The Deception of the Emerald Ring

Historical Note

Truth can be very convenient for fiction. The events in Ireland in 1803 make a colorful story without any additional embellishment. After a brief exile in France, Robert Emmet and other veterans of the rising of 1798 returned to Dublin to plot a new insurrection. Stockpiling weapons in various depots around the city, Emmet planned to launch an attack on key centers of power within the city, to be coordinated with risings elsewhere in Ireland, and possibly a French invasion.

At six thirty in the evening on July sixteenth, all those plans quite literally went up in smoke. An explosion at the Patrick Street depot forced the hands of the insurgents. Faced with a choice of acting quickly or abandoning the enterprise, they moved the date of the rising up to July twenty-third, far earlier than intended. As Ruбn O'Donnell sums it up, "The stark choice facing Emmet and the other commanders was to launch a Dublin-centered rebellion without delay or to hold out in the hope that the French would invade Ireland or England as expected in August/September."

Without a full muster of men, without aid from France, the rebellion was practically over before it began. As Emmet's biographer Patrick Geoghegan recounts, "As daylight faded on the evening of 23 July, Emmet waited for the rebels to arrive at the main depot…. He expected two thousand men to appear. Eighty turned up. Worse, before assembling, most of them had been to the Yellow Bottle public house…." The rebel units did manage to hold positions on Thomas Street and James Street for nearly two hours, but the planned attack on Dublin Castle never occurred and the evening ended in rout and riot. Emmet fled to the Wicklow Mountains. Along with twenty other rebel leaders, he was apprehended and executed, dying a martyr for his cause.

The historical record of the rebellion is so rich that it was a wrench not to be able to use everything. One of my favorite tid-bits was the use of hurling societies (not to be confused with curling, which is a different sort of sport entirely) as a screen for military maneuvers, with the hurling stick standing in for a musket or pike. Sadly, I couldn't think of any excuse for proper young ladies like Letty and Jane being allowed anywhere near the Donnybrook hurling club. But even with hurling out of the picture, there were plenty of details that I was able to press into service. The rebel depots, with their warren of secret rooms and hidden hordes of weapons, were a novelist's dream, and the explosion at Patrick Street simply begged for a role in the story. The rockets, designed as a variant on those used in India, were Emmet's innovation, not mine, and did indeed lead to the fatal explosion at Patrick Street.

There are several discrepancies in the various versions of the explosion at the Patrick Street depot—although nothing to suggest that the incident was anything other than an accident. By all accounts, some of the men had been experimenting with fuses for the rockets, and a moment of carelessness (and possibly inebriation) led to the resulting explosion. Once outside that basic frame, the stories start to vary. Since two of Emmet's men placed the blame on a dyer named George McDaniels, accusing him of working on the rockets while sloshed, I decided to keep him on in the role of scapegoat, placing him on the scene as the drunken watchman.

Historians also squabble over whether Emmet genuinely wished to secure aid from France or whether he preferred, as a powerful symbolic statement, to have Ireland liberated by Irishmen. For the purposes of this book, I went with the former theory, largely because it made tying in the antics of French spies that much easier. Emmet's brother, Thomas Addis, did meet several times with General Berthier, Bonaparte's minister of war, to discuss the loan of French troops, and there is some evidence to suggest that the rebel leaders anticipated a French invasion in late August or early September. For anyone interested in reading more about the rising of 1803, I recommend two excellent biographies of Emmet, both rich in detail but very different in their historiographical slants: Patrick M. Geoghegan's Robert Emmet: A Life, and Ruбn O'Donnell's Robert Emmet and the Rising of 1803.

Those familiar with Dublin may notice some changes in the landscape. There would be no chance these days of anyone tripping over a body backstage in the Crow Street Theatre; it has been superseded by a warehouse and offices. The building was already, as a contemporary put it, being "pulled to pieces by installments" as early as the 1820s. For those who are curious, pictures of the theater and the principal performers can be found in T. J. Walsh's Opera in Dublin, 1798–1820: Frederick Jones and the Crow Street Theatre. St. Werburgh's survived far better than the Crow Street Theatre, but at the cost of a few appendages; it lost its steeple in 1810 and its tower in 1836. Patrick Street, home to the ill-fated rebel depot, has undergone even more of a transformation. Lauding the complete overhaul of the area, a 1905 travel guide describes its former state with unveiled distaste as "one of the most squalid, disreputable, and dilapidated in the city. It was intersected by a network of narrow streets and alleys, which were overhung by hundreds of rickety and unsanitary dwellings." It was that world, the vanished nineteenth-century landscape of narrow streets and rickety dwellings, that I strove to re-create, rather than the polished Patrick Street of today.