Doyle is awarded the Military Cross for his bravery during the assault on the village of Ginchy during the Battle of the Somme in 1916. He is also posthumously recommended for both the Victoria Cross and the Distinguished Service Order, but is awarded neither. It is possible that anti-Catholicism played a role in the British Army’s decision not to grant him both awards.
General William Hickie, the commander-in-chief of the 16th (Irish) Division, describes Father Doyle as “one of the bravest men who fought or served out here.”
Irish folk singer Willie ‘Liam’ Clancy is named after Doyle due to his mother’s fondness for him, although they never meet.
In August 2022, the Father Willie Doyle Association is established to petition the Catholic Church to introduce a cause for canonisation for Doyle. In January 2022, the Supplex Libellus, the formal petition, is presented to Bishop Thomas Deenihan. Having consulted with the Irish Bishops’ Conference and the Dicastery for the Causes of Saints, Deenihan issues an edict on October 27, 2022, announcing the opening of a cause. The Opening Session takes place on November 20, 2022, at the Cathedral of Christ the King, Mullingar.
At the outbreak of the Irish Rebellion of 1641, most of south-eastern Ireland falls to the Catholic insurgents. Roughly 1,000 rebels blockade Duncannon, which is heavily fortified and contains an English garrison of about 300 men. Around 150 of the English troops are killed in forays against the Irish at nearby Redmond’s Hall, but without siege artillery, or expertise in siege warfare, the rebels are unable to take Duncannon.
Hostilities continue throughout 1642, as the Irish, now organised as the Irish Confederacy raid the town’s hinterland. As in much of Ireland, the conflict is bitter. In one incident, Laurence Esmonde, 1st Baron Esmonde, the Royalist commander, hangs 16 Irish prisoners who have been taken at nearby Ramsgrange. In response, the Irish execute 18 English prisoners whom they have been holding.
In 1643, because of his need for troops to fight in the English Civil War, Charles I signs a ceasefire with the Irish Confederates. As a result, hostilities between Duncannon and the Catholic-held surrounding area are suspended.
However, in 1644, the English garrison of Cork, under Murrough O’Brien, 1st Earl of Inchiquin, unhappy with the Royalist truce with the Irish Confederates, declares for the English Parliament, who are to remain hostile to Irish Catholic forces throughout the 1640s. Esmonde, under pressure from elements of his garrison, also changes to the side of Parliament and effectively re-declares war on the Catholic Confederates. His motives are unclear: though he is a Protestant convert, the Esmonde family are Anglo-IrishRoman Catholics, and he owes his entire advancement to the Crown.
Duncannon is a strategically important town for two reasons. Firstly, it has formidable defences. Secondly and more importantly, its guns overlook the sea route to Waterford and New Ross, two of the most important Catholic-held towns and also ports at which the Confederates receive military aid from Catholic Europe.
Needing to keep this channel open and also fearing the presence of an English garrison deep in their territory, the Confederates’ Supreme Council in Kilkenny despatches Thomas Preston, general of their Leinster Army, to take Duncannon in January 1645. Preston has at his disposal 1,300 men, four cannons and a mortar. The mortar, the first of its kind to be used in Ireland has been donated by Spain the previous year and is commanded by a French military engineer named Nicholas La Loue. La Loue had served with Preston in Flanders and is chief of engineering in the Leinster Army.
Duncannon possesses formidable defences. For one thing, it is located on a peninsula and can only be approached from the north, the other three sides jutting out into the sea. Just off the town are docked four Parliamentarian ships, which are supplying Duncannon with food and reinforcements. Secondly, it possesse two lines of fortifications, the outer line being a more modern low deep rampart protected by a dry ditch and the inner wall being a medieval curtain wall, complete with three towers. However, it has two grave weaknesses, first, it is overlooked by a hill to the north, from which an attacker can fire into the town and, secondly, the water supply is located outside the walls.
Preston arrives at Duncannon on January 20 and proceeds to construct a ring of trenches which cut off Duncannon on its landward side. From the hill that overlooks the town to the north, his guns are able to fire on a squadron of four Parliamentarian ships that are docked off Duncannon and providing the town with supplies. The flagship, the Great Louis, is badly damaged, its mast wrecked by cannon fire, and it takes several more hits from the mortar as it tries to get away. The ship sinks in deep water, drowning its crew and 200 soldiers who are on board.
Having cut off Duncannon’s supply from the sea, Preston proceeds to dig saps closer to the walls, the ultimate aim being to bring his cannon close enough to the walls in order to blast a breach and open the way for an assault. His engineers also dig a mine underneath one of the town’s bastions. All the while, the town’s defenders are kept under a bombardment by the mortar and, as the Confederate troops get closer to the walls, by sharpshooters. On March 12, one such sniper kills the fort’s second in command, one Captain Lurcan, who is hit in the head by a bullet.
