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Death of Denis Florence MacCarthy, Poet & Translator

Denis Florence MacCarthy, Irish poet, translator, and biographer, dies at 7 Herbert Terrace, Blackrock, Dublin, on April 7, 1882.

MacCarthy is born in Lower O’Connell Street, Dublin, on May 26, 1817, and educated there and at St. Patrick’s College, Maynooth. He acquires an intimate knowledge of Spanish from a learned priest, who had spent much time in Spain, which he is later to turn to good advantage. In April 1834, before turning seventeen, he contributes his first verses to the Dublin Satirist. He is one of a coterie of writers whose works appear in The Nation, which is started by Charles Gavan Duffy in 1842. Writing under the pseudonym “Desmond,” most of MacCarthy’s patriotic verse appears in this organ.

In 1846, MacCarthy is called to the Irish bar but never practises. In the same year he edits The Poets and Dramatists of Ireland, which he prefaces with an essay on the early history and religion of his countrymen. About this time, he also edits The Book of Irish Ballads (by various authors), with an introductory essay on ballad poetry in general. His Ballads, Poems, and Lyrics appears in 1850, original and translated. His attention is first directed to Pedro Calderón de la Barca by a passage in one of Percy Bysshe Shelley‘s essays, and from then on, the interpretation of the “Spanish Shakespeare” claims the greater part of his attention.

The first volume of MacCarthy’s translations, containing six plays, appears in 1853, and is followed by further instalments in 1861, 1867, 1870, and 1873. His version of Daybreak in Capacabana is completed only a few months before his death.

Until 1864, MacCarthy resides principally on Killiney Hill, overlooking Dublin Bay. The delicate health of some members of his family then renders a change of climate imperative, and he pays a prolonged visit to continental Europe. On his return, he settles in London in 1871, where he publishes – in addition to his translations – Shelley’s Early Life, which contains an account of that poet’s visit to Dublin in 1812.

During MacCarthy’s final illness he returns to Dublin, settling at 7 Herbert Terrace, Blackrock, and died there on Good Friday, April 7, 1882. He is buried in Glasnevin Cemetery. His memorial committee includes Cardinals John Henry Newman and Edward McCabe, a lifelong friend, Thomas (Lord) O’Hagan, Gavan Duffy, Timothy Daniel Sullivan, and the poets Aubrey Thomas de Vere and Sir Samuel Ferguson. The committee finances the publication of his Poems (1882), edited by his eldest son, John, a minor poet living in London, and commission a bust by Thomas Farrell which is displayed at City Hall, Dublin. His poetical gifts are inherited by his daughter, who becomes a nun and writes as Sister Mary Stanislaus.

MacCarthy’s poems are distinguished by a sense of harmony and sympathy with natural beauty. Such poems as “The Bridal of the Year,” “Summer Longings” (alias “Waiting for the May”), and his long narrative poem, “The Voyage of St. Brendan,” are among his most enduring works. The last-mentioned, which paraphrases the “Ave Maria Stella” as the evening song of the sailors, is also marked by the earnest religious feeling which mark its author throughout life. But it is by his version of Calderon that he is considered to have won a permanent place in English letters. His success is sufficiently testified by George Ticknor, who declares in his History of Spanish Literature that MacCarthy “has succeeded in giving a faithful idea of what is grandest and most effective in [Calderon’s] genius… to a degree which I had previously thought impossible. Nothing, I think, in the English language will give us so true an impression of what is most characteristic of the Spanish drama, and of Spanish poetry generally.”


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Birth of John Hogan, the “Greatest of Irish Sculptors”

Irish sculptor John Hogan, described in some sources as the “greatest of Irish sculptors,” is born in Tallow, County Waterford, on October 14, 1800. According to the Dictionary of Irish Biography he is responsible for “much of the most significant religious sculpture in Ireland” during the 19th century. Working primarily from Rome, among his best-known works are three versions of The Dead Christ, commissioned for churches in Dublin, Cork, and the Basilica of St. John the Baptist in St. John’s, Newfoundland and Labrador, Canada.

