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Tag Archives: Elizabeth Rawdon (Countess of Moira)


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Death of Joseph Cooper Walker, Irish Antiquarian & Writer

Joseph Cooper Walker, Irish antiquarian and writer, dies on April 12, 1810, in Enniskerry, County Wicklow.

Walker is born in Dublin, son of Cooper Walker, merchant, and educated by Thomas Ball. He suffers from asthma, which prevents him from attending college. Instead he travels to Italy, where he possibly receives some private tuition in Latin, Greek, French, Italian, and Spanish. He takes a special interest in Italian literature and Irish antiquities, and on his return to Ireland (where he is employed in the Irish treasury as third clerk in the upper department) resides in an Italianate villa, St. Valerie, on the road from Bray to Enniskerry.

In 1785, Walker is elected one of the original members of the Royal Irish Academy (RIA) and on March 17, 1786, is requested to sit on its committee of antiquities. In this capacity he submits several essays to the Academy’s Transactions. However, his best-known work is Historical Memoirs of the Irish Bards (1786). His interest in poetry, and in eighteenth-century vernacular survivals of the ancient bardic tradition, suggests important new contemporary and literary dimensions for what had previously been antiquarian and scholarly pursuits. He also breaks new ground by considering modern as well as historical Irish culture, and introduces it to an Anglo-Irish audience by providing English translations of Gaelic songs and poems.

The authorities Walker cites covers the entire range of Irish and Anglo-Irish scholarship on Irish antiquities. He includes excerpts from his correspondence with Charles O’Conor, Charles Vallancey, and Sylvester O’Halloran and carries out an extensive correspondence with Thomas Percy after he becomes Bishop of Dromore in 1782. He focuses on both poetry and music, which according to the popular eighteenth-century view has been the two traditional pursuits of the Irish bards. He presents a historical outline of their progress from the earliest times to the eighteenth century and ends with nine appendices, which are almost as lengthy as the main text. In these, his appreciation of what he considers to be the contemporary survivals of the ancient Irish bardic tradition is apparent in his including an account of Cormac Common, a blind eighteenth-century poet from Mayo, as well as a lengthy biographical notice of Turlough O’Carolan, together with translations of several of his songs. The book brings together many of the literary, scholarly, popular, Celtic, antiquarian, political, and musical dimensions of eighteenth-century Irish culture and prefigures the synthesis of literary modes, cultural theories, and musical styles that would occur in the literary productions of the United Irishmen.

Despite his linguistic skills, Walker has little knowledge of the Irish language, yet he (a member of the Anglo-Irish elite) is consistent in his praise of Gaelic culture, portraying it as sophisticated and literate and, although he highly romanticises his work, he does help to challenge negative appraisals of the Irish character. By the standards of the time it is a work of great erudition. However, today the book is judged to be of limited academic merit as Walker is severely hampered by a shortage of primary documents and by his limited grasp of the Irish language. This is illustrated by his ambiguous use of James Macpherson‘s volumes of Ossianic poems, published in the 1760s, which he quotes as authentic in the text while hinting in the footnotes that they are unreliable.

Charlotte Brooke translates three poems, and in return Walker encourages her to produce her Reliques of Irish Poetry (1789). Her work reflects Walker’s influence and she thanks him in the preface for affording her “every assistance which zeal, judgment and extensive knowledge, could give” as well as for prevailing on people to subscribe to her work and for being a subscriber himself. He is part of a literary circle that includes Edward Ledwich, Charles O’Conor, Edward Berwick, John Philpot Curran, and Henry Grattan. He also writes Historical essay on the dress of the ancient and modern Irish (1788), dedicated to his friend James Caulfeild, 1st Earl of Charlemont, for which he interviews the older generation, consults manuscripts, and even visits tombs to examine the clothing of corpses, and admits he has received copious aid from Elizabeth Rawdon, Countess of Moira. The English Review receives it warmly but Richard Gough, the reviewer for The Gentleman’s Magazine, states he is “much disappointed in the perusal of this high priced history.” Other works by Walker include “an historical essay on the Irish stage,” RIA Trans., ii (1788), Historical Memoir on Italian Tragedy (1799) and contributions to Vallancey’s Collectanea de rebus Hibernicis (Dublin, 1770–1804). In the 1790s he subscribes to Anthologia Hibernica: a monthly collection of science, belles lettres and history and in December 1794 submits an “Historical essay on the Irish stage” which surveys Irish drama from bardic times through to contemporary folk plays.

