- Irish:
- Dubh Linn
- Norse:
- Dyfflin (“Black Pool”)
- Also called:
- Baile Átha Cliath (“Town of the Ford of the Hurdle”)
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Dublin played a leading role in the cultural renaissance that began in 1884 with the establishment of the Gaelic Athletic Association (Cumann Lúthchleas Gael) for the revival of historically Irish games. It was broadened in 1893 with the foundation of the Gaelic League (Conradh na Gaeilge), which promotes the Irish language and Irish folklore. The National Gallery, the Irish Museum of Modern Art, the Project Arts and City Arts centres, and many privately owned galleries reflect the liveliness of the visual arts in Dublin. Temple Bar has been developed with a mix of boutiques, galleries, and studios.
Literature, theatre, and music
At the centre of Ireland’s rich Anglo-Irish literary, philosophical, and political history, Greater Dublin was the birthplace of three winners of the Nobel Prize for Literature: playwrights Samuel Beckett and George Bernard Shaw and poet William Butler Yeats. Other notable figures associated with the city include the satirists Jonathan Swift and Brendan Behan, the poet and dramatist Oscar Wilde, the playwright Sean O’Casey, the political theorist Edmund Burke, and the novelist James Joyce, author of the renowned short-story collection Dubliners (1914) and of the groundbreaking novel Ulysses (1922), which presents a day in the life of Dublin on June 16, 1904, through three characters whose stories parallel events in Homer’s Odyssey. Ulysses is celebrated annually in the city on June 16 in a festival known as Bloomsday. More recently, Dublin has provided the setting for the fiction of Maeve Binchy and Roddy Doyle.
Bloomsday Map of DublinEarly in the 20th century, the cultural renaissance in Dublin continued with the opening of the famous Abbey Theatre, an enterprise associated particularly with the playwrights John Millington Synge and Augusta, Lady Gregory. In addition to producing their works, the Abbey later staged the first performances of major plays. The old theatre burned down in the early 1950s, but with government help a new theatre was opened in 1966; it houses both the main Abbey stage and the smaller, experimental Peacock Theatre. In 1928 Micheál MacLiammóir and Hilton Edwards started the renowned Gate Theatre Company, which continues to flourish. Orson Welles and James Mason began their acting careers there. The state-sponsored Arts Council, with headquarters in Dublin, subsidizes the Abbey, the Gate, and a number of small theatrical groups in the region.
Among the city’s main commercial theatres are the Gaiety, which stages annual opera seasons, and the Olympia. In 1980 the National Concert Hall was opened, finally giving the capital, after decades of unsuccessful attempts, a major concert venue. Radio Telefís Éireann, the national radio and television station, is also based in Dublin. It employs the country’s principal symphony orchestra. The city also has produced a number of internationally famous folk and pop musicians, including Finbar Furey, Sinéad O’Connor, the Boomtown Rats, and U2.
Publishing
The country’s principal book publishers, periodicals, and newspapers, including several evening, national daily, and Sunday papers, are based in Dublin. A number of small but influential literary and current affairs magazines are published, both in Irish and in English. Since the 1970s there has been an increase in the number of publishing houses devoted to literature, especially poetry.

Sports
Phoenix Park holds annual motor races. Horse racing flourishes at Leopardstown in South Dublin, about 6 miles (10 km) from the city centre, and at Fairyhouse, about 15 miles (24 km) from the city centre in County Meath. There is also a greyhound track at Harold’s Cross. The traditional Gaelic games of hurling and Gaelic football are played at Croke Park, on the north bank of the Royal Canal. International rugby and football (soccer) matches are held at Lansdowne Road, and Belfield at University College Dublin attracts major competitions. Golf is popular.
