, or The Family of Montorio, A Romance by Dennis Jasper Murphy, 3 vols. (London: Longmans, Hurst, Rees & Orme 1807), rep. with foreword by Henry D. Hicks, intro. M. Levy, 3 vols. (NY: Arno Press 1974).
• The Wild Irish Boy, by the Author of Montorio, 3 vols. (London: Longman, Hurst, Rees, and Orme, 1808) [printed by D. Dewick; ded. Earl of Moira], and Do. [facs. rep.] (NY: Garland Publishing Inc. 1979).
• The Milesian Chief, 4 vols. (London: Henry Colburn 1812) [incls. Dedication to the Quarterly Reviewers - as attached]; Do. [facs. rep.] (NY: Garland Publishing 1979) [in 4 sep. vols.; Do., another edn. [with Leixlip Castle] (Ryan Layne Whitney 2014), 495pp. hb.;
• Women, or Pour et Contre, Women; or, Pour et Contre, A Tale, by the author of Bertram, &c., 3 vols. (Edinburgh: Archibald Constable; London: Hurst, Rees, Orme, & Brown 1818), and Do. [facs. rep.] (NY: Garland Publishing 1979).
• Melmoth the Wanderer: A Tale [by the author of ... &c.], 4 vols. (Edinburgh: Archibald Constable; London: Hurst, Robinson & Co. 1820) [printer John Pillans, Edinburgh; Vol. 1, xii, 341pp.; Vol. 2, 321pp; Vol. 3, 368pp., Vol. 4, 453pp.], and Do. [2nd edn.] (Edinburgh: Constable; London: Hurst, Robinson 1821), [20cm.; copy in V&A Libraries]; Do., 3 vols. (London: Bentley & Son 1892) [‘with a memoir and bibliography of Maturin’s works’]; Do., intro. by W. F. Axton (Nebraska UP 1961); and Do., ed. & intro. by Douglas Grant (OUP 1968); Do. [Oxford Paperbacks] (Oxford Univ. Press 1998); Do. [Penguin Classics] (Penguin 2000); Do. (Kessinger Publ. 2010); Do. (CreateSpace Indep. Platform 2010); Do. (Benediction Classics 2011).
• The Albigenses, A Romance, 4 vols. (Edinburgh: Archibald Constable; London: Hurst, Robinson & Co, 1824 [FDA]), rep. with foreword by J. Gray and intro. by Dale Kramer, 4 vols. (NY: Arno Press 1974).
• ‘Leixlip Castle: An Irish Family Legend’, in The Literary Souvenir; or, Cabinet of Poetry and Romance (London: Hurst & Robinson 1825), rep., in The Grimoire and Other Supernatural Stories, collected by Montague Summers (Fortune Press 1936), pp.23-27 [text].

• Lines on the Battle of Waterloo, by John Shee, Esq [pseud.], Undergrad. TCD (Dublin: R Milliken, Grafton St.), poem, 56pp.
• ‘Oh How Sweet the Feeling’, ‘Stranger to the Tree’, ‘Stranger to the Stream’, poems, in A Select Collection of Melodies, ed., Alexander Campbell (Edinburgh: Oliver & Boyd 1816), Vol. 2.
• Sermons (Edinburgh: Archibald Constable, London: Hurst & Robinson 1819 [2nd edn. 1821; 1824]), xx+475pp.
• Five Sermons On The Errors Of The Roman Catholic Church, preached at St. Peter’s Church (Dublin [Grafton Street]: Richard Milliken 1824), 163pp. [var. Dublin: W. Fold & Son 1824], 2nd. edn. (1826).

