Dr Nora Moroney, Postdoctoral Fellow at Trinity College Dublin and Marsh's Library, writes for Culture about the library amassed at Farmleigh House in Phoenix Park by Benjamin Guinness.

The Benjamin Iveagh Library contains over 5,000 books in its beautiful wood-panelled room at Farmleigh House in the Phoenix Park.

Only a handful were written by women. This is not altogether surprising as women have traditionally been under-represented in literary history, especially the canon of Irish literature. They are also less likely to have been published in expensive bindings, the kind collected by Benjamin Iveagh.

The Benjamin Iveagh Library at Farmleigh

The seven women who do feature on the shelves are an interesting group: Lady Jane 'Speranza' Wilde, Lady Gregory, Lady Morgan, the Countess of Blessington, Maria Edgeworth, OE Somerville and Violet Florence Martin (aka Martin Ross). Their elite status in Ireland’s literary culture is mirrored by their elevated standing in the Anglo-Irish milieu so familiar to Iveagh and his ancestors.

Portrait of Jane Wilde, circa 1885

The most recognisable names in the collection are perhaps Wilde and Gregory. Jane Wilde is today best known as the mother of Oscar Wilde but was a respected writer and literary hostess in her own right. Her Ancient cures, charms and usages of Ireland (1890) reflects her interest in Irish folklore and fairy tales.

Lady Gregory was a central figure in the early 20th-century Irish Revival, and her oeuvre of drama and poetry are jewels of the collection. Like Wilde, her plays (such as McDonough’s Wife) draw on the folklore of rural Ireland and became core themes of the early days of the Abbey Theatre.

First editions of some of Lady Gregory's plays

Lady Morgan and the Countess of Blessington were two of the 19th century’s most celebrated female writers. Morgan’s The Wild Irish Girl (1806) is widely seen as the original ‘National Tale’ – packaging Ireland and its culture for an English audience. Blessington, too, used her Irish charm to build a successful and well-travelled career, mixing with figures like Charles Dickens and publishing Conversations with Lord Byron in 1834.

Bookending this group are Maria Edgeworth (1767-1849) and Somerville and Ross. Edgeworth was one of the earliest Irish women writers to find widespread fame, with books such as Castle Rackrent and The Most Unfortunate Day of My Life.

The first page of Edgeworth's manuscript of The Most Unfortunate Day of My Life (1819)

Over a century later, Somerville and Ross had a similarly long and successful career. Following on from The Real Charlotte (1894), they published over fifteen novels and memoirs about Irish life. Their entire collected works are shelved together in the library alongside manuscripts and letters detailing their literary lives.

Finally, women also occur in rather unexpected places in this collection – the bindings. Iveagh collected many editions from the Dun Emer and Cuala Press: early twentieth-century publishing houses set up by the Yeats sisters and run almost entirely by women. They were celebrated for their ornate, hand-printed publications and often signed their names inside the covers. A fine example of this is a red and gold embossed edition of The French under the Merovingians (1850) held in the library.

Inner front cover of The French under the Merovingians (1850), bound by Dun Emer Press

As these works show, women’s voices do emerge from this collection. By paying attention to the margins – literally – we can trace their influence across Ireland’s literary history, from the early Romantic era to the height of the Celtic Revival.

About The Author: Dr Nora Moroney is a Postdoctoral Fellow at Trinity College Dublin and Marsh's Library. Her work is supported by the Irish Research Council under the Enterprise Partnership Scheme. Find out more about Marsh's Library here.