Crilley is born in Newry, County Down, (present-day Northern Ireland), on August 1, 1884, one of six children of Patrick Crilley. Her date of birth is often given as July 29, 1888, though local records do not support this, suggesting she is born four years earlier. Having initially trained at Newry technical school with her sister Mary, intending to become a teacher, in 1905, she wins a scholarship to attend the Dublin Metropolitan School of Art. There she studies under William Orpen, who regards her as one of his most promising students. She completes her studies in 1911 attaining an Art Teacher’s Certificate and begins working as Orpen’s assistant.
In 1914, Crilley marries her fellow student Harry Clarke, much to the surprise of their family and acquaintances. The couple moves into a flat at 33 North Frederick Street. They have three children, Michael, David and Ann. Harry’s brother, Walter, marries Margaret’s sister, Mary, in 1915.
Clarke first exhibits with the Royal Hibernian Academy in 1913 and goes on to exhibit over 60 artworks in the forty years until 1953, the majority being portraits. Among the portrait commissions she receives are ones for Dermod O’Brien, President Éamon de Valera, ArchbishopJohn Charles McQuaid, and Lennox Robinson. She spends a great deal of time on the Aran Islands with fellow artist Seán Keating and her husband, from which she produces a number of landscapes and smaller studies.
Clarke becomes the director of the Harry Clarke Stained Glass Studios following the death of her husband in 1931.
A critic notes in 1939 that Clarke produces “remarkable drawings in which individuality is caught in a few swift economical lines.” Over her lifetime she wins many awards including the Tailteann gold, silver and bronze medals in 1924, and another Tailteann bronze in both 1928 and 1932. She is elected an Associate of the Royal Hibernian Academy (ARHA) in 1926, and a full RHA member in 1927. Upon the founding of the Irish Exhibition of Living Art in 1943, she is appointed a member of the executive committee.
Clarke dies in Dublin on 31 October 31, 1961, and is buried in the Redford Cemetery, Greystones, County Wicklow. She is commemorated with a blue plaque at her birthplace in Newry.
Ryan has two spells with Coventry City. In April 1943, he signs for the club as an amateur and during the 1942–43 season he plays two games in wartime regional leagues. He then turns professional in August 1944 and makes a further four appearances for the club during the 1944–45 wartime season. After playing for West Bromwich Albion and Derby County, he returns to City in September 1958. He then helps the club win promotion from the newly formed Football League Fourth Division, after they finish as runners-up in 1959. During his second spell with City he plays 70 times in all competitions.
Ryan signs for Derby County in June 1955 for a fee of £3,000. He is appointed team captain by manager Harry Storer, Jr., and during his three seasons with the club misses only three matches – two because of injury and one because of international duty. He is a member of the side promoted as champions of the Third Division North to the Football League Second Division in 1956–57. In 1955 he also plays for an English Division Three North XI against an English Division Three South XI. He plays 133 league games for County, scoring 30 goals. He also plays a further six games for the club in the FA Cup, scoring a further goal.
When Ryan begins his international career in 1949 there are, in effect, two Ireland teams, chosen by two rival associations. Both associations, the Northern Ireland–based Irish Football Association (IFA) and the Republic of Ireland–based Football Association of Ireland (FAI) claim jurisdiction over the whole of Ireland and select players from the whole island. As a result, several notable Irish players from this era, including Ryan, play for both teams.
Between 1949 and 1955 Ryan makes 16 appearances and scores 3 goals for the FAI XI. He makes his debut in a 3–1 defeat to Sweden on November 13, 1949, in a qualifier for the 1950 FIFA World Cup. He scores his first two goals for the FAI XI in October 1953 during the qualifiers for the 1954 FIFA World Cup, one against France in a 5–3 defeat and the second, a penalty, against Luxembourg in 4–0 win. On November 7, 1954 in a friendly against Norway, he scores his third goal, again from the penalty spot, and earns the FAI XI a 2–1 victory. He makes his last appearance for the FAI XI on November 27, 1955, in a 2–2 draw with Spain.
