Zozimus Ireland’s Last Gleeman and the Bard of Dublin’s Liberties
Few figures capture the spirit of Dublin’s storied streets as vividly as Michael J. Moran, better known as Zozimus. Born around 1794 in the heart of Dublin’s Liberties, Zozimus rose to fame as a street rhymer whose passionate recitations, witty commentary, and lyrical mastery left an indelible mark on Irish cultural history. His life, works, and enduring legacy offer a unique window into the world of 19th‑century Dublin Michael J. Moran was born in Faddle Alley off the Blackpitts, at just two weeks old, an illness robbed him of his sight. Yet, this early misfortune did not silence his inner light. Instead, his blindness seemed to sharpen his memory and imagination, endowing him with an extraordinary capacity to recall and create verse.
Over time, Moran’s gift for spontaneous composition earned him the affectionate titles of the “Blind Bard of the Liberties” and the “Last of the Gleemen” a nod to a fading tradition of itinerant entertainers roaming the Irish streets. Zozimus transformed the art of street performance into an engaging public spectacle. His daily routine was as colourful as his attire, which reportedly included “a long, coarse, dark, frieze coat with a cape, scalloped skirts, an old soft, greasy, brown beaver hat, corduroy trousers, and Francis Street brogues,” complemented by a long blackthorn stick secured to his wrist. This distinctive look made him instantly recognizable as he traversed Dublin’s thoroughfares from Essex Bridge and Wood Quay to Dame Street and Capel Street captivating passers‐by with his lively recitations. Before each performance, Zozimus would call out in a familiar refrain
“Ye sons and daughters of Erin, Gather round poor Zozimus, yer friend boys, until yez hear my charming song so dear.”
This opening set the stage for an oratory blend of humour, current events, and poignant commentary on both political and religious themes. Zozimus’s repertoire was as diverse as Dublin itself. His compositions ranged from light-hearted ditties to biting political satire. Many of his verses contained religious undertones, while others chronicled the everyday life and struggles of Dublin’s denizens. Among his surviving works are “The Finding of Moses” a playful retelling of a biblical episode rendered in broad Dublin dialect. “In Praise of Poteen” a spirited ode to Ireland’s homemade spirit, blending wit with cultural commentary. The Zozimus Papers a collection of comic and sentimental stories, published posthumously in 1889, which further cemented his role as a chronicler of Dublin’s urban life. These works not only entertained but also documented the socio-political landscape of 19th‑century Dublin. They continue to be studied by scholars interested in Irish folklore and oral traditions.
Collections such as Memoir of the Great Original Zozimus have been instrumental in preserving his memory for modern audiences. Zozimus was often hailed as “the Last of the Gleemen,” a title that ties him to a rich tradition of itinerant entertainers who once thrived in Dublin and throughout Ireland. Gleemen were more than mere entertainers they were the living repositories of a vibrant oral culture. In an era when literacy was a privilege, these roaming bards composed and recited ballads, news, and local lore in marketplaces and on busy street corners. Gleemen were skilled at composing original verses and performing traditional ballads. Their acts were a blend of poetry, song, and dramatic narration. They served as informal news-bearers and custodians of local history, sharing stories that resonated with the everyday experiences of Dublin’s working class.
Using regional dialects, humour, and sometimes biting social commentary, gleemen created an immersive cultural experience that united communities. Although the era of the itinerant gleeman eventually faded with modern entertainment and increased literacy, figures like Zozimus have become emblematic of this once thriving tradition. By inheriting the mantle of the gleemen, Zozimus not only continued a beloved local art form but also became a symbol of the power of street performance in preserving Dublin’s cultural identity. In recent years, academics and cultural historians have renewed their focus on Dublin’s lost street poets. Projects like Texere’s, which unite Zozimus with other Dublin’s forgotten street poets and tenement balladeers, strive to reclaim the voices of these cultural figures and their contemporaries.
This research situates him within a broader tradition that includes other street performers and balladeers and highlights the importance of oral performance as a tool for social commentary and communal memory. Such studies underscore that Zozimus’s influence extended well beyond his lifetime, impacting subsequent generations of storytellers and performers. In his final years, Zozimus’s once powerful voice faded, leaving him in poverty. He passed away on 3 April 1846 and was buried in Glasnevin Cemetery, though his grave remained unmarked due to his destitution. Fearing grave robbers, known as “Sack-’em-Ups”, he had pleaded in verse Oh Stony, Stony, Don’t let the Sack-’em-Ups get me, Send round the hat, and buy me a grave.” Decades later, in the 1960s, The Dublin City Ramblers honoured his memory by erecting a tombstone inscribed with his self-written epitaph
“My burying place is of no concern to me, In the O’Connell circle let it be, As to my funeral, all pomp is vain, Illustrious people does prefer it plain.”
This act of remembrance ensured that Zozimus, the beloved bard of Dublin’s streets, would not be forgotten, his legacy etched in stone as enduringly as it lives on in the city’s cultural memory.