On March 16, by which time the Irish trenches are “within pistol shot of the walls,” Preston orders the mine to be exploded, opening a breach in Duncannon’s outer walls. The Irish infantry then assault the town, but are beaten off with some losses. The following day, Saint Patricks Day, Preston tries again and this time his troops succeed in taking the town’s outer, more modern walls but are stopped at Duncannon’s inner, medieval ramparts. They succeed in occupying one of the town’s towers for an hour before being beaten back. Geoffrey Baron, a Confederate politician, who keeps a diary of the siege, reports that 24 Irish soldiers are killed in the two assaults.
At this point, Preston summons Esmonde to surrender, before he has to “proceed to extremities.” This is a delicate threat, implying that if the town falls to an assault, its defenders will be put to the sword – as is customary in contemporary siege warfare. Esmonde is also advised to surrender by the Parliamentarian vice admiral, William Smith, who is anchored offshore with seven ships, but cannot break through to relieve the town. In a letter that reaches Esmonde on March 11, Smith warns him that “if the rebels take the fort by storming it, they will undoubtedly put you all to death…you should agree with thy adversary while thou art in the way.” Esmond has Smith’s letter publicly read to his troops after the assaults of March 16-17 to discourage those who favour holding out.
Alongside the risk of massacre, the English garrison is also very low on gunpowder and water. The town’s only source of fresh water, a well, is behind the Confederate siege lines.
In light of these facts, Esmonde formally surrenders Duncannon to Preston on March 18. The Confederates take possession of the town but its garrison is allowed to march away to Youghal, which is in Protestant hands. However, they have to leave behind the town’s 18 artillery pieces. Esmonde himself dies a feways after the end of the siege. Preston goes on to briefly besiege Youghal, but bad weather, a lack of supplies and squabbling with James Tuchet, 3rd Earl of Castlehaven, the Confederate Munster general, puts an end to his campaign for the winter.
The siege is of importance in that it reopens the sea route into Waterford and eliminates a hostile English garrison in Confederate territory. Preston, who had for many years been the Spanish military governor of Leuven, is highly experienced in siege warfare and his conduct of the siege draws widespread praise. Not only does he take the town, but he does so at a relatively low cost. Sixty-seven Confederate soldiers die in the siege, of whom roughly 30 die of disease. Given that the campaign is conducted in mid-winter, in an age when disease routinely kills many more soldiers than combat, this represents a considerable logistical achievement on the part of the Irish general.
The Great Lewis, the Parliamentarian ship sunk during the siege, is rediscovered in 1999 and raised in 2004.
After lecturing at St. Patrick’s College, Dublin, from 1941 to 1944, Slevin enters the civil service. Despite no prior interest in heraldry, he is selected via competition to assist the newly installed Chief Herald, Dr. Edward MacLysaght, in the genealogical office, Bedford Tower, Dublin Castle. After serving as Deputy Chief Herald (1944–54), he succeeds MacLysaght as Chief Herald of Ireland, becoming the longest-serving occupant of the office (1954–81).
One of three national heralds named to a vexillogical committee to devise a common emblem for the Council of Europe, Slevin persuades his colleagues to eschew religious iconography, such as the Christian cross, as inappropriate. His own design of a circle of twelve golden stars on an azure field is selected by the committee in 1954, and formally accepted by the council in December 1955. With blue chosen as a colour common to the flags of many European countries, the twelve stars represent not individual states but such associations as the zodiac and a clock face, suggesting ideals of universality, harmony, and evolution through time. Adopted in 1985 for the flag of the European Community (latterly the European Union), his design attracts wide acclaim in heraldic circles, leading to his being awarded membership of the Académie Internationale d’Héraldique.
During Slevin’s tenure as Chief Herald, several hundred patents of arms are issued to Irish public bodies, including civic and municipal authorities, and to individuals of Irish descent worldwide. On behalf of the Irish government, he confirms the Irish connections of such notables as United StatespresidentsKennedy, Nixon, and Reagan, French president Charles de Gaulle, and Princess Grace of Monaco. His coat of arms for President Kennedy, combining the ancient arms of the Kennedy and Fitzgerald families, wins renown as a masterpiece of heraldic design. While possessing a keen sense of graphic impact, he is not a great draughtsman, and he employs the noted heraldic painter Myra Maguire to execute the designs that he creates. He oversees expansion of genealogical office services, instituting an advisory service and team of research assistants for the growing numbers – especially within emigrant communities abroad – seeking to trace Irish ancestry. He establishes a committee to catalogue churchyard memorial inscriptions as an archival resource, meant to redress the loss of state records in the 1922 Four Courts fire.