• W. F. Axton, intro., Melmoth the Wanderer (Nebraska UP 1961); Do., intro. by Devendra P. Varma (London: Folio Soc. 1993), xvii, 505pp. ill. [by Felix Zakar]; Do., ed. Douglas Grant (OUP 1968), and Do. [new edn.], with new introduction & bibliography by Chris Baldick (OUP 1989), xxiv, 560pp.; Do., ed. & intro. by Victor Sage (London: Penguin Books 2000 ), xxxi, 659pp.
• E. F. Bleider, intro., The Wild Irish Boy, 3 vols. (NY: Arno Press 1977), and Robert Lee Wolff, ed., Do. [facs. rep.] (NY: Garland Publ. 1979).
• Robert Lee Wolff, ed., The Milesian Chief (NY: Garland Publ. 1979).
• Douglas Grant, ed., Melmoth the Wanderer, with new introduction by Chris Baldick (Oxford & London: OUP 1989).

• Melmoth: l’homme errant, récit de Ch. Robert Maturin; première traduction francçaise integrale par Jacqueline Marc-Chadourne; préface d’André Breton ([Paris:] J.-J. Pauvert [1965]), xxxi, 659pp.[29cm.], and Do. [another edn.] ([Paris:] Phébus [1996]), 614pp.
• [...]

• B[enjamin] West, Melmoth, the Wanderer; a melo-dramatic romance, in three acts, (founded on the popular novel of that name,) performed, for the first time, at the Royal Coburg Theatre, on Monday, the 14th of July, 1823 ([London]: Printed for John Lowndes [1823])

• Fannie E[lizabeth] Ratchford & William H[enry], eds., The Correspondence of Sir Walter Scott and Charles Robert Maturin, with a Few Other Allied Letters (Austin: Texas UP 1937), x, 128pp. [var.1939].

• [Obit. notice], The Dublin and London Magazine Vol. l (April 1826), p.96.
• Obituary of Rev. C. R. Maturin, The Gentleman’s Magazine, Vol. 95 (1825), pp.8685[?].
• ‘Conversations of Maturin’, The New Monthly Magazine and Literary Journal, Vol. XIX, No. l (1827), pp.401-11.
• ‘Conversations of Maturin’, in Do., Vol. XIX, No. 2 (1827), pp.570-77.
• ‘Recollections of Maturin’, Vol. XX, No. 3 ([1828]) pp.146-152.
• ‘Recollections of Maturin’, in Do., Vol. XX, No. 4 ([1828]), pp.370-76.
• ‘Memoranda of Maturin’ in Douglas Jerrold’s Shilling Magazine, Vol.3 (1846), pp.125-34.
• ‘Extract from the portfolio of a man of the world’, in The Gentleman’s Magazine, [n.s.]. Vol. XXV (1846), p.468.
• J. C. Mangan, ‘C. R. Maturin’ in ‘Sketches and Reminiscences of Irish Writers’, No. 1, in The Irishman, (24 March, 1849), p.187.
• [q. title,] The Irish Quarterly Review, Vol. 2 (March 1821), pp.141-70.
• ‘Death of C. R. Maturin’ in The Edinburgh Magazine and Literary Miscellany, Vol. 9 (December 1824), p.768.

Bibl. note: for above listing, see Grainne McElroy, PhD. Thesis (University of Ulster at Coleraine, 1997).

