THE BLIND POET
UNEXPECTED ART [A FIGURE ABOVE NIALL MULLEN'S GALLERY ZOZIMUS]
As I have always had an interest in Zozimus I usually watch out for a opportunity to mention him and the statue of a female above the Gallery Zozimus gave me the ideal opportunity.
Michael Moran, better known as Zozimus, was a fascinating figure in 19th-century Dublin. Here's a deeper dive into his life and the story surrounding his fear of body snatching:
The name "Zozimus" does have a meaning, although it's not immediately obvious. The nickname was given to Michael Moran, the blind poet, and it derived from a poem by Anthony Coyle, Bishop of Raphoe, about Saint Mary of Egypt. In the poem, Zozimus is a pious hermit who encounters Mary in the desert and gives her communion before she dies.
While the exact reason why this name was chosen for Moran remains unclear, it's possible that it was due to the parallels between the hermit Zozimus' kindness and generosity and Moran's own reputation for charity and compassion.
Interestingly, the name "Zozimus" also has Greek origins, meaning "viable" or "survivor." This could be interpreted as a reference to Moran's resilience and ability to thrive despite his blindness and challenging circumstances.
So, while the name "Zozimus" might not have an immediate or clear-cut meaning, it carries a rich historical and symbolic significance that adds another layer to the fascinating story of Michael Moran, the blind poet of Dublin.
Zozimus: The Blind Bard of the Liberties
Early Life: Born in the Liberties area of Dublin around 1794, Zozimus lost his sight at a young age due to illness. He took to the streets as a beggar, reciting poems and ballads for coins. His sharp wit and unique rhyming style made him a beloved and recognizable figure in the city.
Poetry & Performance: Despite his blindness, Zozimus had an incredible memory and a knack for composing verse on the spot. His poems often satirized the wealthy and powerful, while also celebrating the everyday lives and struggles of Dubliners. He would recite his work in various locations around the city, attracting crowds with his distinctive voice and charismatic personality.
Fear of Body Snatching: In the 19th century, the practice of grave robbing was a real concern, especially for the poor. Bodies were often stolen for medical research and dissection. Zozimus, perhaps due to his fame or simply his general anxiety, developed a deep fear of this happening to him. To prevent it, he made a peculiar request: he wished to be buried at sea, in Dublin Bay.
Death & Legacy: Zozimus died in 1846 and, true to his wishes, was buried at sea. His poetry and the stories surrounding his life have been passed down through generations, making him an enduring part of Dublin's folklore and literary heritage.
The Grave Robbing Phenomenon
To understand Zozimus' fear, it's important to consider the context of the time:
Medical Schools & Demand for Bodies: In the 18th and 19th centuries, there was a growing demand for cadavers in medical schools for anatomical study and dissection. This demand often outstripped the legal supply, leading to a rise in illegal body snatching.
Resurrectionists: These were individuals who made a living by exhuming bodies and selling them to medical schools. They often targeted fresh graves in poorer areas, as the families were less likely to have the means to protect or monitor their loved ones' resting places.
Public Outcry: The practice of body snatching caused widespread fear and outrage among the public. This led to measures like watchtowers in cemeteries, iron coffins, and even the establishment of a dedicated police force to combat the problem.
Zozimus' Unique Solution
By requesting a burial at sea, Zozimus likely believed he could outsmart the resurrectionists and ensure his body remained undisturbed. This unique solution highlights his resourcefulness and perhaps a touch of eccentricity.
Today Zozimus would absolutely be considered a street performer rather than a beggar. While he did accept money for his recitations, his performances were more than just a plea for alms. He offered a form of entertainment, sharing his unique poetic talent and wit with the public. This aligns with the modern concept of street performance, where artists showcase their skills in public spaces for voluntary donations.
In his time, it's difficult to say definitively whether Zozimus had a "reasonable" income. Records from that period are scarce, and determining what constituted a decent living standard in 19th-century Dublin is challenging. However, several factors suggest that Zozimus may have earned enough to support himself:
Popularity: Zozimus was a well-known and beloved figure in Dublin. His performances drew crowds, and his reputation likely ensured a steady stream of donations.
Regular Locations: He had designated spots around the city where he performed on different days of the week, indicating a degree of organization and a reliable audience.
Patronage: Some accounts suggest that Zozimus received support from wealthier patrons who admired his poetry and performance style.
While he undoubtedly faced hardships and poverty at times, Zozimus' talent and popularity likely provided him with a livelihood that surpassed mere begging. He was a skilled entertainer who carved a niche for himself in the busy streets of Dublin, earning both money and the admiration of his fellow citizens.
In conclusion, Zozimus' legacy as a poet and performer transcends the label of "beggar." He was a unique and talented individual who used his skills to connect with his audience and earn a living in a challenging environment. Today, we would recognise him as a street performer, a testament to his enduring appeal and the power of artistic expression.
In Summary:
Zozimus' fear of body snatching was a reflection of the anxieties of his time. While his solution was unusual, it speaks to the lengths people went to protect their loved ones from a disturbing practice. Zozimus' enduring legacy as a poet and Dublin character reminds us of a unique period in history and the colourful figures who inhabited the city's streets.