Slevin wins first prize in successive years in the 1950s for entries in the Oireachteas drama competition, both plays being subsequently produced at the Abbey Theatre. He writes a detective novel in Irish, and contributes numerous articles to learned journals, chiefly on medieval heraldry and Anglo-Irish families. Erudite and possessed of great presence, courtesy, and wit, he is an engaging speaker.
Resident in south County Dublin, Slevin is active in amateur dramatics, local history societies, and the ecumenical movement. His recreation is long country walks. He marries Millicent Nolan in 1950 and they have three sons. He dies on January 18, 1997.
(From: “Slevin, (John) Gerard” by Lawrence William White, Dictionary of Irish Biography, http://www.dib.ie, October 2009 (last revised February 2025))
Ó Cuinneagáin Is the third child of Sean Cunningham and his wife Caitlín. He is educated in Belfast, at St. Brigid’s school, Malone Road, and the St. Patrick’s Christian Brothers school on Donegall Street. His political views are permanently influenced by memories of the sectarian violence of 1920–22. In 1927, he enters the Irish civil service as a tax clerk, stationed first at Athlone and then at Castlebar. He is promoted to junior executive officer in the Department of Defence, but resigns in July 1932 after his superiors refuse to allow him six months unpaid leave to study the Irish language in the Donegal Gaeltacht. He turns down a promotion to the Department of Finance, a decision partly motivated by disillusion with Fianna Fáil. He subsequently works as an accountant and lives in the south Dublin suburbs. In 1934, he establishes his own publishing company, Nuachtáin Teoranta, which he boasts is the first company to be registered in the Irish language, and he also contributes to an Irish language socialist paper, An t-Éireannach, under the pen name “Bruinneal gan Smal.”
In 1940–41, Ó Cuinneagáin is active in the Friends of Germany, a pro-Nazi organisation which disintegrates after some of its leading members are interned. On September 26, 1940, he founds Craobh na h-Aiséirighe, a branch of the Gaelic League aimed at attracting dynamic young enthusiasts frustrated by the older activists who dominate established branches. It makes a point of using modern publicity methods to get its message across, a trait which is carried over into Ailtirí na hAiséirghe (Architects of Resurrection), a political movement made up of branch members, which Ó Cuinneagáin founds in 1942. This move leads to the expulsion of Craobh na h-Aiséirighe from the Gaelic League and the establishment of Glún na Buaidhe by branch members who disapprove of his political ambitions and wish to concentrate on the promotion of the Irish language.
Members of Ailtirí wear an informal uniform of a green shirt, tweed suit, and báinín jacket. In private Ó Cuinneagáin reveals that the organisation is modeled on the Hitler Youth. His own title of “ceannaire” (leader) equates with “Führer” and “duce.” Features of the movement copied from Nazism include an emphasis on propaganda based on a few simple concepts and phrases. The claim that party politics allow statesmen to evade individual responsibility, whereas a single leader is necessarily more responsive to public opinion; and the belief that all difficulties can be overcome through willpower.
Ó Cuinneagáin takes to extremes contemporary Catholic advocacy of a corporate state based on vocational principles as the solution to the problems of modernity. While venerating António de Oliveira Salazar‘s Portugal as a role model, he believes that Ireland can surpass it and create a Catholic social model that will redeem the whole world. He takes a quasi-racial view of Irishness and comes close to saying that the only true Irish Catholics are of Gaelic race. When Seán Ó’Faoláin comments acidly in The Bell on the paradox of “Celtophiles” who bear such Celtic names as Blackham and Cunningham, Ó Cuinneagáin protests that he can prove his pure Gaelic descent. The Ailtirí state forces all male citizens to undertake a year’s compulsory military service, which is also used as a means of Gaelicisation, and the resulting citizen army of 250,000 would mount a lightning invasion of Northern Ireland, modeled on the blitzkrieg, with a favourite slogan being “Six Counties, Six Divisions, Sixty Minutes.” In 1943, the Stormont government excludes Ó Cuinneagáin from Northern Ireland.
Ailtirí attracts considerable attention. Its leaders address numerous meetings around the country, attracting large crowds to demonstrations at Dublin and Cork. Ó Cuinneagáin, who is by no means unintelligent, is capable of shrewd observations on the restrictions imposed on most Irish-language bodies by government subsidies, and the impact of the snobbery shown toward the poor by their middle class co-religionists. Several of his lieutenants are academics or engineers. In the 1970s he praises modernist architecture as breaking with the hated Georgian past, and denounces conservationists who oppose plans to build an oil refinery in Dublin Bay. Bilingual pamphlets produced by the group sell thousands of copies. Ó Cuinneagáin is the author of several, including Ireland’s twentieth century destiny (1942), Aiséirí says . . .(1943), Partition: a positive policy (1945), and Aiséirí for the worker (1947). Hus attempts to launch a party paper are stifled until the end of the war. Some of the interest attracted by the group is derived from curiosity or amusement. It also functions to some extent as a front organisation for the banned Irish Republican Army (IRA), with Ó Cuinneagáin declaring that Jews and freemasons should be locked up instead of IRA men. Aiséirí members are involved in the bombing of the Gough memorial in Phoenix Park in July 1957, with the stolen head concealed for a time in the party’s offices.
