Clancy begins singing with his brothers, Paddy and Tom Clancy, at fund-raising events for the Cherry Lane Theatre and the Guthrie benefits. The Clancy Brothers and Tommy Makem, begin recording on Paddy Clancy’s Tradition Records label in the late 1950s. Liam plays guitar in addition to singing and also records several solo albums. They record their seminal The Rising of the Moon album in 1959. There are international tours, which include performances at Carnegie Hall and the Royal Albert Hall. The quartet records numerous albums for Columbia Records and enjoys great success during the 1960s folk revival. In 1964, thirty percent of all albums sold in Ireland are Clancy Brothers and Tommy Makem records.
After The Clancy Brothers split up, Liam has a solo career in Canada. In 1975, he is booked to play a festival in Cleveland, Ohio, where Tommy Makem is also playing. The two play a set together and form the group Makem and Clancy, performing in numerous concerts and recording several albums together until 1988. The original Clancy Brothers and Tommy Makem line-up also get back together in the 1980s for a reunion tour and album.
In later life, Liam maintains a solo career accompanied by musicians Paul Grant and Kevin Evans, while also engaging in other pursuits. In 2001, Clancy publishes a memoir titled The Mountain of the Women. He is also in No Direction Home, the 2005 Bob Dylan documentary directed by Martin Scorsese. In 2006, Clancy is profiled in a two-hour documentary titled The Legend of Liam Clancy, produced by Anna Rodgers and John Murray with Crossing the Line Films, which wins the award for best series at the Irish Film and Television Awards in Dublin. His final album, The Wheels of Life, is released in 2009. It includes duets with Mary Black and Gemma Hayes as well as songs by Tom Paxton and Donovan.
Liam Clancy dies from pulmonary fibrosis on December 4, 2009, in Bon Secours Hospital, Cork. He is buried in the new cemetery in An Rinn, County Waterford, where he spent the last number of years of his life, owning a successful recording studio.
Hogan is the third child of John Hogan, a carpenter and builder of Cove Street, Cork, County Cork, and Frances Cos, the great-granddaughter of Sir Richard Cox, Lord Chancellor of Ireland from 1703 to 1707. As the family feels that she had married beneath her station, she is disinherited.
At the age of fourteen, Hogan is placed as clerk to an attorney, where he spends much of his time carving figures in wood. After two years, he chooses to be apprenticed to the architect Sir Thomas Deane, where his talents for drawing and carving are developed. He carves balusters, capitals, and ornamental figures for Deane’s buildings. At the completion of his apprenticeship in March 1820, Deane encourages him to consider taking up sculpture as a profession. For the next three years, he attends lectures on anatomy, copies casts of classic statuary in the Gallery of the Cork Society of Arts, and makes anatomical studies in wood of feet, hands, and legs. Among the first of his works to attract notice is a life-size figure of Minerva for an insurance building built by Deane.
In 1821, Hogan carves twenty-seven statues in wood for the North Chapel in Cork for the reredos behind the high altar. After subsequent cathedral renovations, these are now positioned in decorative plasterwork over the nave. He also does a bas-relief of the “Last Supper” for the altar. This work keeps him employed for about a year.
In 1823, the engraver William Paulet Carey visits Cork, and impressed with Hogan’s talent, begins to publicise his work in order to raise subscriptions for him to study in Italy. Hogan arrives in Rome, by way of Dublin and Liverpool, in 1824. He works in the galleries of the Vatican but cannot afford a studio. Additional subscriptions allow him to improve his situation, rent a studio, purchase marble, and hire models. Danish sculptor Bertel Thorvaldsen says to him, “My son, you are the best sculptor I leave after me in Rome.”
In 1829, Hogan visits Ireland, bringing several works with him. The Royal Arts Society provides a venue for an exhibition. The Royal Dublin Society awards him a gold medal.
Hogan’s best-known work and masterpiece are the three versions of the statue of The Dead Christ or The Redeemer in Death. Created in flawless Carrara marble, the first version (1829) is located in St. Therese’s Church, Dublin, the second (1833) in St. Finbarr’s (South) Church, Cork, and the third and final version (1854) is located in the Basilica of St. John the Baptist, Newfoundland. His other works include the Sleeping Shepherd and The Drunken Faun. He assures his international reputation in 1829 with The Dead Christ. Thereafter, his creations are snapped up by Irish bishops visiting his Rome studio.
In 1840, a monumental group in memory of Bishop James Warren Doyle, founder of the Cathedral of the Assumption in Carlow, is brought to Dublin and exhibited at the Royal Exchange. The statue of Bishop Doyle is in the Cathedral of the Assumption, as is a second Hogan work depicting the Holy Family.
Hogan marries Cornelia Bevignani in Rome in 1838. The figure of Hibernia, in Hogan’s work Hibernia with the Bust of Lord Cloncurry (1844), is reportedly modelled on his wife. A representation of this work is later used as the watermark on all Series A banknotes printed in Ireland from the 1920s to the 1970s. The couple has four sons and eight daughters.