Ryan makes his one and only appearance for the IFA XI in a 0–0 draw with Wales on March 8, 1950. As well as being part of the 1950 British Home Championship, the game also doubles up as a qualifier for the 1950 FIFA World Cup. Ryan, together with Con Martin, Davy Walsh and Tom Aherne, is one of four players born in the Irish Free State, included in the IFA XI that day. He earlier plays for the FAI XI in the same competition, and as a result, plays for two different teams in the same FIFA World Cup tournament. This situation eventually leads to intervention by FIFA and, as a result, Ryan becomes one of the last four Irish Free State–born players to play for the IFA XI.
After retiring as a player in November 1960, Ryan works as a pools supervisor for both Coventry City (1960–1961) and West Bromwich Albion (1961–1962). Between September 1962 and October 1976, he is chief scout for West Brom. He later works as a scout for various clubs including Aston Villa F.C., Derby County F.C., Hereford United F.C. and Leeds United F.C. before retiring in 1994.
The opera is originally prepared for the English Opera House but for some reason the theatrical manager, Samuel James Arnold, does not want it. Instead, Alfred Bunn, the manager of Drury Lane Theatre, seizes the opportunity and begins what is a very fruitful collaboration with Balfe that lasts a decade. Balfe is to become the mainstay of English Opera for almost the next 30 years with a succession of popular operas.
The opera runs for 70 nights on its initial run and is revived in the following three seasons with Balfe singing the role of Michel. Queen Victoria sees the opera on November 15, 1837, her first state visit to a theatre during her reign. In 1836, the opera is reported as staged in Leeds, York, Sheffield, Manchester, Liverpool, Bath and Dublin with Abigail Betts as Clara. John Wilson, who sings in the initial run of the opera, also sings in, at least, some of these. Madame Balfe chooses the opera for her benefit in 1841 and Bunn opens his 1843 season with it on September 30. Emma Romer uses it to open her 1853 season at the Surrey Theatre, although it is being described by then as “somewhat hacknied.”
October 1875 sees a revival of the opera by the Carl Rosa Opera Company at the Princess’s Theatre, and it is then included in the company’s repertoire that tours to Manchester in 1875, Liverpool in 1876, Birmingham in 1877 and Dublin in 1879. The Turner Company tours it in 1893. This is possibly the opera’s last performance until the Wexford Festival Opera performances in 1963. The overture and songs from the opera, such as “When I beheld the anchor weigh’d” continue to retain a place in the concert hall and the home into the 20th century.
In 1838, the opera is performed by the Caradori-Allan troupe at the Park Theatre in New York but fails although it appears to be retained in the repertory. In 1839, it is performed again in Dublin with Balfe as Michel and in Sydney in 1848.
The opera’s production sparks an acrimonious argument between a correspondent in The Examiner accusing Balfe of plagiarism from Luigi Ricci‘s 1832 opera, Chiara di Rosemberg, and, in defence, Frederick Beale, from Balfe’s publishers, and Balfe. The matter seems to be settled in Balfe’s favour when the score of Chiara di Rosemberg is displayed at music publisher Cramer, Beale and Co. so that people can compare the two for themselves. While Edward Fitzball probably uses Ricci’s libretto as the basis for his, it does not seem to have been a straight translation, as some allege, but similarities would help to feed the accusations of plagiarism, bolstered by the Italian training and approach of both composers and the fact that Balfe had sung in Chiara di Rosemberg in Italy in 1834.
Balfe is said to have been paid £5 a night by Bunn and 400 guineas for the score by the publishers Cramer, Beale and Co. In 1871, the Bury and Norwich Post (April 11, 1871) report that the copyright has sold for £156 and just over ten years later the AberdeenEvening Express (May 8, 1883) notes that the copyright has been sold again for approximately £20, adding “So much for Balfe’s ‘popularity.”