The party runs four candidates, including Ó Cuinneagáin in Dublin North-West, in the 1943 Irish general election and seven in 1944, but all lose their deposits. Ó Cuinneagáin does not actually vote for himself. Throughout his life he demands Irish language ballot papers. When given English language ones he tears them up, claiming that they disenfranchise him and that this invalidates the election. In 1946, Ailtirí na h-Aiséirí elects eight members to local bodies in counties Louth and Cork. This helps to bring about the decline of the party, as the Cork activists rebell against the rigid Führerprinzip upheld by the electorally unsuccessful ceannaire and his Dublin acolytes. Most of the party’s local support is absorbed by Clann na Poblachta. Ó Cuinneagáin retains a small group of followers centred on his newspaper Aiséirighe.
Ó Cuinneagáin keeps himself in the public gaze by driving around the country in a van painted with slogans, and by regularly appearing in court for refusing to respond to official documents (rates demands, car insurance, court summonses) unless they are supplied in Irish. He enjoys some success in securing the provision of Irish language versions of such documents, and he contrasts the state’s niggardliness on this point with its professed commitment to the revival of Irish. In 1954, he founds an Irish language women’s artistic and social paper, Deirdre, which operates successfully for over a decade without government subsidy.
Ó Cuinneagáin continues to write sympathetically about IRA activities, at one point offering a £1,000 reward for the capture of the Prime Minister of Northern Ireland, Basil Brooke. He maintains surprisingly extensive international neo-fascist contacts. He regularly reprints in Aiséirighe material by the American antisemite and racial segregationistGerald L. K. Smith. He cites praise for Aiséirighe from Der Stahlhelm, a far-right German veterans’ paper, and notes Oswald Mosley‘s support for Irish reunification. He denounces Hugh Trevor-Roper‘s Last days of Hitler as typical British slander of a fallen enemy. He compares the sacrificial ideology of the Hungarian Nazi collaborator Ferenc Szálasi to that of Patrick Pearse. He praises Juan Perón as a model whom Ireland should imitate and he follows the electoral fortunes of Italian neo-fascism with interest. He also maintains contacts with the radical right-wing fringes of Breton, Scottish, and Welsh nationalism. He declares that Ireland’s grievance is against England alone and bemoans the Dublin government’s failure to encourage the break-up of the United Kingdom.
Ó Cuinneagáin denounces the Soviet Union and United States alike as controlled by Zionists and freemasons. He points to illegitimacy and divorce rates in the United States as proof of the folly of those who regard “progressive” American education as superior to the sound Irish teaching methods embodied by the Christian Brothers, and bemoans the increasing flow of “immoral” American comics and paperback books into Ireland. While noting with pride that he has been described as “Ireland’s foremost Jew-baiter,” He claims that his frequent diatribes against Robert Briscoe and the state of Israel are merely anti-Zionist, and that he has nothing against Jews, whom he defines as ultra-Orthodox anti-Zionists. He hopes that a Europe united on national–Christian principles might fend off the influence of the super powers. He echoes Mosleyite calls for European unity and is an early and determined advocate of Irish membership of the European Community. However, he dissents from the Mosleyite view that such a union should be based on African empire. He is generally anti-imperialist, though somewhat more lenient toward Portuguese than British imperialism, and from 1956 the President of Egypt, Gamal Abdel Nasser, becomes one of his heroes. While supporting European unity as a defensive strategy, he also warns that unless Ireland adopts mass conscription the country might be conquered by a regiment of Russian paratroopers landing on Dollymount Strand. Throughout the 1950s and 1960s he regularly calls for the Irish Army to mount a military coup, hinting that it should install him as leader in the same way that the Portuguese army had installed Salazar.
Ó Cuinneagáin gives up contesting elections but regularly cites those who do not vote in elections as indicating the extent of political support for Ailtirí na hAiséirghe. He regularly laments that the safety valve of emigration had taken the steam out of radical politics. In his later years he notes the growth of anti-clericalism and the beginnings of a permissive society in Dublin. He attributes this to the church’s failure to implement its own social teaching and its encouragement of West British snobbery at the expense of the truly Catholic traditions of the Gael.