Walker dies on April 12, 1810, in Enniskerry, County Wicklow, leaving a fine gallery of pictures, a library containing Irish manuscripts, and a collection of antiquities. He is buried on April 14 in St. Mary’s Churchyard, Dublin. His memoirs of Alessandro Tassoni are published posthumously in London in 1815 (with a lengthy preface by his brother Samuel), as is the second edition of Historical Memoirs of the Irish Bards (2 vols., Dublin, 1818).

(From: “Walker, Joseph Cooper” by Rosemary Ritchie, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Birth of Francis Rawdon-Hastings, 1st Marquess of Hastings

Francis Rawdon-Hastings, 1st Marquess of Hastings, Anglo-Irish politician and military officer, is born on December 9, 1754, at Moira, County Down. As Governor-General of India, he conquers the Maratha states and greatly strengthens British rule in India.

Rawdon-Hastings is the son of John Rawdon, 1st Earl of Moira, and Elizabeth Hastings, 13th Baroness Hastings, who is a daughter of Theophilus Hastings, 9th Earl of Huntingdon. He is baptised at St. Audoen’s Church, Dublin, on January 2, 1755. He grows up in Moira and in Dublin. He attends Harrow School and matriculates at University College, Oxford, but drops out. While there, he becomes friends with Banastre Tarleton.

He joins the British Army on August 7, 1771, as an ensign in the 15th Regiment of Foot. With his uncle Francis Hastings, 10th Earl of Huntingdon, he goes on the Grand Tour. On October 20, 1773, he is promoted to lieutenant in the 5th Regiment of Foot. He returns to England to join his regiment, and sails for America on May 7, 1774.

He serves in the American Revolutionary War (1775–81), first seeing action at the Battles of Lexington and Concord and the Battle of Bunker Hill. He is rewarded with an English peerage in 1783. He succeeds his father as Earl of Moira in 1793. When the Whigs come to power in 1806, he is appointed Master-General of the Ordnance, a post he resigns on the fall of his party in 1807. Taking an active part in the business of the House of Lords, he belongs to the circle of the Prince of Wales (later George IV), through whose influence he is appointed Governor-General of India, on November 11, 1812. He lands at Calcutta (Kolkata) and assumes office in October 1813. Facing an empty treasury, he raises a loan in Lucknow from the nawab-vizier there and defeats the Gurkhas of Nepal in 1816. They abandon disputed districts, cede some territory to the British, and agree to receive a British resident (administrator). For this success, in 1817 he is raised to the rank of Marquess of Hastings together with the subsidiary titles Viscount Loudoun and Earl of Rawdon.

He then has to deal with a combination of Maratha powers in western India whose Pindaris, bands of horsemen attached to the Maratha chiefs, are ravaging British territory in the Northern Sarkars, in east-central India. In 1817, he offers the Marathas the choice of cooperation with the British against the Pindaris or war. The Peshwa, the Prime Minister of the Maratha Confederacy, the raja of Nagpur, and the army under Holkar II, ruler of Indore, chose war and are defeated. The Pindari bands are broken up, and, in a settlement, the Peshwa’s territories are annexed, and the Rajput princes accept British supremacy. By 1818 these developments establish British sovereignty over the whole of India east of the Sutlej River and Sindh. Rawdon-Hastings also suppresses pirate activities off the west coast of India and in the Persian Gulf and the Red Sea. In 1819, Sir Stamford Raffles, under his authority, obtains the cession by purchase of the strategic island of Singapore.

In internal affairs, Rawdon-Hastings begins the repair of the Mughal canal system and brings the pure water of the Yamuna River (Jumna) into Delhi, encourages education in Bengal, begins a process of Indianization by raising the status and powers of subordinate Indian judges, and takes the first measures for the revenue settlement of the extensive “conquered and ceded” provinces of the northwest.

Rawdon-Hastings’s competent administration, however, ends under a cloud because of his indulgence to a banking house. Though he is cleared of any corrupt motive, the home authorities censure him. He resigns and returns to England in 1823, receiving the comparatively minor post of Governor of Malta in 1824. He dies at sea off Naples on November 28, 1826, aboard HMS Revenge, while attempting to return home with his wife. She returns his body to Malta, and following his earlier directions, cuts off his right hand and preserves it, to be buried with her when she dies. His body is then laid to rest in a large marble sarcophagus in Hastings Gardens, Valletta. His hand is eventually interred, clasped with hers, in the family vault at Loudoun Kirk.

In 1828, two years after Rawdon-Hastings’s death, members of the India House, to make some amends for their vote of censure, give £20,000 to trustees for the benefit of Hastings’s son.

(Pictured: “Portrait of Francis Rawdon, 2nd Earl of Moira, later 1st Marquess of Hastings (1754 – 1826)” possibly by Martin Archer Shee, oil on canvas, National Gallery of Ireland)