Lady Augusta Gregory and Judgement
Lady Augusta Gregory was born on March 15, 1852, into a wealthy Anglo-Irish family at Roxborough House, County Galway. Her upbringing was that of a typical member of the Protestant Ascendancy, and she was initially disconnected from the Irish language and folklore that would later define her literary career. However, everything changed after her marriage to Sir William Gregory in 1880. Sir William was a widower nearly 35 years her senior – she was 27, he was 63. He was a former Governor of Ceylon (now Sri Lanka) and a member of the British Parliament. Through him, she gained access to a world of politics, culture, and literature, setting the stage for her later work. Her family was surprised when she got married as they had relegated her to being the ‘family spinster’ but she was fond of saying that she fell in love with Sir William’s library so marriage was the only cure. However, at the time of her marriage, she was unaware that her husband – a member of the British Parliament during the famine – had been particularly cruel to those who had starved and had even ignored the plight of the afflicted in his estates.
Sir William died within two years of their marriage, and Augusta gave birth to a son, Robert. There were many rumours about their brief marriage. When the Gregorys honeymooned in Egypt, they met Wilfrid Scawen Blunt, a married poet, adventurer and anti-Imperialist. Wilfred’s support for Irish causes led to his imprisonment in Dublin’s Kilmainham Gaol and his support for Egyptian independence had him thrown out of the country. Augusta was rumoured to have had an affair with him. He was said to have inspired her Irish nationalism and encouraged her to write, the latter leading her to dedicate twelve sonnets to him. In R.F. Foster’s biography of W.B. Yeats, he cites a Galway legend that the father of Augusta’s son was not Sir William, but a young blacksmith, Seanín Farrell; Augusta had been said to have approached him to father the child and then helped him to emigrate to America soon afterwards.
After Sir William’s death in 1892, Augusta wore only black for the rest of her life and withdrew from the social circles of the British elite. She retreated to Coole Park, her family’s estate in Galway, where she dedicated herself to studying Irish history, mythology, and language. It was here, in the heart of rural Ireland, that she became immersed in the world of folklore and began her mission to preserve and promote Irish culture.
Despite her privileged background, Augusta developed a deep connection with the local Irish-speaking community. She began collecting stories from local storytellers, particularly focusing on preserving the oral traditions that had been passed down for generations. Her early efforts culminated in “A Book of Saints and Wonders” (1906) and “Cuchulain of Muirthemne” (1902), the latter being a retelling of the Ulster Cycle, one of the most significant sagas in Irish mythology. These works not only helped to preserve ancient tales but also made them accessible to an English-speaking audience. Her retellings of these stories were praised for their poetic beauty and faithfulness to the original Irish spirit, earning her the admiration of contemporaries like W.B. Yeats and George Russell (Æ).
Augusta’s passion for the Irish language extended beyond literature. She became a strong supporter of the Gaelic League, an organisation dedicated to the revival of the Irish language, formed in 1893 by Douglas Hyde. “Irish,” she would write “is the most ancient vernacular literature of modern Europe… its first speakers were early farmers who arrived in 4500 BC.” Although she never became fluent in Irish herself, she was instrumental in promoting its use and ensuring its survival during a time when English was dominant.
Augusta’s most lasting contribution to the Celtic Literary Revival, however, was her role in the founding of the Abbey Theatre, Ireland’s first national theatre. In 1899, she teamed up with W.B. and Edward Martyn to establish the Irish Literary Theatre, which aimed to create plays that reflected Irish identity and culture, free from British influence. This endeavour eventually evolved into the Abbey Theatre in 1904, with Gregory as one of its most influential figures.
While W.B. is often considered the face of the Abbey Theatre, Augusta’s role behind the scenes was pivotal. She not only provided financial support but also acted as an administrator, producer, and playwright. Her own plays, such as “Spreading the News” (1904), “The Rising of the Moon” (1907), and “The Gaol Gate” (1906), were performed at the Abbey and were known for their portrayal of rural Irish life and their focus on political and social issues of the time. These works showcased her ability to capture the voice and spirit of the Irish peasantry, a world she had come to love and understand through her years at Coole Park.