On April 4, 1945, Ó Cuinneagáin marries Sile Ní Chochláin. They have four sons and two daughters, some of whom become active in left-wing politics. He dies on June 13, 1991. He tends to be remembered as a figure of fun, but this view demands some qualification. He possesses genuine abilities and dedication. His fantasies are an extreme development of the official ideology of the state, and part of his appeal stems from his ability to point out the hypocrisy involved in paying it lip service while failing to push it to its logical conclusion. The blindness and cruelty involved in imposing his world view at a personal level has their counterparts in the institutions of official Ireland. Ailtirí na hAiséirghe may have been a marginal millennial cult, but in Europe during the 1940s such groups were often raised to power by circumstances. Had the World War II taken a different direction after 1940, he might be remembered not as a parody of Pearse but as an Irish Szálasi.
(From: “ÓCuinneagáin, Gearóid Seán Caoimhín” by Patrick Maume, Dictionary of Irish Biography, http://www.dib.e, October 2009)
Doran tours with Benson and other managements, and plays in the West End before setting up his own company in 1920. He leads it for eleven years, before leaving Britain to work in India. On his return he works on stage and makes occasional television appearances.
Doran is the son of Charles Jenkins Doran. He is educated in Cork and privately. In 1899, he makes his stage debut as a member of Frank Benson’s touring company, in Julius Caesar at the Theatre Royal, Belfast. He remains with Benson for two and a half years, during which he makes his London debut, as Captain MacMorris in Henry V at the Lyceum Theatre.
In October 1910, returning to England, Doran plays La Tribe in Count Hannibal at the New Theatre, after which he is Pistol in The Merry Wives of Windsor at the Garrick Theatre to the Falstaff of Asche. For the next ten years he plays in new, ephemeral works, interspersed with classics. Among his roles in the latter are Constantine Levin in Anna Karenina (1913), Douglas in Henry IV, Part 1and the Constable of France in Henry V (1914) in London, and a variety of Shakespeare parts at the Memorial Theatre, Stratford-upon-Avon (1919).
In February 1920, Doran begins touring with his own Shakespearean company, playing Hamlet, Shylock in The Merchant of Venice, Brutus in Julius Caesar, Malvolio in Twelfth Night, Prospero in The Tempest, Petruchio in The Taming of the Shrew, Macbeth, Falstaff, Henry V, and Jaques in As You Like It. He has a keen eye for rising talent, and among his recruits are Noel Streatfeild, Cecil Parker, Ralph Richardson, Edith Sharpe, Norman Shelley, Abraham Sofaer, Francis L. Sullivan and Donald Wolfit.
In 1931, Doran goes to India as director of Shakespeare’s plays at the State Theatre in Jhalawar and then on to Bombay where he performs primarily in Shakespeare on the radio. He returns to England in 1937. His last London appearance is in Song of Norway (1949). His last Shakespearean role in the theatre is Time in The Winter’s Tale (1951). He continues to act on stage in other parts until 1954. He appears on BBC Television as a senator in Othello in 1950 and Adabashev, the tragedian in Curtain Down in 1952.
Doran dies in Folkestone on the south coast of England on April 5, 1964, at the age of 87. An article on him published by Emory University in 2003 sums up his career thus:
On stage in one role or another, Doran’s fifty-seven years in the theatre made him a major force in the profession, particularly in his productions of Shakespeare. Such was his energy and enthusiasm that he kept alive for a few more years the actor-manager system when the major talents, men like Tree, Benson, and Irving, had dissolved their companies. Doran was indeed the last of his theatrical breed.
O’Hegarty is born to John and Katherine (née Hallahan) Hegarty. His parents’ families emigrate to the United States after the Great Famine, and his parents are married in Boston, Massachusetts. His father is a member of the Irish Republican Brotherhood (IRB).
O’Hegarty is educated at North Monastery CBS, where he forms an enduring friendship with Terence MacSwiney. In 1888, his father dies of tuberculosis at the age of 42. Left destitute, his mother pawns her wedding ring to pay for an advertisement looking for work, and eventually becomes a cook.
O’Hegarty serves at the main Postal Sorting Office in Mount Pleasant, London, from 1902 to 1913. Along with J. J. Walsh, he spends three years at King’s College London, studying for the Secretary’s Office. While he succeeds in his studies, Walsh does not and returns to Ireland. O’Hegarty becomes the IRB representative for South East England and joins the Gaelic League and Sinn Féin and becomes a strong advocate of the Irish language. In 1905, he is elected secretary of the local Dungannon Club, which draws in as members Robert Lynd, Herbert Hughes and George Cavan. In 1907, as Sinn Féin’s London Secretary, he approves and signs the membership card of Michael Collins, later becoming friend and mentor to Collins.
