Tag Archives: Speranza


In Irish folklore, the leannán sí or ‘fairy-lover’ is a beautiful female member of the Aos Sí or Aes Sídhe, the people of the barrows, who takes a human lover. These chosen men are permitted to live brief but inspired lives and their interactions with their supernatural muse results in the creation of great works of art.

Duncan, John, 1866-1945; The Riders of the Sidhe

The Riders of the Sidhe by John Duncan (Dundee City Council)

While it seems unlikely that our great poets, painters and writers have benefitted from productive liaisons with beautiful mythical beings, what is certain is that Ireland’s foremost artists have long been inspired by the real women who inhabit their lives. These women are often lovers, but they are also mothers, sisters, cousins and friends.

When Oscar Wilde, aged twenty-seven, embarked on a lecture tour of America, he was introduced in Minnesota as ‘a son of one of Ireland’s noblest daughters’. In an interview with journalist Mary Watson, Wilde described how ‘his mother, of whom he is very proud, inspired him with the desire to become a poet’. As Speranza, Jane Wilde emboldened a nation to challenge the authority of her colonizer.

Wilde wrote poetry throughout his life. His most moving and beautiful poem, ‘Requiescat,’ was written in memory of his beloved little sister, Isola, who died when she was nine and he, twelve. When W.B. Yeats included ‘Requiescat’ in A Book of Irish Verse (1900), it was hailed as ‘the brightest gem’ in the collection. The first four lines are inscribed on Isola’s tombstone:

Tread lightly, she is near
Under the snow,
Speak gently, she can hear
The daisies grow.

Yeats himself is most closely associated with fiery Maud Gonne, revolutionary and founder of Inghinidhe na hÉireann (Daughters of Ireland). He called her ‘the new Speranza,’ not least because she stood over six feet tall as Jane Wilde did. Among many poems, she inspired his magnificent ‘No Second Troy’:

What could have made her peaceful with a mind
That nobleness made simple as a fire,
With beauty like a tightened bow, a kind
That is not natural in an age like this,
Being high and solitary and most stern?

Yet Yeats’s early plays – Time and the Witch Vivien, The Island of the Statues, and Mosada – were inspired by Laura Armstrong, an earlier target of his infatuation. A lesser-known muse was fellow poet Katharine Tynan with whom Yeats collaborated on Poems and Ballads of Young Ireland (1888).

Iseult Gonne

Iseult, Maud Gonne’s beautiful daughter, played muse not only to Yeats but also to Ezra Pound, American poet and critic. Pound’s great friend James Joyce was inspired by lifelong partner and eventual wife, Nora Barnacle: ‘I love you deeply and truly, Nora,’ he wrote. ‘I feel worthy of you now. There is not a particle of my love that is not yours’. Patrick Kavanagh’s ‘On Raglan Road’ was written for Hilda Moriarty, a raven-haired medical student from Kerry who was two decades his junior.

Two women who inspired each other were Edith Somerville and Violet Martin, who wrote as Somerville and Ross, and gave us The Irish R.M. By the time Martin died in 1915, they had completed fourteen books together. Insisting that she retained a spiritual connection to her partner, Somerville continued to write and publish stories under their joint names. The women are buried side by side at St. Barrahane’s Church, Castletownsend, County Cork.


Edith Somerville and Violet Martin (Ross)

Ireland has a proud tradition of producing inspirational women, all of them highly accomplished in their own right of course. Without their influence, we would be deprived of many of our finest literary masterpieces.

International Literature Festival Dublin 2017 presents Herstory Salon: Ireland’s Lost Muses in Smock Alley Theatre, Thursday 25 May at 6p.m., followed by a reception at The Workman’s Club, Wellington Quay. Speakers include Mary McAuliffe, Assistant Professor of Women’s Studies at UCD, and author Eleanor Fitzsimons, with poetry by Dani Gill and Maria Bourke. The event marks the first anniversary of Herstory, Ireland’s new cultural movement created to tell the life stories of historical, contemporary and mythological women.

To discover more about Herstory please visit www.herstory.ie & to find out more about Wilde’s Women by Eleanor Fitzsimons visit here.


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A Glimpse of Oscar & his Mother

My research requires the reading of firsthand accounts of life during the latter half of the nineteenth century. As a result, although I’m not specifically looking for information on Oscar Wilde at the moment, I often stumble across little anecdotes. The latest comes from Here and There Memories, published in 1896 under the pseudonym Hi Regan. The author of this book was Captain John Joseph Dunne, a colourful character and father to George Egerton, who is the subject of my current research. Here’s what he wrote:

‘A tall, elderly lady, dressed with a certain not unbecoming bizarrerie in yellow silk and black lace, came to sign the roll*. She was accompanied by a puppy-faced young man with a lackadaisical air and drab boots. Till then, though I knew her husband well, I had never seen her, and was rather astonished when she signed ‘Francesca Wilde (“Speranza”).’ Her long-haired escort, a la Buckstone’s ‘stricken one,’ was Oscar, not yet above the horizon of self-assertion, nor perhaps dreaming of future effulgence.’ (380)

*‘Butt started the National Roll as a means to get together funds for the Home Rule League’s operations’ (380).