With the revolutionary movement growing in Italy during the 1840s, and after spending twenty-four years in Rome, Hogan returns with his family to Ireland in 1848. At first, he finds little work in the aftermath of the Great Famine, but gradually commissions increase. He can be impatient with ignorance, intolerant of professional inferiority, and independent. He holds aloof from other artists and refuses to join the Royal Hibernian Academy.
Hogan has a stroke in 1855 and, though he recovers somewhat, his health begins to fail. By the year prior to his death, he can no longer work and his sons, John Valentine Hogan and James Cahill, assist at his studio and complete some of the work.
Hogan dies at his home at 14 Wentworth Place (later renamed Hogan Place), Dublin, on March 27, 1858. He is buried at Glasnevin Cemetery in Dublin.
(Pictured: Scan of a drawing depicting the Irish sculptor John Hogan with his sculpture The Drunken Faun in background, published in the Dublin University Magazine, January 1850)
Shiels is born on June 24, 1881, in Milltown, Ballybrakes, near Ballymoney, County Antrim, one of seven sons of Robert Shiels, a railway worker, and Eliza Shiels (née Sweeney), who also has one daughter. The family soon moves to Castle Street, Ballymoney, where he attends the local Roman Catholicnational school. His elder brothers emigrate to the United States when young. With there being no chance of further schooling even if he wanted it, he leaves Ireland when he is 19 years old. He works as a casual labourer in many places in western North America: as a farmworker and miner in Idaho and Montana, and as a lumber camp worker in British Columbia, Canada. In 1904 he is employed by the Canadian Pacific Railway to supervise a gang of workers who are building a stretch of railway in Saskatchewan. In a serious accident, he is badly injured. Despite surgery on his back, he is never able to walk again, and he receives a disability pension from the railway company.
After a long convalescence in Canada, Shiels returns to his mother’s house in Ballymoney around 1908. He sets up in business in Main Street as a shipping agent and as an agent for the Canadian Pacific Railway, taking bookings from intending emigrants. He is encouraged by his parish priest, Fr. John Hasson, by a local solicitor, Jack Pinkerton, and by James Pettigrew, a teacher, to write short stories. To try to preserve anonymity in a small community, he at first uses the pseudonym “George Morshiel,” and is successful with Western stories and other short fiction. His friends urge him to try writing dramas, and in 1918 Away from the Moss is produced by the Ulster Literary Theatre in Belfast.
After further success there with two short plays in which Shiels is learning his craft, the Abbey Theatre in Dublin accepts a one-act play, Bedmates, which is performed in January 1921. With great regularity for the next twenty years, he writes twenty-two plays for the Abbey Theatre. His work forms the basis of the repertoire in the 1920s and 1930s and attracts large audiences. Plays such as The New Gossoon (1930) provide Dublin theatregoers with entertainment, but also help form the style of acting and production which for many years characterises the Abbey and its actors. Three of his plays, Paul Twyning (1922), Professor Tim (1925) and The New Gossoon, are later performed in theatres in London and are also published in a 1945 volume, which is twice reprinted. Professor Tim, produced by the touring Abbey Theatre, receives enthusiastic reviews in Philadelphia, and The New Gossoon appears successfully on Broadway in New York City in 1932, 1934, and 1937.
Shiels’s earlier work is perhaps easiest for audiences to enjoy. Comedies such as Moodie in Manitoba (1918) portray characters so realistic that north Antrim people believe with some alarm that it might be possible to identify who Shiels had in mind when he created them, and he is at first somewhat less than popular in Ballymoney. He superbly reproduces local language and thoroughly understands the local way of life. Plays he writes late in his career are first performed by the Group Theatre in Belfast, and in these productions (and in the radio versions broadcast by the BBC) his work becomes widely known, almost beloved, in the north of Ireland. During the first half of the twentieth century amateur drama groups throughout Ireland are much more important in local life than they have been since the advent of television. Probably all such societies have at some time staged a Shiels play, and this tradition continues. His plays contain amusing dialogue, carefully crafted plots, and usually more or less happy endings.
However, Shiels’s later works, notably The Passing Day (1936), first broadcast as a radio play, and The Rugged Path (1940), which breaks all records at the Abbey Theatre in a run of three months, tackle darker subject matter and feature characters still less sympathetic even than the rogues and hypocrites of the earlier work. In The Rugged Path and its sequel, The Summit (1941), he explores the moral crisis facing Ireland after the political changes of the 1920s. One critic sees in it an allegory for the contemporary struggle against Adolf Hitler. His view of life in the small towns and farms of Ireland is never in the slightest rosy-tinted, but in the symbolism of The Passing Day, he achieves “bitter intensity” (The Irish Times review, quoted by Casey).