O’Hegarty has to return to Ireland for a break due to overwork in 1909 and gives up some of his work for the Gaelic League. However, he takes over as editor of the IRB publication, Irish Freedom. It is in this publication that he famously writes, concerning the visit of King George V to Ireland in 1911: “Damn your concessions, England: we want our country!” In 1912, at the height of the Playboy riots, he writes four articles entitled “Art and the Nation” in Irish Freedom, which take a very liberal and inclusionist approach to Anglo-Irish literature and art in general but invokes the wrath of many of the paper’s readers.
In 1913, he is re-posted to Queenstown (present-day Cobh) as postmaster. He continues editing nationalist newspapers such as Irish Freedom (founded in 1910 and suppressed in December 1914 on account of its seditious content) and An tÉireannach and joins the Irish Volunteers. At the outbreak of war he is moved to Shrewsbury, probably on account of his political activities. In 1915, he marries Wilhelmina “Mina” Smyth, a schoolteacher and suffragist, and is then moved to Welshpool, Montgomeryshire. In the aftermath of the 1916 Easter Rising, he is opposed to physical force. In 1918, he refuses to take the British Oath of Allegiance and resigns his position in the Post Office.
O’Hegarty feels that the Abbey Theatre is “doing good for Ireland” and supports W. B. Yeats against attacks from Arthur Griffith and like-minded Nationalists. He opposes the extremist views of D. P. Moran, who seeks a Roman Catholic Irish-speaking Ireland.
O’Hegarty is Secretary of the Irish Department of Post and Telegraphs from 1922 to 1945. He is elected a member of the Irish Academy of Letters in 1954.
O’Hegarty’s son, Seán Ó hÉigeartaigh, is a founder of the Irish-language publishing house Sáirséal agus Dill. His daughter Gráinne, a harpist, marries Senator Michael Yeats, son of W. B. Yeats.
Norman Derek Mahon, Irish poet, is born in Belfast, Northern Ireland, on November 23, 1941, but lives in a number of cities around the world. At his death it is noted that his “influence in the Irish poetry community, literary world and society at large, and his legacy, is immense.” President of IrelandMichael D. Higgins says of Mahon, “he shared with his northern peers the capacity to link the classical and the contemporary but he brought also an edge that was unsparing of cruelty and wickedness.”
At Inst Mahon encounters fellow students who share his interest in literature and poetry. The school produces a magazine in which he produces some of his early poems. According to the critic Hugh Haughton, his early poems are highly fluent and extraordinary for a person so young. His parents cannot see the point of poetry, but he sets out to prove them wrong after he wins his school’s Forrest Reid Memorial Prize for the poem ”The power that gives the water breath.”
At times expressing anti-establishment values, Mahon describes himself as an “aesthete” with a penchant “for left-wingery […] to which, perhaps naively, I adhere.”
In March 2020, at the beginning of the COVID-19 pandemic, RTÉ News ends its evening broadcast with Mahon reading his poem Everything Is Going to Be All Right.
Mahon dies in Cork, County Cork, on October 1, 2020, after a short illness, aged 78. He is survived by his partner, Sarah Iremonger, and his three children, Rory, Katy, and Maisie. His papers are held at Emory University.
Mahon features on the Irish Leaving Certificate course with ten of his poems (Grandfather, Day Trip to Donegal, Ecclesiastes, After the Titanic, As It Should Be, A Disused Shed in Co. Wexford, Rathlin, The Chinese Restaurant in Portrush, Kinsale and Antarctica)
Ó Muirthile is educated at cork, taking a BA in Irish and French at UCC. His Irish is acquired at school and from sojourns in the Gaeltacht of West Kerry. He is a member of a group of poets at UCC in the late 1960s who choose Irish as a creative medium and are closely associated with the modernist poetry journal Innti, founded by fellow poet Michael Davitt. They are influenced by the work of Cork poet Seán Ó Ríordáin, by the musician and composer Seán Ó Riada, and by popular American culture.
Greg Delanty, writing for Poetry International, claims that a fundamental achievement of Ó Muirthile and other members of the Innti group was to adapt the language to a contemporary urban landscape in a way that reflected the counterculture of the sixties.
Ó Muirthile has been described as a poet of immense formal and musical mastery who reads deeply into the classical and neo-classical poetry of the Irish language. He studies French literature as a student and this influences his work. He translates poetry by Guillaume Apollinaire, François Villon, Jacques Prévert and Anne Hébert.
