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Tag Archives: Celtic Revival


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Death of D. P. Moran, Journalist, Activist & Theorist

David Patrick Moran (Irish: Dáithí Pádraig Ó Móráin), better known as simply D. P. Moran, Irish journalist, activist and cultural-political theorist, dies on January 31, 1936. He is known as the principal advocate of a specifically Gaelic Catholic Irish nationalism during the early 20th century. Associated with the wider Celtic Revival, he promotes his ideas primarily through his journal, The Leader, and compilations of his articles such as the book The Philosophy of Irish Ireland.

Moran is born in Manor, a townland in Waterford, the youngest of twenty children born to James Moran, a builder, and Elizabeth Moran (née Casey). One of his brothers goes on to serve on the defense team of Patrick O’Donnell.

Moran is educated at Castleknock College, near Dublin, before working as a journalist in London, where he is a member of the Irish Literary Society. His brand of nationalism and concept of the decolonisation of Ireland is of a homogeneous Irish-speaking and Roman Catholic nation, promoting the revival of the Irish language and of Gaelic games in Irish cultural life. He often employes disparaging terms (West Brits, shoneens, sourfaces) in reference to Unionists and/or non-Catholics.

Despite the failure of the 1893 Home Rule Bill and the division of the Irish Parliamentary Party (IPP) in 1891, nationalists take heart from Douglas Hyde‘s 1892 speech, entitled “The Necessity for De-anglicising Ireland.” Moran builds upon this thesis and provides a wider ideology for enthusiasts, particularly after the re-unification of most of the nationalist parties from 1900.

In his 1905 text The Philosophy of Irish-Ireland, Moran argues that to be Irish requires:

  • the use of the Irish language
  • membership in the Roman Catholic Church
  • an anti-materialist outlook on life
  • the playing of only Gaelic games

Though a sponsor of the use of Irish, he never becomes fluent in the language himself. He emphasises the use of English in 1908–09 as “an active, vigilant, and merciless propaganda in the English language.” In the longer term, when Irish becomes again the language of the people, its use enables a de facto censorship of any foreign and unwelcome ideas written in English.

While Moran argues that the idea of “the Gael” is one that can assimilate others, he also feels that it will be hard if not impossible for members of the Church of Ireland who support the British Empire to ever qualify as Irish, being “resident aliens.” This extends to Anglo-Irish literature. He rejects the Abbey Theatre and questions Yeats‘ genius. He once speaks out against the influence Britain has over Irish Universities, stating, “We are all Palemen now.” In the matter of religious differences, Daniel O’Connell had said in 1826 that “the [Roman] Catholics of Ireland are a nation.” Moran moves beyond that, affirming in 1901 that “…the Irish Nation is de facto a Catholic nation.” He is virulent in his opposition to female suffrage.

Moran’s articles frequently contrast “Belfast” with “Ireland,” yet hope that Belfast can eventually change and assimilate. He feels that Ulster unionists should “… be grateful to the Irish nation for being willing to adopt them.” His paper publishes numerous articles by the future TD Arthur Clery (writing under the pen name “Chanel”), who advocates partition on the grounds that Ulster unionists are a separate nation, but Moran himself disagrees and refuses to concede the legitimacy of a northern Protestant identity.

When Irish republicans initiate the Irish War of Independence in 1919, widescale anti-Catholic rioting breaks out in Belfast in 1920 and 1922. Moran identifies this as being caused by Orangeism, which he describes as “a sore and a cancer” in Ireland. He also alleges that “bigotry on the part of Catholics in the Six Counties is immediately due to Orange bigotry.”

Moran is initially a supporter of the Irish Parliamentary Party, believing that the separatism advocated by Arthur Griffith‘s Sinn Féin is impracticable; however, he opposes John Redmond‘s support of the British World War I effort.

