That part of Limerick formerly known as Englishtown, and at present localized in city ordinances and surveying maps as King's Island, consists of a knot of antique houses crowding thick around a venerable cathedral. An ancient castle, its dismantled tower within easy bow-shot, overrun with weeds and ivy, overlooks the noble river, whose expansive sweep of waters is at this point of passage spanned by an old, but still substantial bridge. In the shadow of the cathedral and within hearing of the river, Gerald Griffin, dramatist, poet and novelist, was born on the 12th of December, 1803. His father, who had succeeded to a goodly estate, a considerable fortune and an honored name, sold the fee simple of his landed inheritance, and removed to Limerick, that his children might enjoy all the advantages of a good education, which at that period were best obtainable in large towns and great cities. He established himself in the business of a brewer; and, as in every speculative walk of life where personal energy is not well supplemented by judicious management and long experience, time alone was needed to diminish his capital by rewarding his unremitting industry with profitless returns. The natural disposition of this good man presented a medley of those attractive qualities which secure for their fortunate possessor an immediate share of the sympathetic good-will alike of the friend and the stranger. He had a kind heart and a winning manner. He could enjoy and exchange a good joke, and to the end of his life was a sterling and an uncompromising patriot. Yet his admiration for valor and virtue was circumscribed by no political limits, by no narrow-minded prejudices. An ultra-volunteer in '82, and an O'Connellite in '29, he was enthusiastic over the victory at Waterloo, and wept at the melancholy fate of Sir Samuel Romilly. Gerald's mother was a gentle and accomplished lady, whose affection for her child was tempered and regulated by the treasures of a refined and cultured mind, and by a sensitively religious disposition. When he was in his third year, Mrs. Griffin, with her family, removed to a country district, which, from local association with the escapades of lepracauns and phookas, had inherited the significative title of Fairy Lawn. The new home was romantically situated amid the umbrageous woods and pastoral meadow-lands through which the Shannon flows at its confluence with the little Ovaan River. His infancy thus cradled in a landscape rich in the diversified picturesqueness of storied ruin and historic tradition, what wonder that Gerald at a very early age should feel the inspiration of his poetic surroundings as he looked towards the winding river, the green fields, the islands mirrored in the tributary Fergus, and the solemn shade and cloistered loneliness of ruined abbeys and gray cathedrals. To the careful training of his good mother he was indebted for the exquisite taste and truthfulness with which he interpreted nature; for the nice sense of honor which distinguished him through life, and which often rose to a weakness; for the delicate reserve which made absence from home a self-imposed hermitage; and for the deep, devotional feeling and healthy habit of moral reflection which ever shaped and inwove the pure current of his thoughts and writings.

A visiting tutor gave Gerald an elementary knowledge of English until the year 1814, when he was sent to Limerick. He remained in the city attending a classical school till he had acquired a familiarity with the works of the great Latin authors. At an age when it is scarcely customary to emancipate children from the prim decorum and polite restraint of the nursery, young Griffin was pouring with unmixed delight over the pages of Horace, Ovid and Virgil. Of the three, he preferred the sweet pastoral of the gentle poet of Mantua, and to the end of his life retained this partiality. Inspiration caught from so pure a source wrought itself into innumerable songs and sonnets, which Gerald managed to write clandestinely, when some new frolic drew away the attention of his brothers and sisters, and left him in the enjoyment of a peaceful hour and a quiet corner. During these intervals of busy writing he was insensibly acquiring that light and graceful style, by the gentle charm of which the most sober strain of serious thought became the most acceptable kind of agreeable reading. Though still young, he could well realize how indispensable a good style is for literary success. He lived at a time when books were comparatively scarce, in a district remote from easy access to well-filled libraries; when the cost of transportation often equalled the advertised price for the newest canto of "Childe Harold," or the latest novel by the "Great Unknown." But what would have been disadvantages to many a beginner proved to have been of incalculable benefit to Gerald Griffin. His knowledge of books and authors was limited to the extent of his mother's library, and it contained, among other choice works, the writings of the inimitable author to whose graceful allurement Washington Irving owed half his fame and all the classic sweetness of his fascinating style. He copied out whole chapters of the "Vicar of Wakefield," and rarely went out of doors without bringing for a companion a copy of the "Animated Nature."

In the boy, pensive and serious beyond his years, might be traced the different characteristics of mind and heart which eventually made up the texture of his later manhood, the yearning desire for retirement, the habit of sober reflection, the trait of gentle sadness, and the passionate love for home and country. The years of his childhood passed unattended by a single sorrow. Time, however, brought a change, which broke rudely in upon the even tenor of his happy life. The pretty homestead on the banks of the Shannon was to be broken up, old poetic haunts had to be forsaken, and the sheep of the little fold were to be dispersed.