Burke is born in Moycullen, County Galway, a daughter of George Edmond Burke of Danesfield and his wife Theresa Quin. She becomes an activist in Irish industrial, charitable and cultural groups, serving as second president of the Camogie Association and first president of the Irish Countrywomen’s Association. She is also a noted literary hostess, whose salon at Earlsfort House is a centre of Dublin intellectual life for many years.
In 1883, Burke marries Arthur James Francis Plunkett, 11th Earl of Fingall, 4th Baron Fingall (1859–1929), state steward to the administration in Dublin Castle and one of the few Catholics to hold an Irish peerage, thus becoming Countess of Fingall.
A friendship with Máire Ní Chinnéide, forged through theatrical circles, leads to Burke-Plunkett accepting the patronage of Camogie Association of Ireland from 1910 to 1923. She also presents a cup and medals for the winners of the Dublin League. She serves largely in an honorary role, attending a few meetings of what is then known as Cualacht Luithchleas na mBan Gaedheal.
A liberal unionist, Burke-Plunkett becomes active in the promotion of Irish agriculture, industry and culture. She is a founder member of Horace Plunkett’s Irish co-operative movement, is the first president of the Society of United Irishwomen from 1912 to 1921, and of its successor, the Irish Countrywomen’s Association until 1942. She presides at suffragette meetings in Dublin, is a founder of the Irish Distressed Ladies Committee, and serves on the board of the Irish Industries Association. She is also the chairperson of the Irish Central Committee for the Employment of Women.
Burke-Plunkett dies on October 28, 1944, at Earlsfort House, her Dublin home, where she had held her famous Thursdays “at home” for many years. She is buried on the grounds of Killeen Castle, County Meath, following a Requiem Mass at University Church in Dublin.
Shanahan is involved in the Easter Rising in Dublin in April 1916. This leads to him having legal difficulties over the licence of his public house. He consults the lawyer and politician Tim Healy who comments:
“I had with me today a solicitor with his client, a Dublin publican named Phil Shanahan, whose licence is being opposed, and whose house was closed by the military because he was in Jacob’s during Easter week. I was astonished at the type of man – about 40 years of age, jolly and respectable. He said he ‘rose out’ to have a ‘crack at the English’ and seemed not at all concerned at the question of success or failure. He was a Tipperary hurler in the old days. For such a man to join the Rebellion and sacrifice the splendid trade he enjoyed makes one think there are disinterested Nationalists to be found. I thought a publican was the last man in the world to join a rising! Alfred Byrne, MP, was with him, and is bitter against the Party. I think I can save Shanahan’s property.”
Shanahan is elected for Dublin Harbour at the 1918 Irish general election, defeating Alfred Byrne. Like other Sinn Féin MPs, he does not take his seat at Westminster, but becomes a member of the revolutionary Dáil. He represents Dublin Harbour in the First Dáil from 1919 to 1921. He is arrested and detained in custody by the British government in April 1920 but is released in time to attend the next meeting of the Dáil on June 29, 1920.
During the Irish War of Independence, Billy Dunleavy recalls, “The IRA were the best men we ever had at that time. The Tans used to go around in the tenders with a wire over the top and if it was going by up there in Talbot Street they’d (IRA) say, ‘Get out of the way, quick!’ and they’d throw a hand grenade into the car. Now Phil Shanahan, he owned a pub over there on the corner, he was a great man and he used to hide them after they’d been out on a job. He had cellars and all the IRA men used to go there and hide their stuff.”
Joyce is brought up between Mary Street, in the city centre, and the GalwayGaeltacht. Galway is the ancestral home of both his mother’s and father’s families, and Patrick Weston Joyce, historian, writer and collector of Irish music, and Robert Dwyer Joyce, poet, writer and fellow collector of music, are numbered among his great granduncles. Recent poems such as “Trem Neul” see Joyce appropriate elements of the folk music gathered by Patrick Weston Joyce and engage ideas of lineage and transmission.
Joyce’s early books include Sole Glum Trek (1967), Watches (1969), Pentahedron (1972) and The Poems of Sweeny Peregrine: A Working of the Corrupt Irish Text (1976). The last of these is a version of the Middle-Irish Buile Shuibhne, well known from Seamus Heaney‘s later translation in Sweeney Astray (1983).
