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- Irish Daily Mirror
Molly Malone Day 2025: The story and legacy of an Irish folk hero
It's Molly Malone Day today, marking the history and cultural impact of one of Ireland's most familiar folk legends.
The fishmonger's story is etched into the mind of every Dubliner, immortalised in song and with a statue on Suffolk Street, erected in 1988.
The last couple of years have proved to be contentious for the character – her statue embroiled in controversy, with the city forced to implement stewards to stop tourists from groping the installation.
Local Tilly Cripwell also launched the 'Leave Molly mAlone' campaign last year, hoping to draw attention to how the statue is mistreated.
The campaign was roundly supported by many within the city's inner workings – who are well aware of the statue's significance, as well as the impact that the character has left in the greater Dublin – and Irish – consciousness.
'In Dublin's fair city, where the girls are so pretty, I first set my eyes on sweet Molly Malone'
The opening lines of the titular song are familiar to anyone with even a passing interest in Irish culture – yet its roots are more recent than many might think.
Many names for the tune have been listed, though 'Sweet Molly Malone,' 'In Dublin's Fair City' and 'Cockles and Mussels' seem to be the monikers most widely agreed on.
Evidence of the song's existence was first recorded in 1876, in a book titled A complete Collection of the Songs of the American Colleges, with Selections from the Student Songs of the English and German Universitys. Though published in Boston, Massachusetts, the song is still heavily associated with Ireland.
The song was republished in 1884, with London printing house Francis Brothers and Day – an esteemed publisher of music hall songs – releasing a version composed by Scotsman James Yorkston and scored by Edmund Forman.
The Francis Brothers edition contains interesting context on the song's origin, stating its version was a reprint of an earlier, Scottish version of the song – however, no copies of the Scottish edition have ever been uncovered.
The song itself is typical in structure and content to many music hall songs of the time. Its lyrics paint a picture of a typical Dublin street scene, with Malone depicted as a hardworking Dublin fishmonger, selling live cockles and mussels among the narrow streets, alleys and lanes of a 17th century Dublin city.
The song's protagonist was struck by her presence, though Malone is later revealed to have died of a fever – however, her ghost is said to still wander the same 'broad and narrow' streets, plying her trade even after her death.
Though many theories exist claiming Malone was a real person in 17th century Dublin, no such basis has ever been provided. Indeed, the character itself seems to be an amalgamation of typical Dublin folk of the time, such as the well-known 'Dicey Reilly' and 'Muirsheen Durkin' as seen in other classic Irish standards.
Writer Siobhán Marie Kilfeather – famed for her book, Dublin: A Cultural History, questioned the song's origins, stating that while it could be based on an age-old folk song, its melody, lyrics and structure did not resemble those of typical Irish ballads of the time. She dismissed claims of a real Malone as 'nonsense'.
Indeed, a 2011 TG4 documentary series titled Scealta Átha Cliath claimed that Molly Malone was a standard name for a typical Irish girl of the time, and no concrete basis for her existence had ever emerged.
Some theorists went further – stating that the song itself was written not to celebrate, but instead ridicule the characters inhabiting Dublin city at the time.
'I believe it was a comic song,' said University College Dublin professor Daithi O hOgain, speaking to the Irish Independent in 2011. 'It was not a tragic story, which was the theme in many Irish ballads.
'In the concert halls during the Victorian era, various races were ridiculed to a certain extent. Molly Malone may have been composed in Scotland to mock Irish people and their songs.'
Despite the ambiguity surrounding the character's origin, she was officially recognised in 1988 by the Dublin Millennium Commission – founded to celebrate 1,000 years since Dublin's inception.
In making such a bold statement, the city pointed to claims that a Mary Malone existed in Dublin at the time, and died on 13 June 1699. This was enough for the city to proclaim the 13th of June as Molly Malone Day.
Commissioned by the Jurys Hotel Group, Irish sculptor Jeanne Rynhart was tasked with bringing Malone's likeness to life in bronze. As the project was part of a wider effort to celebrate Dublin's millennium year, Malone's sculpture was to be accompanied by additional statues of Oscar Wilde, WB Yeats and other famous Irish figures – however, these plans failed to materialise.
Originally located on Dublin's bustling Grafton Street, the statue was moved to its present location on Suffolk Street in 2014.
Initially, the sculpture was derided by some upon its unveiling – with then-Arts Council director Adrian Munnelly writing to Bord Fáilte to express his disdain over the work, labelling it 'entirely deficient in artistic point and merit'. Dubliners seemingly didn't take the carving all that more seriously – dubbing it 'The Tart with the Cart'.
That's not to say the work didn't have its defenders, though – most notably former Lord Mayor of Dublin Ben Briscoe, who claimed 'the statue was regarded with great warmth and affection by the city of Dublin'.
Recent years have seen attempts to reverse certain behaviours around the statue – most prominently the notion that rubbing the breasts of Malone's likeness will bring good luck. In response to the 'Leave Molly mAlone' campaign, Dublin City Council has considered raising the statue onto a higher plinth, to deter passing tourists from getting too close.
Indeed, the character of Molly Malone has taken on something of a complex legacy – although she continues to evoke the song and spirit of Dublin to millions around the world.
