In 1971, Slattery first tours with the British and Irish Lions squad that toured New Zealand, missing out on a start in the third Test due to illness. With the back-row berths claimed by John Taylor, Peter Dixon and Mervyn Davies and still being a newcomer at international level he has to wait until 1974 for his shot at a Lions Test jersey. In the meantime, he plays for the Barbarian F.C. in the famous 1973 game against the All Blacks in Cardiff.
Slattery tours with the Lions again in 1974, playing in all four Tests and captaining the side for two provincial matches. In South Africa he is an invaluable member of the touring party that comes to be known as “the invincibles.” He starts all four Tests as the Lions win the series 3-0 and skippers the side twice during midweek tour matches.
For Ireland, Slattery captains their hugely successful touring side in Australia in 1979 when they win seven of the eight matches including the two Tests in Brisbane and Sydney. In 1982 he starts all four games of Ireland’s Triple Crown season, being denied the Grand Slam by France in the final game of the Five Nations Championship.
Oscar Wilde languishes in jail as his play Salomé opens in Paris on February 11, 1896. Salomé is a one act play based on the biblical tale of Salomé, stepdaughter of the tetrarchHerod Antipas, who asks for the head of Jokanaan (John the Baptist) on a platter as a reward for dancing the Dance of the Seven Veils. The original 1891 version of the play is in French. Three years later an English translation, with illustrations by Aubrey Beardsley, is published.
Rehearsals for the play’s debut on the London stage, for inclusion in Sarah Bernhardt‘s London season, begin in 1892, but are halted when the Lord Chamberlain‘s licensor of plays bans Salomé on the basis that it is illegal to depict Biblical characters on the stage. The play eventually premiers on February 11, 1896, while Wilde is in prison, in Paris at the Théâtre de la Comédie-Parisienne in a staging by Lugné-Poe‘s theatre group, the Théâtre de l’Œuvre.
In The Pall Mall Gazette of June 29, 1892 Wilde explains why he had written Salomé in French:
“I have one instrument that I know I can command, and that is the English language. There was another instrument to which I had listened all my life, and I wanted once to touch this new instrument to see whether I could make any beautiful thing out of it. […] Of course, there are modes of expression that a Frenchman of letters would not have used, but they give a certain relief or colour to the play. A great deal of the curious effect that Maeterlinck produces comes from the fact that he, a Flamand by grace, writes in an alien language. The same thing is true of Rossetti, who, though he wrote in English, was essentially Latin in temperament.”
A performance of the play is arranged by the New Stage Club at the Bijou Theatre in Archer Street, London, on May 10 and 13, 1905, starring Millicent Murby as Salomé and directed by Florence Farr. In June 1906 the play is presented privately with A Florentine Tragedy by the Literary Theatre Society at King’s Hall, Covent Garden. The Lord Chamberlain’s ban is not lifted for almost forty years. The first public performance of Salomé in England is produced by Nancy Price at the Savoy Theatre on October 5, 1931. She takes the role of Herodias herself and casts her daughter, Joan Maude, as Salomé.
By this time access to institutional power in Ireland was restricted to a small minority, the Anglo-Irish of the Protestant Ascendancy, and frustration at the lack of reform among the Catholic majority eventually led, along with other reasons, to the Irish Rebellion in 1798, involving a French invasion of Ireland and the seeking of complete independence from Great Britain. This rebellion was crushed with much bloodshed, and the subsequent drive for union between Great Britain and Ireland that passes in 1800 is motivated at least in part by the belief that the rebellion was caused as much by reactionary loyalist brutality as by the Society of United Irishmen.
Furthermore, Catholic emancipation is being discussed in Great Britain, and fears that a newly enfranchised Catholic majority will drastically change the character of the Irish government and parliament also contributes to a desire from London to merge the Parliaments.
Complementary acts have to be passed in the Parliament of Great Britain and in the Parliament of Ireland. The Parliament of Ireland had recently gained a large measure of legislative independence under the Constitution of 1782. Many members of the Irish Parliament jealously guard this autonomy and a motion for union is legally rejected in 1799.
Only Anglicans are permitted to become members of the Parliament of Ireland, though the great majority of the Irish population are Roman Catholic, with many Presbyterians in Ulster. In 1793 Roman Catholics regain the right to vote if they own or rent property worth £2 per acre. The Catholic hierarchy is strongly in favour of union, hoping for rapid emancipation and the right to sit as MPs, which is delayed after the passage of the acts until the passage of the Roman Catholic Relief Act 1829.