Young Oscar

Oscar Wilde as a Young Man

We can date this incident to 1874. Oscar would have been nineteen and coming to the end of his time as a student at Trinity College Dublin. That autumn he would continue his studies at Magdalen College, Oxford. Lady Jane Wilde was fifty-two – hardly ‘elderly’ – and would reinvent herself in London shortly afterwards.

My thanks to Michael Seeney for prompting me to point out that Oscar’s hair was short at the time, as the photograph shows. Dunne is writing with hindsight. He was also notoriously unreliable! In A Leaf From the Yellow Book, his relation Terence de Vere White wrote of him that he was ‘a born liar if his reminiscences are to be judged’. Also, he wasn’t particularly well disposed towards Oscar since his beloved elder daughter’s career had suffered greatly in 1895 due to Wilde’s perceived association with John Lane and The Yellow Book.

For far more on Oscar and his mother read Wilde’s Women.



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Jane Elgee & William Wilde: ‘Wed on Wednesday, Happy Match’

On 12 November 1851 Dr William Wilde married Jane Elgee at St. Peter’s on Aungier Street, Dublin. Here’s an excerpt from my book, Wilde’s Women to mark the occasion:


Excerpt from Chapter 3: Taming Speranza

Shortly after eight o’clock on the morning of Wednesday, 12 November 1851, , a carriage brought Dr. William Wilde and Jane’s uncle John Elgee to the door of 34 Leeson Street, the home she had shared with her mother, recently deceased, for the past eight years. To the men’s surprise, Jane was ready to leave, allowing them to reach St. Peter’s on Aungier Street [1], her parish church, in time for a nine o’clock wedding. The modest ceremony that joined ‘William R. Wilde Esq., F.R.C.S.’ and ‘Jane Francesca’ was conducted by the groom’s older brother, Reverend John M. Wilde. For the occasion, Jane had exchanged her mourning clothes for a, ‘very rich dress of Limerick lace’ with matching veil worn under a head wreath of white flowers, but she was back in black by eleven o’clock that same morning.

Both bride and groom were well known in the capital, and their dozens of acquaintances would surely have delighted in witnessing the sealing of such a dynamic alliance, but a lavish wedding would have been inappropriate on account of Sarah’s death. Describing the day to the bride’s estranged sister, Emily, Elgee hinted that the couple had married a day earlier than expected and confirmed: ‘nobody were present save our own party and the old hangers on of the church’. Perhaps they desired an auspicious start to their married life. An old folk rhyme beloved of Victorian brides advised: ‘Wed on Wednesday, happy match’. Theirs was certainly happy, but it did not lack turbulence.

After a celebratory breakfast at the Glebe house, Elgee waved the newlyweds off on their short journey to the coastal village of Kingstown, now Dun Laoghaire, where they caught the steamer to Holyhead. Judging by his letter to Emily, he was determined to improve relations between the sisters: ‘I don’t want to see open war between you and them’, he cautioned. Acknowledging that, ‘love of self’ was a prominent feature of Jane’s flamboyant character, he countered by insisting that she possessed, ‘some heart’ and, ‘good impulses’. It reassured him that she had chosen for her husband a man she clearly liked and respected: ‘Had she married a man of inferior mind he would have dwindled down into insignificance or their struggle for superiority would have been terrific’, he warned.

Notes & Sources:

[1] This was the church where her literary uncle by marriage, Charles Maturin served as Anglican Curate for the last eighteen years of his life.

Much of the detail in this post comes from a letter sent by John Elgee to Emily Warren. This letter was shown to Terence de Vere White and he quotes from it in ‘Speranza’s Secret’, Times Literary Supplement, 21 November 1980.

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The Mystery of Oscar Wilde’s Maternal Grandfather


On the 13th August last, at Bangalore, in the East Indies, Charles Elgee, Esq., eldest son of the late venerable Archdeacon Elgee, of Wexford.

The last known record of Charles Elgee, maternal grandfather of Oscar Wilde, is an obituary that was published in the Freeman’s Journal on 4 February 1825. Charles had left the family home sometime earlier, a departure that obliged his wife Sarah (nee Kingsbury) to raise their three surviving children, Emily, John and Oscar’s mother Jane, alone. It was she who oversaw their education.

Charles and Sarah Elgee’s marriage was a turbulent affair and the early years, during which three of their four children were born (the third, Frances, died in infancy in 1815), were characterised by regular changes of address. Jane was born in 1821, towards the end of this unstable marriage, and evidence suggests that the family was living in County Wexford at the time. Certainly, this is stated as a fact in her obituary in The Guardian on Wednesday 12 February 1896, and The Times on 7 February 1886, and is often mentioned in local histories of the county.

Financial troubles may have contributed to the couple’s estrangement; a deed registered on 11 November 1814, granting Charles £130 from his wife’s inheritance to discharge his debts, contained an ominous clause in which he agreed not to touch his wife’s assets should they decide to separate. This was necessary, since, until the passing of the Married Women’s Property Act 1882, English law defined a wife as subordinate to her husband and stripped her of her legal identity.