• Niilo Idman, Charles Robert Maturin, His Life and Works (London: Constable 1923), 326pp.
• Willem Scholten, Charles Robert Maturin: The Terror-Novelist (Amsterdam: H. J. Paris 1933; NY: Garland Publ. 1981).
• Niilo Idman, Charles Robert Maturin: His Life and Works [Helsingfors] (London: Constable 1923).
• Robert Kiely, The Romantic Novel in England (Cambridge: Harvard UP 1972), pp.189-207.
• Judson Monroe, Tragedy in the Novels of the Reverend Charles Robert Maturin (NY: Arno 1972).
• H. W. Piper & A. N. Jeffares, ‘Maturin the Innovator,’ in Huntingdon Lib. Quarterly, 156 (NY: Twayne 1973).
• Shirley Scott, Myths and Consciousness in the Novels of Charles Maturin (NY: Arno 1973); Dale Kramer, Charles Robert Maturin (NY: Twayne 1973).
• Claude Fiérobe, Charles Robert Maturin (1780-1824) L’homme et l’oeuvre (Paris: Editions Universitaires 1974).
• Robert E. Lougy, Charles Robert Maturin (Lewisburg: Bucknell UP 1975).
• Charles B. Harris, Charles Robert Maturin: The Forgotten Imitator (NY: Arno 1980).
• Peter Mills Henderson, A Nut Between Two Blades: The Novels of Charles Robert Maturin (NY: Arno 1980).
• Henry William Hinck, Three Studies on Charles Robert Maturin (NY: Arno 1980).
• David Punter, The Literature of Terror (London 1980), pp.141-49.
• Patricia Coughlan, ‘The Recycling of Melmoth: “A Very German Story”’, in Wolfgang Zach and Heinz Kosok eds., Literary Interrelations: Ireland, England and the World, Vol. II: Comparison and Impact (Tübingen: Guntar Narr Verlag, 1987), pp. 181-92.
• André Breton, ‘Zur Stellung von Melmoth’, foreword to German edn. of Melmoth the Wanderer; rep. in Schneider, Jürgen, and Ralf Sotscheck, Ireland: Eine Bibliographie selbständiger deutschsprachiger. [Publikationen 16; Jahrhundret bis 1989 (Verlag de Georg Büchner Buchhandlung 1989), pp.99-105.
• Claude Fiérobe, ‘Irish Homes in the Works of C. R. Maturin’, in The Big House in Ireland, ed. Jacqueline Genet (Dingle: Brandon; NY: Barnes & Noble 1991), pp.71-84.
• Fierobe Claude, ‘A Gothic-Historical Sermon: Maturin’s Last Novel: The Albigenses’, in Barbara Hayley & Christopher Murray, eds., Ireland and France - A Bountiful Friendship: Essays in Honour of Patrick Rafroidi (Gerrards Cross: Colin Smythe 1992), [q.pp.].
• Joseph Spence, ‘“The Great Angelic Sin”: The Faust Legend in Irish Literature, 1820-1900’, in Bullán: An Irish Studies Journal, 1, 2 (Autumn 1994), pp.47-58, espec. 47-51.
• Julian Moynihan, ‘The Politics of Anglo-Irish Gothic: Charles Robert Maturin, Joseph Sheridan Le Fanu, and the Return of the Repressed’, in Anglo-Irish: The Literary Imagination in a Hyphenated Culture (Princeton UP 1995) [Chap. VI], pp.109-35, espec. pp.111-27.
• Joep Leerssen, ‘The Burden of the Past’ [chap.], in Remembrance and Imagination: Patterns in the Historical and Literary Representation of Ireland in the Nineteenth Century (Cork UP/Field Day 1996), pp.33-67 [see remarks on The Milesian Chief, pp.45-47- as infra].)
• Claude Fiérobe, ‘The Big House and the Fantastic: From Architecture to Literature’’, inThat Other World: The Supernatural and Fantastic in Irish Literature and its Contexts, ed. Bruce Stewart ed. [Princess Grace Irish Library Series No. 12] 2 vols. (Gerrards Cross: Colin Smythe 1998, Vol. 1, p.256-65, esp. 258ff.
• Margot Gayle Backus, The Gothic Family Romance: Heterosexuality, Child Sacrifice and the Anglo-Irish Colonial Order (London: Duke UP 1999), Chap. 4: ‘“A Very Strange Agony”: Parables of Sexual Subject Formation in Melmoth the Wanderer, Carmilla, and Dracula’ [q.pp.].
• Claire Connolly, ‘Theatre and Nation in Irish Romanticism: the tragic dramas of Charles Robert Maturin and Richard Lalor Sheil’, in Éire-Ireland: A Journal of Irish Studies, 41, 3 (Fall/Winter 2006), pp.185-214.
• [...]
• Jim Kelly, Charles Maturin: Authorship, Authenticity and the Nation (Dublin: Four Courts Press 2011), 208pp. [cover port. as in middle image supra.]
• Benedict Seynhave & Raphael Ingelbien, ‘Whose Gothic Bard? Charles Robert Maturin and Contestations of Shakespearean Authority in British/Irish Romantic Culture’, in Shakespeare and Authority: Citations, Conceptions and Constructions, ed. Katie Halsey & Angus Vine (London: Palgrave [Macmillan] 2018), pp.281-300 - available at Google Books online [accessed 13.12.2018]