After a near-total silence for 20 years, Joyce resumes publishing in 1995 with stone floods, followed by Syzygy and Without Asylum (1998). In 2001, with the first dream of fire they hunt the cold is published, which gathers all of the poet’s major work from 1966 to 2000. In 2007, What’s in Store: Poems 2000–2007 appears, and in 2009 he publishes Courts of Air and Earth. His work appears in many anthologies, including Keith Tuma’s Anthology of Twentieth-Century British and Irish Poetry and Patrick Crotty’s The Penguin Book of Irish Poetry.
Joyce’s poetry employs a wide range of forms and techniques, ranging from traditional to modern experimentalism. He has published notable versions from Chinese and from the middle-Irish, which he refers to as “workings” rather than “translations” to emphasise that they are poetic reimaginings in the tradition of Ezra Pound rather than “straight” translations.
A collected poems up to 2000, including his “workings” from the Irish and Chinese, is published as with the first dream of fire they hunt the cold (2001). He also experiments with web-based poetry projects such as the collaborative project OffSets. A collection of his post-with the first dream work, What’s in Store, is published in 2007. A separate collection of new and old translations from the Irish, entitled Courts of Air and Earth, is issued by Shearsman in 2009 and is shortlisted for the Popescu Prize for European Poetry in Translation 2009.
Joyce also publishes several papers on contemporary poetics, and lectures and gives public readings of his work throughout Ireland, the UK and the United States.
Awarded a Literary Bursary by the Irish Arts Council in 2001, Joyce is a Fulbright Scholar for the year 2002–03. In 2004 he is elected a member of Aosdána, the Irish affiliation of artists, and is the first writer to be awarded a fellowship by the Ballinglen Arts Foundation. He holds the Judith E. Wilson Fellowship for poetry to the University of Cambridge for 2009-10. In 2017 he is named by previous winner, the English poet Tom Raworth, as the latest recipient of the biennial N. C. Kaser prize for poetry.
Deane is born on December 2, 1879, in New Ross, County Wexford, and grows up in Clontarf, a suburb of Dublin. His family lives close to the families of both Bram Stoker and his wife, Florence Balcombe, and his mother had been acquainted with Bram Stoker in her youth.
Deane enters the theater as a young man, first appearing in 1899 with the Henry Irving Company, of which Stoker is stage manager for many years. Even before he forms his own troupe in the early 1920s, he has been thinking about bringing Dracula to the stage. Stoker had attempted this in 1897 but the verdict from Irving consigned it to the waste-paper basket. Unable to find a scriptwriter to take on the project, Deane writes the play himself in a four-week period of inactivity while he is suffering with a severe cold. He then contacts Florence Stoker, Bram’s widow, and negotiates a deal for the dramatic rights.
To stage the production, Deane is required to submit the completed script to the Lord Chamberlain for a license under the Theatres Act 1843. The play is censored to limit violence – for example, the count’s death cannot be shown to the audience – but is approved on May 15, 1924.
Deane re-imagines Count Dracula as a more urbane and theatrically acceptable character who could plausibly enter London society. It is Deane’s idea that the count should wear a tuxedo and stand-up collar, and a flowing cape which conceals Dracula while he slips through a trap-door in the stage floor, giving the impression that he has disappeared. He also arranges to have a uniformed nurse available at performances, ready to administer smelling salts should anyone faint.
Deane’s play premieres on August 5, 1924, at the Grand Theatre in Derby, England. Despite critics’ misgivings, the audiences love it. Although he originally intended to play the title role himself, Raymond Huntley plays the role of the Count and Deane fills the role of Van Helsing. It is a huge success and the production tours England for three years before settling in London, where it opens at the Little Theatre in the Adelphi on February 14, 1927. It later transfers to the Duke of York’s Theatre and then the Prince of Wales Theatre to accommodate larger audiences.
