It is no longer necessary—and not before time—to “make a case” for MacNeice as a poet. He had a couple of decades of fame, and more of comparative neglect, but his contemporaries read him poorly on the whole, even when they were most appreciative: as a “30s poet” or “journalist,” as the author of a few near-perfect lyrics, and even as a “professional lachrymose Irishman.” Fortunately, errors of this order no longer need detailed correction. More to the point, it is the generations of poets, in Ireland as well as Britain, who have learned so much from MacNeice—formally, as well as in other ways—who provide the most potent argument for his poetry’s continuing life. Two Irish poets in particular—Derek Mahon and Paul Muldoon—would be unrecognisable without MacNeice’s example and influence; and others, from later Irish generations still, are continuing to discover and make creative use of resources in the poems of this writer who died before they were born.