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Patrick Kennedy, Modern Irish Anecdotes (n.d.), chap. on OHara, pp.48-49, in which the last line an Italian glee then popular - Che nohanno crudelta - is rendered Kane OHaras cruel tall.
Charles A. Read, The Cabinet of Irish Literature (London, Glasgow, Dublin, Belfast & Edinburgh: Blackie & Son [1876-78]), attaches the nick-name St Patricks Steeple to him and notes: the amiable fanatica per la musica kept a puppet show for his young friends. Further cites the MS of a jeu desprit translation Grigri [Portuguese to French to English by chaplain of Irish regt. in Turkish service &c.] in Irish Monthly Magazine, 1832.
Samuel O. Fitzpatrick, Dublin: A Historical and Topographical Account of the City (London: Methuen 1907) cites John OKeeffe's recollection that Mornington persuaded OHara to write Midas, a play made up of Dublin jokes and by-sayings, in opposition to the Italian burletta at Smock Alley. (p.252).
S. C. Hughes, The Church of S. Werburgh Dublin (1899), calls him a son of Francis OHara, a rich merchant holding family pews at S. Werburgh Church.
Peter Kavanagh, The Irish Theatre (Tralee: The Kerryman 1946): ?1714-82; Midas, An English Burletta (Crow St., 22 Jan 1762) 1762; The Gold Pippin, Eng. burl. (CG 6 Feb 1773) 1773; The Two Misers, mus. farce (CG 21 Jan 1775) 1775, from F. de Falbaires Les Deux Avares (Paris 1770), mus. by Dibdin; April Day (Hay 22 Aug 1777) 1777, mus. by Arnold; Tom Thumb (CG 3 Oct 1780) 1806, based on Fieldings.
Bartlett, Familiar Quotations [online] lists him as a burlesque writer, 1714?-1782.
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