December, 2021

According to Danny Dowling, mumming troupes performed regularly in Wexford and the tradition was imported into Glenmore. In 1957 Danny interviewed Nicholas “Nicky the Miller” Forristal (1888-1979) who was able to name various members of the first known Glenmore mummers group. Nicky indicated that this group formed about 1886.

Today, outside of historians and persons researching folklore etc. there is often confusion regarding mummers because at various times in various locations across Ireland different people used the term in different ways. For example, in the past festivals and celebrations were marked with the making and wearing of straw costumes. There is evidence that the wearing of straw clothing occurred in bad weather particular by the bacach, or beggars. The straw not only provided warmth, but the rain would run off like a thatched roof. A plentiful supply of straw was generally present in most farmyards for the making of a straw overcoat as the bacach travelled the countryside with news and gossip to entertain his hosts (Anne O’Dowd, “Plaited Rush and Straw Work,” in Traditional Crafts of Ireland (2003) p. 128). Later, in some parts of Ireland men would disguise themselves in straw outfits and headgear to crash a wedding feast they had not been invited to attend. Sometime these party crashers performing their disguised antics were called mummers or strawmen (Séamas ó Catháin, “Mummers & Mumming,” in Traditional Crafts of Ireland (2003) p. 130.

Interestingly some rural parts of the country there was an old custom after harvest of saving the last sheaf of corn which was ceremonially brought home from the field and presented to the woman of the house. Keeping the last sheaf in the house brought general good luck and was a safeguard against witches. The straw from the harvest provided for the making of ordinary household items from plaited ropes (súgán) to hens’ nesting baskets (séideog).. (Anne O’Dowd, “Plaited Rush and Straw Work,” in Traditional Crafts of Ireland (2003) p. 128).

The tradition of mumming apparently goes back to the Middle Ages. It is thought to have developed in England and spread. Although mummers can be traced back in Ireland to at least the 1780’s the first systematic attempt to analyse the Irish mummers plays was published in 1946 by E.R.R. Green (“Christmas Rhymers and Mummers,” Ulster Journal of Archaeology (1946) p. 3-21).

In the west of Ireland mumming apparently evolved into people in disguise visiting homes and entertaining with songs and rhymes usually at Christmas time. In Wexford, mummers performed plays generally following chapbooks. A chapbook was a small pamphlet containing ballads, rhymes, or tales sold by peddlers. This “street literature” was cheaply made and often contained crude woodcut illustrations. Often at the end of the play there was a dance fight with the dancers swinging wooden swords or sticks. This battle dance has led to mummers sometimes being confused with another old custom of Morris dancers. Morris dancers are English male folk dancers who generally wear bells on their calves and carry handkerchiefs or fans as they perform their elaborate sets. In 1974, Alan Gailey published an article “Chapbook Influence on Irish Mummer’s Plays” (85(1) Folklore 1 (1974)). Gaily described the usual characters in the known “chapbook” publications including Prince David, St. Patrick, the Grand Signor and the doctor in a comical “cure scene.” By the turn of the 20^th century the rhymes and characters of the Wexford mummers’ plays were re-written to “accord with nationalist sentiments” (Gailey, p. 6).

In the 1957 interview Nicky the Miller noted that a dance platform was built at the Ballygurrim cross roads in about 1885. The following year a group of men from Glenmore formed a mummers’ group. They were “trained by coach” from Wexford. In addition to providing the names of the group Nicky stated that the group travelled to Mullinavat where they “gave a big display of their talents” and they had a “keg of beer between them to quench their thirst.”

Nicky the Miller identified ten men as Glenmore Mummers. Information not provided by Nicky the Miller has been placed in brackets [ ]. The captain of the Glenmore Mummers team was Martin Cahill [b. 1854] of Ballycroney, Glenmore. His three brothers were also members, Phil [b. 1865 never married], Dick and Mick Cahill [b. 1863] married and lived in Waterford and worked at Strangman’s brewery.

Other members of the team included:

Jack Merrigan, of Milltown, Glenmore–He was uncle of the present (1957) Dinny Murphy of Milltown. He later emigrated to the USA and died in New York;

Ned Purcell, of Forristaltown and later lived in Weatherstown, Glenmore;

Neddy Walsh, of Milltown, never married and worked at Jack Doherty’ of Milltown;

Dick Walsh, of Bushertsown and Ballalog, was a brother of Neddy Walsh. Dick worked for Dinny Merrigan and married Dinny’s sister. The married couple moved to Waterford. [The Glenmore Parish records reveal that Richard Walsh married Ellen Merrigan in 1895.];

Dan Dowling, [1862-1945] of Jamestown, Glenmore [Danny Dowling’s paternal grandfather] and

Ned Doolan, of Shanbogh.

In attempting to locate more information on the Glenmore mummers a newspaper search revealed that in 1892 the Glenmore Mummers performed and the names of the group are not provided in the newspaper article. However, the article does confirm that the group was performing in the Wexford tradition with a nationalist sentiment including the word “independence” placed on the play’s scenery. The following article is from the front page of the Munster Express of 6 February 1892.