In the year 1820 his father suffered such heavy losses that a slender competency was all that remained at his disposal to resume, if he had been willing, a business which had hitherto been productive of only disappointments and regrets. The family, not wishing to run further risks, set sail for America, and settled in another Fairy Lawn, in Susquehanna County, Pa., leaving Gerald and two younger sisters to remain with their brother, a physician, who was at that time living in the town of Adare. Here Gerald remained for two years, pounding drugs and manipulating pills, ostensibly to study medicine, but in reality to devise plots for projected dramas, and to sketch character and incident for tales in prose and poetry. The pathway of his future career had already been carefully mapped out. He had long pined in secret for a literary career, and years only whetted his eagerness to put his unspoken wish into practical execution. Like poor Kirke White, he felt the irresistible influence of an unmistakable destiny drawing him, as he fancied, from lowly walks to ways of loftier prospect and more uncertain enterprise. In the prophetic fervor of anticipated triumph, he foresaw himself the lion of the literary coterie, the courted favorite at titled levees and fashionable dinner parties. He occasionally contributed short essays and fugitive poems to the Limerick Reporter, a sheet of news on which were wont to be chronicled the gossip of the city, critiques of provincial dramas, statistics of the Baldoyle steeplechases, or the latest speech by the Liberator. Sometimes he ran into the city to have a chat with a young man, who had begun to be recognized in the circuit of provincial journalism as a literary star of rising magnitude. The young man was John Banim, whose noble services under trying circumstances Gerald had reason some years later to experience and appreciate. During the two years immediately preceding his departure for London, he devoted his attention almost exclusively to dramatic composition. Banim's "Damon and Pythias" appeared in 1821, and the success which had at once raised its obscure author into prominence, must have had no slight influence in confirming the resolution which Gerald had already made. A religious motive, too, entered into the spirit and outlined the object and policy of his work. His plays, when they should be produced, were not to terminate with uproarious applause and calls for the "gifted author" at the fall of the curtain. The spirit of the drama had at this time wofully departed from the sphere of its legitimate function received from historic tradition. The design of the great dramatic master had been in his own words to hold the "mirror up to nature." The interest of London stage-managers led them to pander to public taste, and crowd the boards with sensational makeshifts and spectacular unrealities. Otway's "Venice Preserved" and Heman's "Vespers of Palermo" could not attract a pit full; while scenes introducing battlefields, burning forests, and cataracts of real water crowded the houses to overflowing. It was at this juncture that Griffin hoped to bring about his dramatic revolution. It was with this object in view that he composed a tragedy and read it for his brother, who, seeing that it contained much that was excellent and much that gave evidence of future success, no longer withheld his permission for Gerald to try his future in the heart of the English metropolis.

One cold morning, in the autumn of the year 1823, Gerald Griffin found himself a bewildered stranger in the streets of London. The sense of utter loneliness, the feeling of timid embarrassment, which overpowered him in the bustle and uproar, amid the winding streets and smoky labyrinths of the densely populated Babel, had been experienced by many another aspiring adventurer, whom the glitter of a great name and the hope of literary preferment had drawn from happy retirements to battle through adversity to fame and fortune. His first object on his arrival in town was to seek the shelter of respectable lodgings; his next, to introduce himself, to explain his projects and to submit his tragedy to the manager of a London theatre. The manuscript was returned after some months delay, with the intimation that it was too poetic and too didactic, and would require extensive revision before it could be brought upon the stage. Accident, rather than good luck, threw Banim across his path, and he proved to be a valuable and a faithful friend. In the little sanctum at the rear of No 7 Amelia Place, Brompton, where Curran had written his speeches and Banim had composed his tragedies, Gerald sat down to reinspect the returned work, and at the suggestion of his friend to omit whole scenes, to substitute others, to lop off epithets which were too glaringly poetic, and to abbreviate speeches which were too discursively long. But despite all the author's revision and Banim's abler experience "Aquire" was fated never to occupy the boards. No amount of labor could redeem the fault of a drama which conveyed moral precepts in the classic solemnity of select and studied periods. Despairing, at length, of ever having it produced, Gerald withdrew it in disgust; but what he did with the manuscript, whether it was purposely destroyed, or accidentally lost, we are unable to say. "Aquire," however, must have contained many excellencies, judging from other poetical work of the author written at the same time, and from the testimony of his accomplished brother, whose excellent literary taste made him a competent judge. "Gisippus," a tragedy written at this period, was produced with great success two years after the author's death, Macready sustaining the title rÔle. A series of continued failures to satisfy the wants of exacting stage managers, slightly altered the plan, though not the purpose, of the work which Griffin had set himself to accomplish. He was compelled to give up writing tragedies, and write for a livelihood; but London was overcrowded with impecunious journalists, and he received the merest pittance in return for the most arduous species of literary drudgery. The author of "Irene," on his arrival in London, was not more incontestably the literary helot at the mercy of Cave, Millar, and Osborne, than was Gerald Griffin the typical booksellers' hack amid shuffling reviewers and extorting publishers. Johnson at the outset of his literary career received but five guineas for a quarto English translation of "Lobos Voyage to Abyssinia." Griffin, after working for weeks received two guineas for a translation of a volume and a half of Prevot's works. But he was not to be easily dismayed by first reverses of fortune. He had long ago made himself familiar with the catalogue of miseries in the literary martyrology beginning with Nash and Otway, and ending with his friend Banim. Early intimacy with distress and disappointment would but stimulate him the better to conquer both. He would sacrifice everything, consistent with a stainless name and an honorable career, in the attainment of his cherished end—the society of friends, the little luxuries of a frugal table, the modest though comfortable room in which he had hitherto lived and toiled. Poor Gerald! he had yet to learn when his most ambitious yearnings had been fully realized, that worldly honors do not satisfy the cravings of a Christian heart, that the most imperishable coronal of true success is woven of deeds little, lowly, and seemingly contemptible, and that labor spent in purely secular pursuits is labor spent in vain. But the nobler promptings of his nature were as yet unheard amid the discord in which he lived.