See also Ina Ferris, The Romantic National Tale and the Question of Ireland (Cambridge UP 2002), x, 205pp., espc. Chap. 4: ‘The Shudder of History: Irish Gothic and Ruin Writing’ q.pp.].

• ‘A List of Works of Charles Robert Maturin with Translations and Adaptions by Other Authors,’ in Melmoth the Wanderer (London: Bentley & Son 1892 [edn.]).
• Dale Kramer, ‘Selected Bibliography’, in Charles Robert Maturin (NY: Twayne 1973).
• Stephen Carver, ‘Charles Robert Maturin’, in Encyclopaedia of the Romantic Era, 1760-1850, gen. ed. Christopher John Murray (NY: Fizroy Dearborn [Taylor & Francis imp.] 2004), Vol. 2, pp.716-17 [includes crit. bibl., p.717].

General remarks: The central character, Melmoth (a type of the Wandering Jew), is a scholar who sells his soul to the devil in exchange for 150 years of extra life which he spends searching for someone who will take over the devil’s pact on the same terms. Although novel takes place in the present, the back-story is revealed through a series of nested stories-within-a-story which work backwards through historical time.

Chapter I: Opening 1816, the novel tells how John Melmoth, a student at Trinity College, Dublin, visits his dying uncle at his home where he sees a portrait of his namesake dated “1646” and catches a glimpse of “the Traveller”.

Chapter II: Following the death of his uncle - which much foreboding - his servant Biddy Brannigan tells John the family story at the funeral. In her account, a stranger called Stanton arrived some decades ago looking for Traveller (i.e., Melmoth the Traveller), and left behind a manuscript which John now finds and begins to read. It is a document marred by lacunae which the novelist marks with asterisks - though these clearly serve to justify its episodic structure.

A manuscript left by Stanton describes his first finding Melmoth laughing at the sight of two lovers who have been struck by lightning, and hearing of a wedding at which Melmoth was an uninvited guest: the bride died and the bridegroom went mad. Stanton’s search for Melmoth is deemed to be madness and he is sent to a madhouse. Melmoth visits him there, and offers to free him, but Stanton refuses and escapes.

Chapter III: Stanton’s story opens in Spain of the 1670s when the Inquisition of the Dominican Order is in full flow. Stanton encounters the Traveller laughing at the sight of two lovers who have been blasted by lightning. An old Spanish woman tells him the story of the Cardoza wedding at which the Traveller was an uninvited guest, relating that bride died on her wedding night and the bridegroom went mad. Stanton then sets out in pursuit of the Traveller and catches up with him in a London theatre. The Traveller tells him they will meet again. Stanton’s obsession with the Traveller is regarded as a form of madness and he is consequently tricked into entering a madhouse as a patient. There, Melmoth appears and offers to free him - but Stanton refuses. Escaping by his own ingenuity, Stanton then goes looking for the Traveller in Ireland but to no avail. The novel now returns to John who, following his uncle’s wish, burns the portrait of his malign ancestors and later that night he is visited by him in his dreams.

Chapter IV: The following stormy night, John witnesses the Traveller laughing at a shipwreck. John tries to approach him, but slips and falls into the sea.