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 1837 Hogan is elected a member of the Virtuosi del Pantheon. During the next several years, he has several works in hand, including a marble statue of Daniel O Connell, for the Repeal Association. The statue stands today at City Hall, Dublin, the same spot where O’Connell gave his first speech against the Acts of Union in 1800.

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)


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Formation of the Irish Citizen Army

The Irish Citizen Army (ICA) is formed on November 23, 1913, at the height of the Dublin Lockout. Its purpose is to enable the locked-out men to defend themselves in clashes with the Dublin Metropolitan Police and to counteract the demoralizing effects of unemployment by providing discipline, cohesion and purpose. The idea of forming a force apparently is first formally proposed in 1913 by Captain James Robert “Jack” White, an ex-army officer from County Antrim, who had been educated at Winchester College and Royal Military College, Sandhurst. During a speech in August, James Larkin had already suggested that the workers form a force. He publicly repeats this instruction on November 13. James Connolly likewise urges the men to train “as they are doing in Ulster.” Two weeks later drilling begins. According to the ICA constitution, its members are to “work for an Irish republic and for the emancipation of labour.” Larkin is anxious that those who enlist should not only espouse these principles but also be members of unions recognised by the Irish Trades Union Congress.

Despite competition from the Irish Volunteers, which launches on November 25, 1913, ICA membership quickly surpasses 1,000. However, after the dispute is over in January 1914 and the men return to work, the “army” all but disappears. But it is Connolly above all who, after his appointment as its commandant and as leader of the Irish Transport and General Workers Union, rescues it from terminal decline and welds it into a potent force and potential weapon for his own use. He determines its structure, vets its officers and imposes a rigid discipline. He also demands an ideological commitment to revolution and the goal of an independent Irish socialist republic. The force’s guiding principle is that “the ownership of Ireland, moral and material, is vested by right in the people of Ireland.” Its membership remains small, but it is otherwise superior to the much larger Irish Volunteers in its unity of purpose, lack of factional and ideological division and in the quality of its training.

After the outbreak of World War I, Connolly has become increasingly committed to fomenting an insurrection in Ireland. This is reflected in his military preparations with the ICA. He uses its headquarters, Liberty Hall, as his base. Fearing he might act on his own, and recognising the merits of collaboration, the Irish Republican Brotherhood Military Council informs him of their own clandestine plans for a rising and an agreement is reached.

During Easter week of 1916, 219 ICA men fight alongside over 1,300 from the Irish Volunteers. As the appointed leader of both forces in Dublin, Connolly skillfully ensures that the ideological and social divisions and personality clashes, which have hitherto blighted their relationship, are largely overcome. ICA forces are mainly concentrated at the General Post Office (GPO), the College of Surgeons and Dublin’s City Hall. They win volunteer admiration for their professionalism, dedication, and ruthlessness. Two of their leaders are subsequently executed – Connolly and Michael Mallin, the ICA Chief of Staff. Constance Markievicz, Mallin`s second-in command, is reprieved. Others are imprisoned or interned. The ICA is not revived after the insurrection. The new leadership of the ITGWU focuses instead on building up the union, safeguarding members’ wages and improving working conditions.


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The Funeral of Jeremiah O’Donovan Rossa

The funeral of Fenian Jeremiah O’Donovan Rossa is held before a huge crowd at Glasnevin Cemetery in Dublin on August 1, 1915.

Rossa’s body had been returned from New York City where he died June 29. He had been exiled by the British for his Fenian activities in 1871. While in exile, Rossa manages to alienate many of his former Fenian colleagues, including his good friend John Devoy, with his uncompromising advocacy of violence to end British rule in Ireland. Perhaps his attitude is due in part to the harsh treatment he receives in British prisons as well as scenes he witnesses while helping to distribute relief in his native County Cork during the Great Hunger.