He now removed to a miserable garret in a lonely corner of a lonely street in the loneliest part of London. The forlorn solitude of his dreary room was, however, somewhat cheered by the thought, that in such dizzy eeries, amid the eccentric gables and rheumatic chimney pots of great capitals, works were often composed which were destined eventually to confer lasting honors on their obscure authors. Goldsmith had written his "Vicar of Wakefield" in the memorable, dingy eminence at the head of Breakneck Steps. Pope, walking with Harte in the Haymarket, entered an old house, where mounting three pair of creaking stairs he pointed to an open door and said: "In this garret Addison wrote his 'Campaign.'" Gerald Griffin, however, had yet to experience all the hardships which were endured by Goldsmith before his landlady threatened eviction, and by Addison before he received the fortuitous visit of Henry Boyle, Lord Chancellor of the Exchequer. He wrote prose and poetry for which he was often glad to get sufficient money wherewith to purchase a cup of coffee and a crust of bread. He studied Spanish, and when he had so mastered the language as to be able to translate fluently, his publisher said that on second consideration he would prefer to receive original contributions. And now commenced a period in Griffin's life, which, for exceptional want and misery, might claim a certain pre-eminence in the long list of hapless victims, who made up the literary hecatomb of the Johnsonian era. Without the grosser elements, which enter into their methods of living and disfigure their character, the abject squalor of vulgar surroundings, the love for pot-houses and low companionships, the utter disregard for personal respect, he otherwise underwent all the pain, the want and uncertainty of their impoverished condition. But the roughness of the road was unthought of in the anticipation of a rich reward at the end of his journey. He would redouble his efforts to ensure its nearer approach. He abandoned old companionships; invitations to dinners and literary soirÉes, which came from his friends Banim and McGinn, were politely declined. He locked himself in his lonely room and wrote through the hours of an unbroken day. Only at night when the lamps were lit, and the crowds had left the street, would he venture out of doors, and then merely to take a ten minutes' walk to ease his aching head, and to rest his wearied eyes. Once he remained three whole days without tasting food, till a friend accidently came to see him and found him pale and faint but still writing. Yet in all the sunless gloom of this dreadful time his letters home were most cheerful. The want of actual nourishment he felt, the evil influences by which he was surrounded, the chances of certain success which awaited him if he would but do violence to a certain portion of his scrupulous orthodoxy, counted for nothing with one whose good sense could see no grave inconsistency between temporary poverty and the first efforts of struggling genius. Nor is poverty so fatal to the efforts of genius as a superficial thinker would suppose it to be. To a noble nature it presents no feature of degradation or terror. Its supposed evils are, for the most part, begotten of the pride of those who are its victims.