Moran supports the Anglo-Irish Treaty agreed in 1921–22 and sees the partition of Ireland as beneficial for a truly Irish culture in the Irish Free State. This causes a sea-change in his opinions; from now on Northern Ireland can be safely ignored, along with what he sees as the English evils of “free thought, free trade, and free literature.” He claims Irish life and culture has to be protected from foreign influences, including the twin evils of the music hall and the English press. The new jazz music of the 1920s and other imported cultural elements are deprecated as “imported debasement and rot.”

On January 9, 1901, Moran marries Theresa Catherine, daughter of Thomas Francis O’Toole, a former Parnellite mayor of Waterford. They have four sons and one daughter.

Moran dies suddenly at his home in Skerries, Dublin, on January 31, 1936. His daughter, Nuala, who has written for the paper since the early 1920s, generally on artistic and social matters, takes over the running of the paper on his death, though it is then much diminished in size and influence. Nuala, who never marries, retains control of The Leader until it ceases publication in 1971.


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Birth of Standish James O’Grady, Author, Journalist & Historian

Standish James O’Grady (Irish: Anéislis Séamus Ó Grádaigh), Irish author, journalist, and historian, is born in Castletownbere, County Cork, on September 18, 1846. He is inspired by Sylvester O’Halloran and plays a formative role in the Celtic Revival, publishing the tales of Irish mythology, as the History of Ireland: Heroic Period (1878), arguing that the Gaelic tradition has rival only from the tales of Homeric Greece.

O’Grady’s father is the Reverend Thomas O’Grady, the scholarly Church of Ireland minister of Castletown Berehaven, County Cork, and his mother Susanna Doe (or Dowe). The Glebe, his childhood home, lies a mile west of Castletownbere near a famine mass grave and ruined Roman Catholic chapel. He is a cousin of Standish Hayes O’Grady, another noted figure in Celtic literature, and of Standish O’Grady, 1st Viscount Guillamore. After a rather severe education at Tipperary Grammar School, he follows his father to Trinity College, Dublin, where he wins several prize medals and distinguishes himself in several sports.

O’Grady is a paradox for his times, proud of his Gaelic heritage, he is also a member of the Church of Ireland, a champion of aristocratic virtues (particularly decrying bourgeois values and the uprooting cosmopolitanism of modernity) and at one point advocates a revitalised Irish people taking over the British Empire and renaming it the Anglo-Irish Empire.

O’Grady proves too unconventional of mind to settle into a career in the church, and takes a job as a schoolmaster at Midleton College, then in a period of expansion. He also qualifies as a barrister, while earning much of his living by writing for the Irish newspapers. Reading Sylvester O’Halloran’s A general history of Ireland (1778) sparks an interest in early Irish history. After an initial lukewarm response to his writing on the legendary past in History of Ireland: The Heroic Period (1878) and Early Bardic Literature of Ireland (1879), he realises that the public wants romance, and so follows the example of James Macpherson in recasting Irish legends in literary form, producing historical novels including Finn and his Companions (1891), The Coming of Cuculain (1894), The Chain of Gold (1895), Ulrick the Ready (1896) and The Flight of the Eagle (1897), and The Departure of Dermot (1913).

O’Grady also studies Irish history of the Elizabethan period, presenting in his edition of Sir Thomas Stafford‘s Pacata Hibernia (1896) the view that the Irish people had made the Tudors into kings of Ireland to overthrow their unpopular landlords, the Irish chieftains. His The Story of Ireland (1894) is not well received, as it sheds too positive a light on the rule of Oliver Cromwell for the taste of many Irish readers. He is also active in social and political campaigns in connection with such issues as unemployment and taxation.

Until 1898, O’Grady works as a journalist for the Daily Express of Dublin, but in that year, finding Dublin journalism in decline, he moves to Kilkenny to become editor of the Kilkenny Moderator, which is printed at 28 High Street. It is here he becomes involved with Ellen Cuffe, Countess of Desart, and Captain Otway Cuffe. He engages in the revival of the local woolen and woodworking industries. In 1900 he founds the All-Ireland Review and returns to Dublin to manage it until it ceases publication in 1908. He also contributes to James Larkins‘ The Irish Worker paper.