Chapters V-VIII: John is saved from drowning by the sole survivor of the wreck, a Spaniard called Alonzo Monçada, who begins to tell him his story which occupies the next seven chapters and, in fact, takes over the novel. In Chapter VI, he is unwillingly confined in a monastery by his family. In Chapter VII, his appeal to leave the monastery is rejected by the ecclesiastical authorities but his brother Juan sends messages saying he will help him escape. In Chapter VIII, he attempts to escape with the help of a fellow monk, a parricide and a corrupt being who is compared with Judas in avariciousness and vice. (He has murdered his father for money to pay his gambling debts but is protected by his aristocratic status and the corrupt regime of the monks.

Chapters IX-XI: Monçada’s continues his tale which concludes with the his escapes and the death of his brother in a pre-arranged trap. In Chapter X, we find that Monçada has been captured and is now examined by the Inquisition in its prison. He is visited by the Traveller in Chapter XI, and finally escapes during a fire which the Traveller has presumably started - have promised to help him to get away.

Chapter XII: Monçada makes his way to the house of a Jewish scholar called Adonijah, living in a secret room decorated with the skeletons of his own family. In exchange for food and shelter Adonijah compels Monçada to transcribe a manuscript for him called “the Tale of the Indians” Adonijah then helps Monçada tp escape through a secret trapdoor into an underground passage just before some officers of the Inquisition arrive to arrest him.Some monks of the Inquisition now drag Monçada across a vaulted room, presenting him to a bishop - the scene illustrated by Eugène Delacroix in his famous oil of 1831.

The Tales: “The Tale of Guzman’s Family” [Chapters XXV-XXVIII]; “The Tale of the Indians” resumes [Chapter XXXIII-XXVII] - the latter interrupted by the former.

Besides the “The Spaniard’s Tale”, the narrative harbours several other tales in the manner of a Russian doll. The first of these is “The Tale of the Indians” [Chapter XIV onwards], narrated by Adonajah and transcribed by Monçada - which he then narrates to John Melmoth - which tells of an Indian Ocean island said to be haunted by a white goddess named “Immalee who, in reality, is a cast away. There she is visited by Melmoth who says he comes from ‘the world that suffers‘, beyond her island. Melmoth attempts to destroy her innocence by teaching her the reality of human society and religion. She now falls in love with him and begs him to stay with her he does not. Three years later, when Immalee = now called Isidora - has been reunited with her family in Madrid, Melmoth appears again and elopes with her night leading her to a remote chapel where they are married by an undead hermit.

Isidora’s father, seeking her, encounters a stranger at an inn who now tells him “The Tale of Guzman’s Family” [Chapters XXV-XXVIII]. Guzman is a wealthy Spanish merchant whose sister marries a poor German musician, Walberg. Guzman decides to make Walberg’s family his heirs but when he dies it seems that he has left everything to the church and the family sinks into dire poverty. Driven to insanity, Walberg decides to kill himself and his family together but, just before he does so, news arrives that the true will has been found and the family is thus saved. By this point in the story, Isidora’s father has fallen asleep, and wakes to find the stranger at the inn replaced by Melmoth who, in turn tells him “The Lovers’ Tale” [Chapter XXIX], a story about a young woman in Yorkshire named Elinor who is jilted at the altar and is subsequently tempted by Melmoth, but refuses his help.

At this point “The Tale of the Indians” resumes [Chapter XXXIII-XXVII]: Isidora returns to her family - now pregnant with Melmoth’s child. Feeling a presentiment that she will not survive the birth, she gets Melmoth to promise that the child will be raised as a Christian. Isidora’s father finds a husband for her, but in the middle of the wedding celebrations, Melmoth tries to abduct Isidora. When her brother attempts to intervene, Melmoth kills him. Isidora then falls senseless and Melmoth escapes. Isidora now reveals that she is already married to Melmoth and, when she gives birth, she and her baby daughter are imprisoned by the Inquisition whose officers threate to take away the child before finding that it is already dead. Dying of grief, Isidora recalls her island paradise, and asks if he (Melmoth) will be in the heavenly paradise.

