The Etymology of ‘Maiden Street’ in Newcastle West

 

 

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Maiden Street with ‘its necklace of sandpits’ as seen in one of Patrick J. O’Connor’s beautiful maps of Newcastle West (O’Connor: p43).

Maiden Street is the longest and oldest street in Newcastle West.  Sean Kelly, its resident historian, says that it was built piecemeal on the edge of an ancient glacial moraine.  This moraine benefited the town and there were at least three working sand pits in production at one time along the street.  Sean Kelly states that ‘It was a street renowned for its trades of all kinds; shoemaking and repair; tailoring and dressmaking; printing; baking; coopers; tinsmiths; blacksmiths; and harness-makers to name a few.’ Patrick J. O’Connor who has also written eloquently about the street confirms this.  Speaking of the new proprietors who bought out their leases during the sale of the town in 1910 he says that ‘there was colour aplenty in Maiden Street’.  These included Michael ‘Boss’ Culhane who traded in ‘hides, skins, feathers and eggs’!  He also mentions George Latchford who had launched a family business circa 1874 which later developed into the well-known bakery and cinema.  This family business thrived well into the twentieth century under the stewardship of his sons Jackie, Paddy and Willie.

Poverty was rife in Maiden Street – particularly Lower Maiden Street – and Michael Hartnett makes constant reference to this fact in both his prose and poetry:

We rented a mansion down in lower Maiden Street,

Legsa Murphy our landlord, three shillings a week,

the walls were mud and the roof it did leak

and our mice nearly died of starvation.

The etymology of the street name has always posed problems.  Again Sean Kelly says that there is no mention of the street name among the earliest known street names going back to 1584-6, although it was in existence by then, ‘what is clear is the street’s graceful, curvilinear form adorning the earliest available town plan, the Moland Survey of 1709’.  Patrick O’Connor suggests that the street name may be derived ‘from the medieval cult of Mariology (Sráid na Maighdine Mhuire)’ (O’Connor:56).

The lower part of the street was sometimes known as Dock Road, in accord with the low status attributed to it.    The gardens of the houses on the south side abutted on to a track known locally as ‘the back of the Docks’.  At intervals, there were ingresses with steps leading down to the River Arra, where the local women came to do their laundry.

Sean Kelly waxes lyrical about this place: ‘Lengthy, capacious and capricious, Maiden Street was – according to the punchline of a popular rhyme – a favoured place for lodgers’.  And while the name of the street remains an enduring enigma, its lower appendage, the Coole (cúil, from the Irish meaning corner or nook) poses no interpretative problem whatever. Sean Kelly himself often claims to belong to Middle Maiden Street and from the records, there is evidence of these subtle divisions as far back as 1776.  The street had a distinct Upper, Middle and Lower division and was, in effect, a microcosm of the nuanced social divisions also evident elsewhere in the town!

Hartnett, the street’s very own Poet Laureate pokes further fun at the perceived reputation of the street when he writes in the Maiden Street Ballad:

Tis said that in Church Street no church ever stood,

and to walk up through Bishop Street no bishop would,

and tis said about Maiden Street that maidenhood

            was as rare as an asses pullover.

In his Preface to that famous ballad, Hartnett says that ‘Everyone has a Maiden Street.  It is the street of strange characters, wits, odd old women and eccentrics: also a street of hot summers, of hop-scotch and marbles: in short the street of youth’.  However, he also adds a disclaimer saying that ‘Maiden Street was no Tír na nÓg’ and we should not forget that the street was but a ‘memory distorted by time in the minds of all who lived there’.  Generations to come will continue to show their gratitude to the poet for his wonderful evocation of the street of his childhood, the nearest Newcastle West will ever come to having its own Steinbeck or, indeed, its own Cannery Row!  As he said himself: ‘Ballads about places however bad they may be, unite a community and give it a sense of identity’.

In his shorter poem, Maiden Street (1967), there is a reference to the ‘small voices on the golden road’ and later he says about the days of his childhood, ‘we were such golden children, never to be dust’.  This may give us some clues as to the etymology of the name originally given to the street.  Maiden Street runs west to east, so the morning sun shines up the street and so a young poet’s imagination turns it into his very own ‘yellow brick road’.  Many of those family names, synonymous with the street, who bought out their leases in 1910 still have links to the town to this day: Reidy’s, Houlihans, Gormans, Morrisons, Mullanes, Byrnes, Aherns, Nashs, Murphys, Fitzgeralds, Bakers, Hartnetts, Quins, Healys, Hartes, Massys, Moones…..

Hartnett says that the street finally ‘gave up the ghost’ in September 1951 when most of the inhabitants were rehoused in one of the 60 new houses in Assumpta Park.  Hartnett describes the operation epically in the Maiden Street Ballad – likening it to the hazardous journey of the Israelites escaping from Egypt to the Promised Land!

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The old street it finally gave up the ghost,

and most of the homes there they got the death-blow

when most of the people were tempted to go

and move to the Hill’s brand new houses.

The moving it started quite soon after dark

and the handcars and wheelbars pushed off to the Park

and some of the asscars were like Noah’s Ark

with livestock and children and spouses.

 

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For we all took our furniture there when we moved,

our flowerbags and teachests and threelegged stools

and stowaway mice ahide in our boots –

and jamcrocks in good working order.

And our fleas followed after, our own local strain –

they said “We’ll stand by ye whatever the pain,

“for our fathers drew life from yere fathers’ veins”

“and blood it is thicker than water”!

 

For many, this transition was effortless and opened up a whole new vista while for others the change of location was a step too far and they found it very difficult to settle in their new environs.  Again Hartnett puts this very colourfully:

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In nineteen-fifty one people weren’t too smart:

in spite of the toilets they pissed out the back,

washed feet in the lavatory, put coal in the bath

and kept the odd pig in the garden.

They burnt the bannisters for to make fires

and pumped up the Primus for the kettle to boil,

turned on all the taps, left the lights on all night – 

but these antics I’m sure you will pardon.

Following their move to the Park residents soon found that there was no ready access back down to Maiden Street other than across often wet fields and down through Musgroves and Gorman’s sandpits.  Eventually, after much lobbying of local Councillors, the Mass Path and Mass Steps were constructed. As Patrick O’Connor says, their arrival ‘opened up a vital line of communication to town’.  It is interesting that this vital piece of infrastructure was ostensibly procured under the pretext of providing ready access to the church, hence their name, but many would argue that these steps were more often used to visit other old haunts such as Latchfords and The Siver Dollar!

However, as a final footnote, or maybe to add fuel to fire, and totally in keeping with his mischievous nature, Michael Hartnett, in his ‘scholarly’ notes to the Maiden Street Ballad, has his own theory about the etymology of the street’s name.  He theorises – and only he would get away with this scurrilous suggestion – that  ‘the street was originally called Midden Street’!

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Detail from the same map as above showing Assumpta Park and the Mass Path in relation to Maiden Street and the church (O’Connor: p43).

 

Works Cited

Hartnett, Michael. The Maiden Street Ballad, The Observer Press, 1980.

O’Connor, Patrick J., Hometown: A Portrait of Newcastle West, Co. Limerick.  Oireacht na Mumhan Books, 1998.

Further Reading

You might also like to read this prose piece by Michael Hartnett where he describes a typical Christmas in the Maiden Street of his childhood here

Check out my analysis of Hartnett’s poem ‘Maiden Street’ (1967) here 

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Old Hay is Old Gold….

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Walter A. Wood: An Early Leader in Farm Equipment Manufacture. His tubular steel mower was introduced in 1890. Illustration courtesy of Sam Moore.

Old Hay is Old Gold….

 

By Frank Phelan

The following story is taken from the Journal of the Newcastle West Historical Society, No. 2, 1996.  The story is memorable for many reasons but particularly because of its importance as a window onto social history as the twentieth-century dawns but mainly it is notable because of the eloquence and storytelling ability of its author, the legendary Frank Phelan of Walshstown, Castlemahon.

*************

I used to like going to the calf mart in Rathkeale every Wednesday in the Springtime.  I would go down the shortcut over Knockaderry hill, through the flatlands of Ballyallinan and then join the road coming from Ballingarry into the verge of the town.  The first thing that met your eye was the long queue of trailers towed by cars and jeeps and tractors stretching away back as far as the eye could see.  Nearly everyone coming from our side double queued at the big wide spacious junction at Well Lane and waited for the friendly nod to pull in before your turn.

On this particular morning a few years back it was an elderly man who gave me the friendly nod and I gladly pulled into the vacant space in front of him.  I then went back to thank him and maybe have a short chat about the weather, the prospects for farming or anything topical etc.  He asked me where I came from and my name and then he asked if I was any relation to the owners of Phelan’s hardware which was just on the point of closing down at the time.  I told him that I was and that the man who started the hardware shop about a hundred years back was an uncle to my father and came out of our old place.

“I knew him”, he said, “I knew him, a grand old gentleman and a good businessman.  I was with my father in the shop a few times when he was alive and well and I was only a very small boy and even then you could see what a great character he must have been in his heyday”. [1]

“Did you ever hear the story”, he asked, “how he sold the first Woods Mowing Machine in West Limerick?”

“No”, I said, “I know a little about him but I’d like to know a lot more”.

“He was”, he said, “a man before his time, a great innovator and loved to see work made easier for everyone in town and country.  In the 1890’s all the meadows were still being cut with the scythe like they had been for generations before.  A good scythesman would cut an acre in the day and the top men at the job would travel the countryside in search of work.   They were known as spailpíns.  The clever farmer would have four scythesmen contracted, with the best cutter out in front setting the pace for the others.  It was a matter of pride that they all would have to keep up with him and so a big field of hay was cut in a day much to the farmer’s satisfaction”.

When the horse-drawn mowing machine started to come on the market hardly anyone was interested in it, in fact, most were hostile to it, especially the scythesmen, as it would be taking their livelihood away.  Nearly all the farmers were also reluctant to change and so it was a very hard job to convince any of them that this would be the greatest boon ever in Irish farming up until then.

Willie Phelan was tired of looking out at his new Woods Mowing Machines on display and no takers until one day his old friend Florry McCarthy from Ardagh was in the shop and they got to talking amongst other things about the harvest and the need for taking advantage of the fine weather.  It was July and the meadows were ready for the cutting.  “If only I could sell one Woods Mowing Machine my problems would be solved”, he said to Florry.

“Can I help you in any way”, asked Florry.