O’Grady’s influence crosses the divide of the Anglo-Irish and Irish-Ireland traditions in literature. His influence is explicitly stated by the Abbey Theatre set with Lady Gregory, W. B. Yeats and George William Russell attributing their interest in the Fenian Cycle of Gaelic tradition in part to him. This leads to him being known as the “Father of the Celtic Revival.” Some of the figures associated with the political party Sinn Féin, including its founder Arthur Griffith, have positive things to say about his efforts in helping to retrieve from the past the Gaelic heroic outlook.

O’Grady marries Margaret Allen Fisher, daughter of William Allen Fisher, and they have three sons. Advised to move away from Ireland for the sake of his health, they leave Ireland in 1918. After living in the north of France and Northamptonshire, they move to the Isle of Wight. He is working on a final exposition of his ideas when he dies suddenly on May 18, 1928.

O’Grady’s eldest son, Hugh Art O’Grady, is for a time editor of the Cork Free Press before he enlists in World War I in early 1915. He becomes better known as Dr. Hugh O’Grady, later Professor of the Transvaal University College, Pretoria (later the University of Pretoria), who writes the biography of his father in 1929.


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Death of George William Russell, Writer, Critic & Poet

George William Russell, Irish writer, editor, critic, poet, painter and Irish nationalist, dies of cancer in Bournemouth, England, on July 17, 1935.

Russell is born on April 10, 1867, in Lurgan, County Armagh, in what is now Northern Ireland. He writes with the pseudonym Æ (often written AE or A.E.). He is also a writer on mysticism, and a central figure in the group of devotees of theosophy which meets in Dublin for many years. He takes his pseudonym from a proofreader’s query about his earlier pseudonym, “AEon.”

Russell is the second son of Thomas Russell and Mary Armstrong. His father, the son of a small farmer, becomes an employee of Thomas Bell and Co., a prosperous firm of linen drapers. The family relocates to Dublin, where his father has a new offer of employment, when he is eleven years old.

Russell is educated at Rathmines School and the Metropolitan School of Art, where he begins a lifelong, if sometimes contentious, friendship with W. B. Yeats. In the 1880s, he lives at the Theosophical Society lodge at 3 Upper Ely Place, sharing rooms with Hamilton Malcolm Magee, the brother of William Kirkpatrick Magee.

Following his time at the Metropolitan School of Art, Russell becomes an accounts clerk in a drapery store but leaves in 1897 to organize agricultural cooperatives. Eventually he becomes editor of the periodicals Irish Homestead (1905–23) and The Irish Statesman (1923–30). In 1894 he publishes the first of many books of verse, Homeward: Songs by the Way, which establishes him in what is known as the Irish Literary Revival. His first volume of Collected Poems appears in 1913 and a second in 1926. He maintains a lifelong interest in theosophy, the origins of religion, and mystical experience. Candle of Vision: Autobiography of a Mystic (1918) is the best guide to his religious beliefs.

At the turn of the 20th century, Russell is considered by many to be the equal of Yeats, but he does not continue to grow and develop as Yeats does. He is prolific and versatile, but many critics find his poetry facile, vague, and monotonous, with “rather too much of the Celtic Twilight” in it.

Russell designs the famous Starry Plough flag for the Irish Citizen Army, which is unveiled on April 5, 1914, and flown during the Easter Rising in April 1916.

Russell, who had become increasingly unhappy in the Irish Free State which, according to Yeats, he called “a country given over to the Devil,” moves to England soon after his wife’s death in 1932. Despite his failing health he goes on a final lecture tour in the United States but returns home utterly exhausted. He dies of cancer in Bournemouth, England, on July 17, 1935. His body is brought back to Ireland, and he is interred in Mount Jerome Cemetery, Dublin.