Chapter XXXVIII: Monçada and John are now interrupted by the appearance of Melmoth himself. He confesses to them his purpose on Earth and tells them that his extended life is almost over with his succeeding in tempting another into damnation: ‘I have traversed the world in the search, and no one to gain that world, would lose his own soul!’ Melmoth the Wanderer now dreams [ ‘the Wanderer’s Dream”] of his own encroaching damnation and the salvation of Stanton, Walberg, Elinor, Isidora and Monçada. He asks John and Monçada to leave him alone for his last few hours of mortal existence. They hear terrible sounds from the room, but when they enter, the room is empty. They follow Melmoth’s tracks to the top of a cliff, and see his handkerchief on a crag below them. “Exchanging looks of silent and unutterable horror”, they return home.

Oscar Wilde: Melmoth the Wanderer (1820) provided Oscar Wilde - who was related to Maturin on his mother’s side - her aunt Jane being married to Maturin - with a pseudonym after his release from Reading Gaol. The name itself was originally derived from a character in Thomas Amory’s Life of John Buncle (1756-66).

Charles Henry Maturin (1799-62) was a vicar of Ringwood, New Forest District, Hants., in England; he was born in Eton, attended the school of that name (Oppidan) and King’s School (K.S.) and grad. with BA and MA from King’s College, Cambridge; buried in St Peter and St Paul’s Churchyard, Ringwood. Alleged [err.] to be the author of Bertram [See Findagrave - online.]

Melmoth (2): a Gulielmi [William] Melmoth was buried in Bath Cathedral in 1799, with mem align="justify"orial, ‘[...] ipse neque inelegans, ne ineruditus [... &c.]’. (Q.source.)

Sarah Perry, Melmoth (London: Serpent’s Tail 2018), is a rewrite of C. R. Maturin’s Melmoth the Wanderer (1820), which Alex Peake-Thomkinson, reviewing in the Times Literary Supplement, describes thus: ‘The novel takes inspiration from Melmoth the Wanderer (1820) by Charles Maturin. For all its Gothic trappings, this is a book about guilt and the ways in which human beings attempt to outrun it. Maturin was an Irish priest and the great-uncle of Oscar Wilde, who used the surname Melmoth when he lived in exile in France after he was released from Reading Gaol. In Maturin’s original, the character of Melmoth sold his soul to the devil in exchange for extending his life by 150 years. He spends the rest of the book, however, looking for a person wretched enough to exchange places with him. In Perry’s version Melmoth is a woman who has been condemned to walk the earth for eternity. Her crime was to falsely deny that she saw Christ after the resurrection. She is now forced to bear witness to humanity’s failings but, wretchedly lonely, she attempts to lure benighted individuals to walk the earth with her. The temptation of taking her hand is that her companionship offers a flight from the hell of solitary guilt, [...]’ (TLS, 5 Oct. 2018; available online).

Anthony Trollope gave the name of Maturin to his anti-hero in The Way We Live Now (1875);

Patrick O’Brian: Maturin is also the name of the Anglo-Irish ship’s doctor in the Aubrey-Maturin maritime novels set in the Napoleonic War, between 1800 and 1816, and written by the author Patrick O’Brian, in fact and English writer using an Irish-sounding pseudonym. The series is a sequence of 20 and an unfinished fragment - nautical historical novels in which the sagacity of the Irishman, Stephen Maturin, balances the boldness of the English captain, Jack Aubrey.

