Another slab bears a second epitaph written by Swift to mark the grave of "Mrs. Hester Johnson, better known to the world by the name of 'Stella,' under which she is celebrated in the writings of Dr. Jonathan Swift, Dean of this Cathedral." Whether she should have borne the name of him who celebrated her the world will never know. She died seventeen years before him, "killed by his unkindness," and was buried here at midnight, while he shut himself into a back room of his deanery across the way that he might not see the lights of the funeral party. He had faults and frailties enough, heaven knows, but the Irish remember them with charity, for, though his savage indignation had other fuel than Ireland's wrongs and sorrows, yet they too made his heart burn, and he voiced that feeling in words more burning still. He died in a madhouse, as he expected to die, leaving
"the little wealth he had
To build a house for fools and mad,
And showed by one satiric touch
No nation wanted it so much."
There is another characteristic epitaph of Swift's on a tablet in the south wall, near the spot where General Schomberg lies—that bluff old soldier who met glorious death at the head of his victorious troops at the battle of the Boyne. Swift wished to mark the grave with an appropriate memorial, but Schomberg's relatives declined to contribute anything toward its cost; whereupon Swift and his Chapter put up this slab, paying tribute to the hero's virtues, and adding that his valour was more revered by strangers than by his own kindred.
There are many other curious and interesting monuments in the place, well worth inspecting, but I shall refer to only one of them—the one which started the feud that sent Strafford to the scaffold. It is a towering structure, erected by the great Earl of Cork to the memory of his "virtuous and religious" Countess, in 1629. It stood originally at the east end of the choir near the altar, but Strafford, instigated by Archbishop Laud, who protested that it was a monstrosity which desecrated that sacred place, compelled its removal to the nave, where it now stands. The Earl of Cork never forgave him, and hounded him to his death. The monument is a marvel of its kind, containing no less than sixteen highly-coloured figures, most of them life-size. The Earl and his lady lie side by side in the central panel, with two sons kneeling at their head and two at their feet, while their six daughters kneel in the panel below, three on either side of an unidentified infant. After contemplating this huge atrocity, one cannot but conclude that the Archbishop was right.
Back of the Cathedral is a little open square, where the children of the neighbouring slums come to play in the sunshine on the gravelled walks; and dirty and ragged and distressful as they are, they have still about them childhood's clouds of glory. So that it wrings the heart to look at the bedraggled, gin-soaked, sad-eyed, hopeless men and women who crowd the benches and to realise not only that they were children once, but that most of these children will grow to just such miserable maturity.
We walked from the Cathedral up to the Castle, that morning, crossing this square and traversing a corner of the slums, appalling in their dirt and squalor, where whole families live crowded in a single room. In Dublin there are more than twenty thousand such families. Think what that means: five, six, seven, often even eight or nine persons, living within the same four walls—some in dark basements, some in ricketty attics—cooking and eating there, when they have anything to cook and eat; sitting there through the long hours; sleeping there through the foul nights; awaking there each morning to another hopeless day of misery. Think how impossible it is to be clean or decent amid such surroundings. Small wonder self-respect soon withers, and that drink, the only path of escape from these horrors, even for a little while, is eagerly welcomed. And the fact that every great city has somewhere within her boundaries some such foulness as this is perhaps the one thing our civilisation has most reason to be ashamed of!
Dublin Castle is interesting only because of its history. It was here, by what was then the ford across the Liffey just above the tideway, that the Danish invaders built their first stronghold in 837, and from it the last of them was expelled in 1170 by Strongbow at the head of his Anglo-Norman knights; here, two years later, Henry II received the submission of the overawed Irish chiefs; and from that day forward, this old grey fortress cast its shadow over the whole land. No tribesman was too remote to dread it, for the chance of any day might send him to rot in its dungeon, or shriek his life out in its torture-chamber, or set his head to blacken on its tower—even as the shaggy head of Shan the Proud blackened and withered there for all the world to see. In a word, it is from the Castle that an alien rule has been imposed on Ireland for more than a thousand years, until to-day to say "the Castle" is to say "the Government."
Of the mediæval castle, only one of the four towers remains, and the curtains which connected them have been replaced by rows of office-buildings, where the Barnacles who rule Ireland have their lairs. A haughty attendant—not too haughty, however, to accept a tip—will show you through the state apartments, which are not worth visiting; and another, more human one, will show you through the chapel. It is more interesting without than within, for over the north door, side by side in delightful democratic equality, are busts of Dean Swift and St. Peter, while over the east one Brian Boru occupies an exalted place between St. Patrick and the Virgin Mary, while on the corbels of the window-arches the heads of ninety sovereigns of Great Britain have been cut—I cannot say with what fidelity.