From the perspective of Great Britain, the union is desirable because of the uncertainty that followed the Irish Rebellion of 1798 and the French Revolution of 1789. If Ireland adopted Catholic Emancipation, willingly or not, a Roman Catholic Parliament could break away from Britain and ally with the French. Also the Irish and British Parliaments, when creating a regency during King George III‘s “madness”, gave the Prince Regent different powers. These considerations lead Great Britain to decide to attempt merger of the two kingdoms and their Parliaments.
The final passage of the Act in the Irish Parliament is achieved with substantial majorities, in part according to contemporary documents through bribery, namely the awarding of peerages and honours to critics to get their votes. Whereas the first attempt had been defeated in the Irish House of Commons by 109 votes against to 104 for, the second vote in 1800 produces a result of 158 to 115.
In the first Parliament of the United Kingdom of Great Britain and Ireland, the members of the House of Commons are not elected afresh. By royal proclamation authorised by the Act, all the members of the last House of Commons from Great Britain take seats in the new House, and from Ireland 100 members are chosen from the last Irish House of Commons: two members from each of the 32 counties and from the two largest boroughs, and one from each of the next 31 boroughs (chosen by lot) and from the University of Dublin. The other 84 Irish parliamentary boroughs are disfranchised, all being pocket boroughs, whose patrons receive £15,000 compensation for the loss of what is considered their property.
(Pictured: Coat of Arms of the United Kingdom from 1837 to 1952 used by Queen Victoria, King Edward VII, George V, Edward VIII and George VI)
Kiely is born in Dromore, County Tyrone on August 15, 1919, the youngest of six children. In 1920, the family moves from Dromore to Omagh. After living for a short time in Castle Street and Drumragh, the family finally settles in St. Patrick’s Terrace in the Gallows Hill area of Omagh. This area is to be a lasting inspiration for Kiely.
Kiely begins to feel the urge to become a writer during his teenage years. He has a keen interest in the work of George Bernard Shaw, H. G. Wells and Jonathan Swift. In 1936, after completing his education at Mount St. Columba Christian Brothers School in Omagh, he goes to work as a sorting clerk in the Omagh Post Office.
However, Kiely soon realises that the post office will not provide him with the life of the scholar which he so desires. In the spring of 1937, he leaves Omagh and begins a new life in Emo Park, Portarlington, County Laois, where he decides to train as a Jesuit priest. His life as a Jesuit is not meant to be for, exactly a year later, in the spring of 1938, he suffers a serious spinal injury, which results in a lengthy stay in Cappagh National Orthopaedic Hospital in Finglas, Dublin. During his hospitalisation, he is given plenty of time to think about the course his life has already taken, and about a course it might take. He also realises that he lacks a vocation to the priesthood and abandons his training as a Jesuit.
When Kiely gets out of hospital in 1939, he returns to Omagh to recover from his back problem. The following year, he begins working as a part-time journalist in the weekly Catholic Standard newspaper. In 1943, he graduates from National University of Ireland with a B.A. in History and Letters.
In 1945, Kiely begins working for the Irish Independent, where he is employed as a journalist and critic. In 1950, he joins The Irish Press as a literary editor. In 1964, he moves to the United States where, over a period of four years, he is a Writer-in-Residence at Emory University, visiting professor at the University of Oregon, and Writer-in-Residence at Hollins College (Virginia). In 1968, he returns to Ireland. In the spring of 1976, he is Distinguished Visiting Professor at the University of Delaware. He continues to receive acclaim for his writing and journalism, a career which spans over six decades, receiving the Award for Literature from the Irish Academy of Letters. By now, he is one of Ireland’s best-known writers. In 1996, he is named Saoi of Aosdána, the highest honour given by the Arts Council of Ireland.
Kiely visits Omagh in 2001 which is marked by the unveiling of a plaque outside his childhood home on Gallows Hill by Omagh’s Plain Speaking Community Arts group. Every September an event is held in Omagh called The Benedict Kiely Literary Weekend to celebrate his many achievements.