Shiels’s modesty leads him to refuse an honorary doctorate from Queen’s University Belfast (QUB), in 1931. He is reticent about his experiences and beliefs and does little to foster his own reputation. In one early interview he expresses the belief that Ulster theatre needs dramatic material that reflects the psychology and setting of the region. His own work, at its best, achieves this and more. The very qualities which make his work popular in the north of Ireland permit some metropolitan literary critics to dismiss his plays as “kitchen comedies.” However, with the passage of time, his importance as a chronicler of a vanishing way of life can be set alongside the recognition due to him as a prolific and gifted dramatist.
Shiels suffers from a lengthy illness, and though he undergoes an operation in Ballymoney in 1949, dies soon afterwards at his house, New Lodge, in Carnlough, County Antrim, on September 19, 1949. He is buried in the graveyard of Our Lady and St. Patrick in Ballymoney. In the month that he dies, the Group Theatre and Garvagh Young Farmers’ Club are both rehearsing Shiels plays, and there have since been many productions of his plays in the north and elsewhere. Ballymoney Drama Festival presents a portrait of Shiels to the Abbey Theatre, and a new production of The Passing Day is staged there to celebrate his centenary in 1981.
Grosse Île, in the Gulf of Saint Lawrence, acts as a quarantine station for Irish people fleeing the Great Famine between 1845 and 1849. It is believed that over 3,000 Irish people died on the island and over 5,000 are buried in the cemetery there.
In 1847, 100,000 Irish people travel to Grosse Île to escape starvation, unaware of the hardships they would encounter upon arrival. The first coffin ship – named for their crowded and deadly conditions – arrives on May 17, 1847, the ice still an inch thick on the river. Of that ship’s 241 passengers, 84 are stricken with fever and 9 have died on board. With the hospital only equipped for 150 cases of fever, the situation quickly spins out of control. More and more ships arrive at Grosse Île each day, sometimes lining up for miles down the St. Lawrence River throughout the summer. On these coffin ships the number of passengers stricken by fever increases exponentially.
Between 1832 and 1937, Grosse Île’s term of operation, the official register lists 7,480 burials on the island. In 1847 alone, 5,424 burials take place, the majority being Irish immigrants. In that same year, over 5,000 Irish people on ships bound for Canada are listed as having been buried at sea.
When the monument is unveiled in 1909, more than 60 years have passed since the more than 5,000 Irish men, women, and children were buried on the island, but the ancestors and relatives of those victims have not forgotten them. Through the hard work of the Ancient Order of Hibernians, thousands of dollars are collected to erect a fitting memorial to those innocent victims of man’s inhumanity to man. The symbol they choose to use is a Celtic cross. Designed by Jeremiah Gallagher, a member of the Ancient Order of Hibernians in Quebec, the cross is carved from granite and stands 48 feet high atop its pedestal.
The monument bears an inscription in Irish commemorating the victims of the epidemic and condemning colonial rule. In English, it reads: “Children of the Gael died in their thousands on this island having fled from the laws of foreign tyrants and an artificial famine in the years 1847-48. God’s blessing on them. Let this monument be a token and honor from the Gaels of America. God Save Ireland.”
To ensure that no one traveling up or down the St. Lawrence River fails to see the monument, it is placed on Telegraph Hill, the highest point on the island. The monument is unveiled by the Papal Legate before a crowd of 9,000, including several hundred French Canadians, some perhaps from families that had adopted one or more of the over 600 Irish orphans whose parents were left behind on Gross Île. The cross stands as a beacon to those who pass up and down the busy waterway, reminding them not only of the tragedy that once happened on that island but also of the ultimate triumph of those who survived.
Today, the island is a National Historic Site that serves as a Famine memorial. It is dedicated in 1996 after a four-year-long campaign to protect the mass gravesite.
Horniman is born at Surrey Mount, Forest Hill, London, on October 3, 1860, the elder child of Frederick John Horniman and his first wife Rebekah (née Emslie). Her father is a tea merchant and the founder of the Horniman Museum. Her grandfather is John Horniman who founds the family tea business of Horniman and Company. She and her younger brother Emslie are educated privately at their home. Her father is opposed to the theatre, which he considers sinful, but their Germangoverness takes her and Emslie secretly to a performance of The Merchant of Venice at The Crystal Palace when she is fourteen years old.
Horniman’s father allows her to enter the Slade School of Fine Art in 1882. Here she discovers that her talent in art is limited but she develops other interests, particularly in the theatre and opera. She takes great pleasure in Richard Wagner‘s Der Ring des Nibelungen and in Henrik Ibsen‘s plays. She cycles in London and twice over the Alps, smokes in public and explores alternative religions. The “lonely rich girl” has become “an independent-minded woman.” In 1890 she joins the occult society, the Hermetic Order of the Golden Dawn, where she remains a member until disagreements with its leaders lead to her resignation in 1903. During this time she meets and becomes a friend of W. B. Yeats, acting as his amanuensis for some years. Their friendship endures. Frank O’Connor recalls that on the day Yeats hears of her death, he spends the entire evening speaking of his memories of her.