ENTERTAINMENT AT GLENMORE—On Sunday evening last a most successful and highly conducted soiree came off at Glenmore, Co. Kilkenny. The proceedings commenced about 7:30 p.m., and under the able management of the local young men, who are formed into a society called “Mummers,” have composed a part representing twelve powers of Europe, an exhibition of which they gave on the night in question, and which proved high satisfactory and afforded pleasure to the many spectators present. The different parts met with loud applause, and for the first time they gave an exhibition and played their different parts publicly, they deserve all credit for the painstaking manner through which they went through their work. The apartment, which was kindly given for the purpose, was beautifully decorated with evergreens and other ornamental designs, and here and there on the walls could be observed in letters, worked with ivy leaves, the words, “independence,” “welcome” etc. Many songs and dances were gone through until about 8:30, when the “Mummies” entered, dressed beautifully with different coloured dresses and bearing emblems representative of the Nationality which each acts the part of. The representative of the first high personage was the captain of the club, who marched forward and related his exploits in a strong manner. He is met on the way by Prince George, and then St. Patrick enters on the scene and speaks independently to the Prince. Next appears the representatives of Napoleon, Lord Wellington, and Emperor of Russia. The latter meets the Grand Seignior (sic), and both fight in single combat, resulting in the fall of the Grand Seignior. A doctor then enters, and offers to cure the Grand Seignior (sic), but claims high compensation for his medical skill, which seemed rather limited. His prescription for the wounded warrior provoked merriment, but however, he succeeded in restoring to health the Grand Seignour (sic) who, when fully recovered, relates his exploits in the other world, as his imagination led him to believe he saw a glimpse of it. Lord Nelson represented, as also the Poles’ King, and Julius Caesar. Daniel O’Connell, and the representatives of the above great men having fully expressed the ideas and the exploits gone through in by gone days by those heroes, they formed in a circle and to a beautiful selection of music on violins, danced in a semi-circular motion, one rank meeting the other, and both parties slashing swords. The above ended with the rendering of the National Anthem, “God Save Ireland,” in capital style. The party composed of these young people and the part they have selected appears critical; yet with perseverance they reached the standard of perfection, and whenever they next give an exhibition, they should be highly appreciated for their exertions. The rendering of some songs and recitations, speeches and dialogues, brought the proceedings, which were creditably gone through, to a close.

Although we have a general description of the Glenmore play from the newspaper account, thanks to the efforts of N.A. Hudelston the probable lines are available. Hudelston collected a written copy in 1958 of a play containing 290 lines from John Pierce, of Rosslare Harbour. Fifty more lines were obtained in oral interviews of five more men. It was noted that this play was performed until the First World War, but the language and events in the play revealed that the the original play dates back to 1820-1850. (Hudleston, “The Wexford Mummers’ Play,” The Past: The Organ of the Uí Cinsealaight Historical Society (1964) p. 152). The cast of characters in the play includes: The Captain; Prince George; St. Patrick; Dan O’Connell; Napoleon Bonaparte; Lord Wellington; The Czar; The Grand Signor; The Doctor; Lord Nelson; The Polish King; and Julius Caesar. The excerpt below is from the lines of Daniel O’Connell toward the end of the play.

Excerpt

Here I am, the great O’Connell, from a knightly race I came,
My royal habitation lies in ancient Derrynane. 
I am the man they call brave Dan, your friend on each occasion, 
And the first M.P. that ever sat of the Catholic persuasion. 
For my country’s wrongs I deeply felt, they tilled me with vexation, 
And our cruel foes for to oppose, I formed an Association. 
‘Tis certain sure, the Church most pure, should persecution bear, 
But the Penal yoke was lately broke by electing me in Clare; 
To Parliament straightway I went, in hopes to free our nation,  
Wellington and Peel, I made them yield and grant Emancipation.  
That still-born pact, the Stanley Act, supplants the Church’s ambition, 
Those vexatious tithes I have laid aside, by a total abolition.  
The Catholic rent I underwent to break and wreck in twain…

By St. Patrick’s sons you have laurels won, and been raised to dignity;  
Our brothers’ cries you did despise, and our country’s misery. 
So now your cause, and Penal Laws, I’ll expel by exhortation,  
Those notorious tithes I’ll lay aside or in blood I’ll steep the nation.   
Your tyranny won’t frighten me, nor your hellish emigration,  
Your infernal ends, they stood your friends—if I live, I’ll free the nation.  
Now, gentles all, I must conclude, I have no more to say…

It isn’t known whether the Glenmore men identified by Nicky the Miller were the same group that performed in 1892. If the Glenmore Mummers followed this play with similar nationalist speeches, scenery advocating independence etc. it may go some way to explaining why the Munster Express did not publish their names.

Please send any corrections or additional information etc. to glenmore.history@gmail.com.

Dr. Kathleen Moore Walsh

The Hudleston article is available on Justor, Stable URL: https://www.jstor.org/stable/25519869 . The featured drawing above was drawn by Dudley Terrant at Christmas time 1919 of a performane of an old Christmas mummers’ play of St. George and the Dragon and published in The Sphere (3 January 1920, p. 13). The photo from January 1950 above is of the Andover, Hampshire mummer’s play. For over 300 years the men of New Street in Andover, Hampshire performed this traditional mummers play without script. The words were passed down from father to son.