The last sketch by artist Jack B. Yeats, drawn while he lay dying in a Dublinnursing home, sells at auction in London on February 8, 2011, for £5,760. Roundabout Ponies far exceeds its estimate of £1,500- £2,000 at the inaugural Irish Sale at Bonhams, the New Bond Street fine art auctioneers.
The pen-and-ink drawing on writing paper, which measures just over 5 inches by 4 inches, is sold by a family who had inherited it from the matron of the Portobello Nursing Home. The artist had presented the sketch to Teresa O’Sullivan, with whom he had become friendly, two days before he died on March 28, 1957.
Bonhams says the picture had attracted considerable interest because it was the last work done by Yeats and described it as “a little gem [which] exhibits the unique artistic vitality he had right to the end.”
The sketch is bought by an unnamed “private London buyer.” The auction is the first test of the international demand for Irish art in 2011 and the overall results are disappointing. Among the unsold works are the two highest-priced paintings: The Cat Among the Stars, an oil-on-board, also by Jack B. Yeats, and Image of Francis Bacon No. 18, a watercolour by Louis le Brocquy.
Commenting afterwards, Penny Day, the County Laois-born head of Irish Art at Bonhams, says, “We have made a start in the toughest time imaginable and have had mixed results, but I am pretty confident we will be able to sell all the pictures that did not sell in the auction with post-sale deals.”
(From: “Jack B Yeats’ deathbed sketch sells for three times it estimate” by Michael Parsons, The Irish Times, February 10, 2011)
Beatty is the youngest of three sons born to Hetty and John Beatty, a banker and stockbroker. After studying engineering at the Columbia School of Mines and Princeton University, he helps to develop porphyry copper ores in the United States, first as a consulting engineer and later as a director on the boards of several copper-mining firms. In 1913 he relinquishes his mining interests in the United States and settles in Great Britain, becoming a naturalized British subject in 1933. In 1921 he forms a prospecting company that initiates the development of the Copperbelt region of Northern Rhodesia (now Zambia). For this, he becomes known as the “King of Copper.”
An early family anecdote recalls that, as a young boy, Beatty catches the collection bug, bidding at auction for mining samples. In 1931 an announcement in London‘s The Times casts him as a great collector. Between 1939 and 1949 he acquires over 140 nineteenth-century paintings to display in the Picture Gallery of his London home. These are now part of the collection of the National Gallery of Ireland.
Beatty supports the war effort, contributing a large number of raw materials to the Allies. He receives a belated knighthood by Queen Elizabeth II in the 1954 Birthday Honours list for his contribution to the wartime effort. By the late 1940s, however, he has become disillusioned with Britain. Political deviations from his free-market values, coupled with increased foreign exchange restrictions impacted both his personal and collecting interests in Britain.
In 1950, at the age of 75, Beattys over the reins of Selection Trust to his son Chester Jr. and relocates to Dublin. He purchases a large townhouse for himself on Ailesbury Road, in the Ballsbridge area of Dublin and a site on Shrewsbury Road for the construction of the Chester Beatty Library, which houses the collection, opening on August 8, 1953. The library is moved to its current location at Dublin Castle in 2000.
Beatty spends the remainder of his life between Dublin and the south of France. He is made a Freeman of the City of Dublin in 1954 and is the first person granted honorary citizenship of Ireland in 1957. He continues to collect in the 1950s and 1960s, acquiring important Ethiopian manuscripts and Japanese printed material during that period.
Beatty dies in Monte Carlo in Monaco on January 19, 1968. His Irish estate is valued at £7 million. He is accorded a state funeral by the Irish government, the first private citizen in Irish history to receive such an honour. He is buried in Glasnevin Cemetery in Dublin.
Robert William Gary Moore, Northern Irish musician, most widely recognised as a singer, songwriter, and virtuoso rock and blues guitarist, dies of a heart attack on February 6, 2011, in Estepona, Spain.
In a career dating back to the 1960s, Moore plays with musicians including Phil Lynott and Brian Downey during his teenage years, leading him to memberships of the Irish bands Skid Row and Thin Lizzy, and British band Colosseum II. Moore shares the stage with such blues and rock musicians as B. B. King, Albert King, Jack Bruce, Albert Collins, George Harrison, and Greg Lake, as well as having a successful solo career. He guests on a number of albums recorded by high-profile musicians.
Moore is born in Belfast, Northern Ireland on April 4, 1952. He starts performing at a young age, having picked up a battered acoustic guitar at the age of eight. He gets his first quality guitar at the age of 14, learning to play the right-handed instrument in the standard way despite being left-handed.
