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Birth of Myles Byrne, United Irishman & French Army Officer

Myles Byrne, United Irishman, French army officer and author, is born into a Catholic farming family in the townland of Ballylusk, near Monaseed, County Wexford, on March 20, 1780.

At the age of 17, Byrne is asked to join the government Yeomanry. He chooses instead to join the Society of United Irishmen. In defiance of the British Crown and the Protestant Ascendancy the oath-bound movement is determined to achieve an independent and representative government for Ireland. He participates in preparations in Wexford for the Irish Rebellion of 1798 and, at the age of 18, fights at the Battle of Tubberneering on June 4 and, in command of a division of pikemen, in the Battle of Arklow on June 9, in which the rebel leader Father Michael Murphy is killed. In the face of a general rout, he leads a rebel charge in the Battle of Vinegar Hill on June 21.

Keeping command of a small band, Byrne seizes Goresbridge on June 23 but has to deplore the murder of several prisoners and other atrocities committed by his men in revenge for the torture and executions that had been visited upon the peasantry by the yeomanry and government militia. After further skirmishes he joins Joseph Holt and Michael Dwyer in taking to the Wicklow Mountains to continue a guerrilla resistance.

After Holt accepts transportation to Australia in November, Byrne, assisted by his sister, escapes to Dublin. He recalls of his sister, “If I had not remarked a long scar on her neck, she would not have mentioned anything herself. A yeoman … threatened to cut her throat with his sabre if she did not tell instantly the place in which I was hiding. The cowardly villain, no doubt, would have put his threat in execution had not some of his comrades interfered to prevent him.”

In the winter of 1802-03, Byrne enters into the plans of Robert Emmet and Anne Devlin for a renewed uprising. In his Memoirs he describes a meeting he arranged between Robert Emmet and the Wexford rebel leader Thomas Cloney at Harold’s Cross Green, Dublin, just prior to Emmet’s Rebellion, “I can never forget the impression this meeting made on me at the time – to see two heroic patriots, equally devoted to poor Ireland, discussing the best means of obtaining her freedom.”

In July 1803, the plans unravel when Anne Devlin’s cousin, Michael Dwyer, still holding out in Wicklow, recognises that there are neither the promised arms nor convincing proof of an intended French landing. In the north Thomas Russell and James Hope find no enthusiasm for a renewal of the struggle in what in 1798 are the strongest United Irish and Catholic Defender districts.

In Dublin, with their preparations revealed by an accidental explosion of a rebel arms depot, Emmet proceeds with a plan to seize the centres of government. The rising, for which for Byrne turns out with Emmet and Malachy Delaney in gold-trimmed green uniforms, is broken up after a brief confrontation in Thomas Street.

Two days after the fight in Thomas Street, Byrne meets with the fugitive Emmet and agrees to go to Paris to procure French assistance. But in Paris he finds Napoleon‘s attentions focused elsewhere. The First Consul uses a cessation of hostilities with Britain to pursue a very different venture, the re-enslavement of Haiti.

Byrne is commissioned as a captain in Napoleon’s Irish Legion. But at a time when he is convinced that “all Catholic Ireland” is “ready to rise the moment a rallying point was offered,” the Irish exiles cannot deflect the First Consul from other priorities. Rather than in Ireland, with his diminishing Irish contingent, he is to see action in the Low Countries, Germany and Spain.

Byrne rises to the rank of brigadier general and is awarded the Legion of Honour in 1813. Following the Bourbon Restoration, with fellow legionnaire John Allen, he narrowly avoids deportation as a foreign Bonapartist. An introduction to the Prince de Broglie, then vice-president of the Chamber of Deputies, and two audiences with the Minister of War, Marshal Henri Clarke, the Duke of Feltre, contribute to the latter’s decision to quash the deportation order. In August 1817 Byrne is naturalised as a French citizen.

For much of the next decade Byrne finds himself effectively retired on half pay. Returned to active military service in 1828, he distinguishes himself in the French expedition to Morea during the Greek War of Independence. He retires in 1835 with the rank of Chef de Bataillion.

In the 1840s, Byrne is Paris correspondent for The Nation in Dublin, the Young Irelander newspaper that does much to rehabilitate the memory of the United Irishmen.

In his last years Byrne writes his Memoirs, which are an account of his participation in the Irish Rebellion and his time in the Irish Legion of Napoleon. These are first published in three volumes in 1863, but there have been many subsequent reprints. Against the portrayal of 1798 as a series of disjointed, unconnected risings, his memoirs present the United Irishmen as a cohesive revolutionary organisation whose aim of a democratic, secular, republic had captured the allegiance of a great mass of the Irish people.

Byrne dies at his house in the rue Montaigne (now rue Jean Mermoz, 8th arrondissement, near Champs-Élysées), Paris on January 24, 1862, and is buried in Montmartre Cemetery. His grave there is marked by a Celtic Cross, however this headstone appears to be a 1950s replacement for an earlier one.