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Death of Irish Sculptor Oliver Sheppard

Oliver Sheppard RHA, Irish sculptor most famous for his 1911 bronze statue of the mythical Cuchulain dying in battle, dies at Knockranny, County Cavan, on September 14, 1941. His work was also part of the art competitions at the 1924 Summer Olympics in Paris and the 1928 Summer Olympics in Amsterdam.

Sheppard is born at Old Town, Cookstown, County Tyrone, on April 10, 1865, to Simpson Sheppard, a sculptor, and Ellen White, of Ormond Quay, Dublin. His main influence is the Frenchman Édouard Lantéri who teaches him at the Royal College of Art in London, and then at the Dublin Metropolitan School of Art (DMSA) in Dublin, now the National College of Art and Design (NCAD), where he later becomes a lecturer.

Sheppard is based in Dublin for almost all of his life, having traveled widely across Europe. His wife Rosie dies in 1931, with whom he has several children. They live at Howth and 30 Pembroke Road in central Dublin.

From 1902 to 1937 Sheppard teaches sculpture at the Dublin Metropolitan School of Art. His annual stipend is £250 but for this he only has to lecture three mornings a week, allowing him plenty of time for work on commissioned projects. One of his most famous students is the sculptor, Kathleen Cox.

The Dying Cuchulain is considered Sheppard’s masterpiece and an important work of Irish art. It is a bronze figure of the mythological warrior-hero Cuchulain, who continued to fight against his enemies while gravely wounded and tied to a tree. It is created in 1911 and later chosen by Éamon de Valera in 1935 as the national memorial to the 1916 Easter Rising. It can still be viewed today in the General Post Office (GPO), O’Connell Street, Dublin.

As a prominent sculptor Sheppard is a member of the Royal Hibernian Academy, the Royal Dublin Society, and is made a governor of the National Gallery of Ireland from 1925–41. He also exhibits works at European exhibitions during his lifetime, occasionally winning prizes.

Sheppard is generally critical of the low standards of sculpture in Ireland: “For the last sixty years or so thousands of figures and groups have been executed in Dublin for ecclesiastical purposes, and, with one or two exceptions … was not up to a reasonable standard. The making of a work of art hardly entered into it at all. The sculptor, well trained and properly encouraged, should collaborate with the architect.”

Sheppard is in the minority of Irish Protestants who support independence, starting with support for the Irish Parliamentary Party in the 1880s, when he is an art student.

In 1890–1910 Sheppard is a part of the Celtic Revival movement, and, from his works such as Inis Fáil, is admired by his student William Pearse. Through him he meets his brother Patrick Pearse who later helps launch the Easter Rising in 1916. While most of the Revival’s artists are writers, playwrights and poets, Sheppard can claim to be the main sculptor working on themes similar to theirs.

After the Irish War of Independence (1919–21) Sheppard says, “They thought me too old to fight but I have tried to help in other ways. My politics are simple. I have always thought that this country should be a free country.” His opinions are not overly dogmatic, considering his work on the war memorials in 1920.

In the mid-1920s the first series of Irish Free State coinage is planned and is finally launched in 1928. Sheppard is one of the designers short-listed but his designs are not accepted.

After his retirement in 1937 from the National College of Art, the now renamed Dublin Metropolitan School of Art, he is appointed in 1938 by the Minister for Education to the College’s standing committee. He is also made a judge in the Royal Dublin Society art competition in 1939 and 1940.

Sheppard dies on September 14, 1941, in Dublin and is buried at Old St. Fintan’s Cemetery, Sutton, Dublin. There is a small retrospective exhibition of fourteen of his works at the Royal Hibernian Academy (RHA) in 1942. There are portraits of Sheppard by George William Russell (Dublin City Gallery The Hugh Lane) and Sir William Orpen (NGI), and photographic portraits in the Sheppard collection, National Irish Visual Arts Library (NIVAL) at the National College of Art and Design, Dublin, where his papers are located.