“You can indeed”, said the wily merchant, “you can indeed.  I have a suggestion for you.  Take away one of those new mowing machines outside and earn a bit of money for yourself.  When you’re into your stride at full throttle pay me back seven and six a month”.

“But I’ve only one horse “, said Florry.

“Can’t you get the loan of a horse from one of your neighbours, you’ve good ould neighbours back there, sure they’d give you the shirt of their back”, said my granduncle.

“I’ll see, I’ll see”, said Florry, needing time to think it over.

Going home that evening he thought to himself that it was a brilliant venture and that he was on the brink of making a historical landmark in the area.  He could picture himself being the focus of attention from farmers big and small over a vast sweep of countryside.

“I’ll go up to Din Connors this very evening”, he said to himself, “and ask him for the loan of his grand chestnut steed.  Then I’ll go into town in the morning with my common car,[2] hitch on the mowing machine with the long shafts resting on the body of the car and sail away home at my ease”.

There was a rare smile on the face of my granduncle next day as he helped Florry on the way to launch a new chapter to what was to revolutionise life in the countryside of West Limerick for generations into the future.  The hum of the mowing machine was a new sound that was to be added to that of the corncrakes and the cuckoo.

Next morning, Florry called on his old neighbour Din Connors for the big chestnut.  Din himself came on to do the edging of the blades and to take possession of the new carburundum edging stone and the new flintstone which were thrown in free with the mowing machine.  He also got a jampot full of water to dip the flintstone in.  They both tackled up in Florry’s yard leaving nothing to chance and drove onto the nearest pasture field.  Having cut a round or so without a hitch they were ready for Florry’s big meadow at the back of the house.

The hum of the mowing machine could be heard all day long and the edge was good as a new blade was put in every five or six rounds or so.  A few of the neighbours had gathered towards evening as the last of the swathes were flattened and quite a few corncrakes could be seen running or half flying towards the safety of the hedges.  There was shaking of hands and congratulations from all the neighbors to Florry and Dinny and a request from the said neighbours to cut their own meadows when time was available.

Dinny’s big roadside meadow was next on the list and the audience of neighbours became bigger including a couple of scythesmen on their own who by their looks did not approve of the new operation.  In fact, the only mishap suffered during that whole first season was in Dinny’s big meadow when an unseen stake planted by someone hostile to the revolutionary change brought the mowing to a temporary halt.  But Florry was equal to the occasion and using a couple of the spare sections and rivets also thrown in free and having his own hammer and punch he had the blade back as good as new in half an hour or so.

Gradually one by one the neighbours’ meadows were cut clean and white and the smell of new mown hay was like honey in the air.  At half a crown an acre charged by Florry everyone was happy with the outcome except Florry himself but he didn’t show one sign of that unhappiness only the reverse.  It sounds funny to say that everyone paid him in the same way – not with cash but with hay.  I suppose the ould money might be very scarce at the time but anyway what he got paid was two wynds [3] of hay for every acre he cut and as he had cut upwards of sixty acres that first year it was a mighty lot of hay.  All the neighbours whose hay he had cut that first year helped him with his own hay and also with the hay that they paid him with.  With his great sense of humour, he enjoyed immensely working with the huge meitheal[4] who came to build the three enormous shiegs[5] or ricks that stretched the length of the haggard which they also covered and thatched with rushes.

In the recesses of his mind, Florry was wondering what William Phelan, merchant, would have to say when he informed him of his financial position after all the meadows he had mown in record quick time.  He was therefore pleasantly surprised when at the first opportunity they met on a wet day after a spell of fine sunny weather that the reaction of the man was one of philosophical satisfaction.

“Florry”, he said, “you gave me the start I wanted, you broke the ice when no one else would take the risk and you’ll get your reward some fine day.  Pay me when you have it in your pocket”, he concluded.

Florry’s sense of humour was a wonderful asset to him in the fall of that year and also the following Winter and Spring.  Anywhere he went, to Mass, at the pub, at funerals or fairs or football matches he would be asked if he knew where there was any hay for sale.

“I do indeed”, he would say, “I actually have some myself to sell but I’m waiting for the price to rise”.

The second mowing season Florry cut almost as much again, even though there was a second mowing machine in the area.  And, strange to relate, the payment was exactly the same – two wynds of hay for every acre he cut.

The big problem for Florry was that he might run out of space in his haggard[6] for the enormous amount of hay that was headed in that direction.  It was a repeat again of the big meitheal, plenty of porter[7] and banter and craic and at the end of it all three more big shiegs reared their mighty forms into the western sky.  Their shadows darkened the narrow roadway into Florry’s house and they resembled a series of gigantic silent ships at anchor in a quiet bay.

Many people now regarded Florry as either a rural celebrity or an eccentric of some sort or a cross between both but that was only in their own minds because outwardly or inwardly it had changed him not one iota.  His sense of humour remained intact and his confidential belief that his day would come in some form or other remained unshaken.  Strangely he found it much easier to cope with the little arrows of jokery that were thrown at him from time to time whenever the occasion arose that he was amongst a crowd, which was often enough.

The fall of that second year was very wet and cold and cows had to be housed much earlier than usual.  There were a couple of big freeze-ups and plenty of snow that Winter.  There was no sign of the Spring right up to the end of April and even into May and a lot of farmyards had no fodder left.  Florry put an advertisement in the local paper early in April saying that he had an unlimited amount of the best saved hay for sale.  Almost immediately he was invaded by a convoy of long scotch cars,[8] with big coils of rope at each rear corner and drawn by a variety of animals, from big chestnut steeds to thick brown cobs and piebalds[9].  They were driven by big rough-looking weather-beaten mountainy men.

Florry went to summon all his neighbours and they arrived as a big meitheal, laden with hay knives and two prong pikes and in no time the cars were being loaded with the finest of hay and the mountainy men were rolling it and packing it in layers the way it should be done.  A big jar of porter arrived and they all drank their fill and took a good rest, exchanged a few jokes and yarns and then with renewed energy the mountainy men filled each load to the top like the specialists at the job that they were.  Then the ropes were slung across each load, two men on the ground pulled like supermen and firm as the jobs of hell the ropes were tied diagonally to the shafts in front.

The only problem now for Florry was that he might run out of hay such was the demand for it and almost every day he had new customers arriving and he was almost getting the asking price for it.  When at last the grass started growing as the sun grew warmer that historic year not a rib of hay was left in Florry’s haggard, only the pale outline of where once those mighty shiegs had been.  It was with a light heart that he made his way to town and then into the hardware shop to pay the proprietor in full and after a good chat those two men heartily agreed that old hay was indeed old gold if one only had the patience to wait and sit it out when skies were grey.

haymaking
Building a Shieg circa 1960. Photograph by Frank Tubridy

This blog post is dedicated to Peg Donoghue who was probably the first to see this article which had been submitted in Frank Phelan’s graceful longhand and who lovingly typed it for publication in the Journal of the Newcastle West Historical Society

 

[1] The old farmer is referring to Frank’s grand uncle, William Phelan. William managed what became known as Phelan’s  Mill and in 1910 he founded a hardware store and ironmongery in Bishop Street, Newcastle West.  In 1915 William set up the Newcastle West and District Power and Light Company and electricity was supplied to the town until the scheme was taken over in 1935 by the ESB.  In 1916 he opened the Palace Cinema in part of the mill and this continued up to 1926.   The business was later managed by his brother Jim and he expanded the business to include a sawmill and a corn mill.  His headed notepaper proclaimed that he was a Machine Implement Agent and Undertaker, a general ironmonger, funeral director, furniture dealer and haybarn erector!

[2] ‘A common car’ was the phrase used to describe a horse-drawn cart.

[3] A wynd was the name given to a cock of hay

[4] Meitheal is the Gaelic word for a group of neighbours who come together to help each other gather in the harvest.

[5] A shieg is a big rick of hay containing up to twenty or thirty wynds – it was very common to build these structures before the advent of the hay barn in the twentieth century (See photo above).

[6] A haggard was a small plot of land – a half-acre – near the family home.

[7] Stout  (probably Guinness)

[8] These again were horse-drawn carts specially made to carry wynds of hay.

[9] Ponies

Ahalin (Achadh Lín) – The Field of the Flax

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The Field of the Flax – with a fort or líos in the centre. Above the road is the “neat cottage residence suited for a gentleman’s family” once owned by Mr J.P. Fitzgerald MP. and more recently by the Flynn brothers.

 I live in a beautiful area of West Limerick and next door is the townland of Ahalin (or Aughalin).  The townland has been referred to in English as Ahalin since at least 1867 when a weighty limestone plaque was erected on the new National School recently opened in the area – this read ‘Ahalin National School 1867’.  The retranslation of this placename (Ahalin) into Irish has caused debate for decades.  The famous Limerick academic P.W. Joyce in his seminal work, The Origin and History of Irish Placenames published in 1910 by M.H. Gill and Son,  has it as ‘the ford of the pool’ and this indeed is one literal translation, ‘Áth’ being the Irish for a ford over a river or stream and ‘Linn’ being the Irish for a pool.  (Dublin was once Dubh Linn or Blackpool!).  However, as former local headmaster, Michéal de Búrca pointed out to anyone who would listen, ‘there isn’t a pool within miles of this place, and there’s no ford in the place because there’s no river’.

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Information given by Michéal de Búrca to Placenames Commission – can be viewed online at Logainm.ie website.  https://www.logainm.ie/ga/31678

 

As you can see above the eponymous Master Burke goes on to give further information regarding the etymology of the placename Aughalin, which had been handed down through the years.  He is obviously lecturing the representative of the Placenames Commission who has come a calling and (unfortunately for us) they both seem to be looking at an Ordnance Survey map as they speak:

And there is the correct pronunciation, (Aughalin) it means ‘the field of the flax’ and the flax field is staring them just over there across ‘the high field of the flax’ – and the high field is there and the flax-hole in the corner.  Here is the cross (Wall’s Cross), and here is the old school, and here’s ‘achalinwest’ (297)  …… they simply call it The Big Field now (301) and even that fort is gone and this other one (field) outside it again (just to the south of it) there’s also another flax-hole (there) ….’.

Amazingly then, in spite of all this overwhelming local knowledge and traditional usage, in the Placenames (Co. Limerick) Order 2003 the townland of Ahalin is given as Aughalin (which is ok) and the official Irish version of the townland is given as Áith Liní (which is not).  In Irish ‘Áith’ means ‘a kiln’ and there is some evidence from old maps of the area that there were at least two disused kilns in the area in question.   However, ‘Liní’ has no obvious meaning or no local connotations. (To add insult to injury, of course, the same Placenames (Co. Limerick) Order 2003 also refers to Cloncagh instead of the more traditional Clouncagh, and Cluain Cath instead of the more correct Cluain Catha – but that’s a story for another day!)