Horniman’s first venture into the theatre is in 1894 and is made possible by a legacy from her grandfather. She anonymously supports her friend Florence Farr in a season of new plays at the Royal Avenue Theatre, London. This includes a new play by Yeats, The Land of Heart’s Desire, and the première of George Bernard Shaw’s play Arms and the Man. In 1903 Yeats persuades her to go to Dublin to back productions by the Irish National Theatre Society. Here she discovers her skill as a theatre administrator. She purchases a property and develops it into the Abbey Theatre, which opens in December 1904. Although she moves back to live in England, she continues to support the theatre financially until 1910. Meanwhile, in Manchester she purchases and renovates the Gaiety Theatre in 1908 and develops it into the first regional repertory theatre in Britain.
At the Gaiety, Horniman appoints Ben Iden Payne as the director and employs actors on 40-week contracts, alternating their work between large and small parts. The plays produced include classics such as Euripides and Shakespeare, and she introduces works by contemporary playwrights such as Ibsen and Shaw. She also encourages local writers who form what becomes known as the Manchester School of dramatists, the leading members of which are Harold Brighouse, Stanley Houghton and Allan Monkhouse. The Gaiety company undertakes tours of the United States and Canada in 1912 and 1913. Horniman becomes a well-known public figure in Manchester, lecturing on subjects which include women’s suffrage and her views about the theatre. In 1910 she is awarded the honorary degree of MA by the University of Manchester. During World War I the Gaiety continues to stage plays but financial difficulties lead to the disbandment of the permanent company in 1917, following which productions in the theatre are by visiting companies. In 1921 she sells the theatre to a cinema company.
As a result of her tea connection, Horniman is known as “Hornibags.” She holds court at the Midland Hotel, wearing exotic clothing and openly smoking cigarettes, which is considered scandalous at the time. She introduces Manchester to what is called at the time “the play of ideas.” The theatre critic James Agate notes that her high-minded theatrical ventures have “an air of gloomy strenuousness” about them.
Horniman dies, unmarried, on August 6, 1937, while visiting friends in Shere, Surrey. Her estate amounts to a little over £50,000. The Annie Horniman Papers are held in the John Rylands Research Institute and Library at the University of Manchester. Her portrait, painted by John Butler Yeats in 1904, hangs in the public area of the Abbey Theatre.
Cooney is encouraged to become a professional fighter by his father. His brother, Tommy Cooney, is also a boxer and reaches the finals of the New York Golden Gloves Sub-Novice Heavyweight division. His grandparents lived in Placentia, Newfoundland, in Canada.
Fighting as an amateur, Cooney wins international tournaments in England, Wales, and Scotland, as well as the New York Golden Gloves titles. He wins two New York Golden Gloves Championships, defeating Larry Derrick to win the 1973 160-lb Sub-Novice Championship and Earlous Tripp to win the 1976 Heavyweight Open Championship. In 1975 he reaches the finals of the 175-lb Open division, but is defeated by Johnny Davis. He trains at the Huntington Athletic Club in Long Island, New York, where his trainer is John Capobianco. His amateur record consists of 55 wins and 3 losses.
When Cooney turns professional, he signs with co-managers Mike Jones and Dennis Rappaport. He is trained by Victor Valle. Known for his big left-hook and his imposing size, he has his first paid fight on February 15, 1977, beating Billy Jackson by a knockout in one round. Nine wins follow and he gains attention as a future contender, although his opponents are carefully chosen. He moves up a weight class and fights future world cruiserweight champion S. T. Gordon in Las Vegas, winning by a fourth round disqualification. He has eleven more wins, spanning 1978 and 1979. Among those he defeats are Charlie Polite, former U.S. heavyweight champion Eddie Lopez, and Tom Prater. These are not rated contenders, however.
By 1980, Cooney is being featured on national television. Stepping up, he beats one-time title challengers Jimmy Young and Ron Lyle, both by knockout. The Young fight is stopped because of cuts sustained by Young. By then Cooney is ranked number 1 by the World Boxing Council (WBC) and eager for a match with champion Larry Holmes.
In 1981, Cooney defeats former world heavyweight champion Ken Norton by knockout just 54 seconds into the first round with a blisteringly powerful attack. This ties the record set in 1948 by Lee Savold for the quickest knockout in a main event in Madison Square Garden. Since his management team is unwilling to risk losing a big future pay day with Holmes by having him face another viable fighter, Cooney does not fight for 13 months after defeating Norton.