If it forbade Griffin to ask or receive favors from those who were able and willing to help him, it thereby conferred self-independence and ceaseless energy, the constant forerunners of inevitable success. His industry was speedily rewarded, and in a manner which seemed the result rather of good luck than of strenuous effort or personal merit. One day Gerald made bold to write an article after the manner of those in the great reviews. He sent it anonymously to the proprietor of a leading periodical, and in return received unsolicited a cheque for a handsome sum of money, with an invitation to continue sending contributions of a similar kind. This was the first hopeful speck in the horizon of a brilliant future. The benevolence of the kindly publisher did not end here. He sought out the anonymous writer, invited him to dinner, treated him handsomely, and obtained for him the editorship of a new publication. "It never rains but it pours," is a true old maxim attributable with equal propriety to good and evil happenings. Hitherto he had been unable to make his time profitable either in a literary or pecuniary sense. His later contributions had all at once begun to attract attention, and the amount of time at his disposal seemed too short to enable him to satisfy all the requirements of numerous engagements. He was employed as a parliamentary reporter and as a writer of short plays for the English Opera House. He reviewed books which were published, and revised books which were unpublished. He contributed essays, stories and poetry to the News of Literature, the European Review, and the London Magazine, for the smallest one of which he received more money than for the huge translation of Prevot two years previous. He was now enabled to take more comfortable chambers; but he miscalculated his powers of endurance; when in such a stage of mental anxiety and mental application he would remain up at literary work till he heard the church clocks strike four in the morning. The evil results of this abuse of health soon made themselves manifest. He had lost all appetite for food. His rest was broken by fits of insomnia, during which his heart would beat so loud as to be distinctly heard by his brother in the same room. In the streets he would be suddenly attacked by swooning fits, during which he would have to support himself by leaning on gate posts and sitting on door-steps. At the earnest solicitation of his good brother he set out for Ireland with the hope of recruiting his failing energies by a few months' leave of absence. His vacation was productive of literary as well as of sanitary results.

He returned to London with a volume of stories for the press, and sold the copyright to the Messrs. Simpkin Marshall & Co., for £70. The work appeared in December 1826, under the title of "Hollandtide Tales." It was well received. The style was original, graceful and easy. The three novels, which comprised the series, were interesting and free from the taint of grossness and immorality, so erroneously deemed essential when describing the habits and customs of the poorer classes. It was an eloquent vindication of a much-wronged portion of the Irish peasantry, and like Banim's contemporary writings, it was hailed with universal exultation in Irish literary circles. The success of his first work was so immediate and decisive that he resigned his editorship, abandoned the magazines and reviews, and continued with few interruptions to appear annually before the public as a novelist. "Tales of the Munster Festivals," which appeared in two series, and for which he received £250, was the title of his next work. In 1858 appeared "The Collegians" which placed him with one bound in the fore front of the great writers of his country. It was not only the best Irish novel that had appeared previous to its first publication, but is admittedly the best that has ever been written since.[C] "The Invasion," "The Rivals," "The Duke of Monmouth," and others which he wrote subsequently, are all far inferior when placed side by side with this great master-piece of fiction. In it may be seen to best advantage the wonderful power and versatility of Griffin's genius as a great novelist, for within its single compass he has touched with a master hand the whole gamut of human passion and human affections. As a literary artist of the "dark and touching mode of painting," which Carleton has set down as the chief characteristic of his brother novelist, Griffin has few equals and no superior. To depict the more sombre tints of human nature, to trace the unbroken events linked together in a career of crime, from the first commission of evil till its last expiation in the felon ship, or on the gallows, he especially delights. He does not delay the progress of the plot to impress upon his reader the exact frame of mind in which his hero felt at certain trying conjunctures. This suggests itself unconsciously, in occasional snatches of vague and emotional distraction, in half uttered replies, in the joke that mechanically escapes the lips, in the capricious laugh that best discovers the anguish preying on the mind and the despair eating at the heart. But it is in the ingenuity with which he makes local surroundings play such an important part in the drama of human destiny, that Griffin excels to a remarkable extent. What reader of the "Collegians" has not realized all the perils of the windy night and the stormy sea with trepidation and horror scarcely surpassed by the occupants of the little craft tossing amid the boiling breakers—Eily, the hapless runaway, Danny, the elfin hunchback, and Hardress, the conscience-stricken victim of conflicting thoughts and passionate impulses? How much more tragic the finding of the dead body of Eily, the "pride of Garryowen," since it occurs on the hunting field, surrounded by the half maudlin squires, and before the bloodless face of the horrified murderer? But Griffin deserves mention other than as a dramatist and novelist. It is saddening to know that in an age where so much weak sentiment, scarcely discernible in its wealth of verbose ornamentation, is so easily imposed upon the public under the name of poetry, that so much really good poetry should be forgotten and unread. One is often provoked to regret that the scalping knife has become blunted in the hands of the "buff and blue," and that the race of useful parodists should seem to have expired with the wits of "Fraser." As a poet Griffin is comparatively little known; and yet, to make a seeming paradox, few poets have been more universally popular. The exquisite songs, "A Place in Thy Memory," "Schule Agrah" and "Aileen Aroon" have been read and sung wherever the English language is spoken. Yet very few young Irish ladies and gentlemen are aware that Gerald Griffin is the author. The religious spirit which exhibits its moral influence through the thread of his stories appears more extensively and more perceptibly in his poetry. If his shorter poems are the best of all he has written, the best of all his short poems are those which breathe a religious spirit. To verify our assertion we need only mention, "Old Times, Old Times!" "The Mother's Lament," "O'Brazil" and "The Sister of Charity." It is a matter for much regret that Griffin should have written so little poetry. Had he devoted more exclusive attention to this department of literature, he would undoubtedly have become the Burns of his country; for his muse had taught him a kindred song, and given him to write with equal tenderness and simplicity.