History of Dublin
Foundation and early growth
From prehistoric times people have dwelled in the area around Dublin Bay, and four of Ireland’s five great roads converged near the spot called Baile Átha Cliath, the name stamped by Dublin’s postmark. Dublin appeared in Ptolemy’s Geōgraphikē hyphēgēsis (Guide to Geography; c. 140 ce), and some 150 years later “the people of Dublin,” it was recorded, defeated an army from the province of Leinster. Yet, despite indications of habitation 2,000 years ago, the first settlement for which there is historical proof was not Celtic but Norse. That it was Norsemen who established the city suggests that there was remarkably little intercourse between Ireland and the rest of Europe during the so-called Dark Ages and later.
The Vikings, or Norsemen, invaded in the 9th century (c. 831) and built on the river’s south bank and on the ridge above, where Dublin Castle rose 400 years later. They established one of Europe’s largest slave markets and fended off most Irish counterattacks until 1014, when they were defeated at the Battle of Clontarf on the north shore of the bay. They nevertheless reoccupied the town, and Norse Dublin survived and grew, although eventually the Norse kings were reduced to being earls under Irish overlords. Norse Dublin was a prosperous settlement; excavations begun in the 1960s revealed a wealth of archaeological evidence from that period. In the late 1970s the decision by Dublin Corporation to build civic offices on the early Norse riverbank site at Wood Quay provoked bitter opposition.
In 1167 the Norsemen supported Roderic O’Connor of Connaught (Connacht), claimant to the high kingship of Ireland, in driving into exile their overlord, Dermot MacMurrough, the king of Leinster. Dermot returned in 1170 with an army of Anglo-Normans from Wales and retook Dublin. Alarmed lest his Anglo-Norman vassals should claim Ireland for their own, King Henry II of England hurried over with an army to affirm his sovereignty. This was the key to Dublin’s development, establishing it as the centre of government.
Until the middle of the 17th century, Dublin was a small walled medieval town, dominating only the Pale—the thin strip of English settlement along Ireland’s eastern seaboard. In the 500 years to 1660, three uprisings in the city were suppressed, a Scottish siege was forestalled, and the ravages of the Black Death were endured.
At the time of the Reformation, Dublin had become Protestant. During the English Civil Wars, the city’s royalist defenders, after contemplating joining forces with an armed Irish Catholic confederacy, surrendered the city in 1649 to Oliver Cromwell’s English parliamentary army. By the end of the Cromwell era, Dublin was a town of only 9,000 inhabitants. The turreted city wall with its eight gates was a shambles; the two cathedrals tottered; and the dilapidated castle was, as Cromwell himself put it, “the worst in Christendom.” Yet, in the 18th century Dublin was to become the second city of the British Empire.
Ascendancy in the 18th century
The city’s remarkable resurgence began at the end of the 17th century, when thousands of refugee Huguenot weavers from France settled in Dublin after the revocation of the Edict of Nantes, in 1685, curtailed their rights. Flemish weavers came in their wake, and soon the cloth trades were flourishing. It was not long before Dublin’s competition with English cloth interests prompted the British Parliament to impose export restrictions.
In the course of the 18th century, economic prosperity led to the development of Georgian Dublin. Growth extended beyond the old medieval walls; more bridges were erected over the Liffey; and splendid new suburbs arose to the north and east. The city that emerged was, in essence, the Dublin of today.
Culturally, the century was one of the richest periods in the city’s history. Jonathan Swift was dean of St. Patrick’s Cathedral between 1713 and 1745, and other noted literary figures—Oliver Goldsmith, Sir Richard Steele, and William Congreve—were active in Dublin. In the New Musick Hall, George Frideric Handel conducted the first public performance of his Messiah in 1742. For the Ascendancy, as the English Protestant establishment was called, Dublin was a colourful, fashionable city of elegance and wit.
It was something less than that, however, for Roman Catholics, who constituted the majority of the population. In 1695 the Irish Parliament, dominated by the Ascendancy, passed the first of the Penal Laws—a series of harsh discriminatory measures against Catholics and Presbyterians in Ireland. These laws disenfranchised Catholics, placed restrictions on their ownership of property, hindered them from entering the professions, and obstructed their education. As a result, the majority of the population was impoverished and degraded.