The more correct rendering in Irish of the anglicised word Ahalin (or Aughalin) is, in fact, Achadh Lín which directly translates as ‘the field of the flax’.  This is the Irish version used locally to this day – the new school in Ahalin (opened in October 1963) is known as Scoil Mhuire, Achadh Lín.  In fact, if one does even the minimum of research (i.e. talking to the locals) they will without hesitation tell you exactly where ‘the field of the flax’ is situated.

I have long been fascinated by the fact that not too long ago, well maybe at some time during the nineteenth century, flax was grown in the parish of Knockaderry in County Limerick and there was a flax-hole or flax-dam in my own neighbouring townland, and, as Seamus Heaney describes so well in his poem,   ‘Death of a Naturalist’ :

All year the flax-dam festered in the heart

Of the townland; green and heavy headed

Flax had rotted there, weighted down by huge sods.

So how come we have a townland in rural County Limerick which is associated with the growing of flax?  More than likely it was an endeavour of the local landlords, the D’Arcy family who at one time lived in the townland of Ahalin and later moved to Knockaderry House or maybe the growing of flax was promoted by the Fetherson or Fitzgerald families who also owned substantial estates and were associated with Ahalin.

At the time of Griffith’s Valuation, completed in County Limerick in June 1853, Robert Fetherston held land in Ahalin in the parish of Clonelty[1], barony of Glenquin and at Bruree, barony of Connello Upper, County Limerick. In February 1855 his 565 acres at Ahalin, barony of Glenquin, on which there was a “neat cottage residence suited for a gentleman’s family”, were advertised for sale. This residence and some land were sold to Mr J.D. Fitzgerald[2] Member of Parliament for £2,350.  The “cottage” in question was located in the townland of Ahalin directly behind where Mr Dave Downes and family now live.    The holding consisted of the main dwelling house, a stable, a coach house, two cow houses, a piggery, a fowl house, a boiling house and a barn.

It is this Mr. Fitzgerald, who was appointed Attorney General for Ireland in 1856 and who served as MP for Clare (1852 – 1860), who gave the land for the first National School in Ahalin, which was opened in 1867.  It is also very probable that it is this same Mr Fitzgerald MP, or his agent, who Master Burke is referring to when he says ‘some eejit came in 1867 and he put up on the old school AHALIN N.S. and you could not correct it!’  This suggests that Master Burke would have been happier with ‘Aughalin’ rather than ‘Ahalin’ as the correct anglicisation of the townland – as this is nearest to the Irish version of the placename, Achadh Lín.

In more recent times this cottage was the property of the Flynn brothers. In the returns of the 1901 Census, there were six people living here: Patrick Flynn aged 30, Kate Flynn aged 27, Michael Flynn aged 25, Julia Flynn aged 22, Philip Flynn aged 18 and Martin Flynn aged 12.   In the Census returns for 1911, it seems that Michael and Julia have left the family home and Molly Greaney (aged 16) is registered as a General Domestic Servant by the family.  The property was still owned by the Flynns up to the late 1950’s and at that time Philip (who was blind) and Martin were the two surviving brothers living in the cottage.  It is said locally that they were the first house in the parish to own a radio.  Molly O’Neill was their housekeeper up to the end.  Before that Cis Harrold was the housekeeper.  She was a sister to Mike, Willie and Brian Harrold and an aunt to Batt O’Connor.

As far back as 1654, the Limerick Civil Survey records a tuck mill[3] for flax (and later for grain up to 1924) in nearby Ballinoe. This mill was known as Reeves’s Mill and was located where the Enright’s own land today near Ballinoe Bridge on the Kilmeedy side of Ballinoe Cross near where Johnny Corkery and his family now live.  In Bailiúchán na Scol, a folklore project organised by the Folklore Commission in National Schools throughout the country in 1937–38 Nora Nash[4] from Ballinoe and attending the Girls School in Ahalin stated that ‘flour was made locally in Re(e)ves’ Mill in Ballynoe’ and she further states that ‘it is to be seen still at Enright’s where the mill was’.  This Mill was built on the banks of the Ábha na Scáth river which rises near Knockfierna and flows through Clouncagh and into the River Deel near Bunoke Bridge.

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Reeve’s Corn Mill situated on lands today owned by the Enright family at Ballinoe on the banks of the Ábha na Scáth river.

We also know from research carried out by the Rathkeale Historical Society that as early as 1709 Thomas Southwell (Rathkeale), whose family had inherited some of the old Billingsley/Dowdall estate (mainly centred in Kilfinny), introduced over 120 Palatine refugee families to the townlands of Courtmatrix, Killeheen, Ballingrane and Pallas(kenry). These families augmented an already established English settlement which had been introduced to assist in the development of the linen/flax industry in the West Limerick area.

Local historian, Sean Kelly in the NCW Historical Journal, The Annual Observer, in his excellent article on the history of  Phelans Mill (situated where Objekt Design Space have their home accessory store today) states that for a time in the 1800’s this mill (then under the ownership of Robert Quaid and his family) was used as a scutching mill for flax and that there was a flax-dam and bleaching area nearby on the banks of the Arra River near where Dr O’Brien and Dr Barrett once resided and on land which is now owned by Ballygowan Mineral Water Company.

So while flax growing, and the linen industry it supported, was a predominantly Northern Ireland industry, remnants of it were also to be found in Munster and Limerick and even in Knockaderry itself! It is no surprise, therefore, to come across references to flax and the linen industry in the local placenames such as Ahalin. Readers may also be aware of another placename in Limerick, Monaleen, which is from the Irish ‘Móin a Lín’, literally ‘the flax meadow’ or ‘field of flax’.

Flax, itself, was a very labour intensive crop to grow and demanded much skill.  The land had to be ploughed, harrowed, cross ploughed, and harrowed again and rolled.  The seed was then sown, harrowed in and rolled again. Nature and the elements took over, but the better the seedbed, the better would be the crop. Much depended on the ploughman. Usually, he was a quiet fellow of good skill, much in harmony with his pair of horses. The excellence of linen depended on this quiet fellow, who ploughed a straight furrow.  There was much preparation for flax growing and it was said that it took more out of the land than any other crop.

Nature responded, and in due course, thousands of flax stems grew up, three to four feet in height. A tiny blue blossom appeared on their tips, followed by a natural coloured seed pod; and the flax was ready for pulling.

Flax pulling by hand was a back-breaking job, taken on by casual workers, who needed the cash. Hand pulling was necessary because the whole stem, from root to tip, was required to give the longest fibre, for the finest quality linen cloth. The pulled flax was tied up in beats (sheaves) and put in rows or stooks on the flax field.  The stooks were collected and put into flax holes, or dams, and kept under water for ten to fourteen days. This was to `rat’ or `rot’ the inside wood part from the outside fibres.

Then began the most difficult job in the making of linen, lifting the heavy, smelly, slimy, wet beats from the flax hole to the bank. Men had to work for hours, up to the waist in this wet clabber, while others took the beats and spread them on the fields to dry or bleach

Spreading was also a back-breaking job, as was lifting some days later, when dry.  The flax was ready for scutching, a dusty and dangerous art. This meant the removal of the centre wood part from the outside fibres and was done when the scutcher pressed handfuls of flax against a large four-bladed flail revolving at speed. It cut away the wood part and left the scutcher with handfuls of long blonde fibres, like a young lady’s head of long blonde hair. Many an arm or hand was cut off in this process. The wood part was known as ‘shives’ which were burned as waste.

So, where can we find this ‘high field of the flax’ today or even the flax-hole in the corner of the field?  As we have already noted from comments made by Master Burke to the authorities at the time it seems the flax field was situated between Wall’s Cross and the old school in Ahalin.  As already mentioned, if one does even the minimum of research in the area locals will without hesitation tell you exactly where ‘the field of the flax’ is situated.  Most local sources (whom I have spoken to) say that the ‘flax field’ is today owned by Mickey Magner and the field lies to the left of what is locally known as Ahalin Avenue.  In times gone by there was a fort in the middle of this field but all evidence of this fort has since been removed although it can still be seen clearly in some old Ordnance Survey maps of the area.

So, it seems that while evidence of a fort can be obliterated from the landscape the folk memory associated with the growing of flax in the area cannot.  The beautiful, enigmatic placename of Aughalin or Achadh Lín and its rich history lives on strongly in the folk memory of the people of Knockaderry to this day.

The Field of the Flax - (Achadh Lín)
The Field of the Flax (Achadh Lín) as seen on Google Maps. Notice the faint outline of the fort which was removed still visible in the centre of the field.

[1] Clonelty Parish, roughly corresponding to the parish of Knockaderry today.  The townland of Aughalin consisted of 571 acres, 3 roods and 2 perches.

[2] John David Fitzgerald of Dublin was the son of David Fitzgerald, a Dublin merchant. He was Member of Parliament for Ennis 1852-1860 and was appointed Attorney General for Ireland in 1856. At the time of Griffith’s Valuation, he held land in the parish of Quin, barony of Bunratty Upper, County Clare and in the parish of Rathkeale, barony of Connello Lower, County Limerick. In 1860 he married his second wife Jane Mary Matilda Southwell, sister of the 4th Viscount Southwell. In 1882 he was made a life peer as Baron Fitzgerald of Kilmarnock. In the 1870s he owned 1,393 acres in County Clare and 1,324 acres in County Limerick including ‘a gentleman’s cottage’ and land in Aughalin.

[3] The tuck mill was used in the woollen industry to improve the quality of the woven fabric by repeatedly combing it, producing a warm worsted fabric.

[4] Bailiúchán na Scol, Imleabhar 0490, Leathanach 42.  Here, just to add to the confusion, the school is named as Áth an Lín (Cailiní), Baile an Gharrdha, (Uimhir Rolla 9633).

Early Divisions in Ireland – The Origins of our Counties, Baronies, Parishes and Townlands.

mapofcountiesofireland98kb

The division of Ireland into counties took place shortly after the Anglo-Norman Invasion, led by King Henry II in 1171.  In 1211 King John (1199-1216) divided the whole of the country that acknowledged his government into twelve counties in Leinster and Munster. Very little regard seems to have been paid at this time to the ancient division of Ireland into five Provinces.

