Personal sketches of his own times, Vol. 3 (of 3) — Themes and Context

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Barrington, Jonah, Sir, 1760-1834 Project Gutenberg 2015 Not confirmed
Barrington, Jonah, Sir, 1760-1834; Judges -- Ireland -- Biography; Ireland -- Social life and customs -- 18th century; Ireland -- Social life and customs -- 19th century Readers of public-domain and historical texts
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Words 113,621
Reading time 495 min
Text sections 30

This digital edition of Personal sketches of his own times, Vol. 3 (of 3) — Themes and Context is described by source-level measurements including 113,621 words, 8 hr 15 min estimated reading time, and 30 detected text sections.

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In this third volume of memoirs, Sir Jonah Barrington recounts Irish legal and social life through vivid anecdotes, including a memorable encounter with a sow that disrupts a breakfast party, blending humor with sharp observation of character.
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lliam Stammer, Bart., being (as he himself often informed me, and which I believe to be true,) an excellent, good-hearted kind of person, and having by nature an even, smooth-trotting temper, with plenty of peace and quietness in it, bore his rank with laudable moderation: but as he was the first genuine corporator the Union had honoured by this _imperial_ dignity, he felt a sort of loyal fervor, which urged him to make some particular acknowledgment to his gracious Majesty for so unprecedented a mark of distinction. But in what way a sober British king should be complimented by an Irish wine-merchant was a matter which required much ingenuity and profound consideration. At length, it was suggested and strongly urged by several of his civic friends, (especially those of the feminine gender,) that his Lordship had it actually within his power to pay as loyal and handsome a compliment as ever was paid to any king of England by an Irish gentleman with a twang to his surname; _videlicet_, by sacrificing the old Irish pronunciation thereof, ameliorating the sound, and changing it in such sort, that it might be adapted to the court language, and uttered without any difficulty or grimace by the prettiest mouths of the highest classes of British society; it was, in fact, strenuously argued that, instead of the old hacknied family name commonly pronounced Stam-mer, the word _Steem-er_ (being better vowelled and Anglicised) would sound far more genteel and modern, and ring more gratefully in the ear of royalty. It was also urged, how Mrs. Clarke’s friend, the Rev. Dr. O’Meara, unfortunately lost the honour of preaching before royalty by his pertinacity in retaining the abominable _O_, and that had he dropped that hideous prefixture, and been announced plainly as the Rev. Doctor Meera, his doctrines might probably have atoned for his Milesianality, and a stall in some cathedral, or at least a rural deanery, might have rewarded his powers of declamation.

“Having begun so well, who knows what famous end you may arrive at, Sir William?” said Sir Jemmy Riddle, the then high sheriff (a very good man too), who was be-knighted on the same occasion. “When we all go to St. James’s,” continued Sir Jemmy, “to thank our Sovereign and kiss his hand in _his own metrolopus_, sure the name of our Lord Mayor, Sir W. Steemer, will sound every taste as harmonious if not _harmoniouser_, than that of the great Sir Claudius Hunter, or our own Claudius Beresford, or any Claudius in Europe!—and sure, changing _am_ for _ee_, to please his Majesty, is neither a sin nor a shame in any family, were they as old as _Mathuslin_:—besides, old White, the schoolmaster, the greatest scholar, by odds, that ever was in Dublin, told me that one vowel was worth two consonants any day in the year; and that the alteration would make a great difference in the sweetness of the odes he was writing on your promotion.”

Sir William, however, being fond of the old proper name which had stuck to him through thick and thin, in all weathers, and which he and his blood relations had been so long accustomed to spell, did not at all relish the proposed innovation. Besides, he considered that any thing like the assumption of a new name might bring him too much on a level with some _modern_ corporators, who not having any particular cognomen of their own at the time of their nativity, or at least not being able to discover it, but being well christened for fear of accidents, very judiciously took only provisional denominations for their apprenticeship indentures, and postponed the adoption of any immutable surname until they had considered what might probably be most attractive to customers in their several trades.

The grand measure was nevertheless so strongly pressed—the ladies so coaxed the alderman to take the _pretty_ name, and they were so well supported by Sir Charles Vernon, then master of the ceremonies, (and of course the best judge in Ireland of what was good for Sir William at the Castle of Dublin,) that his resolution gradually softened, wavered, and gave way. He became convinced against his will, and at last, with a deep sigh and a couple of imprecations, ungratefully yielded up his old, broad, national _Stammer_, to adopt an Anglicised mincemeat version thereof; and in a few nights, Sir William _Steemer’s_ landau was announced as stopping the way at the breaking up of the Duchess of Richmond’s drawing-room.

