THE IRISHMAN OF THE STAGE AND NOVEL.
THE REAL AND THE IDEAL.
And Katy—she is always presented to us clad in a short woolen gown, her shapely legs enclosed in warm red stockings; and she had a bright red handkerchief about her neck, with good, comfortable shoes, and a coquettish straw hat—a buxom girl, who can dance down any lad within ten miles, and can “hurroo” as well as Pat, and a little better.
The Irish priest is always represented to us as a fat, sleek, jolly fellow, who is constantly giving his people good advice but who nevertheless is always ready to sing “The Cruiskeen Lawn,” in a “rich, mellow voice,” before a splendid fire in the house of his parishioners, with a glass of poteen in one hand and a pipe in the other, the company joining jollily in the chorus. He is supposed to live in luxury from the superstition of his people, and to have about as rosy a life as any man on earth.
All these are lies.
The Irishman is the saddest man on the surface of the globe. You may travel a week and never see a smile or hear a laugh. Utter and abject misery, starvation and helplessness, are not conducive of merriment.
