Charlotte Elizabeth Tonna, circa 1815, County Offaly; ‘It is the custom at sunset on that evening to kindle numerous immense fires throughout the country, built like our (English) bonfires, to a great height, the pile being composed of turf, bog-wood, and such other combustibles as they can gather.
The turf yields a steady, substantial body of fire, the bog-wood a most brilliant flame; and the effect of these great beacons blazing on every hill, sending up volumes of smoke from every point of the horizon is very remarkable.
Ours was a magnificent one being provided by the landlord as a compliment to his people, and was built on the lawn, as close beside the house as safety would admit. Early in the evening the peasants began to assemble, all habited in their best array, glowing with health, every countenance full of that sparkling animation and excess of enjoyment that characterize the enthusiastic people of the land. I had never seen anything resembling it, and was exceedingly delighted with their handsome, intelligent, merry faces; the bold bearing of the men, and the playful, but really modest deportment of the maidens; and the vivacity of the aged people, and wild glee of the children.
The fire being kindled, a splendid blaze shot up, and for a while they stood contemplating it, with faces strangely disfigured by the peculiar light first emitted when bogwood is thrown on: after a short pause, the ground was cleared in front of an old blind piper, the very beau ideal of energy, drollery, and shrewdness, who seated on a low chair, with a well-plenished jug within his reach, screwed his pipes to the liveliest times and endless jig began.
An Irish jig is interminable, so long as the party holds together; for when one of the dancers becomes fatigued, a fresh individual is ready to step into the vacated place quick as thought; so the other does not pause, until in liked manner obliged to give place to a successor. They continue footing it, and setting to one another, occasionally moving in a figure, and changing place with extraordinary rapidity, spirit and grace. Few indeed, among even the very lowest of the most improvised class, have grown into youth without obtaining some lessons in this accomplishment from the traveling dancing-masters of their district; and certainly in the way they use it, many would be disposed to grant a dispensation to the young peasant which they would withhold from the young peer.
But something was to follow that puzzled me not a little: when the fire had burned for some hours, and got low, an indispensable part of the ceremony commenced. Every one present of the peasantry passed through it, and several children were thrown across the sparkling embers; while a wooden frame of some eight feet long, with a horse’s head fixed to one end, and a large white sheet thrown over it, concealing the wood and the man on whose head it was carried, made its appearance. This was greeted with loud shouts as the “white horse;” and having been safely carried by the skill of the bearer several times through the fire with a bold leap, it pursued the people, who ran screaming and laughing in every direction. I asked what the horse was meant for, and was told it represented all cattle. While I looked upon the now wildly-excited people with their children, and, in a figure, all their cattle, passing again and again through the fire.’
Personal Recollections, 1841