In the late 1870s, he organizes the “Skirmishing Fund,” which finances the infamous Fenian dynamite campaign in England. When he dies in New York on June 29, 1915, he is estranged from most in the Irish republican movement.

Rossa’s funeral is one of the seminal events in the revival of the Irish republican movement in Ireland. During the three days when Rossa lays in the vestibule of the City Hall, encased in a coffin with a plate glass lid, thousands of citizens pass by to pay their final respects.

The coffin is conveyed from the City Hall in the four-horse bier in waiting at 2:25 PM and fifteen minutes later the cortège starts, headed by a guard of honour of the Irish Volunteers with rifles, a mounted guard being supplied by the same body. The coffin is thickly covered with wreaths and an open carriage behind is also filled with floral tokens, while many of the contingents carry wreaths to be placed on the grave.

The procession, in marching four deep at a slow pace, takes a little over fifty minutes to pass the corner of Dame Street into George’s Street. A conservative estimate of those who actually take part in the procession give the numbers as exceeding 6,000 and there must be at least ten times that number lining the streets.

The funeral comes into College Green at about 3:00 PM, headed by a body of Volunteers with the St. James’s Band. It is nearing 6:00 PM when the hearse passes through the main gates of Glasnevin Cemetery. The avenue leading to the mortuary chapel is lined by detachments of Volunteers. The prayers in the chapel are said by the Rev. D. Byrne, chaplain. Several priests then accompany the coffin to the grave, which is situated just beyond the eastern fringe of the O’Connell circle, close to the graves of two other prominent Fenians, John O’Leary and James Stephens.

Patrick Pearse gives an address at the graveside which has resounded with republicans down through the years. The final words of his oration provide them with one of their most enduring slogans, “Ireland unfree will never be at peace.”

A firing party then fires a volley, the Last Post is sounded, and wreaths are laid on the grave.


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Nelson Mandela Awarded the Freedom of the City of Dublin

nelson-mandela-freedom-of-dublin

Nelson Rolihlahla Mandela, the first president of South Africa to be elected in a fully representative democratic election, is awarded the Freedom of the City of Dublin on his 70th birthday, July 18, 1988. Mandela is not available to receive his award on the date it is conferred, however, as he is a prisoner in South Africa at the time. On July 1, 1990, after his release from prison, Mandela  finally receives the Freedom of the City of Dublin at a ceremony in the Mansion House Dublin.

The Freedom of the City of Dublin is awarded by Dublin City Council after approving a person nominated by the Lord Mayor of Dublin. Eighty people have been honoured under the current process introduced in 1876. Most honourees have made a contribution to the life of the city or of Ireland in general, including politicians, public servants, humanitarians, artists, and entertainers. Others have been distinguished members of the Irish diaspora and foreign leaders, honoured visiting Dublin. Honourees sign the roll of freedmen in a ceremony at City Hall or the Mansion House and are presented with an illuminated scroll by the Lord Mayor.

Mandela is honoured with the Freedom of Dublin city for his contribution to society and commitment to the study and promotion of Human Rights and also his work in the area of development and social inclusion, which has enhanced the lives of local communities in Ireland and fostered global links with institutions and organisations.

Among the notable recipients of this award are American presidents John F. Kennedy and Bill Clinton, Mikhail Gorbachev, Éamon de Valera, Mother Teresa, Pope John Paul II, Aung San Suu Kyi, all four members of U2, Bob Geldof, and Ronnie Delaney.

Holders of this award have some ancient privileges and duties such as the right to bring goods into Dublin through the city gates without paying customs duties, the right to pasture sheep on common ground within the city boundaries including College Green and St. Stephen’s Green (this right is exercised as a publicity stunt by U2 members the day after their 2000 conferring), and the right to vote in municipal and parliamentary elections. Some of the ancient duties are that freemen/women must be ready to defend the city of Dublin from attack and, at short notice, can be called up to join a city militia. Also a law which was passed in 1454 states that freemen/women must own a bow, a coat of mail, a helmet, and a sword.