In Leinster, he created Dublin, Meath, Uriell (now called Louth), Kildare, Catherlough (Carlow), Kilkenny and Wexford.  These contained all the province of Leinster, except the following: Upper Ossory, inhabited by the Fitzpatricks, Leix which was inhabited by the Moores, Offaly which was inhabited by the O’Connors, Ely O’Carroll which was inhabited by the O’Carrolls, and some other territories which were inhabited by other various Irish septs.  Later in Leinster, the territories of Leix, Offaly and Ely O’Carroll and some others, were reduced into shire-ground in the time of Queen Mary (1553-1558) and then divided into two counties, one called Queen’s County and the other King’s County.  The county of Wicklow, which had up to this been vaguely considered as part of the counties of Dublin and Carlow, was made into shire-ground and formed into a separate county in the third year of James I  in 1606 approx.

In Munster, King John created the five counties of Waterford, Cork, Kerry, Limerick and Tipperary which at that time formed the province.  The provinces of Connaught and Ulster were divided into counties by Statute by Elizabeth I (1558-1603).  Connaught had seven counties: Galway, Clare, Roscommon, Mayo, Sligo, Longford and Leitrim.  Since then Clare has joined Munster and Longford has moved to Leinster.  The province of Ulster was divided into nine counties: namely those of Down, Antrim, Tyrone, Armagh, Monaghan, Cavan, Fermanagh, Donegal and Londonderry (cf. Harris’s Hibernica, p2).

Baronies

The first sub-division of Counties is into Baronies, largely corresponding with that of Hundreds (or Cantreds) in England.  The name, Barony, derives from the sub-division of the conquered land among the Norman barons, hence barony.  Other baronies appear to have been formed successively as a result of submissions made by individual Irish chiefs who ruled over them; the territory of each constituting a Barony.  This may account for the inequality in size between them and the manner in which parts of many are intermixed among each other in some cases.  There were formerly ten baronies in County Limerick: namely Clanwilliam, Lower Conello, Upper Conello, Coonagh, Coshma, Coshlea, Kenry, Oweneybeg, Pubblebrien and Small County.  This was later extended to fourteen, including Limerick City Borough, Kilmallock, Shanid and Glenquin.

My own parish of Knockaderry (formerly the parish of Clonelty) was situated in the barony of Glenquin.


baronies-of-co-limerick
The fourteen Baronies in County Limerick

Parishes

The next sub-division into Parishes is of much greater antiquity than that of Baronies.  Originally it was purely Ecclesiastical and was introduced among the Civil sub-divisions largely out of convenience.  Since all of these sub-divisions were central to the taking up of the Census this particular sub-division has always caused some difficulty as often the Civil and Ecclesiastical arrangements did not always correspond.  In the past, parishes were sometimes found to extend not only into other baronies but even into different counties.  Added to this you sometimes had the anomaly of parishes belonging to the Established Church differing from those of the Roman Catholic Church.  It has to be stated that the establishment of the Parish Rule by the fledgeling Gaelic Athletic Association in the nineteenth century led to a great consolidation of parish boundaries leading to very little room for debate or confusion!

Townlands

The smallest subdivision of the country is that of Townlands.  This name, however, is not universal throughout Ireland: some counties have used the term Ploughlands (Plowlands) instead; each Ploughland being supposed to contain 120 acres approximately.  Townlands have, in many instances, been sub-divided, and in many cases, the name has been changed.  Many names, now antiquated, were formerly used to designate the smaller sub-divisions of land in Ireland.  The following are the most often used:

  • A Gneeve (from the Irish ‘gníomh’ meaning a deed, a feat, an accomplishment). A ‘gniomh’ was seen as the amount of land that could be encircled or encompassed in a day by a ploughman and his horse ploughing a single furrow.  A rule of thumb was that a ‘Gneeve’ contained up to 10 acres but obviously, all depended on the ploughman in question!  This sub-division of land is still remembered today in the name given to the parish of Gneeveguilla in North Cork.  The placename when translated from the Irish means literally ‘Gníomh go Leith’ (a Gneeve and a half).
  • A Gort (or garden in Irish) which usually contained 6 acres.
  • A Pottle contained 12 acres.
  • A Ballyboe (‘Baile Bó’ meaning literally “cow land”) which in some places could be as large as 60 or 100 acres.
  • Sessiagh (Irish: séú cuid, meaning sixth part of a quarter or 20 acres).
  • A Poll (or Pole) containing 50 acres.
  • A Cartron which contained 60 acres.
  • A Tagh (or Tate) containing 60 English acres.
  • A Ballybeatach (Irish: baile biataigh, meaning “victualler’s place”) contained 480 acres (being 8 Ballyboes of 60 acres each)

The Ploughland (Plowland) and the Gneeve are the only names that were noticed by the Census Enumerators in the Censii taken up in 1821 and 1831 that were still in use in some parts of Ireland.  At that time the most common land measurement was either the Irish or Plantation Acre, the Cunningham Acre or the English Acre.  The difference between these arose from the different lengths of the perch used as a standard in each: the Irish perch was 21 feet, the Cunningham perch was 18.5 feet and the English was 16.5 feet.

Thomas Larcom, the first Director of the Ordnance Survey of Ireland, made a study of the ancient land divisions of Ireland and summarised the traditional hierarchy of land divisions thus:

10 acres – 1 Gneeve; 2 Gneeves = 1 Sessiagh; 3 Sessiaghs = 1 Tate or Ballyboe; 2 Ballyboes = 1 Ploughland; 4 Ploughlands = 1 Ballybetagh, or Townland; 30 Ballybetagh = 1 Barony.

It is interesting to note the instructions given to the Enumerators before they set out to gather their information for the Census of 1821.  They were instructed to ‘execute their duty in the mildest and most inoffensive manner; complying in so far as could be with the feelings of the people and never having recourse to the law except in the most urgent necessity.’  There are notes on what constitutes a family and among other points raised were – ‘strolling beggars were considered as forming distinct families and where met with on the road at a distance from their usual place of residence were entered as residing in the house in which they last lodged.’  It also noted that ‘every collection of contiguous houses, if under twenty, was to be considered as a Hamlet; if more than twenty and not under a peculiar local jurisdiction a Village.’

In the final report of the 1821 Census, we find the following comment – God be with those innocent times! – that in organising the data of the Census ‘in the classification of the Sexes no difficulty occurred’ (Report signed by W. Shaw Mason, Record Tower, Dublin.  11th July 1823).

References used:

Kerins, Christy. Archive Records 1800 – 1900 for Ballingarry, Granagh and Clouncagh, County Limerick. A Millenium Project, 2000.

Wikipedia –  search Townlands.

Exploring Michael Hartnett’s early development as a poet….

Bridget Halpin’s Small Farm in Camas

Formative Influences on the young Michael Hartnett

brigid-halpins-cottage-today
Brigid Halpin’s cottage in Camas as it is today. The photograph is by Dermot Lynch.

 

Bridget Halpin, formerly Bridget Roche, was born in Cahirlane, Abbeyfeale in 1885 to parents John Roche and Marie Moloney.  According to parish records in Abbeyfeale, she married Michael Halpin from Camas, near Newcastle West, in Abbeyfeale Church on February 28th,1911 in what was, by all accounts, ‘a made match’ between both families and she then came to live in Camas where the Halpins owned a small farm of ten acres three roods and 13 perches.  Later on that year on April 2nd, 1911, the Census returns for Camas in the parish of Monagea, record Michael Halpin, aged 36, living with his new wife Bridget Halpin, then aged 26.  Michael’s mother Johanna, aged 74, and her daughter, Michael’s sister, Johanna, aged 23, also lived in the house.

Michael Halpin, Bridget’s husband, was born on 2nd June 1876 in Camas.  He was one of thirteen children born to Denis Halpin and Johanna Browne between 1866 and 1890.  Denis Halpin, Michael’s father, was born c. 1834 in Cleanglass, in the parish of Killeedy, and he married Johanna Browne on the 18th February 1865 in the Catholic Church in Tournafulla.  He was 31 years of age and Johanna Browne was 25.  Living conditions were very harsh and infant mortality was very high and as many as seven of their thirteen children died in their infancy or childhood due, no doubt, to the severity and austerity of the times.  Six of their thirteen children survived: Margaret, Kate, Michael, Denis, Cornelius, Johanna.

This woman, Bridget Halpin, would later wield great influence over her young grandson Michael Hartnett.  Indeed, if we are to believe the poet, she was the one who first affirmed his poetic gift when one day he told her that a nest of young wrens had alighted on his head – her reply to him was, ‘Aha, You’re going to be a poet!’.  Hartnett claimed that he spent much of his early childhood in Bridget Halpin’s cottage in the rural townland of Camas four miles from his home in nearby Newcastle West.   He went on to immortalise this woman in many of his poems but especially in his beautiful poem, “Death of an Irishwoman”.  This quiet townland of Camas is seen as central to his development as a poet and central to some of the decisions and seismic changes which he made in his poetic direction in the 1970’s.  Maybe in time, this early association with Camas will be given its rightful importance and the little rural townland will vie with Maiden Street or Inchicore as one of Hartnett’s important formative places.  This essay, therefore, is an effort to throw some light on this woman and gently probe her background and genealogy and it also seeks to untangle some of the myths, many self-generated, which have grown up around Michael Hartnett himself.

In April 1911 when the Census was compiled, there were four inhabitants of the thatched cottage in Camas: Michael Halpin, his new wife Bridget (née Roche), his mother Johanna and his sister Johanna who was soon to emigrate to the United States in late May 1911.  By June of that year, Michael and Bridget Halpin were setting out on their married life together and they also had the care of Michael’s mother, Johanna.  Over the coming years, they had six children together, Josie, Mary, Peg, Denis, Bridget (later to be Michael Hartnett’s mother) and Ita.  Unfortunately, Michael Halpin died in September 1920 at the age of 44 approx. having succumbed to pneumonia.  His daughter Ita was born seven months later on 23rd March 1921.  Bridget Halpin was now left with the care of her six young children and their ailing grandmother, Johanna.  Johanna Halpin (née Browne) died in Camus on 18th June 1921 aged 80 years of age.