The following year, Holmes agrees to fight Cooney with the fight held on June 11, 1982. With a purse of ten million dollars for the challenger, it is the richest fight in boxing history to that time. The promotion of the fight takes on racial overtones that are exaggerated by the promoters, something Cooney does not agree with. He believes that skill, not race, should determine if a boxer is good. However, if he wins, he would become the first Caucasian world heavyweight champion since SwedeIngemar Johansson defeated Floyd Patterson 23 years earlier. Don King calls Cooney “The Great White Hope.” The bout draws attention worldwide, and Larry Holmes vs. Gerry Cooney is one of the biggest closed-circuit/pay-per-view productions in history, broadcast to over 150 countries.
Cooney fights bravely after he is knocked down briefly in the second round. He is fined three points for repeated low blows. After 12 rounds, the more skillful and experienced Holmes finally wears him down. In round 13, his trainer, Victor Valle, steps into the ring, forcing the referee to stop the fight. Two of the three judges would have had Cooney ahead after the 12th round if it were not for the point deductions. He and Holmes become friends after the fight, a relationship that endures for them. On December 14, 1982, he fights Harold Rice, the heavyweight champion of Connecticut, in a four-round bout. No winner is declared, so he tells the crowd following the bout, “This is only an exhibition. I’m sorry if I disappointed anybody. I’m trying to work myself back in shape so I can knock out Larry Holmes. Everything is OK. I felt a little rusty, but that is normal. It has been a while. I felt good in front of the people.”
After a long layoff, Cooney fights in September 1984, beating Phillip Brown by a 4th-round knockout in Anchorage, Alaska. He fights once more that year and wins, but personal problems keep him out of the ring.
Although Cooney fights only three official bouts in five years following his loss to Holmes, in 1987 he challenges former world heavyweight and world light heavyweight champion Michael Spinks in a title bout. He appears past his prime and Spinks, boxing carefully with constant sharp counters, knocks him out in the fifth round. His last fight is in 1990. He is knocked out in a match-up of power-punching veterans in two rounds by former world champion George Foreman. He does stagger Foreman in the first round, but he is over-matched, and Foreman knocks him out two minutes into the second round.
The losses to Holmes, Spinks, and Foreman exposes Cooney’s Achilles’ heel: his inability to clinch and tie up his opponent when hurt. In the Foreman fight, he rises from a second-round knockdown and stands in the center of the ring as Foreman delivers the coup de grâce.
Cooney compiles a professional record of 28 wins and 3 losses, with 24 knockouts. Not a single one of his fights ever goes the distance in a 12 or 15-round match. He is ranked number 53 on The Ring‘s list of “100 Greatest Punchers of All Time.”
Cooney founds the Fighters’ Initiative for Support and Training, an organization which helps retired boxers find jobs. He is deeply involved in J.A.B., the first union for boxers. He becomes a boxing promoter for title bouts featuring Roberto Durán, Héctor Camacho, and George Foreman. He is a supporter of the “hands are not for hitting” program, which tries to prevent domestic violence. He guides young fighters in the gym. In June 2010, he becomes the co-host of “Friday Night at the Fights” on Sirius XM radio.
Cooney resides in Fanwood, New Jersey, with his wife Jennifer and two of their three children, Jackson and Sarah. His son Chris resides in New York. He has been inducted into the Hall of Fame at Walt Whitman High School (New York), where he graduated.
Costello is the younger son of John Costello senior, a civil servant, and Rose Callaghan. He is educated at St. Joseph’s, Fairview, and then moves to O’Connell School, for senior classes, and later attends University College Dublin (UCD), where he graduates with a degree in modern languages and law. He studies at King’s Inns to become a barrister, winning the Victoria Prize there in 1913 and 1914. He is called to the Irish Bar in 1914, and practises as a barrister until 1922.
In 1922, Costello joins the staff at the office of the Attorney General in the newly established Irish Free State. Three years later he is called to the inner bar, and the following year, 1926, he becomes Attorney General of Ireland, upon the formation of the Cumann na nGaedheal government, led by W. T. Cosgrave. While serving in this position he represents the Free State at Imperial Conferences and League of Nations meetings.
Costello is also elected a Bencher of the Honourable Society of King’s Inns. He loses his position as Attorney General of Ireland when Fianna Fáil comes to power in 1932. The following year, however, he is elected to Dáil Éireann as a Cumann na nGaedheal TD. Cumann na nGaedheal soon merges with other parties to form Fine Gael.
During the Dáil debate on the Emergency Powers Act 1939, Costello is highly critical of the Act’s arrogation of powers, stating that “We are asked not merely to give a blank cheque, but to give an uncrossed cheque to the Government.” He loses his seat at the 1943 Irish general election but regains it when Éamon de Valera calls a snap election in 1944. From 1944 to 1948, he is the Fine Gael front-bench Spokesman on External Affairs.
In 1948, Fianna Fáil has been in power for sixteen consecutive years and has been blamed for a downturn in the economy following World War II. The 1948 Irish general election results show Fianna Fáil short of a majority, but still by far the largest party, with twice as many seats as the nearest rival, Fine Gael. It appears that Fianna Fáil is headed for a seventh term in government. However, the other parties in the Dáil realise that between them, they have only one seat fewer than Fianna Fáil, and if they band together, they would be able to form a government with the support of seven Independent deputies. Fine Gael, the Labour Party, the National Labour Party, Clann na Poblachta and Clann na Talmhan join to form the first inter-partygovernment in the history of the Irish state.