Ó Muirthile’s first collection of poetry is Tine Chnámh (1984). This receives the Irish American Cultural Institute’s literary award and an Oireachtas prize for poetry. He subsequently publishes a number of other collections. In 1996, he receives the Butler Award for his novel Ar Bhruach na Laoi. Several plays by him have been staged. From 1989 to 2003 he writes a weekly column, “An Peann Coitianta,” for The Irish Times. Poems by him have been translated into English, German, French, Italian, Hungarian and Romanian.
Two of Ó Muirthile‘s poems, Meachán Rudaí and Áthas, have been put to music by the Irish/American group The Gloaming and featured on their third studio album The Gloaming 3.
Whelan is awarded many prizes in the Royal Dublin Society (RDS) Taylor art competitions, including one in 1912 for a portrait of his sister Lena, entitled On the Moors, rendered in a strongly academic technique. In 1916, he wins the Taylor scholarship for the Royal Hibernian Academy (RHA) schools for his finest early work, The Doctor’s Visit, an adroitly executed composition of contrasting shadows and light. Typical of many of his genre interiors, the painting depicts a room in the family home, with relatives as models: Whelan’s mother sits by the bed watching over his ill cousin, while his sister, dressed in a Mater hospital nurse’s uniform, is in the background opening the door for the doctor. The subtly evoked atmosphere of restrained emotion foreshadowed a hallmark of his mature style.
Whelan exhibits annually at the RHA for forty-five years (1911–56), averaging six works per year. He is elected an RHA associate in 1920, becoming a full member in 1924. He participates in the Exposition d’art irlandais at the Galerie Barbazanges in Paris in 1922. A visiting teacher at the RHA schools in 1924, he also teaches in the DMSA for a time. He has studios at 64 Dawson Street (1914–27) and 7 Lower Baggot Street (1931–56). Beginning in the 1910s, he receives regular commissions for portraits, constituting his primary source of income. Having become the family’s main breadwinner following his parents’ deaths in the 1920s, he concentrates most of his production on this lucrative activity, portraying numerous leading figures in the spheres of politics, academia, religion, society, medicine, and law.
Situated securely in the academic tradition, in most of his portraits Whelan favours a sombre, restricted palette, with the sitter placed, in grave demeanour, against a monotone background with few accessories. In a 1943 interview he asserts that twentieth-century portraiture suffers from the drabness of modern costume, for which the artist must compensate by careful rendition of the subject’s hands. He tends to depart from his prevailing portrait style when painting women, whom he characteristically depicts in meticulously observed interiors, a notable example being his portrait of Society hostess Gladys Maccabe (c.1946; NGI).
Whelan’s commercial concentration on portraiture notwithstanding, he expresses his true talent in genre compositions, especially kitchen interiors, in which he emulates the technique of the Dutch painter Johannes Vermeer. Two of the most accomplished of these depict his sister Frances in the basement kitchen of the family home: The Kitchen Window (1927; Crawford Art Gallery, Cork) demonstrates a particularly skillful use of light, while Interior of a Kitchen (1935) is notable for the dexterous handling of objects of varied shapes and textures. His genre works include both urban and rural scenes, with a distinctive interest in portraying occupations and other activities. Gypsy (1923), an Orpenesque composition of a shawled woman in a west-of-Ireland landscape with a caravan in the background, receives wide contemporary critical acclaim. Jer (c.1925), depicting a man seated by the fire in a cottage interior, is reproduced in J. Crampton Walker’s Irish Art and Landscape (1927). The Fiddler (c.1932), a naturalistic, sensitively characterised study, is first shown at an Ulster Academy exhibition at Stranmillis, Belfast. A Kerry Cobbler is reproduced in Twelve Irish Artists (1940), introduced by Thomas Bodkin, as among the works denoting the development of a distinctively Irish school of painting.
In 1929, Whelan designs the first Irish Free State commemorative stamp, a portrait of Daniel O’Connell for the centenary of Catholic emancipation. Commissioned by the Thomas Haverty trust to paint an incident from the life of Saint Patrick for the 1932 Eucharistic Congress, he executes The Baptism by St. Patrick of Ethna the Fair and Fedelmia the Ruddy, Daughters of the Ard Rí Laoghaire, a work highly conservative in style. He rapidly completes an oil study of the papal legate, Lorenzo Lauri, also for the Eucharistic Congress. He is represented in the art competitions at the 1932 Summer Olympics in Los Angeles. His depiction of Saint Brigid, shown at the Academy of Christian Art exhibition (1940), becomes a familiar image owing to the wide circulation of reproductions.