Bridget Halpin’s plight was now stark and the harshness of her existence is often alluded to in her grandson’s poems which feature her.  The cottage which was little more than a three roomed thatched mud cabin built of stone and yellow mud collapsed around 1926.   The whole family were taken in, in an extraordinary gesture of neighbourliness, by Con Kiely until a new cottage was built a short distance away by a Roger Creedon for the princely sum of £70.  The family moved into their new home in 1931 and this is the structure that still stands today.  According to Michael Hartnett himself this cottage, and especially the mud cabin which preceded it, was renowned as a ‘Rambling House’, a cottage steeped in history, music, song, dance, cardplaying and storytelling.  Hartnett would have us believe that it was from the loft in this cottage that he began to pick up his first words of Irish from his grandmother and her cronies as they gathered to play cards or tell tall tales.

Bridget Halpin’s youngest daughter, Ita Halpin, later married John Joe Dore, who lived on a neighbouring farm.  He was a well-known sportsman, hurling historian and founder member of Killeedy GAA Club.  They had one son, Joe Dore, who today is a well known Traffic Warden in Newcastle West and Abbeyfeale.  Today, he is the owner of what was formerly Bridget Halpin’s small farm in Camas, having inherited it from his uncle, Denis Halpin.   John Joe Dore died in 2000 aged 85.   Bridget Halpin, immortalised by her grandson, Michael Hartnett, in his poem ‘Death of an Irishwoman’ is buried with her daughter Ita Halpin (Dore) in the grounds of the old abbey in Castlemahon Cemetery.  Her grave is as yet unmarked.

Ita Halpin’s sister, Bridget Mary, who was born on 1st May 1918 later married Denis Harnett (born 20th July 1914) from North Quay, Newcastle West on the 28th of June 1941 in Newcastle West and they had six children.  Michael Hartnett[1] was the eldest and he had one sister, Mary, and four brothers, William, Denis, Gerard, and John. (Two siblings, Patricia and Edmond, also died as infants). Times were difficult for the Harnett family; they did, however, receive some good fortune when they moved into a house, in the newly built local authority development, Assumpta Park, in the 1950s.   Joe Dore, Michael’s first cousin, recalls that during the war years (1941-1945 in Michael’s case) Michael was often brought to Camas in a donkey and cart to be looked after by his grandmother and his Uncle Denis (Dinny Halpin), who was now working ‘the small farm’.   Joe Dore recalls that ‘his other brothers came to stay as well, especially Bill, but Michael, being the eldest, was the favourite of his grandmother’ – no doubt because he was her daughter Bridget’s first-born and also that he had been called Michael after her late husband.   Joe Dore remembers that ‘Michael was a big boy when I knew him as he was twelve years older than me, as I was the last of the grandchildren to be reared by my grandmother and Uncle Denis also’.

This essay seeks to clarify some of Michael Hartnett’s claims concerning his grandmother, Bridget Halpin.  Interestingly, most of these erroneous claims stem quite remarkably from the poet himself!  His Wikipedia page tells us that,

…  his grandmother, was one of the last native speakers to live in Co. Limerick, though she was originally from North Kerry. He claims that, although she spoke to him mainly in English, he would listen to her conversing with her friends in Irish, and as such, he was quite unaware of the imbalances between English and Irish, since he experienced the free interchange of both languages.

Writing in the Irish Times in August 1975  Hartnett wrote:

My first contact with Gaelic – as a living language – was in 1945 when I went to stay with my grandmother.  She was a “native” speaker and had been born in North Kerry in the early 1880s.  She rarely used Gaelic for conversation purposes but a good fifty percent of her vocabulary was Gaelic – more especially those words for plants, birds, farm implements, etc. …….. I learnt some two thousand words and phrases from her.  It was not until her death in 1967 that I realised I had known a woman who embodied a thousand years of Gaelic history (Hartnett, ‘Why Write in Irish?’, p.133).

We have already noted that Bridget Roche (neé Halpin) was born in Cahirlane, Abbeyfeale, County Limerick.  While this area is steeped in Irish culture and music it was not particularly noted for its native Irish speakers in the late 1800’s.  In the 1901 Census returns for Camas Upper and Camas Lower respondents were asked a question concerning their knowledge of the Irish language.  In Camas Upper and Lower 36 people out of a total of  175 counted in the census stated that they were proficient in ‘Irish and English’, including Johanna Halpin, Bridget Halpin’s future mother-in-law.  This works out at 20% of respondents.  In the 1911 Census returns, the year Bridget Roche married Michael Halpin, respondents were asked the same question and 29 adults responded.  In the 1911 Census, there is no division of the townland and the total number enumerated in the Census is lower at 141.  The percentage of respondents who said they had proficiency in Irish and English remains at 20%, however.  Interestingly, and this may, of course, suggest a certain carelessness in compiling the statistics of the census on behalf of the local enumerator, there is nothing in the returns for the Halpin family to suggest that they are proficient in Irish, although both Johanna and Bridget are marked present.

His often repeated claims about Bridget Halpin’s prowess in the Irish language are, therefore, exaggerated.  She obviously had many phrases and sayings in Irish but it is very doubtful if she had the capacity to carry out a conversation in Irish. Therefore, the myth that Michael Hartnett picked up a new language by osmosis or by listening to Bridget, ‘the native Irish speaker’ or her cronies while he lay in the loft during acrimonious card games is largely that, a myth.  The reality is that his love of the language was also developed by his study of and admiration for the poets of the Maigue and the Bardic past.  It was also helped by his study of Irish in school, in Irish College in Ballingeary and by his association with many poets and dramatists writing in Irish and also by his relationships in the early nineteen-sixties, particularly his relationship and collaboration with Caithlín Maude and his later collaboration in the 1980’s with Nuala Ní Dhomhnaill, translating her first volume, Selected Poems: Rogha Dánta, into English.

Hartnett’s public comments and writings also cause some confusion concerning Bridget Halpin’s age.  In the acclaimed documentary directed by Pat Collins in 1999, shortly before Hartnett’s untimely demise, entitled ‘A Necklace of Wrens’, Hartnett states that Bridget Halpin was born in 1870, when in fact we know from Census returns that she was born in 1885.  He also states that she was 93 when she died in 1967 when in fact she was a mere 80 years of age when she died in 1965!

It is clear, therefore, that many of these claims regarding his grandmother are greatly exaggerated.  For example, he has stated on numerous occasions that he was effectively reared by his grandmother from a young age on her small farm in Camas.  However, from school attendance records we learn that Michael Hartnett attended the Courteney Boys National School in Newcastle West on a regular basis from September 1949 when he entered First Class (having attended the Convent School, now Scoil Iosaef, for Junior and Senior Infants) until June 1955 when he completed Sixth Class.  His attendance during those years was exemplary, rarely missing a day, this, despite his claims in the documentary, ‘A Necklace of Wrens’, that he was ‘a sickly child, and still am’.  He then transferred to St. Ita’s Boys Secondary School, then housed in the Carnegie Library in the town to pursue Secondary Education.  His sojourns to Camas would, therefore, only have been at weekends and during school holidays as it was at least a four-mile walk.  However, it is not contested that the small farm in Camas and Bridget Halpin, his grandmother, played a very important role in providing sustenance and much-needed nourishment for the young Harnett family in Maiden Street during the 1940’s and 1950’s.

Michael Hartnett’s first cousin, Joe Dore, has clear recollection that ‘the poet’ was a frequent visitor to Camas, ‘except when there was hay to be saved’.  John Cussen, local historian and friend of the poet says that,

‘Michael Hartnett and I were in the same class in the Courteney School for several years until 1954 when I went to Boarding School (in Glenstal).  We were good friends.  He was certainly always living in town at that time.  I do not recall him ever talking about his grandmother or his sojourns in Camas with her.  We were too busy swopping comics which was all the rage at the time!’

Patrick Kavanagh says in his poem, ‘Come Dance with Kitty Stobling’,    ‘Once upon a time / I had a myth that was a lie but it served’.   Hartnett, too, had his myths and why not?  In the ‘Maiden Street Ballad’ he states:

I have told ye no big lies and most of the truth –

not hidden the hardships of the days of our youth

when we wore lumber jackets and had voucher boots

  and were raggy and snot-nosed and needy.

We can ascribe various motivations for these claims by the poet but the most credible is that he wanted to portray his grandmother as the quintessential  ‘nineteenth-century woman’ who never came to terms with the political, social and cultural changes which were brewing in Ireland in the late nineteenth century.  He saw her as a symbol for all that was lost in the traumatic early years of the Twentieth Century in Ireland.  In Hartnett’s view one of the many precious things which was lost, ignored, and abandoned was the Irish language itself and so his poem, “Death of an Irishwoman”, which he described as ‘an apology’ to his grandmother, can also be read as a post-colonial lament.  Therefore, it would have been more convenient if she had been born in 1870 rather than 1885.   Hartnett always considered Bridget Halpin to be a woman ‘out of her time’.  She never came to terms with the New Ireland of the 1920’s, 1930’s, and though her life spanned two centuries she was, in his eyes, still living in the past, ‘Television, radio, electricity were beyond her ken entirely’ (Walsh 13).  To her, ‘the world was flat / and pagan’, and in the end,

she clenched her brittle hands
around a world
she could not understand.

He has placed Bridget Halpin on a pedestal for his own good reasons.  He saw in her a remnant of a generation in crisis, still struggling with the precepts of Christianity and still familiar with the ancient beliefs and piseogs of the countryside.  This is a totally different place when compared to, for example, Kavanagh’s Inniskeen or Heaney’s Mossbawn.  There is an underlying paganism here which is absent from Kavanagh’s work, whose poetry, in general, is suffused with orthodox 1950’s Catholic belief, dogma and theology.  For Hartnett, his grandmother represents a generation who lived a life dominated by myth, half-truth, some learning, limited knowledge of the laws of physics, and therefore, as he points out in ‘Mrs Halpin and the Thunder’,

Her fear was not the simple fear of one

who does not know the source of thunder:

these were the ancient Irish gods

she had deserted for the sake of Christ.

However, Hartnett’s powers of observation and intuition were honed in Camas on Bridget Halpin’s small farm during his frequent visits.   His poem, “A Small Farm”, has great significance for the poet and it is the first poem in his Collected Poems, edited by Peter Fallon and published by The Gallery Press in 2001.  He tells us that he learnt much on that small farm during those lean years in the forties and early fifties,

All the perversions of the soul

I learnt on a small farm,

how to do the neighbours harm

by magic, how to hate.