While it looks as if cooperation between these parties will not be feasible, a shared opposition to Fianna Fáil and Éamon de Valera overcomes all other difficulties, and the coalition government is formed.
Since Fine Gael is the largest party in the government, it has the task of providing a suitable candidate for Taoiseach. Naturally, it is assumed that its leader, Richard Mulcahy, will be offered the post. However, he is an unacceptable choice to Clann na Poblachta and its deeply republican leader, Seán MacBride. This is due to Mulcahy’s record during the Irish Civil War. Instead, Fine Gael and Clann na Poblachta agree on Costello as a compromise candidate. Costello had never held a ministerial position nor was he involved in the Civil War. When told by Mulcahy of his nomination, Costello is appalled, content with his life as a barrister and as a part-time politician. He is persuaded to accept the nomination as Taoiseach by close non-political friends.
During the campaign, Clann na Poblachta had promised to repeal the Executive Authority (External Relations) Act 1936 but does not make an issue of this when the government is being formed. However, Costello and his Tánaiste, William Norton of the Labour Party, also dislike the act. During the summer of 1948, the cabinet discusses repealing the act, however, no firm decision is made.
In September 1948, Costello is on an official visit to Canada when a reporter asks him about the possibility of Ireland leaving the British Commonwealth. For the first time, he declares publicly that the Irish government is indeed going to repeal the External Relations Act and declare Ireland a republic. It has been suggested that this is a reaction to offence caused by the Governor General of Canada at the time, Harold Alexander, 1st Earl Alexander of Tunis, who is of Northern Irish descent and who allegedly arranges to have placed symbols of Northern Ireland in front of Costello at an official dinner. Costello makes no mention of these aspects on the second reading of the Republic of Ireland Bill on November 24 and, in his memoirs, claims that Alexander’s behaviour had in fact been perfectly civil and could have had no bearing on a decision which had already been made.
The news takes the Government of the United Kingdom and even some of Costello’s ministers by surprise. The former had not been consulted and following the declaration of the Republic in 1949, the UK passes the Ireland Act that year. This recognises the Republic of Ireland and guarantees the position of Northern Ireland within the United Kingdom for so long as a majority there want to remain in the United Kingdom. It also grants full rights to any citizens of the Republic living in the United Kingdom. Ireland leaves the Commonwealth on April 18, 1949, when The Republic of Ireland Act 1948 comes into force. Frederick Henry Boland, Secretary of the Department of External Affairs, says caustically that the affair demonstrates that “the Taoiseach has as much notion of diplomacy as I have of astrology.” The British envoy, John Maffey, 1st Baron Rugby, is equally critical of what he calls a “slipshod and amateur” move.
Many nationalists now see partition as the last obstacle on the road to total national independence. Costello tables a motion of protest against partition on May 10, 1949, without result.
In 1950, the independent-minded Minister for Health, Noël Browne, introduces the Mother and Child Scheme. The scheme would provide mothers with free maternity treatment and their children with free medical care up to the age of sixteen, which is the normal provision in other parts of Europe at that time. The bill is opposed by doctors, who fear a loss of income, and Roman Catholic bishops, who oppose the lack of means testing envisaged and fear the scheme could lead to birth control and abortion. The cabinet is divided over the issue, many feeling that the state cannot afford such a scheme priced at IR£2,000,000 annually. Costello and others in the cabinet make it clear that in the face of such opposition they will not support the Minister. Browne resigns from the government on April 11, 1951, and the scheme is dropped. He immediately publishes his correspondence with Costello and the bishops, something which had hitherto not been done. Derivatives of the Mother and Child Scheme are introduced in Public Health Acts of 1954, 1957 and 1970.
The Costello government has a number of noteworthy achievements. A new record is set in housebuilding, the Industrial Development Authority and Córas Tráchtála are established, and the Minister for Health, Noel Browne, with the then new Streptomycin, bring about an advance in the treatment of tuberculosis. Ireland also joins a number of organisations such as the Organization for European Economic Co-operation and the Council of Europe. However, the government refuses to join NATO, allegedly because the British remain in Northern Ireland. The scheme to supply electricity to even the remotest parts of Ireland is also accelerated.
While the “Mother and Child” incident does destabilise the government to some extent, it does not lead to its collapse as is generally thought. The government continues; however, prices are rising, a balance of payments crisis is looming, and two TDs withdraw their support for the government. These incidents add to the pressure on Costello and so he decides to call a general election for June 1951. The result is inconclusive but Fianna Fáil returns to power. Costello resigns as Taoiseach. It is at this election that his son Declan is elected to the Dáil.