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Birth of George William Russell, Writer, Poet & Nationalist

George William Russell, Irish writer, editor, critic, poet, painter and Irish nationalist, is born on April 10, 1867, in Lurgan, County Armagh, in what is now Northern Ireland. He writes with the pseudonym Æ (often written AE or A.E.). He is also a writer on mysticism, and a central figure in the group of devotees of theosophy which meets in Dublin for many years. He takes his pseudonym from a proofreader’s query about his earlier pseudonym, “AEon.”

Russell is the second son of Thomas Russell and Mary Armstrong. His father, the son of a small farmer, becomes an employee of Thomas Bell and Co., a prosperous firm of linen drapers. The family relocates to Dublin, where his father has a new offer of employment, when he is eleven years old.

Russell is educated at Rathmines School and the Metropolitan School of Art, where he begins a lifelong, if sometimes contentious, friendship with W. B. Yeats. In the 1880s, he lives at the Theosophical Society lodge at 3 Upper Ely Place, sharing rooms with Hamilton Malcolm Magee, the brother of William Kirkpatrick Magee.

Following his time at the Metropolitan School of Art, Russell becomes an accounts clerk in a drapery store but leaves in 1897 to organize agricultural cooperatives. Eventually he becomes editor of the periodicals Irish Homestead (1905–23) and The Irish Statesman (1923–30). In 1894 he publishes the first of many books of verse, Homeward: Songs by the Way, which establishes him in what is known as the Irish Literary Revival. His first volume of Collected Poems appears in 1913 and a second in 1926. He maintains a lifelong interest in theosophy, the origins of religion, and mystical experience. Candle of Vision: Autobiography of a Mystic (1918) is the best guide to his religious beliefs.

At the turn of the 20th century, Russell is considered by many to be the equal of Yeats, but he does not continue to grow and develop as Yeats does. He is prolific and versatile, but many critics find his poetry facile, vague, and monotonous, with “rather too much of the Celtic Twilight” in it.

Russell designs the famous Starry Plough flag for the Irish Citizen Army, which is unveiled on April 5, 1914, and flown during the Easter Rising in April 1916.

Russell, who had become increasingly unhappy in the Irish Free State which, according to Yeats, he called “a country given over to the Devil,” moves to England soon after his wife’s death in 1932. Despite his failing health he goes on a final lecture tour in the United States but returns home utterly exhausted. He dies of cancer in Bournemouth, England, on July 17, 1935. His body is brought back to Ireland, and he is interred in Mount Jerome Cemetery, Dublin.


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Birth of Sculptor Oliver Sheppard

Oliver Sheppard RHA, Irish sculptor most famous for his 1911 bronze statue of the mythical Cúchulainn dying in battle, is born at Old Town, Cookstown, County Tyrone on April 10, 1865. His work is also part of the art competitions at the 1924 Summer Olympics and the 1928 Summer Olympics.

Sheppard is born to Simpson Sheppard, a sculptor, and Ellen White, of Ormond Quay, Dublin.

Sheppard is based in Dublin for almost all of his life, having travelled widely across Europe. He and his wife Rosie have several children. They live at Howth and 30 Pembroke Road in central Dublin. She dies in 1931.

Sheppard’s main influence is the Frenchman Édouard Lantéri who teaches him at the Royal College of Art in London, and then at the Dublin Metropolitan School of Art in Dublin (now the National College of Art and Design), where he later becomes a lecturer.

From 1902 to 1937 Sheppard teaches sculpture at the Dublin Metropolitan School of Art, which is renamed the National College of Art in 1936. His annual stipend is £250 but for this he only has to lecture on three mornings per week, allowing him plenty of time for work on commissioned projects. One of his most famous students is the sculptor Kathleen Cox.