The struggle to make a success and eke out a living was a constant struggle and burden.  The begrudgery of neighbours, the ‘bitterness over boggy land’, the ‘casual stealing of crops’ went side by side with ‘venomous cardgames’, ‘a little music’ and ‘a little peace in decrepit stables’ (“A Small Farm”).  The similarities with Kavanagh’s, “The Great Hunger”, are everywhere but interestingly Hartnett does not name this place, it is an Everyplace.  The poem is simply titled, “A Small Farm” so there is no Inniskeen, Drummeril, or Black Shanco here but the harshness and brutality of existence, ‘the cracked calendars / of their lives’ (ibid) in the fifties in Ireland is given a universality even more disturbing than the picture we receive from Kavanagh.  Yet, it is here that he first becomes aware of his calling as a poet and often to avoid the normal household squabbles of his grandmother and her son he ‘abandons’ them and begins to notice the birds and the weeds and the grasses,

I was abandoned to their tragedies

and began to count the birds,

to deduce secrets in the kitchen cold,

and to avoid among my nameless weeds

the civil war of that household.

Later in, “For My Grandmother, Bridget Halpin”, he again alludes to the wildness, the paganism, the piseógs that surrounded him during his childhood in Camas.  His grandmother’s worldview is almost feral.  She looks to the landscape and the birds for information about the weather or impending events,

A bird’s hover,

seabird, blackbird, or bird of prey,

was rain, or death, or lost cattle.

This poorly educated woman reads the landscape and the skies as one would read a book,

The day’s warning, like red plovers

so etched and small the clouded sky,

was book to you, and true bible.

We know that Michael was in Morocco when Bridget Halpin died in 1965 in St. Ita’s Hospital in Newcastle West where she was being cared for.  In this poem there is also a reference to his Uncle Denis (Dinny Halpin) who helped rear him and who was eventually to inherit the small farm from his mother, Bridget when she died,

You died in utter loneliness,

your acres left to the childless.

Hartnett is taking a great risk here, that of alienating those closest to him with his disparaging comments on his relations.    We know that this trait of outspokenness was to become a feature of his art; his poetry was often scathing and rebellious.  However, in this regard, surely the biggest risk he takes is in the first lines of “Death of an Irishwoman”, when he describes his grandmother, Bridget Halpin, as ‘ignorant’ and ‘pagan’.  This is nearly as risky and risqué as Heaney’s bold and brave comparing of his wife to a skunk in the poem of that name!  Only a favourite, a truly loved one could get away with such braggadocio!  The poem’s ending, however, with its exquisite cascade of metaphors surely makes amends for his earlier gaffe.

Therefore, the townland of Camas and Bridget Halpin’s small farm holds a very special place and influence on Michael Hartnett’s psyche.  His first published work appeared in the Limerick Weekly Echo on the 18th of June 1955 while he was still in Sixth Class in the Courteney Boys School.  He was thirteen.  Entitled “Camas Road”, it describes in particular detail an evening rural vista of the townland of Camas, a place which would feature on numerous other occasions in his poetry, becoming central to his development as a poet.  It is similar to Heaney’s “Sunlight” poems representing an idyllic childhood upbringing.  Its two eight-line stanzas of alternating rhyme and regular metre contain a litany of natural images, at times idiosyncratically rendered; the ‘timid hare sits in the ditch’, ‘the soft lush hay that grows in fields’.  It is a peculiar mix of a poem, seemingly authentic words and images from the poet’s experience placed together with those gleaned from the literary prop-box crafted by Manley Hopkins or Wordsworth, testament, no doubt,  to the young poet’s  voracious appetite for reading and possibly due to the influence of his teacher, Frank Finucane.   It is doubly imitative, drawing upon the romantic tradition of nature poetry, as well as the more local genre, poems written by local poets, people, ‘like Ahern and Barry before me’poems written exclusively for local consumption.  Thirteen-year-old Hartnett depicts an idyllic setting,

A bridge, a stream, a long low hedge,

A cottage thatched with golden straw,

The harshness of later poems is not evident and the poem serves as a record of his childhood in Camas surrounded by nature and its abundant riches.  However, at poem’s end there is a growing awareness that this idyllic phase of his life is coming to an end and he declares rather poignantly,

The sun goes down on Camas Road.

The townland of Camas is also central to an episode which the poet recounts for us in his seminal poem, “A Farewell to English”.  This encounter hovers somewhere between reality and dream, aisling (the Irish word for a vision) or epiphany.  The incident takes place at Doody’s Cross as the poet walks out one summer’s Sunday evening from Newcastle West to the cottage in Camas.  He is on his way to meet up with his uncle, Dinny Halpin.  He sits down ‘on a gentle bench of grass’ to rest his weary feet after his exertions when he sees approaching him three spectral figures from the Bardic Gaelic past – Andrias Mac Craith, Aodhagán Ó Rathaille, and Daíbhí Ó Bruadair.  These ‘old men’ walked on ‘the summer road’ with

Sugán belts and long black coats

with big ashplants and half-sacks

of rags and bacon on their backs.

They pose as a rather pathetic group, ‘hungry, snot-nosed, half-drunk’ and they give him a withering glance before they take their separate ways to Croom, Meentogues and Cahirmoyle, the locations of their patronage, ‘a thousand years of history / in their pockets’.  Here Hartnett is situating himself as their direct descendent and the inheritor of their craft and the enormity of this epiphany occurs at Doody’s Cross in Camas: the enormity of the task that lies ahead also terrifies and haunts Hartnett.

As another part of the myth that he had created, Hartnett always laid great emphasis on the fact that he had been born in Croom.  He was immensely proud of this fact.  In an interview with Dennis O’Driscoll for Poetry Ireland he stated:

I am the only ‘recognised’ living poet who was born in Croom, County Limerick, which was the seat of one of the last courts of poetry in Munster: Sean Ó Tuama and Andrias MacCraith.  When I was quite young, I became very conscious of these poets and, so, read them very closely indeed (Dennis O’Driscoll Interview for Poetry Ireland, p, 143).

Andrias Mac Craith (c. 1709 – c. 1794), in particular, was an important influence on Hartnett.   MacCraith had, for a time, very close associations with the town of Croom in County Limerick (although, it is believed, he had been born in Fanstown near Kilmallock).  As already mentioned, Hartnett had long dined out on the fortuitous coincidence that he too had strong associations with Croom having been born there.   However, he neglects to inform us that most of the babies born in Limerick in 1941 were also born in St. Nessan’s Maternity Hospital in Croom!  He would have been in Croom for less than a week before he returned to Lower Maiden Street to the accommodation which his family rented from the eponymous Legsa Murphy who also owned a bakery near Forde’s Corner in Upper Maiden Street.  However, in the mid to late 1700’s Andrias MacCraith, who was also known as An Mangaire Sugach or The Merry Pedlar (he was not a pedlar, but a roving schoolmaster), and his fellow poet and innkeeper, Sean Ó Tuama an Ghrinn (Sean O’Tuama The Merrymaker), had transformed Croom into a centre for poetry and the seat of one of the last ‘courts’ of Gaelic poetry.  The town became somewhat notorious and became known widely as Cromadh an tSughachais, roughly translated as Croom of the Jubilations – (today it would obviously be known as Croom of the Craic)!  Hartnett would have loved this vibrant, anarchic milieu and this is why Mac Craith had such an influence over him.  Hartnett saw himself as a natural descendent of these poets and the motivation behind his ‘rebel act’ in 1974 was largely an effort to  revive the interest in Irish, and poetry in Irish, which had  earlier been generated by these poets who were known collectively as the Maigue Poets, in honour of the River Maigue which runs through Croom.  His lovely poem, “A Visit to Croom, 1745” is his effort to recreate the tragic changes that were imminent, he tells us he had walked fourteen miles ‘in straw-roped overcoat’,

…… to hear a  Gaelic court

Talk broken English of an English king.

As with almost everything that surrounds Hartnett, therefore, our task is to try to discern fact from fiction, myth from reality.  We know that Hartnett was a frequent visitor to Camas until he was twelve or thirteen and that his grandmother, Bridget Halpin, considered him to be her favourite grandson.  We also know that there were fragile remnants of a dying language and culture and customs still evident in the area.   His later momentous disavowal of his earlier work in English and his abandonment of his standing as an emerging poet in 1974 is not hugely surprising when we consider the influences brought to bear on him during those extremely important formative years in Camas.  Surely those beautiful, descriptive, soothing Irish adjectives repeated as a mantra in “A Farewell to English”, ‘mánla, séimh, dubhfholtach, álainn, caoin’, which are used to describe the raven haired buxom barmaid in Moore’s Bar or Windle’s Bar in Carrickerry, could also be used to describe his grandmother, Bridget Halpin herself?  The encounter depicted in the second section of the poem, “A Farewell to English”, and referred to earlier, can also be read as an example of Hartnett realising what he suggests artists do in his beautiful poem, “Struts”.  He is,

……. climbing upwards into time

And climbing backwards into tradition.

 So, Bridget Halpin’s small farm in Camas may have been small and full of rushes and wild iris’s but it helped produce one of Ireland’s leading poets of any century.  The influences absorbed in this rural setting, his powers of observation, his knowledge of wildlife and flowers, his ecocentric bias, are impressive and all-pervasive in his poetry.  Without prejudice, it also has to be said that he demonstrates a deeper knowledge of all local flora and fauna than could be reasonably expected of a ‘townie’!  In his own words, he has told us ‘no big lies’ and, though questionable, there was, we believe, ‘method in his madness’.  When we examine closely his impressive body of work we notice that apart from Camas very few other rural places are mentioned or named in his poetry.  He later left and went to Dublin, London, Madrid, Morocco but when he had work to finish he came back to rural West Limerick and to another beautiful neighbouring townland, Glendarragh,  to embark on the work for which he will, if there is any justice, be best remembered.

Works Cited

‘A  Necklace of Wrens’ (Film). Harvest Films. 1999

Hartnett’s Wikipage

Hartnett, Michael. Why Write in Irish? in Metre, Issue 11, Winter 2001 – 2002, p.133

Hartnett, Michael.  Collected Poems, Oldcastle: The Gallery Press, 2001.

Ní Dhomhnaill, Nuala. Selected Poems: Rogha Dánta. Translated by Michael Hartnett, Dublin: Raven Arts Press, 1986.

O’Driscoll, Dennis. Michael Hartnett Interview in Metre, Issue 11, Winter 2001 – 2002, p.143

Walsh, Pat. A Rebel Act: Michael Hartnett’s Farewell to English, Cork: Mercier Press, 2012.

Sources:  My gratitude is extended to Joe Dore and John Cussen for their invaluable assistance in compiling this piece of research.

[1] Michael Hartnett’s family name was Harnett, but for some reason, he was registered in error as Hartnett on his birth certificate. In later life, he declined to change this as it was closer to the Irish Ó hAirtnéide.  

