seamus dubhghaill

Promoting Irish Culture and History from Little Rock, Arkansas, USA


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The Kilmichael Ambush

SAMSUNG DIGITAL CAMERAThe Kilmichael Ambush is carried out near the village of Kilmichael in County Cork on November 28, 1920 by the Irish Republican Army (IRA) during the Irish War of Independence. Thirty-six local IRA volunteers commanded by Tom Barry kill seventeen members of the Royal Irish Constabulary‘s Auxiliary Division. The Kilmichael ambush is politically as well as militarily significant. It occurs one week after Bloody Sunday, marking an escalation in the IRA’s campaign.

As dusk falls the ambush takes place on a road at Dus a’ Bharraigh in the townland of Shanacashel, Kilmichael Parish, near Macroom.

Just before the Auxiliaries in two lorries come into view, two armed IRA volunteers, responding late to Barry’s mobilisation order, drive unwittingly into the ambush position in a horse and side-car, almost shielding the British forces behind them. Barry manages to avert disaster by directing the car up a side road and out of the way. The Auxiliaries’ first lorry is persuaded to slow down by the sight of Barry placing himself on the road in front of a concealed Command Post, wearing an IRA officer’s tunic given to him by Paddy O’Brien. Concealed on the south side of the road are six riflemen, whose instructions are to prevent the enemy taking up positions on that side. Another six riflemen are positioned some way off as an insurance group, should a third Auxiliary lorry appear.

The first lorry, containing nine Auxiliaries, slows almost to a halt close to their intended ambush position, at which point Barry gives the order to fire. He throws a Mills bomb that explodes in the open cab of the first lorry. A savage close-quarter fight ensues. According to Barry’s account, some of the British are killed using rifle butts and bayonets in a brutal and bloody encounter. This part of the engagement is over relatively quickly with all nine Auxiliaries dead or dying.

While this part of the fight is going on, a second lorry also containing nine Auxiliaries has driven into the ambush position. This lorry’s occupants, at a more advantageous position than Auxiliaries in the first lorry because of their distance from the ambushing group, dismount to the road and exchange fire with the IRA, killing Michael McCarthy. Barry then brings the Command Post soldiers who had completed the attack on the first lorry to bear on this group. Barry claimed these Auxiliaries called out a surrender and that some dropped their rifles, but opened fire again with revolvers when three IRA men emerged from cover, killing volunteer Jim O’Sullivan instantly and mortally wounding Pat Deasy. Barry then orders his men to open fire and not stop until told to do so. Barry ignores a subsequent attempt by remaining Auxiliaries to surrender, and keeps his men firing until he believes all the Auxiliaries are dead.

At the conclusion of the fight it is observed that two IRA volunteers, Michael McCarthy and Jim O’Sullivan, are dead and that Pat Deasy, brother of Liam Deasy, is mortally wounded. Although the IRA fighters think they had killed all of the Auxiliaries, two actually survive, one very badly injured and another who escapes and is later captured and shot dead. Among the 16 British dead on the road at Kilmichael is Francis Crake, commander of the Auxiliaries in Macroom, probably killed at the start of the action by Barry’s Mills bomb.

Many IRA volunteers are deeply shaken by the severity of the action, referred to by Barry as “the bloodiest in Ireland,” and some are physically sick. Barry attempts to restore discipline by making them form-up and perform drill, before marching away. Barry himself collapses with severe chest pains on December 3 and is secretly hospitalized in Cork. It is possible that the ongoing stress of being on the run and commander of the flying column, along with a poor diet as well as the intense combat at Kilmichael contribute to his illness, diagnosed as heart displacement.

The political fallout from the Kilmichael ambush outweighs its military significance. While the British forces in Ireland can easily absorb 18 casualties, the fact that the IRA had been able to wipe out a whole patrol of elite Auxiliaries is for them deeply shocking. The British forces in the West Cork area take their revenge on the local population by burning several houses, shops and barns in Kilmichael, Johnstown and Inchigeelagh, including all of the houses around the ambush site. On December 3, three IRA volunteers are arrested by the British Essex Regiment in Bandon, beaten and killed, and their bodies dumped on the roadside.

For the British government, the action at Kilmichael is an indication that the violence in Ireland is escalating. Shortly after the ambush, barriers are placed on either end of Downing Street to protect the Prime Minister‘s office from IRA attacks. On December 10, as a result of Kilmichael, martial law is declared for the counties of Cork, Kerry, Limerick and Tipperary.

The British military now has the power to execute anyone found carrying arms and ammunition, to search houses, impose curfews, try suspects in military rather than civilian courts and to intern suspects without trial. On December 11, in reprisal for Kilmichael and other IRA actions, the centre of Cork city is burned by Auxiliaries, British soldiers and Black and Tans, and two IRA men are assassinated in their beds. In separate proclamations shortly afterwards, the authorities sanction “official reprisals” against suspected Sinn Féin sympathisers and the use of hostages in military convoys to deter ambushes.

(Pictured: The Kilmichael Ambush Monument at the ambush site)

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The Cork Opera House Fire

cork-opera-house-fire-1955The Cork Opera House is destroyed by fire on December 12, 1955. It is originally built in 1855, and is built on a template that the architect had used for the exhibition buildings at the Irish Industrial Exhibition. Since then it survives the burning of much of Cork by British forces in 1920.

“The final curtain has fallen. The Cork Opera House is no more. A hundred years of stage history has come to an end. Never had the last moments of any drama, played on this stage, such an audience as last night’s farewell one. In heavy rain, a vast crowd stood silently as flames enveloped a proud landmark in our city. They watched it from the short first burst of fire on its roof until the building crumbled before their eyes.”

So reads the main news in The Cork Examiner on Tuesday, December 13, 1955, after the disastrous fire tore at the heartstrings of the people of Cork, leaving the city without a major theatre for the first time in 250 years. It is the boast of the Opera House that its tradition is continuous. When fighting in the South was at its bitterest, even when most of Cork was burned down, the Opera House kept running, only closing for pantomime rehearsals and in Holy Week. It is during the rehearsals for the forthcoming Christmas pantomime that the fatal fire starts. Fortunately, all people are evacuated, but the building built entirely from wood does not stand a chance from the merciless fire. What begins as an electrical fault blazes into an inferno within minutes. Soon the skyline of the city is lit up as the fire does its worst.

Ten years later, on February 23, 1963, the tender of Messrs. O’Shea, South Mall is accepted for the rebuilding of the Opera House. A month later the work begins and the foundation stone is laid by Lord Mayor Seán Casey on June 21, 1963. The citizens watch the building construction with keen interest as the new building gradually takes shape. Finally the day arrives for the casting aside of hoardings and scaffoldings.

Immediately controversy begins regarding the much disputed North-Wall. Unfavorable comment and criticism is levelled at the lack of architectural or artistic embellishment on the exterior of the new building and the square, squat tower on top of the roof designed to ease set changing. This is a very natural reaction as the old Opera House had a very special place in the hearts of Corkonians of every generation during its existence. Most of the criticism is uninformed, for few are aware of the difficulties, financially and technically, that the project incurred. Despite the criticism about the exterior appearance, everyone who has an opportunity to inspect the interior of the theatre can find no fault. There is nothing but praise for the design, the decor, the layout of the seating accommodation and, above all, the intimate atmosphere which has been a traditional part of the venerable old building, and which is now faithfully preserved in the new.