As I have always had an interest in Zozimus I usually watch out for a opportunity to mention him and the statue of a female above the Gallery Zozimus gave me the ideal opportunity.
Michael Moran, better known as Zozimus, was a fascinating figure in 19th-century Dublin. Here's a deeper dive into his life and the story surrounding his fear of body snatching:
The name "Zozimus" does have a meaning, although it's not immediately obvious. The nickname was given to Michael Moran, the blind poet, and it derived from a poem by Anthony Coyle, Bishop of Raphoe, about Saint Mary of Egypt. In the poem, Zozimus is a pious hermit who encounters Mary in the desert and gives her communion before she dies.
While the exact reason why this name was chosen for Moran remains unclear, it's possible that it was due to the parallels between the hermit Zozimus' kindness and generosity and Moran's own reputation for charity and compassion.
Interestingly, the name "Zozimus" also has Greek origins, meaning "viable" or "survivor." This could be interpreted as a reference to Moran's resilience and ability to thrive despite his blindness and challenging circumstances.
So, while the name "Zozimus" might not have an immediate or clear-cut meaning, it carries a rich historical and symbolic significance that adds another layer to the fascinating story of Michael Moran, the blind poet of Dublin.
Zozimus: The Blind Bard of the Liberties
Early Life: Born in the Liberties area of Dublin around 1794, Zozimus lost his sight at a young age due to illness. He took to the streets as a beggar, reciting poems and ballads for coins. His sharp wit and unique rhyming style made him a beloved and recognizable figure in the city.
Poetry & Performance: Despite his blindness, Zozimus had an incredible memory and a knack for composing verse on the spot. His poems often satirized the wealthy and powerful, while also celebrating the everyday lives and struggles of Dubliners. He would recite his work in various locations around the city, attracting crowds with his distinctive voice and charismatic personality.
Fear of Body Snatching: In the 19th century, the practice of grave robbing was a real concern, especially for the poor. Bodies were often stolen for medical research and dissection. Zozimus, perhaps due to his fame or simply his general anxiety, developed a deep fear of this happening to him. To prevent it, he made a peculiar request: he wished to be buried at sea, in Dublin Bay.
Death & Legacy: Zozimus died in 1846 and, true to his wishes, was buried at sea. His poetry and the stories surrounding his life have been passed down through generations, making him an enduring part of Dublin's folklore and literary heritage.
The Grave Robbing Phenomenon
To understand Zozimus' fear, it's important to consider the context of the time:
Medical Schools & Demand for Bodies: In the 18th and 19th centuries, there was a growing demand for cadavers in medical schools for anatomical study and dissection. This demand often outstripped the legal supply, leading to a rise in illegal body snatching.
Resurrectionists: These were individuals who made a living by exhuming bodies and selling them to medical schools. They often targeted fresh graves in poorer areas, as the families were less likely to have the means to protect or monitor their loved ones' resting places.
Public Outcry: The practice of body snatching caused widespread fear and outrage among the public. This led to measures like watchtowers in cemeteries, iron coffins, and even the establishment of a dedicated police force to combat the problem.
Zozimus' Unique Solution
By requesting a burial at sea, Zozimus likely believed he could outsmart the resurrectionists and ensure his body remained undisturbed. This unique solution highlights his resourcefulness and perhaps a touch of eccentricity.
Today Zozimus would absolutely be considered a street performer rather than a beggar. While he did accept money for his recitations, his performances were more than just a plea for alms. He offered a form of entertainment, sharing his unique poetic talent and wit with the public. This aligns with the modern concept of street performance, where artists showcase their skills in public spaces for voluntary donations.
In his time, it's difficult to say definitively whether Zozimus had a "reasonable" income. Records from that period are scarce, and determining what constituted a decent living standard in 19th-century Dublin is challenging. However, several factors suggest that Zozimus may have earned enough to support himself:
Popularity: Zozimus was a well-known and beloved figure in Dublin. His performances drew crowds, and his reputation likely ensured a steady stream of donations.
Regular Locations: He had designated spots around the city where he performed on different days of the week, indicating a degree of organization and a reliable audience.
Patronage: Some accounts suggest that Zozimus received support from wealthier patrons who admired his poetry and performance style.
While he undoubtedly faced hardships and poverty at times, Zozimus' talent and popularity likely provided him with a livelihood that surpassed mere begging. He was a skilled entertainer who carved a niche for himself in the busy streets of Dublin, earning both money and the admiration of his fellow citizens.
In conclusion, Zozimus' legacy as a poet and performer transcends the label of "beggar." He was a unique and talented individual who used his skills to connect with his audience and earn a living in a challenging environment. Today, we would recognise him as a street performer, a testament to his enduring appeal and the power of artistic expression.
In Summary:
Zozimus' fear of body snatching was a reflection of the anxieties of his time. While his solution was unusual, it speaks to the lengths people went to protect their loved ones from a disturbing practice. Zozimus' enduring legacy as a poet and Dublin character reminds us of a unique period in history and the colourful figures who inhabited the city's streets.
THE BLIND POET