As a prominent sculptor Sheppard is a member of the Royal Hibernian Academy, the Royal Dublin Society, and is made a governor of the National Gallery of Ireland from 1925–41. He also exhibits works at European exhibitions during his lifetime, occasionally winning prizes.

Sheppard is generally critical of the low standards of sculpture in Ireland, saying, “For the last sixty years or so thousands of figures and groups have been executed in Dublin for ecclesiastical purposes, and, with one or two exceptions…was not up to a reasonable standard. The making of a work of art hardly entered into it at all. The sculptor, well trained and properly encouraged, should collaborate with the architect.”

In 1890–1910 Sheppard is a part of the Celtic Revival movement, and, from his works such as Inis Fáil, is admired by his student William Pearse. Through him he meets his brother, Patrick Pearse, who later helps launch the Easter Rising in 1916. While most of the Revival’s artists are writers, playwrights and poets, Sheppard can claim to be the main sculptor working on themes similar to theirs.

Sheppard is in the minority of Irish Protestants who support independence, starting with support for the Irish Parliamentary Party in the 1880s, when he is an art student. After the Irish War of Independence (1919–21) he says, “They thought me too old to fight but I have tried to help in other ways. My politics are simple. I have always thought that this country should be a free country.” His opinions are not overly dogmatic, considering his work on the war memorials in 1920.

In the mid-1920s the first series of Irish Free State coinage is planned and is finally launched in 1928. Sheppard is one of the designers short-listed but his designs are not accepted.

Sheppard dies in Dublin on September 14, 1941.

(Pictured: “The Dying Cúchulainn,” sculpture by Oliver Sheppard, now at the General Post Office (GPO) in Dublin)


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Death of Author & Journalist Standish James O’Grady

Standish James O’Grady, author, journalist, and historian, dies on May 18, 1928, at Shanklin, Isle of Wight, Hampshire, England.

O’Grady is born on March 22, 1846, at Castletown, County Cork, the son of Reverend Thomas O’Grady, the scholarly Church of Ireland minister of Castletown Berehaven, County Cork, and Susanna Doe. After a rather severe education at Tipperary Grammar School, O’Grady follows his father to Trinity College, Dublin, where he wins several prize medals and distinguishes himself in several sports.

O’Grady proves too unconventional of mind to settle into a career in the church and earns much of his living by writing for the Irish newspapers. Reading Sylvester O’Halloran‘s General history of Ireland sparks an interest in early Irish history. After an initial lukewarm response to his writing on the legendary past in History of Ireland: Heroic Period (1878–81) and Early Bardic Literature of Ireland (1879), he realizes that the public wants romance, and so follows the example of James Macpherson in recasting Irish legends in literary form, producing historical novels including Finn and his Companions (1891), The Coming of Cuculain (1894), The Chain of Gold (1895), Ulrick the Ready (1896) and The Flight of the Eagle (1897), and The Departure of Dermot (1913).

O’Grady also studies Irish history of the Elizabethan period, presenting in his edition of Sir Thomas Stafford‘s Pacata Hibernia (1896) the view that the Irish people have made the Tudors into kings of Ireland in order to overthrow their unpopular landlords, the Irish chieftains. His The Story of Ireland (1894) is not well received, as it sheds too positive a light on the rule of Oliver Cromwell for the taste of many Irish readers. He is also active in social and political campaigns in connection with such issues as unemployment and taxation.

Until 1898, he works as a journalist for the Daily Express of Dublin, but in that year, finding Dublin journalism in decline, he moves to Kilkenny to become editor of the Kilkenny Moderator. It is here he becomes involved with Ellen Cuffe, Countess of Desart and Captain Otway Cuffe. He engages in the revival of the local woolen and woodworking industries. In 1900 he founds the All-Ireland Review and returns to Dublin to manage it until it ceases publication in 1908. O’Grady contributes to James Larkin‘s The Irish Worker paper.

