This card is not dated and is obviously well past the time the Walsh/Langan ancestors left Ireland. It is, however, the only thing I have found so far to represent traditional music which was and is a very important part of Irish life.

Post marked 1903

No postmark

No postmark

Irish Colleens-Fortune Telling

Harpers Weekly Feburay 12, 1870

NEW YEAR'S EVE IN IRELAND

Illustrated London News, March 19, 1853

DROWNING THE SHAMROCK ON ST. PATRICK'S NIGHT

Illustrated London News, November 6, 1858

Accompanying text

"All Hallow Eve (1st of November) being between All Souls and All Saints Day is the night of all others on which the Irish peasantry believe that ghosts, witches, and fairies, but especially the redoubtable phoca, are so industrious in playing pranks on unwary travelers, and that supernatural events narrated by such adventurers form themes for gossip and many a cottage fireside for many a long night afterwards. It is, therefore, not surprising that this evening should be spent in a more festive manner than any other by this imaginative people, as from its associations, it had lost none of its pristine interest, whilst most other national customs seem gradually to have vanished from amongst the. On All Hallow Eve a number of the younger peasantry from the adjacent neighborhoods assemble at the house of some old farmer who in his youth had been the gay leader of every merrymaking throughout the country, and still took delight in seeing others enjoy the sports he was no longer capable of partaking. A collection being made, the merry party are soon supplied with plenty of eatables and the indispensable mountain dew in profusion, for the occasion; the scaltheen or cross sticks, being then suspended from the roof and decorated with apples and lighted candles placed alternately on its points, and, being kept twirling round, invited many a candidate to complete for the ruddy prize, but singed hair or eyelashes, together with the pleasure of being laughed at, is often the reward of this exertions. As a cooler to this amusement, diving for money in a tub of water is next resorted to, and many a fair mountain nymph forsakes her native element for a while and bears from beneath the pellucid water the shining silver between her teeth, which rival it in whiteness. Burning nuts, fortune telling, and stories are next engaged in all of which are wound up with a dance, until the time arrives (one o'clock) when the enchantment of the night is broken, and all may return, unmolested by fay or phoca, to their respective homes.

The Graphic

October 4, 1884

Text is missing.

The Dancing Master painted by H. Helmick from The Magazine of Art, date unknown

Howard Helmick (American 1845-1907) was born in Zaneville, Ohio and studied in Paris. In 1876 he moved to Galway, Ireland where he painted many scenes of Irish life. He returned to America in 1888.

The ancient custom of lighting midsummer bonfires was wide spread throughout Europe, including Spain, Portugal, Greece and Ireland. Bonfire night in Ireland was on the eve of the feast of St John (June 23).

Charlotte Elizabeth Tonna (nee Browne) (1790-1846) an English evangelist and writer lived in Ireland from 1818 to 1824. In Irish Recollection, first published in 1841, she gives a wonderful account of a bonfire in rural Ireland. Much of the rest of the book is an anti Catholic diatribe.

"It is the custom at sunset on that evening to kindle numerous immense fires throughout the country, built like out bonfires, to a great height, the pile being composed of turf, bog-wood, and such other combustibles as they can gather. The turf yields a steady, substantial body of fire, the bog-wood a most brilliant flame; and the effect of these great beacons blazing on every hill, sending up volumes of smoke from every point of the horizon is very remarkable. Ours was a magnificent one being provided by the landlord as a compliment to his people, and was built on the lawn, as close beside the house as safety would admit. Early in the evening the peasants began to assemble, all habited in their best array, glowing with health, every countenance full of that sparkling animation and excess of enjoyment that characterize the enthusiastic people of the land. I had never seen anything resembling it, and was exceedingly delighted with their handsome, intelligent, merry faces; the bold bearing of the men, and the playful, but really modest deportment of the maidens; and the vivacity of the aged people, and wild glee of the children. The fire being kindled, a splendid blaze shot up, and for a while they stood contemplating it, with faces strangely disfigured by the peculiar light first emitted when bogwood is thrown on: after a short pause, the ground was cleared in front of an old blind piper, the very beau ideal of energy, drollery, and shrewdness, who seated on a low chair, with a well-plenished jug within his reach, screwed his pipes to the liveliest times and endless jig began.

An Irish jig is interminable, so long as the party holds together; for when on of the dancers becomes fatigued, a fresh individual is ready to step into the vacated place quick as thought; so he other does not pause, until in liked manner obliged to give place to a successor. They continue footing it, and setting to one another, occasionally moving in a figure, and changing place with extraordinary rapidity, spirit and grace. Few indeed, among even the very lowest of the most improvised class, have grown into youth without obtaining some lessons in this accomplishment from the traveling dancing-masters of their district; and certainly in the way they use it, many would be disposed to grant a dispensation to the young peasant which they would withhold from the young peer.

"But something was to follow that puzzled me not a little: when the fire had burned for some hours, and got low, an indispensable part of the ceremony commenced. Every one present of the peasantry passed through it, and several children were thrown across the sparkling embers; while a wooden frame of some eight feet long, with a horse's head fixed to one end, and a large white sheet thrown over it, concealing the wood and the man on whose head it was carried, made its appearance. This was greeted with loud shouts as the "white horse;" and having been safely carried by the skill of the bearer several times through the fire with a bold leap, it pursued the people, who ran screaming and laughing in every direction. I asked what the horse was meant for, and was told it represented all cattle.

......... While I looked upon the now wildly-excited people with their children, and, in a figure, all their cattle, passing again and again through the fire."