At the age of 16, aiming to become a musician, he moves to Dublin. Moore’s greatest influence in the early days is guitarist Peter Green of Fleetwood Mac who is a mentor to Moore when performing in Dublin. Other early musical influences are artists such as Albert King, Elvis Presley, Eric Clapton, The Shadows, and The Beatles. Later, having seen Jimi Hendrix and John Mayall’s Bluesbreakers in his hometown of Belfast, his own style develops into a blues-rock sound that becomes the dominant form of his career in music.
In Dublin, Moore joins the group Skid Row with Noel Bridgeman and Brendan “Brush” Shiels. It is with this group that he earns a reputation in the music industry, and his association with Phil Lynott begins.
Moore moves to England in 1970 and in 1973, under the name “The Gary Moore Band,” he releases his first solo album, Grinding Stone. Grinding Stone receives “Album of the Year” accolades on KTAC-FM/Seattle–Tacoma, Washington, in 1974.
In 1974 he joins Thin Lizzy after the departure of founding member Eric Bell. From 1975 to August 1978, he is a member of Colosseum II. In 1977, Moore rejoins Thin Lizzy, first as a temporary replacement for Brian Robertson, and on a permanent basis a year later.
Gary Moore dies of a heart attack in his sleep at the age of 58 during the early hours of February 6, 2011. At the time, he is on holiday with a girlfriend at the Kempinski Hotel in Estepona, Spain. Moore is laid to rest in St. Margaret’s Churchyard, Rottingdean, East Sussex, England, in a private ceremony with only family and close friends in attendance.
Drennan is born on May 23, 1754, in Belfast, the son the son of ReverendThomas Drennan (1696–1768), minister of Belfast’s First Presbyterian Church on Rosemary Street. Thomas Drennan is an educated man from the University of Glasgow and is ordained to the congregation of Holywood, County Down in 1731. Drennan is heavily influenced by his father, whose religious convictions serve as the foundation for his own radical political ideas. His sister, Martha, marries fellow future United Irishman Samuel McTier in 1773.
In 1769 Drennan follows in his father’s footsteps by enrolling in the University of Glasgow where he becomes interested in the study of philosophy. In 1772 he graduates in arts and then in 1773 he commences the study of medicine at Edinburgh. After graduating in 1778 he sets up practice in Belfast, specialising in obstetrics. He is credited with being one of the earliest advocates of inoculation against smallpox and of hand washing to prevent the spread of infection. He also writes much poetry, coining the phrase “Emerald Isle” and is the founder and editor of a literary periodical, Belfast Magazine. He moves to Newry in 1783 but eventually moves to Dublin in 1789 where he quickly becomes involved in nationalist circles.
Like many other UlsterPresbyterians, Drennan is an early supporter of the American Colonies in the American Revolution and joins the Volunteers who had been formed to defend Ireland for Britain in the event of French invasion. The Volunteer movement soon becomes a powerful political force and a forum for Protestant nationalists to press for political reform in Ireland eventually assisting Henry Grattan to achieve legislative independence for the Irish parliament in 1782. However, Drennan, like many other reformers, quickly becomes dismayed by the conservative and sectarian nature of the Irish parliament and in 1791 he co-founds the Society of United Irishmen with Wolfe Tone and Thomas Russell.
Drennan writes many political pamphlets for the United Irishmen and is arrested in 1794 for seditious libel, a political charge that is a major factor in driving the United Irishmen underground and into becoming a radical revolutionary party. Although he is eventually acquitted, he gradually withdraws from the United Irishmen but continues to campaign for Catholic Emancipation.
On February 8, 1800, Drennan marries Sarah Swanwick, “an English lady of some wealth” from Shropshire. They have one daughter and four sons.
Drennan settles in Belfast in 1807. In 1810 he co-founds the non-denominational Royal Belfast Academical Institution. As a poet, he is best remembered for his poem The Wake of William Orr, written in memory of a United Irishman executed by the British. Despite his links with revolutionary republicans, he gradually becomes alienated from the post-Union nationalism of the period. His abiding concern for Liberalism and post union realities make him contemplate his political ideas anew.
Drennan dies in Belfast on February 5, 1820. He directs that his coffin be carried by an equal number of Catholics and Protestants with clergy from different denominations in attendance.