Sir Jonah Barrington opens this third volume with a dedication to Lord Stowell, noting that the previous volumes were read with 'general avidity' and gave 'much insight into the original character of the Irish.' The preface reveals that the entire work was composed in under three months during a protracted winter, a speed Barrington offers as apology for 'inaccuracies incidental to so hasty a performance.' These framing remarks establish the tone of a self-aware memoirist who values anecdotal immediacy over polished completeness.

A Memoirist's Apology for Haste

Barrington's preface is unusually candid about the speed of composition: the first two volumes were 'collected and composed' in nearly three months. He does not claim this as literary expertise but as 'some apology for the inaccuracies incidental to so hasty a performance.' This self-deprecation is characteristic of the volume's tone. The dedication further reveals that the third volume was written at Lord Stowell's express wish, after Stowell reported that the sketches 'had given very general satisfaction' and 'afforded him much amusement.' Barrington, now past seventy, offers this as 'the last and only souvenir' he can tender. These paratexts frame the work as a personal, almost conversational offering rather than a formal history.

The Sow That Overturned a Breakfast

The excerpted anecdote centers on a sow and her piglets invading a parlour breakfast. Barrington describes the sow with grotesque precision: 'small fiery blood-shot sunken eyes,' tusks 'like a boar's,' and an iron ring and hook in her nose. The piglets are called 'piggin riggins,' a dialect term that grounds the scene in Irish rural life. The sow, attracted by the 'savoury perfume' of the meal, enters, overturns the table, and traps two counsellors on a chest of drawers. The humour escalates when a piglet overturns a saucepan of boiling water, causing 'the most dreadful cries.' Barrington's voice is mock-heroic, comparing the sow's grunt to a trumpeter sounding 'to horse' and the piglet's yelp to a butcher's preliminary steps. The scene is a set-piece of comic misadventure, showcasing Barrington's eye for physical detail and his willingness to make himself the butt of the joke.

Catalog Subjects vs. Actual Content

The catalog subjects list 'Judges -- Ireland -- Biography' and 'Ireland -- Social life and customs -- 18th century' and '19th century.' Yet the excerpt contains no judges, no courtroom, no political events. Instead, it offers a domestic farce involving a sow, a breakfast, and two lawyers reduced to dancing on furniture. The dedication and preface are personal, not historical. This gap between catalog and content is instructive: Barrington's 'sketches' are less systematic biography than rambling memoir, heavy on anecdote and light on institutional analysis. Readers expecting a judicial chronicle will find instead a work that treats legal figures as characters in a comedy of manners. The volume's value lies in its informal record of manners, dialect, and the texture of Irish gentry life, not in any comprehensive account of the Irish bench.

Barrington's third volume rewards readers who enjoy digressive, self-deprecating memoir over structured history. The sow anecdote exemplifies his method: a small, vivid incident becomes a window into social hierarchy, domestic space, and the author's own comic persona. Approach this work as a cabinet of curiosities rather than a systematic record, and its pleasures—and its limitations—become clear.

That rainy afternoon, Barrington’s sow crashing the breakfast party made me chuckle at how dignity always topples into absurdity. Later, I found myself wondering about other voices left out of such memoirs. A quiet link appeared in my thoughts—Colored girls and boys' inspiring United States history and a heart to heart talk about white folks — Background and Themes—and the rain seemed to soften around its pages.

Victoria Perez
4 weeks ago

Carter Thompson
1 month ago

Samuel Torres
1 month ago

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  • ...
    Nathan Case - 4 weeks ago
    The third volume maintains the charming wit and detailed recollections of its predecessors, offering a valuable glimpse into the social and political fabric of Barrington's time. However, the narrative occasionally meanders, and some references assume prior knowledge of Irish history. Nevertheless, for those interested in period memoirs, it remains a worthwhile, if slightly dense, read.

  • ...
    Eric Moore - 2 weeks ago
    Sir Jonah Barrington's third volume of personal sketches is a treasure trove of 18th-century Irish life. His vivid storytelling brings historical figures and everyday scenes to life with humor and keen observation. As a judge and contemporary of many key events, his anecdotes offer an authentic, insider view. The writing is elegant and engaging, making this a delightful read for history buffs and lovers of memoir. A worthy conclusion to a remarkable series.

  • ...
    Chris Roberson - 1 week ago
    While Barrington's observations can be amusing, this volume often feels disjointed and overly long. The author's tendency to digress and name-drop without sufficient context leaves the modern reader struggling to follow. The lack of a coherent structure and the heavy reliance on outdated political jargon make it a challenging read. Recommended only for academic researchers who need primary source material on the era.


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