When the play crosses the Atlantic in 1927, the role of Dracula is taken by the then-unknown Hungarian-American actor Bela Lugosi. For its United States debut, Dracula is rewritten by the American playwright John L. Balderston. The show runs for a year on Broadway and for two more years on tour, breaking all previous records for any show put on tour in the United States. It is the Deane/Balderston interpretation upon which the classic Tod Browning film Dracula (1931) is based.
Greacen is the only child of Henry Greacen and his wife Elizabeth (née McCrea). His father comes from a Presbyterian farming background in County Monaghan and, at one time, holds a position as a creamery manager, but is a heavy drinker and fails in several businesses. Most of his childhood is spent with his maternal grandmother and aunts when his parents temporarily separate. He briefly attends two local primary schools in Belfast, but when his father receives insurance compensation after his Belfast business burned down, he takes his family to the Castleblayney area in County Monaghan and for a short time goes back to farming. He goes to a national school there, but after another fire destroys the farmhouse, the Greacens return to Belfast to run the Kenilworth, a tobacconist’s shop on the Newtownards Road. He attends Templemore primary school, and then enters Methodist College Belfast in 1933.
Greacen mostly enjoys school, though he is too short-sighted to participate with success in any sport, and sometimes, because of his background, feels out of his depth among middle-class children. He is always ashamed of his father’s drunken outbursts and is terrified of the violent temper which accompanies them. Literature provides both a temporary escape and the promise of future success. His first poems are published in school magazines and he decides at a young age to try to make a career as a writer. He fails examinations and interviews for positions in a bank and an insurance company, and instead starts studying history and English at Queen’s University Belfast.
At Queen’s, as earlier at Methodist College, the interests which characterise Greacen’s later career are apparent. Largely thanks to meeting John Boyd, he develops sympathies with left-wing political ideas, as well as a deepened commitment to poetry. His youthful 1930s enthusiasm for Marxism disappears after the Molotov-Ribbentrop Pact of 1939 between the Soviet Union and Nazi Germany, but up to his later years he describes himself as a socialist. The formation of enduring friendships and mutually supportive coteries, a phenomenon particularly characteristic of the Ulster literary scene of the period, continues to be of great importance throughout his life. He makes friends with almost all the significant figures in Belfast, especially Roy McFadden, John Hewitt and Sam Hanna Bell. At Queen’s, he and a friend take over in 1940 the editing of a student magazine, The Northman. They try with short-lived, limited success to make it a literary journal for the whole region, so as to enable aspiring poets to get work into print. His own early poems appear in The Bell, and he writes some pieces for the left-wing Irish Democrat newspaper. His poem The Bird (1941) is well reviewed and later appears in anthologies. In 1942 he publishes Poems from Ulster, a small anthology including work by his friends.
For several months, Greacen worships from afar a fellow student named Irene. When he fails to form a relationship with her, he stops going to lectures so that he does not have to see her and does not finish his degree. His McCrea relatives pay for him to go to Trinity College Dublin in 1943 to take a diploma in social work. He is glad to get away from wartime Belfast and never lives there again. At first, he enjoys Dublin, and again makes many friends, among them Brendan and Beatrice Behan, Blanaid Salkeld, Cecil ffrench Salkeld, Joseph and Mary O’Neill, Douglas Gageby, Arland Ussher and Hubert Butler. He and Patrick Kavanagh live in the same boarding house on Raglan Road for several months in 1945, but Kavanagh takes offence at a review in Horizon by Greacen of his poem The Great Hunger, and calls him a “Protestant bastard.” Greacen is upset, as he had thought the review favourable, and is disappointed but not surprised when Kavanagh refuses to allow any of his poems to appear in the prestigious Faber and Faber book Contemporary Irish Poetry, edited by Greacen and Valentin Iremonger in 1949.