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Bridget Halpin’s derelict cottage as it was in early 2017. The cottage is presently undergoing a major extension. (Photo Credit: Dermot Lynch)

In Memoriam Sheila Hackett

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Michael Hartnett on Confirmation Day circa 1953

 

In Memoriam Sheila Hackett

By Michael Hartnett

No great dreams were found

in our nineteen-forties streets:

Newcastle West

slowly turned its face

from a bitter past.

We were a complicated sum perhaps

but made of simple needs

and demanded no world-changing vision.

We moved along the scale

living our own lives,

made separate, but never split,

by time’s long division.

We remained a stable number

that certainly would last:

whatever we had become

we began with simple hearts.

But suddenly one friend is cancelled out

and the long subtraction starts.

Commentary: This poem appears in Hartnett’s collection, Selected and New Poems, published by The Gallery Press in 1994.  However, it first appeared in a commemorative booklet published by the Courteney Boys School in 1992.  Mike O’Donoghue, then Principal of the Courteney Boys School, Hartnett’s old alma mater, had asked the poet for a poetic contribution and he was rewarded with this beautiful poem which arrived by post on 7th April 1992.

Michael Hartnett wrote a number of beautiful poems about significant friends and relations who had died.  These poems were the equivalent of the more traditional Mass Cards given to the family of the bereaved in Ireland.  These poems were often handed to members of the bereaved family in the days and weeks following the funeral by the poet himself, often handwritten on loose pages from Hartnett’s own notebooks.

This poem ranks highly with those already written for his little three-year-old sister, Patricia, who died on May 10th in 1952 when Michael was ten (‘How goes the night, boy?…’)  and his lament ‘For Edward Hartnett’,  written for his infant brother Edmond P. Harnett, who was born on 12th October, 1942 and died on 29th November, 1942.  We also remember his beautiful poem, ‘Death of an Irishwoman’, composed for his grandmother Bridget Halpin and also the poignant ‘Epitaph for John Kelly, Blacksmith’.

Sheila Hackett was a life-long friend of Hartnett’s.  She later married Ned O’Dwyer who was a painter and decorator by trade like Michael’s father, Denis Harnett.  This is why in his letter accompanying the poem Hartnett suggests to Mike O’Donoghue that maybe the title of the poem should be changed to ‘In Memoriam Sheila O’Dwyer’.   Thankfully and very wisely Mike O’Donoghue didn’t change a comma in the original. (See copy of letter below).  Ned O’Dwyer served for many years in Newcastle West as a Labour Party County Councillor.  Indeed, Michael Hartnett, who had inherited the Labour gene from his father Denis Harnett, acted as Ned’s Election Agent for a number of Local Government election campaigns held in the late seventies and early eighties.

However, he has fond memories of the young Sheila Hackett and prefers to remember her as she was then, the local girl, some years his senior, with whom he swopped comics with in the ‘fifties, and as he also says in his letter to Mike O’Donoghue ‘she helped me once or twice with my sums’.  The poem opens with recollections of ‘our nineteen-forties streets’.  These were austere times with a war raging in Europe and much poverty and deprivation experienced by the people of Newcastle West.  Social change was very slow and living conditions were very difficult for many in the town.  Elsewhere he has recalled these times through rose-tinted glasses but not here.  Indeed, the ‘camaraderie of the poor’ is reinforced by the constant repetition of ‘we’ in the poem.

The poem uses extended mathematical imagery and phrases learnt in school: phrases like ‘complicated sum’, ‘simple’ numbers, the word ‘scale’ which may refer to music or measurement, ‘long division, ‘stable number’ and the number ‘one’.  The poem ends with the death of Sheila Hackett; she is ‘cancelled out’ as from a ledger, and the poet is forced to confront her death and his own mortality: one of his fast friends from childhood has died and now the ‘long subtraction starts’.

Sources: I would like to acknowledge the great help received from Peig and Mike O’Donoghue in compiling this blog post.

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Work in Progress! Comments, Corrections, Clarifications Welcome.

The Troubled History of The Crooked Tree

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The Crooked Tree today – You can see the remnants of the old Limerick – Newcastle West road on the left of the photograph and the new road layout on the right.

The Crooked Tree is a very well known landmark on the main Limerick-Newcastle West road, about two kilometres out on the Limerick side of the town.  The tree is situated in the townland of Gortroe and is, in fact, situated in the parish of Knockaderry. The Crooked Tree also holds the unenviable distinction of being one of the few trees in Ireland to have moved from one side of the road to the other!  In 1965 the tree stood on the right-hand side as one approached the town from Limerick as can be seen in the photograph above.  Then, the County Council carried out extensive renovations and upgrading to the roadway, following which the Crooked Tree now stands sentinel on your left-hand side as you approach the town from Limerick!

Rightly or wrongly, the tree has been the subject of many gruesome stories down the years, the most common of these being that it was used to hang people in the dim and distant past.  According to Bill Flynn, then a student in St. Ita’s Secondary School, who wrote a very interesting article in the 1983 edition of the Knockaderry Clouncagh Community News:

The most persistent of these stories was that which claimed that the assassins that murdered the ‘agent’s son’ paid with their lives for the foul deed on this natural scaffold.  There were, too, stories of other hangings – sheep stealers and other minor criminals, according to local lore, breathed their last as they swung from the peculiarly shaped branch of this ugly black ash.

Another local resident, Michael Cregan, R.I.P., who lived for many years within a stone’s throw of The Crooked Tree seems to corroborate these stories, providing us with further detail.  Writing in the Knockaderry Clouncagh Journal in 1999-2000 he states:

The story goes that people were hanged from the tree up until the early 1900’s for committing the most minor of offences.  According to Liam Ó Danachair, the historian, Patrick Moylan and his son Seamus, who lived in Ballyallinan in 1732 were returning from Newcastle West after getting a spade made at the forge.  They were stopped by drunken English soldiers.  The soldiers began to jab the father with their bayonets and he defended himself with the spade and he killed one of the soldiers.  He shouted to his son to run home.  They killed the father and hanged his hacked and tattered body from The Crooked Tree where it was left as a warning.  Under the cover of darkness, some neighbours cut down the body and buried it in consecrated ground.

The Moylan homestead in Ballyallinan South corresponds today to the land farmed by James O’Connor and his wife Colette and family and was formerly owned by James’ parents, Colm and Nellie O’Connor.

The evidence above doesn’t point to a hanging taking place, rather that the body was hung from the tree as a warning, Patrick Moylan having been earlier killed by the drunken soldiers.  Michael Cregan also has a plausible explanation concerning the mystery surrounding the tree:

Many people were doubtful that hangings took place because when excavations took place no remains were found.  But the simple explanation is – the next of kin always removed the body.

Bill Flynn tries in his article to dispel the notion that the tree was ever used as a gallows by detailing the excavations which took place around 1965:

When the County Council excavated along by the west side of the tree, preparatory to the construction of a new section of road, deep interest was taken in the operation.  The excavators tore down to a depth of five feet into the tough yellow mud but no sign of soil disturbance was revealed and no remains were found.

He further states that a local man, Toss Enright, who lived out his eighty odd years virtually in the shade of the tree claimed that the present tree developed from a ‘sucker’ that grew out of the stump of the original tree which was felled in the early 1900’s.  He also told of a local woman who died in 1903 at the age of ninety years who claimed that nobody had ever, in her memory, been hanged from the tree.  However, she did say that her mother had told her of two men who had been hanged from a scaffold erected in the field beside The Crooked Tree and she had never heard of any other executions.  Bill Flynn ends his enthralling piece of research by concluding:

For lack of evidence to the contrary, we are forced to assume that the ‘history’ of the tree was born out of fanciful thought.

However, another plausible explanation as to why the legend persists may have something to do with the etymology of the name given to the tree.  We know from just a cursory examination that Irish place names give up a rich harvest of information concerning topography, battles, famous saints, etc., etc.  For example, Gortroe, the townland in which The Crooked Tree stands was originally called An Gort Rua in Irish, which means ‘the red garden’ (probably a place where potatoes were grown in the past) and another nearby townland Ballingowan,  was originally Baile na hAbainn, the town  (or townland) of the river – the River Deel flows nearby.  In Ireland in the 1830’s the English were busy converting many such place names from the Irish language into the now legally required English.  Sometimes they were very diligent and sometimes they were very lazy!  The Irish phrase for a Hanging Tree would have been Crann Crochadh and on a Friday evening, after a long week translating place names into English, it might have been very tempting to translate this Crann Crochadh into what we know today as The Crooked Tree.

Talking of place names in the locality, however, tends to disprove my theory.  Not too far away from the townlands of Gortroe and Ballingowan, as one exits Newcastle West heading for Dromcolliher, is the townland of Ardnacrohy.  Now, this must have definitely been translated in somewhat of a hurry because the original would have been Árd na Croiche which should be translated directly as ‘The Hill of the Gallows’, or ‘Gallows Hill’ maybe, or ‘The Hill of the Hanging’ or somesuch gruesome alternative.  My point is that if  Ardnacrohy was the location for local hangings then The Crooked Tree was not needed – except maybe in an emergency!

(It is interesting, even fascinating, that in Cork City there was also an Árd na Croiche, at the top of Barrack Street in the city, Cork’s Tyburn if you will, but the earnest and diligent Corkman, who carried out the translation for his English masters, must have been very conscious of the future tourism potential of the place so he translated Árd na Croiche into the far more innocuous and inviting placename, calling it Greenmount)!

So, there you have it, ‘fanciful thought’ or long embedded local lore no one is sure – the jury is still out – or maybe they didn’t have much use for juries in the ‘good old days’ long, long, ago!

Bibliography

Knockaderry Clouncagh Community News – Christmas Annual 1983

Knockaderry Clouncagh Journal – Millennium Edition, 1999-2000

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‘Death of an Irishwoman’ by Michael Hartnett

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Bridget Halpin’s cottage in Camas as it is today. Photograph is by Dermot Lynch.

 

Death of an Irishwoman

By Michael Hartnett

Ignorant, in the sense
she ate monotonous food
and thought the world was flat,
and pagan, in the sense
she knew the things that moved
at night were neither dogs nor cats
but púcas and darkfaced men,
she nevertheless had fierce pride.
But sentenced in the end
to eat thin diminishing porridge
in a stone-cold kitchen
she clenched her brittle hands
around a world
she could not understand.
I loved her from the day she died.
She was a summer dance at the crossroads.
She was a card game where a nose was broken.
She was a song that nobody sings.
She was a house ransacked by soldiers.
She was a language seldom spoken.
She was a child’s purse, full of useless things.