Over the next three years while Fianna Fáil is in power a dual-leadership role of Fine Gael is taking place. While Richard Mulcahy is the leader of the party, Costello, who has proved his skill as Taoiseach, remains as parliamentary leader of the party. He resumes his practice at the Bar. In what is arguably his most celebrated case, the successful defence of The Leader against a libel action brought by the poet Patrick Kavanagh, dates from this period. Kavanagh generously praises Costello’s forensic skill, and the two men become friends.
At the 1954 Irish general election Fianna Fáil loses power. A campaign dominated by economic issues results in a Fine Gael-Labour Party-Clann na Talmhan government coming to power. Costello is elected Taoiseach for the second time.
The government can do little to change the ailing nature of Ireland’s economy, with emigration and unemployment remaining high, and external problems such as the Suez Crisis compounding the difficulty. Measures to expand the Irish economy such as export profits tax relief introduced in 1956 would take years have sizable impact. Costello’s government does have some success with Ireland becoming a member of the United Nations in 1955, and a highly successful visit to the United States in 1956, which begins the custom by which the Taoiseach visits the White House each St. Patrick’s Day to present the U.S. President with a bowl of shamrock. Although the government has a comfortable majority and seems set for a full term in office, a resumption of Irish Republican Army (IRA) activity in Northern Ireland and Great Britain causes internal strains. The government takes strong action against the republicans.
In spite of supporting the government from the backbenches, Seán MacBride, the leader of Clann na Poblachta, tables a motion of no confidence, based on the weakening state of the economy and in opposition to the government’s stance on the IRA. Fianna Fáil also tables its own motion of no confidence, and rather than face almost certain defeat, Costello again asks PresidentSeán T. O’Kelly to dissolve the Oireachtas. The general election which follows in 1957 gives Fianna Fáil an overall majority and starts another sixteen years of unbroken rule for the party. Some of his colleagues questioned the wisdom of his decision to call an election. The view is expressed that he was tired of politics and depressed by his wife’s sudden death the previous year.
Following the defeat of his government, Costello returns to the bar. In 1959, when Richard Mulcahy resigns the leadership of Fine Gael to James Dillon, he retires to the backbenches. He could have become party leader had he been willing to act in a full-time capacity. He remains as a TD until 1969, when he retires from politics, being succeeded as Fine Gael TD for Dublin South-East by Garret FitzGerald, who himself goes onto to become Taoiseach in a Fine Gael-led government.
During his career, Costello is presented with a number of awards from many universities in the United States. He is also a member of the Royal Irish Academy from 1948. In March 1975, he is made a freeman of the city of Dublin, along with his old political opponent Éamon de Valera. He practises at the bar until a short time before his death at the age of 84, in Ranelagh, Dublin, on January 5, 1976. He is buried at Dean’s Grange Cemetery in Dublin.
McCann grows up in the Falls Road area of West Belfast. He is educated at St. Comgalls Primary School on Divis Street and later at St. Peters Secondary School off the Whiterock Road.
McCann is released from Long Kesh on May 9, 1972, then rearrested in November 1972 and re-interned until December 1975. During this period of internment, he is sentenced to nine months for escaping from Long Kesh through a tunnel. During this escape, IRA volunteer Hugh Coney is murdered by British soldiers.
McCann is arrested again in November 1976 and imprisoned in Crumlin Road Gaol where he spends six months on remand before being sentenced to three years. He joins the blanket protest in Crumlin Road Gaol where he and his comrades are held in solitary confinement until August 1978 when they are moved to the H-Blocks in Long Kesh, joining hundreds more on the blanket protest. He is released on November 22, 1979.
Upon his release, McCann travels throughout Ireland with other ex-prisoner’s highlighting the inhumanity in the H-Blocks. He travels throughout the United States in 1980 during which time he is arrested and spends 17 days in prison in New York. In 1981, he travels to Canada where he helps form H-Block committees and raises awareness about the hunger strike.
On his return to Ireland McCann is elected to sit on the National H-Block Committee and speaks at many events in support of the hunger strike. In the aftermath of the hunger strike he helps reorganise Sinn Féin in the Falls area.
McCann is elected to Belfast City Council in 1987 and sits on the Strategic Policy and Resources Committee and the Parks and Leisure committee. He is elected to the Northern Ireland Assembly representing Belfast West in 2003 and again in 2007, 2012 and 2018. While there he sits on the Finance and Personnel Committee and the Committee for Social Development.
In June 2006, McCann is charged with assault and disorderly behaviour following an incident in west Belfast. The incident occurs as the Police Service of Northern Ireland (PSNI) are attempting to arrest a teenager for attempted robbery. However, he claims heavy-handedness by the police and states, “I tried to put myself between one of the officers and the girl when the police officer radioed for assistance.” He is released on bail.
In October 2021, McCann announces that he would be stepping down as Member of the Legislative Assembly (MLA) for Belfast West and would not be contesting the next election.
