Episode Summary: "The Hangwoman of 18th Century Ireland"

Podcast: Betwixt The Sheets: The History of Sex, Scandal & Society
Host: Kate Lister
Guest: Elizabeth Sugru (Cloda Finn)
Release Date: May 6, 2025

Introduction to the Episode

In this gripping episode of Betwixt The Sheets, host Kate Lister delves into the obscure yet fascinating history of one of Ireland's only known female executioners from the 18th century. Joined by the insightful journalist and writer Elizabeth Sugru, the episode uncovers the life and legacy of Lady Betty, an enigmatic figure whose story intertwines themes of power, gender roles, and societal norms.

Historical Context

The episode is set against the backdrop of 18th-century Ireland, a period marked by political and economic turmoil under British rule. Irish tenant farmers were striving for better rights amidst stringent Catholic penal laws that restricted various freedoms, including women's rights to education and employment post-marriage.

The Story of Lady Betty (Elizabeth Sugru)

Early Life and Migration Elizabeth Sugru, also known as Cloda Finn, introduces Lady Betty, born around 1750 in County Kerry. As the wife of a tenant farmer, Lady Betty's life took a tragic turn when she lost her husband. Driven by desperation, she embarked on a harrowing journey on foot from Kerry to Roscommon, spanning several hundred kilometers. This arduous trek resulted in the loss of several children to hunger and exposure, painting a poignant picture of her struggle for survival ([05:50]).

Murder of Her Son and Ascension as Executioner Upon her arrival in Roscommon, Lady Betty ran a boarding house and managed a livelihood amidst the challenging circumstances. However, tragedy struck again when her surviving son returned—either from the army in England or America—with money, seeking to ensure his mother's reformation. In a shocking twist, Lady Betty murdered him by stealing his purse and killing him during his stay at her boarding house ([09:22]).

Her desperate act led to her immediate arrest and sentencing to death by hanging for murdering her son. On the day of her execution, with no executioner present, Lady Betty boldly offered to perform the hanging herself if spared her life. Her plea, "spare me life, your honour, spare me life and I'll hang them all" ([10:08] MM:SS), led to her role as Roscommon's hangwoman, a position she held for many years thereafter.

Role and Activities as Hangwoman Lady Betty became notorious in Roscommon, functioning not just as an executioner but also presiding over public floggings and gibbeting individuals like Michael Walsh, a member of agrarian secret societies opposing landlords. Her efficiency and gruesome practices, such as drawing portraits of those she executed on the jail walls, solidified her fearsome reputation. Elizabeth describes her as "a person of violent temper" yet "possessed some education," highlighting the complexity of her character ([13:02]).

Social Perception and Legacy Lady Betty was both feared and respected in Roscommon. Her unique position as a female executioner in a predominantly male-dominated role made her a figure of fascination. In 1802, Lady Betty was pardoned for the murder of her son in recognition of her long service as an executioner, raising questions about societal views on her role and actions ([40:43]).

Sources and Historical Accounts

Elizabeth cites two primary sources that shed light on Lady Betty's life:

1. William Wilde's Accounts: Oscar Wilde's father, William Wilde, a prominent eye surgeon and historian, documented Lady Betty in 1852, nearly five decades after her death. He described her as "middle-aged, stout made, dark eyed, swarthy complexioned" and noted her "violent temper" alongside her education ([13:02]).

2. Charlotte O'Connor Eccles' Writings: A 19th-century writer from Roscommon, Eccles provided vivid narratives, including Lady Betty's plea to spare her life. She portrayed Lady Betty as "crushed by bitter, hopeless poverty," suggesting that her harsh circumstances "chilled and froze the fount of kindness" inherent in women ([13:06]).

These sources highlight the blend of factual history and embellished folklore surrounding Lady Betty's legacy.

Lady Arabella Denny: A Contrasting Figure

Drawing parallels, Elizabeth introduces Lady Arabella Denny, an aristocratic and philanthropic woman from County Kerry. Born in 1707, Lady Arabella was a widow who defied societal norms by refusing to remarry and instead focused on charitable works, including establishing the first Magdalene Asylum in Ireland in 1765. Unlike Lady Betty, who became infamous for her role in executions, Lady Arabella was revered for her contributions to society through education and philanthropy.

Complex Legacy:
While Lady Betty represented the darker aspects of female agency—meting out death and fear—Lady Arabella embodied the positive impact women could have in progressive roles. Yet, both women broke traditional stereotypes, highlighting the diverse paths of female empowerment in 18th-century Ireland ([27:34]).

Executioners in Historical Context

The episode further explores the societal stigma attached to executioners. While later figures like Pierrepoint became more professionalized and somewhat public figures, Lady Betty's role was shrouded in fear and reviled sentiment. Her practice of drawing portraits of the executed suggests a morbid obsession or a method of coping with her gruesome duties, adding layers to her psychological profile ([38:27]).

Elizabeth also touches upon other historical female figures involved in extraordinary acts, such as Ruisha de Verdon, a 13th-century noblewoman who built a castle in County Louth and was notorious for her ruthless actions, further emphasizing the recurring theme of powerful yet controversial women in Irish history ([36:11]).

Conclusion and Final Reflections

The episode concludes with reflections on the unique and solitary legacy of Lady Betty as the sole known female executioner in Ireland. Her story raises intriguing questions about gender roles, societal expectations, and the complexities of female agency in historical contexts. Elizabeth Sugru and Kate Lister ponder the personal and societal ramifications of Lady Betty's actions, leaving listeners with a nuanced understanding of this enigmatic figure.

Notable Quotes with Attributions

• Kate Lister ([02:10]): "Until 2002, these same women couldn't buy a pint in a bar, but they could buy a brandy or half a pint so you could still get hammered."

• Kate Lister ([09:20]): "Her son did."

• Elizabeth Sugru ([09:29]): "Well, I suppose he had been away for a number of years, so maybe he looked a bit different."

• Elizabeth Sugru ([10:07]): "Now you have to ask, too, if it wasn't her son, what would she have done?"

• Kate Lister ([27:46]): "Damn it. Damn it."

• Elizabeth Sugru ([34:31]): "She's cast as this figure who has done something that is very unfeminine."

• Kate Lister ([41:32]): "Whenever you want to demonize a woman throughout history, it's very common to bring in this child killing trope."

• Elizabeth Sugru ([43:04]): "I want to know what happened. You. How did you end up here?"

Further Exploration

For those intrigued by Lady Betty's story and Elizabeth Sugru's work, additional resources and writings can be found in:

• "Through Her Eyes": A history of Ireland told through the stories of 21 women, authored by Elizabeth Sugru.

• "The Irish in the Resistance": Co-authored by Elizabeth Sugru and John Morgan, detailing the contributions of Irish individuals in resisting Nazi forces across Europe.

Elizabeth Sugru also writes a column titled An Irish Woman's Diary in the Irish Examiner every Saturday, featuring untold stories of remarkable Irish women.

Produced by: Sophie G.
Edited by: Tom Delaghi
Senior Producer: Charlotte Long
Music: Epidemic Sound Foreign

If you found this summary insightful, consider subscribing to History Hit for more engaging historical narratives.