© 1975, The Estate of Michael Hartnett
From: Collected Poems.Publisher: The Gallery Press, Oldcastle, 2001.

Author’s Notes: 

Púcas: This was the Irish (Gaelic) term for pookas, hobgoblins, fairies.  In the Irish language a man of African descent is described as a fear ghoirm, a “blue man”.  In Irish, “an fear dubh” (“the black man”) exclusively denotes the devil, therefore, the reference to “darkfaced men” in this poem does not have any racial connotations!  

A wake was a social gathering associated with death, usually held before a funeral.   Traditionally, a wake took place in the house of the deceased with the body present.

 

In 1965 Michael Hartnett was in Morocco when his grandmother, Bridget Halpin, died at the age of 80.  Hartnett had spent his formative years in Halpin’s simple, meagre cottage in Camas soaking up the stories and folklore of the area as she entertained her cronies in the mid to late 1940’s. She had a great array of Irish words in her vocabulary, many related to the animals of the countryside and life on the farm, although she and the family didn’t use Irish in everyday conversation. Nevertheless, her knowledge of Irish had an immense influence on the young Hartnett, who would go on to became as fluent in Irish as he was in English.

Camas is a hugely important place for Hartnett. It was there that his poetic gift was first recognised and cultivated, particularly by his grandmother.  His first ever published poem was called ‘Camas Road’ and was published in The Limerick Weekly Echo on 18th June 1955.  Hartnett was thirteen.  This present poem, ‘Death of an Irishwoman’, is his effort at an apology for not being there at her funeral – ‘I loved her from the day she died’.

Hartnett returned to his West Limerick roots in the mid-1970’s having made his famous declaration from the stage of the Peacock Theatre at an event organised by Goldsmith Press on June 4th, 1974. At that event, Hartnett informed the audience of his resolution to cease writing in English, stating that his “road towards Gaelic” had “been long and haphazard” and until then “a road travelled without purpose”. He reassured his audience that he had realised and come to terms with his identity while acknowledging that his “going into Gaelic simplified things” for him and provided answers which some considered to be naive but at least gave him “somewhere to stand”. Rediscovering and reinventing himself and the long forgotten echoes of his Gaelic past was a central project for Hartnett during those years in the 1970’s.  Bridget Halpin played a significant role in this process.

Bridget Halpin is a symbol for all that was lost in the traumatic early years of the Twentieth Century in Ireland.  In Hartnett’s view one of the many precious things which was lost, ignored, and abandoned was the Irish language itself and so the poem can be read as a post-colonial lament.  According to Census returns for Camas in 1911, Bridget Halpin was 26, living with her husband Michael, ten years her elder.  This would mean she was born in 1885, a time of cultural revival, coinciding with the founding of the Gaelic League and the Gaelic Athletic Association.  Hartnett always considered her to be a woman ‘out of her time’.  She never came to terms with the New Ireland of the 1920’s, 1930’s, and though her life spanned two centuries she was, in his eyes, still living in the past, ‘Television, radio, electricity were beyond her ken entirely’ (Walsh 13).  To her, ‘the world was flat / and pagan’, and in the end,

she clenched her brittle hands
around a world
she could not understand.

There is a strong sense of regret for a lost generation in this poem and this is particularly in evidence in the poignancy of the line:

I loved her from the day she died.

 What follows is a masterclass of poetic skill, the poet cherishes the memory of his lost muse with an epitaph made up exclusively of metaphors:

She was a summer dance at the crossroads.
She was a card game where a nose was broken.
She was a song that nobody sings.
She was a house ransacked by soldiers.
She was a language seldom spoken.
She was a child’s purse, full of useless things.

These metaphors conjure up an almost forgotten rural idyll: dances at the crossroads on summer evenings, the hustle and bustle of the rambling house with its card games and music sessions, slow airs and sean nós singing, sets and half-sets.  Hartnett also veers into the political sphere with reference to The Black and Tans and the fraught Irish language question, which he sees as having been abandoned and neglected by successive governments since the foundation of the State, ‘Our government’s attitude is hostile and apathetic by turns’ (Walsh 126).  His final metaphor:

She was a child’s purse, full of useless things.

captures the futility and frustration felt both by his grandmother and the poet himself at the relentless pace of change.  Safia Moore, in her excellent blog, Top of the Tent, says of this metaphor that it encapsulates the notion of his grandmother as ‘being out of step with the utilitarian, modern world’.

In effect, Hartnett is not only writing the epitaph for his grandmother but for a unique and precious culture which he sees drifting towards oblivion through neglect.  During these years in Newcastle West and in his cottage in nearby Glendarragh, Templeglantine, Hartnett wrote many such epitaphs for local people and their dying country crafts.  This is a facet of Hartnett’s work which began with his grandmother, Mrs Halpin. (See Epitaph for John Kelly, Blacksmith as one example of this).  Therefore, in a way, not only is Hartnett lamenting the death of Mrs Halpin here but also, like Heaney in many of his poems, he is lamenting the loss of ancient crafts and customs which, with the progress of time, have become redundant.  He has returned home to find things falling apart and that Time has thinned the ranks of the stalwarts of the town.  His local poetry, in particular, takes on a nostalgic retrospection and features poems about those who have died, such as ‘Maiden Street Wake’, where he describes one such wake:

We shuffled round and waited.
Our respects were paid.
And then we ate soft biscuits
and drank lemonade.

This period in his life is, therefore, best depicted as a period of intense creativity and a series of well-documented farewells, best characterised by this poignant line from the ‘Maiden Street Ballad’ where he ruefully declares:

old Maiden Street went to the graveyard.

Author’s Note:  Students of Hartnett and aspiring academics will readily verify that Harnett, whether deliberately or mischievously, was a master of misinformation.  The Youtube clip above is a perfect example of this.  As he begins to introduce the poem, ‘Death of an Irishwoman’ he states that his grandmother, Bridget Halpin was born in 1870 when,  in fact, we know through Census returns for 1911 that she was born in 1885.  He also says that she was 93 when she died when, in fact, if the Census returns are to believed, she was a mere 80!

Bibliography

‘A  Necklace of Wrens’ (Film). Harvest Films. 1999

Walsh, Pat. A Rebel Act: Michael Hartnett’s Farewell to English, Cork: Mercier Press, 2012

Confirmation in Clouncagh 1963

The accompanying film clip records the parishioners from Knockaderry and Clouncagh gathering for the Confirmation ceremony which took place in St. Mary’s Church in Clouncagh in 1963.  The ceremony was conducted by the Very Rev. Henry Murphy, Bishop of Limerick and he was assisted by Rev. Fr. Costello P.P.

The occasion was filmed by John Joe Harrold and we are grateful to jdtvideo for uploading the very historic footage to You Tube for our enjoyment.

 

 

Girls Confirmation Photo 1963

Included in photo is Bishop Henry Murphy, Bishop of Limerick, and Canon Costelloe.  The teachers are Miss Margaret Droney and Mrs. Eilish Hickey.

Back row: (left to right): Marie Sheehy, Eileen Lynch, Mary Cregan, Ann Quaid, Margaret Cregan, Violet Hennessy, Kathleen Chawke.

Front Row: Nora O’Gorman, Bridget Downes, Bridie Chawke, Catherine Butler, Jacinta Scanlan, Margaret Sheehy, Christina Quaid, Mary Curtin, Mary Noonan, Mary Chawke.

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Boys Confirmation Photo 1963

Canon Costelloe is at the left at the back, Bishop Murphy is in the centre at the back and on the extreme right is Master Micheál de Búrca.

Back row: (left to right): John Guiry (R.I.P.), John Wall, Patsy Downes, John Collum, David Noonan (R.I.P.), William Hickey, Michael Moloney, Donie O’Sullivan, Michael Dowling.

Third row: David Downes, Jack Hennessy, Eddie Liston, John O’Gorman, Paddy Curtin, Philip Hickey, Liam O’Sullivan, William O’Connor, Jerry Hennessy, Eddie O’Connor.

Second row: Ted O’Gorman (R.I.P.), Diarmuid O’Sullivan, Paddy Walsh, David Guiry (R.I.P.), Bernard Mackessy, Jimmy Dowling, Eddie Dillon, Harry Maune, Gerard Moloney (R.I.P.), Tom Scanlan.

Front row: Michael Cunningham, Thomas Butler, Michael Dowling, Liam Doherty, Noel O’Gorman, David Collum, Joe Dowling, Christopher McCabe.

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Sources: Knockaderry Clouncagh Christmas Annual 1986 and Kno0ckaderry Clouncagh Annual 1990.  Thanks to jdtvideo for making footage available on You Tube.

Blessing of the Marian Grotto in Knockaderry 1963

 

Holy Wells and Shrines have been renowned places of worship in Ireland from the earliest times, all dedicated to some particular saint.  The Knockaderry Marian Shrine was built in 1963 on a natural base of rock, on an elevated site beside Saint Munchin’s Church in the village.  The beautiful Carrara marble statue of Our Lady was purchased from a firm in Rome.

On the Feast of the Immaculate Conception the shrine was blessed and unveiled by the Parish Priest of Knockaderry, Very Rev. Fr. T. Costello, assisted by Rev. J. Sheehy, CC, Knockaderry, and Rev. T. Greene, CC,  Feoghanagh.  To mark the occasion a special sermon was preached by the Very Rev. Archdeacon Carroll, PP, VF, Rathkeale, and a very large number of parishioners were present at the ceremony.

All the work on the Shrine was done voluntarily under the guidance of the local guild of Muintir na Tire.  The railings and wrought iron canopy was the work of local craftsman, Denis O’Sullivan.

In 1978 the Shrine underwent a facelift.  the large granite stones were removed and replaced by Liscannor flags.  The existing railing was removed and replaced by a brick frontage.  Flower beds were introduced on both sides of the path.  Kerbing was also laid.

Further restoration was carried out in 2013 under the guidance of Pat Quilty and a beautiful stone backing and canopy was constructed to protect the statue. On November 22nd 2013 the Shrine was again blessed and reconsecrated  by Bishop Brendan Leahy, Bishop of Limerick, assisted by  Rev. Fr. Edwin Irwin, PP, Knockaderry and by Mons. Liam Boyle.

The work of construction and the dedication and blessing of the shrine was filmed and captured for posterity by John Joe Harrold on his own cine camera.