It is not known why Charles travelled to India, although an obituary for his grandson and namesake, Charles Le Doux Elgee, son of John Kingsbury Elgee, which is included in the Report of the Secretary, Class of 1856, Harvard, suggests that he may have had ‘some connection with the East-India Company’.

Nothing further is known, by me anyway. Everything I have discovered is documented in chapter two of Wilde’s Women. Perhaps one of you can shed some light on this intriguing mystery?


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The Great Famine: Speranza Responds

Speranza, Lady Jane Wilde

Jane Wilde

When she decided to send poetry to The Nation newspaper in response to a call for contributors, Jane Elgee, who would become Jane Wilde on marriage, chose the pseudonym Speranza, the Italian word for hope, which she described as her, ‘nom de guerre, or rather nom de vers,’ and which formed part of her motto ‘Fidanza, SperanzaCostanza’ (Faith, Hope, Constancy).

The first poem from the pen of ‘Speranza’ was ‘The Holy War’, translated from a German original and published The Nation on 21 February 1846. Jane signed the accompanying letter ‘John Fanshaw Ellis’, a pseudonym adopted to conceal her activities from her unsympathetic family; she may also have assumed, with good reason, that a male contributor would be looked upon more favourably.

In February 1847, the Great Famine in Ireland reached it’s height. The horror of this tragedy radicalised poet Jane Elgee, in her mid-twenties by then, prompting her to adopt the name ‘Speranza’ and write inflammatory poetry  in response. Later, she would marry William Wilde and become the mother of Oscar. Here’s an excerpt from Wilde’s Women describing her response to the famine:

In 1847, Jane found a catastrophe to write about: Ireland’s rich soil yielded an abundance of high quality grain, meat and dairy products, and landowners sold the bulk of their produce overseas. When the price of grain became artificially inflated during the campaigns against the French, it was designated a cash crop for export. At the same time, the Irish population was growing inexorably, from five million in 1800 to in excess of eight million by 1841. The teeming families that farmed thousands of sub-divided smallholdings, half of them covering less than five acres, were required to survive on the potato crop alone. When the blight that ravaged America in 1842, crossed the Atlantic in the years that followed, the subsistence farmers of Ireland were hardest hit. Harsh governance and the laissez-faire trading policies adopted in Westminster exacerbated the problem, leading to famine in one of the most fertile countries in the world.

Jane’s words had a galvanizing effect: ‘a nation is arising from her long and ghastly swoon’, she declared.* In ‘The Lament’, she gave voice to the Young Irelanders’ criticism of the increasingly ineffectual Daniel O’Connell: ‘gone from us…dead to us…he whom we worshipped’, she wrote. In ‘The Voice of the Poor’, she railed against the horrors of famine, writing, ‘before us die our brothers of starvation’; ‘The Famine Year’ condemned the arrival of, ‘stately ships to bear our food away’; ‘The Exodus’ lamented the ‘million a decade’ forced to flee their homeland. The most popular of Jane’s compositions was ‘The Brothers’, a rousing ballad eulogising Henry and John Sheares, one a lawyer, the other a barrister, both United Irishmen hanged for their part in the rising of 1798. In tone and theme it shares much with her son’s Ballad of Reading Gaol and it was taken up by the street balladeers of Dublin.

Snow lay deep when the famine reached its height in February 1847, and a typhus epidemic raged uncontrollably. The non-interventionist policies adopted by the newly installed Whig government were proving disastrous, and the soup kitchens and relief works set up to help the starving population were woefully inadequate. As the country headed inexorably towards insurrection, Jane’s contributions became increasingly provocative. Her poem, ‘The Enigma’ described how the living envied the dead as Ireland’s abundance was, ‘taken to pander a foreigner’s pride’. She lamented the loss of, ‘the young men, and strong men,’ who, ‘starve and die, for want of bread in their own rich land’.

When the offices of the Nation newspaper were raided in July 1848, editor, Charles Gavan Duffy was arrested and charged under the new Treason-Felony Act for publishing a newspaper article advocating the repeal of the Act of Union, a crime that carried the penalty of transportation. While he was in prison awaiting trial, he entrusted editorship of the Nation to his sister-in-law, Margaret Callan, aided by Jane. On 22 July the Nation carried Jane’s inflammatory poem, ‘The Challenge to Ireland’. The following week, she wrote an unattributed leader titled ‘Jacta Alea Est’(the die is cast); it was an unmistakable call-to-arms:

‘O! for a hundred thousand muskets, glittering brightly in the light of Heaven, and the monumental barricades stretching across each of our noble streets made desolate by England…’

As if this were not sufficiently treasonous, she beseeched:

‘Is there one man that thinks that Ireland has not been sufficiently insulted, has not been sufficiently degraded in her honour and her rights, to justify her now in fiercely turning on her oppressor?’

* From ‘Forward!’ by Jane Wilde, originally titled ‘To My Brothers’ in Poems by Speranza (Dublin, James Duffy, 1864), p.35

Source: Wilde’s Women by Eleanor Fitzsimons


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