Cleeve is the eldest son of Edward Elmes Cleeve, an English immigrant, and Sophia Journeaux, whose family came from Ireland.
In 1860, Cleeve travels to Ireland to stay with his mother’s relatives who run an agricultural machinery business in Limerick known as J.P. Evans & Company. He decides to remain in Ireland and eventually assumes control of the business.
Cleeve marries Phoebe Agnes Dann in 1874 and they have five children. The author and broadcaster Brian Cleeve is his grand nephew.
In 1883, Cleeve starts a new enterprise, the Condensed Milk Company of Ireland, in conjunction with two local businessmen. The company manufactures dairy products, such as condensed milk, butter, cheese and confectionery. Its headquarters are located in Limerick city, on the northern bank of the River Shannon. The business expands over the next 20 years to become the largest of its type in the United Kingdom.
Cleeve is also senior partner in the Cleeve Canning and Cold Storage Company based in British Columbia. He is also the President of Limerick Chamber in 1908-09.
In 1899, Cleeve is voted onto the Limerick City Council. That same year, his fellow councillors elect him as High Sheriff of Limerick City, the Queen’s representative in the city. He holds the position again in 1907 and 1908.
In December 1908, Cleeve is taken ill at a public function. Despite undergoing surgery, he dies of peritonitis on December 19, 1908, at the age of 64. According to contemporary newspaper reports his funeral is one of the largest seen in Limerick city, with crowds lining the streets up to an hour before the cortège passes. He is buried in the churchyard of St. Mary’s Cathedral in the city.
Lever is born in Amiens Street, Dublin, on August 31, 1806. He is the second son of James Lever, an architect and builder, and is educated in private schools. His escapades at Trinity College, Dublin (1823–1828), where he earns a degree in medicine in 1831, are drawn on for the plots of some of his novels. The character Frank Webber in the novel Charles O’Malley is based on a college friend, Robert Boyle, who later becomes a clergyman. He and Boyle earn pocket-money singing ballads of their own composing in the streets of Dublin and play many other pranks which he embellishes in the novels Charles O’Malley, Con Cregan and Lord Kilgobbin.
Before seriously embarking upon his medical studies, Lever visits Canada as an unqualified surgeon on an emigrant ship. Arriving in Canada, he journeys into the backwoods, where he is affiliated to a tribe of Native Americans but has to flee because his life is in danger, as later his character Bagenal Daly does in his novel The Knight of Gwynne.
Back in Europe, Lever pretends he is a student from the University of Göttingen and travels to the University of Jena and then to Vienna. He loves German student life and several of his songs, such as “The Pope He Loved a Merry Life,” are based on student-song models. His medical degree earns him an appointment to the Board of Health in County Clare and then as a dispensary doctor in Portstewart, County Londonderry, but his conduct as a country doctor earns him the censure of the authorities.
In 1833 Lever marries his first love, Catherine Baker, and in February 1837, after varied experiences, he begins publishing The Confessions of Harry Lorrequer in the recently established Dublin University Magazine. Before Harry Lorrequer appears in volume form (1839), he has settled on the strength of a slight diplomatic connection as a fashionable physician in Brussels.
In 1842 Lever returns to Dublin to edit the Dublin University Magazine and gathers round him a typical coterie of Irish wits. In June 1842 he welcomes William Makepeace Thackeray, the author of The Snob Papers, to Templeogue, four miles southwest of Dublin, on his Irish tour. The O’Donoghue and Arthur O’Leary (1845) make his native land an impossible place for Lever to continue in. Thackeray suggests London, but Lever requires a new field of literary observation and anecdote. His creative inspiration exhausted, he decides to renew it on the continent. In 1845 he resigns his editorship and goes back to Brussels, whence he starts upon an unlimited tour of central Europe in a family coach. Now and again, he halts for a few months and entertains to the limit of his resources in some ducal castle or other which he hires for an off season.
Depressed in spirit as Lever is, his wit is unextinguished. He is still the delight of the salons with his stories, and in 1867, after a few years’ experience of a similar kind at La Spezia, he is cheered by a letter from Lord Derby offering him the more lucrative consulship of Trieste. The $600 annual salary does not atone to Lever for the lassitude of prolonged exile. Trieste, at first “all that I could desire,” became with characteristic abruptness “detestable and damnable.”
Lever’s depression, partly due to incipient heart disease, partly to the growing conviction that he is the victim of literary and critical conspiracy, is confirmed by the death of his wife on April 23, 1870, to whom he is tenderly attached. He visits Ireland in the following year and seems alternately in high and low spirits. Death had already given him one or two runaway knocks, and, after his return to Trieste, he fails gradually, dying suddenly, however, and almost painlessly, from heart failure on June 1, 1872, at his home, Villa Gasteiger. His daughters, one of whom, Sydney, is believed to have been the real author of A Rent in a Cloud (1869), are well provided for.
seamus dubhghaill 