Matthew Kennedy, A chronological genealogical and historical dissertation of the royal family of the Stuarts Beginning with Milesius the stock of those they call the Milesian Irish,: and of the old Scotish Race; and ending with his present Majesty K. James the 3d. of England and Ireland and of Scotland the 8th. By Matheuv Kennedy Doctor of lavvs Master of the high Court of Chancery and Judge of the Admiralty of all Ireland ([Paris]: Printed in Paris by Lewis Coignard Printer and Bookseller in St. James street at the Eagle D'Or 1705)

Geoffrey Keating, The general history of Ireland.: Containing I. A full and impartial account of the first inhabitants of that kingdom; with the Lives and Reigns of an hundred and seventy four succeeding Monarchs of the Milesian Race. [...., &c.; trans by] Dermod O’Connor, Antiquary of the Kingdom of Ireland. Illustrated with above one hundred and sixty Coats of Arms of the ancient Irish, with particular Genealogies of many noble Families, curiously engraved upon forty two Copper Plates, by the best MasterS. (London: printed by J. Bettenham, for B. Creake, at the Bible in Jermyn Street, St. James’s, MDCCXXIII [1723]); Do., (Westminster: Printed by J. Cluer and A. Campbell, at the Printing-Office in Union-street, near New-Palace-Yard; for B. Creake, at the Bible in Jermyn-street, St. James’s, MDCCXXVI. [1726]).

Mrs. Sarah Butler, Milesian tales: or, Instructive novels for the happy conduct of life: Containing the following events, Viz. I. The captivated Monarch. II. The banish’d prince. III. The power of beauty. Iv. The distrest lovers. V. The perfidious gallant. Vi. The constant fair-one. VII. The Generous rival. VIII. The inhuman father. IX. The usurper depos'd. X. The punishment of ungenerous love (London: Printed for H. Curll in the Strand MDCCXXVII [1727]).

John Keogh, A vindication of the antiquities of Ireland: and a defence thereof against all the calumnies and aspersions cast on it by foreigners. To which is added, an etymological treatise, shewing the Derivations of the Proper Names given to the Inhabitants of this Kingdom, with those of the Cities, Towns, and other Places contained therein, from the Irish, Latin, Greek, Hebrew, and other Languages. Likewise an appendix, giving a brief Account of the original Descent of the principal Milesian Families in Ireland. By John K’eogh [sic], Chaplain to the Right Honourable James, Lord Baron of Kingston. (Dublin: printed by S. Powell, for the author, 1748).

[Cadmus the Milesian,] Le Palais du silence. Conte philosophie. (Ouvrage de Cadmus de Milet; [Purporting to be a translation from the Greek of Cadmus the Milesian, but actually written by Phillippe-Auguste de Sainte Foix, Chev. d'Arcq, 1721-1795] (Amsterdam 1754), and Do., as The palace of silence: a philosophic tale[,] ranslated from the French by a lady. (London: printed for J. Bew 1775).

[Milesian Club,] A colloquial essay on the liberal education, and other interesting subjects; / by order of the Milesian Club Number I [-II] ... Dublin: printed for the dialogists, and sold by Peter Wilson, ..., 1764-1766.

Isaac Jackson, The Milesian, a comic opera in two acts and in prose, by I[saac] Jackman. Second edition (London: Printed for C. &. S. Thompson 1777; 2nd edn. 1777).

Here’s an interesting - as-yet unconsidered - Joyce-Maturin connection. Take the prefatory dedication of The Milesian Chief (1808) - addressed facetiously by Maturin to reviewers of his earlier books: ‘[...] In the following pages I have tried to apply these powers to the scenes of actual life: and I have chosen my own country for the scene, because I believe it is the only country on earth, where, from the extremes of refinement and barbarism are united, and the most wild and incredible situations of romantic story are hourly passing before modern eyes.” (The Milesian Chief, 1808, p.iv-v).

What does that remind you of? When the publication of Dubliners looked quaky, Joyce wrote to Grant Richards in 1907: "My intention was to write a chapter in the moral history of my country and I chose Dublin for the scene because that city seemed to me the centre of paralysis.” I chose and I have chosen .. for the scene ... because .. . Surely this is the same construction and virtually the same turn of phrase? Given Joyce’s knack for verbal borrowings this suggests to me that he did examined that older novel, at least the front pages. [see Maturin’s prefatory notice - attached.]