Whelan’s political portraits are influential in creating a strong, assured image of the newly formed Irish state, and thus retain an historical significance. His posthumous portrait, The Late General Michael Collins, exhibited at the RHA in 1943 and now held in Leinster House, is an iconic, heroic image of the fallen leader. His portraits of Arthur Griffith and Kevin O’Higgins – commissioned posthumously, as is the Collins, by Fine Gael – also hang in Leinster House, while that of John A. Costello, exhibited at the RHA in 1949, is now held in the King’s Inns, Dublin. He paints two presidents, Douglas Hyde and Seán T. O’Kelly, both works currently in Áras an Uachtaráin. A portrait of Éamon de Valera, painted in 1955 when the sitter is Leader of the Opposition, is in Leinster House. In 1954, he designs a second commemorative stamp, picturing a reproduction of a portrait bust of John Henry Newman, to mark the centenary of the Catholic University of Ireland.
Whelan is elected an honorary academician of both the Ulster Academy of Arts (1931), and the Royal Ulster Academy (1950). He becomes a member of the United Arts Club in 1934. As a representative of the RHA, he sits on the board of governors of the National Gallery of Ireland for many years, and is on the advisory committee of the Municipal Gallery of Modern Art. Unmarried, he resides until his death at the Eccles Street address, with two sisters who continue to manage the family hotel. He dies on November 6, 1956, from leukemia at the Mater private nursing home in Dublin. He is buried in Glasnevin Cemetery.
(From: “Whelan, (Michael) Leo,” by Carmel Doyle, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Twomey is educated at St. Mary’s Secondary School in Midleton, County Cork but leaves before completing the Leaving Certificate at the age of fifteen. She does manual labor at a local factory but continues to draw and briefly studies fine art before she is admitted to Ballyfermot Senior College in Dublin to their School of Animation program on the basis of her portfolio. In the factory she operates a conveyor belt for up to twelve hours on end during the night shift. She credits this period of her life to much of her success, as she wears headphones to drown out the loud noise of machinery, the silence combined with the monotony of the task she performs allows her to ponder concepts and generate ideas, many of which are put to film later in her life.
After graduating from Ballyfermot Senior College in 1995, Twomey begins to work for Brown Bags Film, an animation studio in Dublin. In 1999, she helps found Cartoon Saloon, along with Tomm Moore, Paul Young and Ross Murray. In 2002, she directs the award-winning short animated film From Darkness. The short film has no dialogue and is based on an Inuit folk tale where a man helps a woman with only a skeleton for a body to regenerate. She also works on the successful animated TV series Skunk Fu!.
Twomey goes on to write and direct the animated short Cúilín Dualach (Backwards Boy), released in 2004. Based on a story by Jackie Mac Donacha, a boy with his head on backwards finds only love and acceptance in his mother and has to work to gain that from the rest of his community but most of all his father.
Twomey continues to work on feature films with Cartoon Saloon with 2014’s Song of the Sea directed by Tomm Moore. She works as the film’s head of story and voice director.
Twomey next directs the animated film The Breadwinner, released in 2017. Based on the best-selling young adult novel by Deborah Ellis, an 11-year-old girl named Parvana must dress as a boy and become the titular breadwinner for her family when her father is wrongfully arrested by the Taliban. It premieres at the Toronto International Film Festival in September 2017 with a wide release in November 2017. It is the first feature-length film she has sole director credit on. She works on the project with actress Angelina Jolie, who helps fund the project and works as an executive producer. The project is a huge success for Twomey, as she is recognized as a solo female filmmaker, and given accolades as well as being lauded by many as a source of female empowerment, all while battling cancer during production. During the development of The Breadwinner, she is named in Variety‘s “2017 10 Animators to Watch.”
Twomey becomes the seventh graduate of Ballyfermot Senior College to be nominated for an Academy Award with her work on The Breadwinner when it is nominated for Best Animated Feature at the 90th Academy Awards. She is also nominated for an award at the Golden Globe Awards.
Twomey’s work also has a heavy presence at the Emile Awards, an annual event held by the European Animation Awards Association that honors European creators of animation. During the awards of 2018, which are hosted in Lile, France, her film The Breadwinner wins awards in five categories: Best Direction, Best Storyboarding, Best Character Animation, Best Background, and Best Character Design.
Twomey has won several awards according to the Screen Directors Guild of Ireland (SDGI). These awards include the best New Irish Short Animation at the Galway Film Fleadh (2002), Best Short at the Boston Irish Film Festival (2003), Best Animation at the Kerry Film Festival (2003), and the Silver Award at the Kalamazoo Animation Festival International (2003) for her film From Darkness. Her film Cúilín Dualach (Backwards Boy) also wins the Best Animated Short from the Irish Film & Television Academy (2005), Best Short Film at Cartoons on the Bay (2005), Best Animation for Children at Animadrid (2005) and the Best Animation at the Celtic Film Festival (2005). Among other awards, the 2018 Cinema for Peace Award for Justice for her movie The Breadwinner can be included.
seamus dubhghaill 