The collaborative compilation of anthologies of poetry is Greacen’s characteristic way of working. In 1942, he and Alex Comfort edit Lyra: An Anthology of New Lyric. With Roy McFadden, he edits Ulster Voices in 1943. He is sole editor of Northern Harvest in 1944 and, in the same year, he, Bruce Williamson and Valentin Iremonger publish their own work in On the Barricades. His own first solo collection, One Recent Evening, is also a 1944 imprint. In 1946, with support from Maurice Fridberg, a Jewish Dublin and London bookseller, his publishing company, New Frontiers Press, produces Irish Harvest, which, though designed on more ambitious lines, still consists chiefly of poems by his friends. He feels much more affinity with the modernism and social protest that he finds in contemporary English poetry, especially in the “new apocalypse” movement associated with Herbert Read, and later the “new romantics,” than with what he regards as the outmoded Celtic nationalism of W. B. Yeats and his followers. Like others of his contemporaries, he comes to resent the unquestioned shibboleths of life in Ireland, and particularly objects to the censorship of literature and film.
Consequently, when Greacen’s second small volume of poems, The Undying Day (1948), sells badly, and other avenues seem unpromising, he and his wife give up on Dublin and move to London. He finds a job with the United Nations Association, which suits his outlook and ideals. However, when he is made redundant, he has to take various jobs in adult education, in creative-writing courses, and in teaching English as a foreign language, in the City of London College, the City Literary Institute, and West London College. He retires in 1986. His involvement with the London literary world continues throughout his career, as he gets to know many of the leading figures, including Stephen Spender and T. S. Eliot, and he organises poetry readings and other projects, though he himself writes no poetry for more than twenty years. At one time he considers taking up journalism and continues to produce book reviews and articles in journals, as well as many letters to newspapers. He writes several, well-received short works of criticism, in particular, The Art of Noël Coward (1953) and The World of C. P. Snow (1962). After returning to Dublin in 1986, he writes an interesting memoir about his many friends and acquaintances, Brief Encounters: Literary Dublin and Belfast in the 1940s (1991) and Rooted in Ulster: Nine Northern Writers (2000).
Greacen marries Patricia Hutchins in Fisherwick Presbyterian Church in Belfast on April 10, 1946. She is from a Protestant family who has a small estate at Ardnagashel, near Bantry, County Cork, and is related to the botanist Ellen Hutchins. They have one daughter, Arethusa, but, after four years of separation, the marriage ends in divorce in 1966. He resents his wife’s conversion to vegetarianism and seems also to disapprove of her desire to achieve her own career goals. Probably also the depression he experiences throughout the 1950s contributes to the breakdown of the marriage, but he feels that twelve experiences in the early 1960s with the hallucinogenic drug LSD, under the guidance of a psychiatrist, had cured him. After the LSD treatments he feels that he is ready to begin working on an autobiography, Even Without Irene, published several years later in 1969. This comes out again in an enlarged version in 1995, and, still further augmented, as The Sash My Father Wore (1997).
Greacen begins to publish poetry again in his fifties, in A Garland for Captain Fox (1975). Poems about the career and friends of an imaginary, sophisticated adventurer do not always strike the exactly right note, but are popular and mark a new beginning for him, who increasingly writes elegiacally about personalities, real and fictional, in more restrained diction and with careful irony. In interviews, he denies that Captain Fox is his own alter ego, but the interplay between the character of Fox and elements of his creator’s own life suggests a metaphor for the poet’s creative process, as well as reminding the reader of the poet friends whose support means much to his writing in real life. At the very least, Captain Fox becomes what could be called a character of virtual reality for his creator.
Greacen’s later poetry collections include Young Mr. Gibbon (1979), A Bright Mask (1985), Carnival at the River (1990), Collected Poems 1944–1994 (1995; awarded The Irish Times Literature Prize for Poetry in that year), Protestant Without a Horse (1997), Captain Fox: A Life (2000), Lunch at the Ivy (2002), Shelley Plain (2002), and Selected and New Poems (2006).