O’Grady’s works are an influence on William Butler Yeats and George Russell and this leads to him being known as the “Father of the Celtic Revival.” Being as much proud of his family’s Unionism and Protestantism as of his Gaelic Irish ancestry, identities that are increasingly seen as antithetical in the late 1800s, he is described by Augusta, Lady Gregory as a “fenian unionist.”

Advised to move away from Ireland for the sake of his health, O’Grady passes his later years living with his eldest son, a clergyman in England, and dies on the Isle of Wight on May 18, 1928.

O’Grady’s eldest son, Hugh Art O’Grady, is for a time editor of the Cork Free Press before he enlists in World War I early in 1915. He becomes better known as Dr. Hugh O’Grady, later Professor of the Transvaal University College, Pretoria, who writes the biography of his father in 1929.


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Birth of Novelist Liam O’Flaherty

liam-oflaherty

Liam O’Flaherty, novelist, short story writer, and a major figure in the Irish literary renaissance, is born on August 28, 1896, in the remote village of Gort na gCapall on Inis Mór, one of the Aran Islands of County Galway. He is involved for a time in left-wing politics, as is his brother Tom Maidhc O’Flaherty (also a writer), and their father, Maidhc Ó Flaithearta, before them.

At the age of twelve, O’Flaherty goes to Rockwell College and later University College Dublin and the Dublin Diocesan teacher training college Holy Cross College. It is intended he enter the priesthood, but he joins the Irish Guards in 1917 under the name Bill Ganly. Serving on the Western Front, he finds trench life devastatingly monotonous and is badly injured in September 1917 during the Battle of Langemarck. It is speculated that shell shock is responsible for the mental illness which becomes apparent in 1933.

He returns from the front a socialist. Having become interested in Marxism as a schoolboy, atheistic and communistic beliefs evolve in his 20s and he is a founding member of the Communist Party of Ireland. Two days after the establishment of the Irish Free State, O’Flaherty and other unemployed Dublin workers seize the Rotunda Concert Hall in Dublin and hold it for four days in protest at “the apathy of the authorities.” Free State troops force their surrender.

O’Flaherty then leaves Ireland and moves first to England where, destitute and jobless, he takes to writing. In 1925 he scores immediate success with his best-selling novel The Informer about a rebel with confused ideals in the Irish War of Independence, which wins him the 1925 James Tait Black Memorial Prize for fiction. Four years later his next short novel Return of the Brute, set in the World War I trenches, proves another success. He then travels to the United States, where he lives in Hollywood for a short time. The well-known director John Ford, a cousin, later makes a film of O’Flaherty’ first novel. The novel is also the source of a 1929 film of the same name directed by Arthur Robison.

Many of his works have the common theme of nature and Ireland. He is a distinguished short story writer, and some of his best work in that genre is in Irish. The collection Dúil, published towards the end of his life, contains Irish language versions of a number of stories published elsewhere in English. This collection, now widely admired, has a poor reception at the time, and this seems to discourage him from proceeding with an Irish language novel he has in hand.

In a letter written to The Sunday Times in later years he confesses to a certain ambivalence regarding his work in Irish and speaks of other Irish writers who receive little praise for their work in the language. This gives rise to some controversy. His First Flight, a short story which symbolizes the nervousness one experiences before doing something new, is regarded as one of his most famous works. In 1923, O’Flaherty publishes his first novel, Thy Neighbour’s Wife, thought to be one of his best. Over the next couple of years, he publishes other novels and short stories. In 1933 he suffers the first of two mental breakdowns.

He travels in the United States and Europe, and the letters he writes while travelling have now been published. He has a love of French and Russian culture. Before his death he leaves the Communist Party and returns to the Roman Catholic faith. O’Flaherty dies in Dublin on September 7, 1984, and many of his works are subsequently republished. He is remembered today as a powerful writer and a strong voice in Irish culture.