The Provisional Congress of the Confederate States is a congress of deputies and delegates called together from the Southern States which become the governing body of the Provisional Government of the Confederate States from February 4, 1861, to February 17, 1862. It sits in Montgomery until May 21, 1861, when it adjourns to meet in Richmond, Virginia, on July 20, 1861. It adds new members as other states secede from the Union and directs the election on November 6, 1861, at which a permanent government is elected.
The Second Session of the Provisional Congress is held at Montgomery from April 29, 1861, to May 21, 1861. It includes the members of the First Session with the additions of Virginia and Arkansas. John Tyler, the tenth president of the United States (1841–1845), serves as a delegate from Virginia in the Provisional Confederate States Congress until his death in 1862.
North Carolina and Tennessee join the Third Session of the Provisional Congress, which is held at Richmond from July 20, 1861, to August 31, 1861. Membership remains unchanged for the Fourth Session on September 3, 1861.
The Fifth Session of the Provisional Congress is held at Richmond from November 18, 1861, to February 17, 1862. All previous members are present with the additions of Missouri and Kentucky. One non-voting member is present from the Arizona Territory.
Doonican is the youngest of eight children of Agnes (née Kavanagh) and John Doonican. He is from a musical family and plays in his school band from the age of six. His father dies in 1941, so he has to leave De La Salle College Waterford to get factory jobs fabricating steel and making orange and grapefruit boxes. He begins to perform in his hometown, often with his friend Bruce Clarke, and they have their first professional engagement as a duo in 1947. He appears in a summer season at Courtown, County Wexford. He is soon featured on Irish radio, sometimes with Clarke, and appears in Waterford’s first-ever television broadcast.
In 1951 Doonican moves to England to join the Four Ramblers, who tour and perform on BBC Radio shows broadcast from factories, and on the Riders of the Range serials. He also begins performing at United States Air Force bases. The Ramblers support Anthony Newley on tour and, recognising Doonican’s talent and potential as a solo act, persuades him to leave the singing group and go solo. He is auditioned for radio as a solo act and appears on the radio show Variety Bandbox. Soon he has his own radio show and is performing in concerts and cabaret. In the late 1950s, he becomes one of the artists managed by Eve Taylor, the self-described “Queen Bee of Show Business,” who remains his manager until her death.
After seeing Doonican in cabaret in London in 1963, impresario Val Parnell books him to appear on Sunday Night at the Palladium. As a result of his performance, Bill Cotton, then Assistant Head of Light Entertainment at BBC Television, offers Doonican his own regular show. The TV shows are produced by Yvonne Littlewood and run for over 20 years. The shows feature his relaxed crooner style, sitting in a rocking chair wearing cardigans or jumpers, sometimes performing comedic Irish songs as well as easy listening and country material on which he accompanies himself on acoustic guitar. Being variety shows, his TV programmes give a number of other performers, such as Dave Allen, early exposure. Regular guests include Bernard Cribbins, Bob Todd, the Norman Maen Dancers, the Mike Sammes Singers, and the Kenny Woodman Orchestra. At its height The Val Doonican Show, which features both American and British acts, has 20 million viewers. In the United States, The Val Doonican Show airs on ABC on Saturday evenings from June 5 to August 14, 1971.
Behind the scenes, Doonican is described as “a perfectionist who knew his limitations but always aimed to be ‘the best Val Doonican possible.'” He is sometimes compared to American singer Perry Como, though he claims his main influence is Bing Crosby. He appears on Royal Variety Performance three times. On December 31, 1976, he performs his hit song “What Would I Be” on BBC One‘s A Jubilee of Music, celebrating British pop music for Queen Elizabeth II‘s impending Silver Jubilee.
Doonican wins the BBC Television Personality of the Year award in 1966. He is the subject of This Is Your Life in 1970. Eamonn Andrews meets him at the 18th green of the South Herts Golf Club as Doonican plays a round of golf. He writes two volumes of autobiography, The Special Years (1980) and Walking Tall (1985).
Doonican officially retires in 1990 but is still performing in 2009. He has a second home in Spain and is a keen golfer and a talented watercolour painter. Another hobby he enjoys is cooking. In June 2011, he is recognised by the Mayor of Waterford bestowing on him “The Freedom of the City.”
seamus dubhghaill 