On his return to Dublin in 1986, Greacen for a time shares a flat on Anglesea Road with Beatrice Behan, until he finds her dead in her bed in 1993. In later years he lives in a flat in Sandymount. He is elected to membership of Aosdána in 1986, and during his latter years in Dublin enjoys the status of a senior figure in the world of literature. He gives readings in the United States, appears often on RTÉ radio programmes, and has poems republished in anthologies. There was even one poem displayed on the Dublin Dart suburban rail network, St. Andrew’s Day: An Elegy for Patricia Hutchins, perhaps his best work. Perhaps only a few of his poems have been lodged in the public memory, but it is appropriate, given the themes of his career, that his work will be read with most attention by poets and by scholars, and that his reputation in the future may largely be based on his friendships with other poets.
Beresford is educated at Trinity College, Dublin. From 1783, he serves as a storekeeper for the port of Dublin. He is subsequently appointed to a wealthy sinecure post of Inspector-General of Exports and Imports. He is returned by his father, Hon. John Beresford, for the family borough of Swords to the Irish House of Commons in 1790. In 1798 he is returned for Dublin City, helped by his position in the port, and as a partner in a leading Dublin bank and a member of Dublin Corporation.
During the Irish Rebellion of 1798, Beresford leads a yeoman battalion which fights against the rebels with a particular ferocity. He keeps a riding school in Dublin, which acquires an evil reputation as the chief scene of the floggings by which evidence is extorted from the United Irishmen. As such, he becomes identified as one of the leading opponents of the rebellion, and the rebels deliberately burn the banknotes issued by his bank. His reputation for persecuting political opponents survives throughout his political career.
Beresford takes a prominent part in the Irish House of Commons, where he unsuccessfully moves the reduction of the proposed Irish contribution to the imperial exchequer in the debates on the Act of Union. He is to the last an ardent opponent of the union, taking the opposite position to his father. He resigns his post at the port on January 25, 1799, so as not to be tainted by it or by the suggestion that his actions are motivated by a desire to retain it.
Under a provision of the Act of Union 1800 Beresford retains his seat in the 1st Parliament of the United Kingdom (1801–02) without a fresh election, and in the Union Parliament he is a supporter of William Pitt the Younger and later Henry Addington. He has to give up his Irish business interests to play a full part in Parliamentary business. He is re-elected at the 1802 United Kingdom general election, being top of the poll.
On June 3, 1803, Beresford is the only previous supporter of the government to desert them and support a censure motion moved by Peter Patten, making a speech in support which is regarded as “absurd” by the Chief Secretary to the Lord Lieutenant for Ireland. In March 1804, he is appointed to the Irish currency committee, and therefore resigns his seat by accepting the Escheatorship of Ulster, a sinecure office of profit under the Crown.
After the death of his father on November 5, 1805, Beresford returns to Parliament by winning the by-election to replace him as MP for County Waterford. Politically, he allies to a family faction of the Marquess of Waterford, under the leadership of Henry de La Poer Beresford. The faction aims at trying to stop the government from giving power in Ireland to the Ponsonby family. Beresford is the chief spokesman for his group in their meetings with Ministers.
Although expected to go into opposition in 1806, Beresford in fact supports the government, because a run on funds at his bank leaves him in need of government support for credit. His support leads to his re-election at the 1806 United Kingdom general election in a contested election. This is a controversial decision within the government, with the Duke of Bedford admitting that Beresford had been guilty of persecution but believing he is now loyal, while Lord Howick believes it unlikely that he can be relied upon.
Howick turns out to be correct. In 1807 Beresford does not support the government and becomes a supporter of the Duke of Portland before his accession to the premiership later that year. He is unopposed in the 1807 United Kingdom general election. However, he is erratic, and some of his speeches are reckoned as doing more harm than good to the government’s cause. He strongly supports government against the proposal that peace negotiations with France begin in 1809.
In January 1811, Beresford suffers a further severe financial crisis which prevents his attendance at Parliament for some months. In June he resigns his seat through appointment as Escheator of Munster, being succeeded by his kinsman, Major General Sir William Carr Beresford. The next year, he attempts to get a government appointment but is refused as he already has a good pension. He serves as Lord Mayor of Dublin in 1814–15, where he is known for his “princely hospitality,” but thereafter withdraws from public life.