(Pictured: Miles Byrne (1780-1862), United Irishman. Photograph taken by an unknown photographer in Paris in February 1859. The photograph now resides in Áras an Uachtaráin, the residence of the President of Ireland, in Dublin.)


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Birth of Shakespearean Actress Harriet Smithson

Harriet Constance Smithson, Anglo-Irish Shakespearean actress of the 19th century and best known as the first wife and muse of Hector Berlioz, is born at Ennis, County Clare on March 18, 1800.

Her father, William Joseph Smithson, is an actor and theatrical manager from Gloucestershire, England, and her mother is an actress whose full name is unknown. She also has a brother, Joseph Smithson, and a sister, name also unknown. In October 1801, she is left in the care of Reverend James Barrett, a priest of the Church of Ireland, parish of Drumcliffe. Barrett becomes her guardian and raises her as though she were his own daughter. He instructs her “in the precepts of religion,” and keeps everything connected with the stage from her view. After his death on February 16, 1808, the Smithsons send Harriet to a boarding school in Waterford.

On May 27, 1814, Smithson makes her first stage appearance at the Theatre Royal, Dublin, as Albina Mandevill in Frederick Reynolds‘s The Will. Her performance is well received. In 1815, she takes her parents’ place in Montague Talbot’s company in Belfast after they return to Dublin. The season opens on January 1, 1816, where she extends her range in roles, performing in multiple comedies. She then travels to Newry, Limerick, Dublin, and Birmingham, where she joins Robert Elliston‘s company. She spends the next two months playing over forty roles in various genres.

Four years later, January 20, 1818, Smithson makes her first London appearance at Drury Lane as Letitia Hardy in The Belle’s Stratagem. Her first performance receives mixed reviews from critics, but she quickly gains some favour of critics and performers as she obtains more experience. She joins the permanent company at the Royal Coburg Theatre later that year. However, she rejoins Drury Lane Company in the autumn of 1820. On February 20, 1821, she takes the lead female role in Thérèse by John Howard Payne, when the cast actress falls ill. Overall, the London public remembers her as The Times put it, “a face and features well adapted to her profession; but [an actress] not likely to make a great impression on a London audience, or to figure among stars of the first magnitude.”

In 1827, Smithson makes her Paris début as Lydia Languish in The Rivals at the Théâtre de l’Impératrice. Though she receives negative reviews for this role, she is highly praised for her beauty and ability in the subsequent performance of She Stoops to Conquer. On September 11, 1827, she is given the small part of Ophelia next to Charles Kemble in Shakespeare’s Hamlet. She leaves a long lasting impression on the French through her interpretation of Ophelia’s madness, utilizing pantomime and natural presentation.

The tremendous success of Hamlet leads to the announcement of Romeo and Juliet, for September 15. Smithson is cast as Juliet, where she revolutionizes the women’s role in theatre by becoming as important as her male counterpart. Until this point, women’s lines in theatre are heavily cut and censored to reduce the role for the company’s “restricted talent.” Again, the production is widely well received. On September 18, Shakespeare’s Othello becomes the third Shakespeare tragedy to be performed by The English theatre. Her performance as Desdemona is less effective, but the production is popular enough to be repeated the following week. She is cast as Jane Shore in the renowned tragedy The Tragedy of Jane Shore, a role in which she moves her audience to tears. The production soon becomes the most performed play in the English season. At the end of her time in France, she had acted in several productions with famous actors such as William Charles Macready, Edmund Kean, and Charles Kemble.

As opportunities to continue her work in Paris dwindle, Smithson returns to London to perform Jane Shore again. The production opens at Covent Garden on May 11, 1829 under unfavorable circumstances. Some audience members, who had read her reviews before she went to Paris, feel reluctant to attend the show. However, just seven days after her next performance as Juliet, in Shakespeare’s Romeo and Juliet, the press gives her glowing reviews.

After Covent Garden closes for the summer in 1832, Smithson tours England to minor theatres performing almost exclusively in tragedies. In June 1832, she joins the Theatre Royal Haymarket, where she has limited success and receives criticism about her weight.

In 1830, Smithson goes back to Paris to set up an English theatre under her own management. She obtains permission to perform at the Theatre-Italien where she performs several unsuccessful plays. A year later, she breaks her leg and is forced to put her career on hold until her leg heals, leaving her in great debt. She gives her last performance, as Ophelia, on December 15, 1836, before her health deteriorates.

Toward the end of her life, Smithson suffers from paralysis, which leaves her barely able to move or speak. She dies on March 3, 1854, at her home on the rue Saint-Vincent, and is buried at the Cimetière Saint-Vincent. Berlioz has her body is later reinterred at the Montmartre Cemetery when Cimetière Saint-Vincent undergoes redevelopment.

(Pictured: Oil on canvas portrait of Harriet Smithson by Claude-Marie-Paul Dubufe, located at the Musee Magnin, Dijon, France)