In the year 1838, Gerald Griffin had attained a popularity which would have satisfied the wishes of the most ardent literary enthusiast. He was no longer the literary hack, the despised minion, the swindled victim at the mercy of harpy publishers and newspaper knaves. He could now write at his leisure, and be handsomely rewarded for his labor. Positions from which much emolument might be derived were offered him, but he answered them with a polite refusal. Contributions were solicited to no purpose. The desultory articles written under pressure of hunger in the confinement of the garret near St. Paul's were hunted for by publishers, who were too happy to pay a handsome premium for any thing printed over the name of the now popular author. To those who have never tried to realize the working of divine grace in the hearts of the pure and virtuous, Gerald Griffin would now seem to have nothing more to wish for, no unacquired honor to enkindle a new aspiration, no need of money to compel him once more to write for a living. The wisdom of advanced years, and a religious discernment guided by the spirit of God, and becoming more devotional day by day, began at last to discover the sophistry and the deceit of human glory and human praise. He still yearned after a mysterious something which he began to realize could never be found amid the jarring discord and empty distractions of the secular world. A new light irradiated the thick gloom by which he had long been encompassed. Gradually the mist and shadow of doubt and difficulty rolled away, disclosing at length the gray walls of a silent monastery in spirit of unpretentious work and pious exercise, far sequestered from the busy haunts of worldly men. Step by step he was approaching the humble cell of recollection and prayer, in the religious solitude of which he was to find true peace and lasting happiness. From the cottage cradled on the Shannon's breast to his later home in the poetic solitude of sweet Adare; from the three-cornered garret in the London back street to the tables of the rich and the titled, he had experienced every vicissitude between the antithetical extremes of joy and sorrow. When, at length, the final step was taken, it was not the rash or eccentric choice of momentary impulse, but the matured result of wise and cautious deliberation. He prepared to enter the noble order of the Christian Brothers, whose humble office it is to instruct the children of the poor, and whose labors in the cause of Christian education have been of incalculable benefit to the Irish race. One morning previous to Gerald's final departure, an elder brother entered his bedroom. He found him in a kneeling posture holding the last fragment of a charred heap of manuscript over the blazing fire. He had made the final sacrifice to God of all that could wed his heart to future worldly honors. In the year 1838 he entered the Christian Brothers at Cork, and after a short novitiate received the habit and the vows by which these holy men consecrate themselves to the service of their Maker and the spiritual welfare of their fellow men. But the splendid genius of the new Brother was not destined to remain idle. It was now to be exercised more energetically than ever, consecrated as it had been to the service of religion and the glory of God. He had just completed a small number of Catholic tales, written in his happiest vein, when a fatal attack of malignant fever struck the pen from his hand. Every remedy that the skill of great physicians could devise, every attention that loving confrÈres could bestow was procured for him during his last illness. But the invisible decree had gone forth, and the near passing was inevitable. He lingered but a few days, edifying his attendants by his fervent piety and resignation under suffering. He died consoled by the rites of Holy Church on the 12th of June, 1840. In the humble cemetery, of the monastery at Cork, a modest grave, unnoticed amid rows of similar ones, is surmounted by a small cross. The cross bears the name of Brother Joseph, the grave holds all that was mortal of the good and gifted Gerald Griffin.

Oxford, N. J.

James H. Gavin.

[C] Mr. Justin McCarthy, speaking of "Irish Novelists" at Cork, in September, 1884, said: "We have some Irish novels which ought to be classic, and about which I have over and over again taxed all the critical experience I can summon up why they have failed to become classic in the sense of Sir Walter Scott's novels. I cannot understand why Gerald Griffin's 'Collegians' fails to take a place in the public estimation beside the best of the novels of Sir Walter Scott."