In addition to her own contributions, Augusta was a mentor to other writers, including John Millington Synge, author of “The Playboy of the Western World,” and Sean O’Casey, whose plays about Dublin’s working class would become some of the Abbey’s most famous productions. Her ability to foster talent and provide a platform for emerging Irish writers ensured that the Abbey Theatre became a hub for cultural and artistic expression, playing a crucial role in the Celtic Literary Revival.
Augusta’s work in the Celtic Literary Revival helped to reinvigorate Irish literature and drama at a time when the country was struggling to define its identity under British rule. Through her efforts, ancient Irish myths, folklore, and rural stories were brought to the forefront of literary and theatrical life, helping to shape a distinct Irish cultural identity.
Augusta, W.B. and Douglas Hyde made Coole the epicentre of the Celtic Revival; they were later joined by Edward Martyn, George Moore, Annie Horniman and the Fay Brothers. Determined to sideline “The Irish Question”, this group of Catholics and Protestants had a singular focus: to create an Irish identity and culture independent of Britain built on its shared roots and ancient history. W.B. was especially close to her, and it is said that his famous poem “The Wild Swans at Coole” was inspired by her estate. Augusta’s hospitality and intellectual companionship made her a key figure in fostering the community of artists involved in the Celtic Revival.
She continued writing and supporting Irish theatre until her death in 1932.
XX Judgement
The Judgement tarot card is deeply intertwined with the concept of revival, both in a literal and symbolic sense. Judgement can represent moments of reflection, awakening, and rebirth—similar to the concept of revival, which encompasses renewal, restoration, and a fresh beginning after a period of dormancy or hardship. The card signifies a call to rise up and confront one's past, make necessary changes, and embrace a higher state of consciousness. The card conveys a moment of reckoning, where one's actions and choices are evaluated, and the possibility for spiritual revival and renewal is presented. It is a reminder that no matter how far one has fallen or how dormant a situation may seem, there is always the potential for revival, rebirth, and transformation.
The idea of spiritual revival is central to the Judgement card’s meaning. It suggests that we may undergo a spiritual awakening, where we leave behind old habits, fears, or regrets that have been holding us back. This revival is not just external but internal—it is about rediscovering one’s true self, purpose, and potential. The card often appears when we are on the brink of a major life decision or transformation, urging us to listen to our higher calling and make choices that align with our true path.
In a more metaphorical sense, Judgement can be seen as a revival of consciousness. It calls for self-reflection, encouraging us to confront our past actions, forgive ourselves, and move forward with a clearer sense of purpose. This revival is not only about starting fresh but about acknowledging the lessons learned from past experiences and using them as a foundation for a new beginning. The process may involve shedding old identities or beliefs that no longer serve, allowing space for growth and renewal.
Another layer of the connection between Judgement and revival is found in the theme of forgiveness and liberation. Revival often involves releasing oneself from the burdens of guilt, regret, or past mistakes, and Judgement encourages this act of forgiveness; both toward ourselves and others. By doing so, we are able to revive our spirits, free ourselves from the shackles of the past, and move forward with renewed energy and purpose.
When the Judgement card appears, it often signals a turning point, where we have the opportunity to revive a situation, relationship, or aspect of our lives that may have seemed lost or stagnant. It may also suggest that we are being called to take responsibility for our actions, undergo a period of reflection, and embrace the changes needed for a fresh start.
The Judgement tarot card embodies the concept of revival in various dimensions: spiritual, emotional, and practical. It represents a call to rise above past limitations, reflect on our lives, and embrace the transformative power of renewal. Whether in the context of personal growth, spiritual awakening, or a second chance at something once thought lost, Judgement is a powerful reminder that revival and rebirth are always possible.
Today, Lady Augusta Gregory is remembered as a foundational figure in modern Irish literature and theatre. Her contributions to the Abbey Theatre and her efforts to preserve and promote Irish folklore and mythology have made her an enduring symbol of Ireland’s cultural revival. She was a true revivalist, bringing the past to life through the arts and giving Ireland a stronger sense of national identity through her work.
Sources
R.F. Foster, “W. B. Yeats, A Life: I The Apprentice Mage 1865-1914.” Oxford University Press, 1998.
Dr Eglantina Remport, “Lady Gregory and Irish National Theatre: Art, Drama, Theatre.” (Palgrave Macmillan, 2018)