Louis MacNeice's status as a major 20th Century literary talent and a key figure in the development of modern Irish Literature in English is now established since the acceleration of critical interest and enterprise from the early 1970s to the present. It is no accident that MacNeice's critical rehabilitation, after some decades of relative neglect, was effected largely by critics with an awareness of the Irish dimension of his make-up as a poet and who could thus appreciate the full complexity of the social, cultural and historical influences working on and through him; and it is similarly the case that the reassessment of MacNeice from the 1970s onward was consequent on the 'renaissance' in Northern Irish poetry in the 1960s. MacNeice is no longer inadequately categorised as a 'Thirties' also-ran in the shadow of Auden, or as a writer of 'poetry on the surface'. It is now more possible to see him whole - as a poet of complex, multiple identities and allegiances, as a writer of manifold talents (poet, critic, dramatist, broadcaster) and as a preternaturally alert, lyric recorder of the social and phenomenal world whose vision is conditioned by a profound philosophical scepticism.