Beresford dies on July 20, 1846, at his house at Glenmoyle, County Londonderry.
(Pictured: Portrait of John Claudius Beresford, seated and wearing the chain of office of the Lord Mayor of Dublin, by William Cuming, August 1814)
The Tooreen ambush (also known as the Toureen ambush or Ballinhassig ambush) is an ambush carried out by the Irish Republican Army (IRA) on October 22, 1920, during the Irish War of Independence. It takes place near Roberts Farm, Tooreen, near Ballinhassig in County Cork. The IRA ambushes two lorries of British soldiers, killing three and wounding four others. The British surrender and their weapons and ammunition are seized by the IRA. Later that night, British soldiers go on a rampage in nearby Bandon.
Up until the Tooreen ambush, the 3rd Cork Brigade had finished its training, but had not previously engaged in battle with British troops stationed in County Cork. The Tooreen ambush is one of the first major ambushes carried out by the West Cork Brigade under Tom Barry.
The Essex Regiment of the British Army is deployed to West Cork and has a reputation for violently raiding houses throughout the countryside and arresting people believed to be IRA volunteers. They are also alleged to torture their prisoners in order to get information on the whereabouts of the flying columns, so this makes them a despised enemy to the West Cork IRA.
The Essex Regiment is known to travel on the road from Bandon to Cork City every morning and return in the evenings. The road goes through the hamlet of Toureen which the Third West Cork Brigade is stationed at nearby and it is decided to ambush this column of the Essex Regiment as it makes its way to Cork city.
Thirty-two ambushers, twenty-one being riflemen of the Third West Cork Brigade, occupy ambush positions outside Toureen and lay in wait for the approaching Essex Regiment. The Regiment normally goes in two or three lorries to Cork City so the IRA places a homemade mine on the road for use against them.
Scouts signal the approach of two lorries which are coming down the road toward the ambush site. As the first lorry passes, the order to fire is given and a homemade three-pound bomb is thrown. The bomb lands inside the lorry but does not explode. The mine that is placed on the road also fails to detonate. As the volunteers open fire, the second lorry stops and the soldiers inside leap out and return fire, but the volunteers are hidden behind a large timber gate which gives them cover. The first lorry continues on to Cork Barracks. As the fight goes on, the officer in command of the British troops, Captain Dixon, is shot in the head and killed as is one of his men.
The remaining British soldiers surrender soon after, and the IRA men cease firing. The British soldiers are relieved of their weapons and ammunition, but otherwise unharmed. Fourteen rifles, bayonets, equipment, several Mills bombs, around 1,400 rounds of ammunition and a couple of revolvers are taken from them.
Two British soldiers, Lt. Dixon MC of the Suffolk Regiment and Pte. Charles William Reid of the Essex Regiment, are killed in the ambush. Five are wounded, including Sergeant Thomas Bennett RASC who dies in Cork on the following day. Six are unhurt except for shock. None of the IRA volunteers are killed or wounded during the ambush and aid is given to the wounded soldiers, while the dead are pulled away from the lorry and it is then set on fire by the volunteers. The two soldiers who are not hurt during the ambush are released along with their wounded and they return to their barracks.
Later that night, members of the Essex Regiment go on a violent rampage through Bandon, destroying property and seeking out anyone they believe to be connected to the ambush. It is believed that at least some of the rampaging soldiers are those released unharmed by the IRA earlier in the day. The reprisal attacks are indiscriminate and include attacks on homes and properties of business owners with “establishment” connections – including the Brennan family of Kilbrogan House.
A Military Court of Inquiry into the soldiers killed, is conducted on October 28, 1920. There are mixed references to these proceedings in The Irish Times and the Irish Independent, both of which contain errors.
Lt. Dixon is buried with full military honours in St. Paul’s Church in Dover, Kent, England. Sergeant Bennett is buried in St. Peter & St. Paul Church in his home village of Shorne, near Gravesend in Kent.
(Pictured: Plaque on a farm wall marking the location of the Tooreen ambush)
seamus dubhghaill 