Hogan’s works include Distinguished Irishmen of the 16th Century (1894), the Irish Phrase Book (1899) and Onomasticon Goedelicum: An Index to Irish Names of Places and Tribes (1910), a standard reference based on the research of John O’Donovan, The Irish Wolfhound, A Description of Ireland in 1598 and Chronological list of the Irish members of the Society of Jesus, 1550-1814. He also contributes to the editing and compilation of other works in his field.
Joan Denise Moriarty, Irish ballet dancer, choreographer, teacher of ballet and traditional Irish dancer and musician, dies on January 24, 1992. She is a key figure in the development of both amateur and professional ballet in Ireland.
Little is known of Moriarty’s early life. Her year of birth is estimated between 1910 and 1913 but no documentation has been found. The place of her birth is also unknown, and even the country is uncertain. She grows up as the daughter of Michael Augustus Moriarty, an alumnus of Stonyhurst College and contemporary of Sir Arthur Conan Doyle, and his wife, Marion (née McCarthy). The Moriartys are originally from Mallow, County Cork, where her grandfather John Moriarty was a successful solicitor.
Moriarty is brought up in England. She studies ballet until her early teens with Dame Marie Rambert. She is an accomplished Irish step-dancer and traditional musician and becomes the champion Irish step-dancer of Britain on April 24, 1931. She also wins a swimming championship. She is a member of the Liverpool branch of the Conradh na Gaeilge.
In the autumn of 1933 Moriarty returns with her family to their native Mallow in County Cork. In 1934, she sets up her first school of dance there. From 1938 she also gives weekly classes in Cork in the Gregg Hall and Windsor School. During the 1930s she takes part in the Cork Feis, annual arts competitions with a focus on traditional dance and music, competing in Irish step-dancing, warpipes and operatic solo singing. She performs on the warpipes in various public concerts and gives at least two broadcasts. In 1938 she is invited by Seán Neeson, lecturer in Irish music at University College Cork, to perform at a summer school which the Music Department organises for primary school teachers.
Moriarty’s mother dies in February 1940. The following November she moves to Cork where she sets up the Moriarty School of Dancing. The early years during the war are very difficult financially. In the early 1940s she performs with her dancers in musicals and variety shows at the Cork Opera House.
In 1945 the composer Aloys Fleischmann invites Moriarty to perform in his Clare’s Dragoons for baritone, war pipes, choir and orchestra, which had been commissioned by the national broadcasting company, Radio Éireann, for the Thomas Davis centenary. Moriarty agrees on condition that his Cork Symphony Orchestra would play for her Ballet Company’s annual performances, which marks the beginning of a lifelong collaboration.
Branches of the Moriarty School of Dance are established in Bandon, Clonmel, Fermoy, Killarney, Mallow, Tralee, Waterford, and Youghal. Moriarty bequeaths her Cork school to Breda Quinn, a long-standing member of the Cork Ballet Company, who runs it with another Moriarty student, Sinéad Murphy, who creates a new dance school, Cork School of Dance, after Breda’s death in 2009.
Moriarty founds the Cork Ballet Group in 1947, the members recruited from her school. It gives its first performance in June of that year at the Cork Opera House. In 1954 the group is registered as a company under the name “Cork Ballet Company.” The company’s final season is 1993, the year following Moriarty’s death.
Irish Theatre Ballet is founded by Moriarty in the summer of 1959, and gives its first performance in December 1959. It is a small touring company of 10 to 12 dancers, which travels all over Ireland, going to some 70 venues annually with extracts from the classical ballets, contemporary works and folk ballets. In an attempt to resolve the constant financial difficulties, the Arts Council in 1963 insists on a merger with Patricia Ryan’s Dublin National Ballet. The amalgamation does not bring a solution to the financial problems besetting both companies and, after one joint season, the amalgamated company, Irish National Ballet, has to be disbanded in March 1964.
In 1973, the Irish government decides to fund a professional ballet company, the Irish Ballet Company, and entrusts it to Moriarty. Like Irish Theatre Ballet, it is a touring company which travels all over Ireland in two annual seasons. The company has a number of striking successes between 1978 and 1981. In 1983 the name of the company is changed to Irish National Ballet. The severe recession in Ireland during the 1980s and shrinking funds force the Irish National Ballet to disband in 1989.
Moriarty spends almost 60 years working for ballet in Ireland. Her amateur Cork Ballet Company is still the longest-lasting ballet company the country’s history. Her two professional touring companies bring ballet to all parts of Ireland for 21 years. She receives numerous awards for her work, among them an honorary doctorate from the National University of Ireland in 1979.
During the last years of her life, Moriarty suffers ill-health, but continues her work with the Cork Ballet Company, bringing the shows to towns in the county. She dies on January 24, 1992, in Dublin.
“Whiskey in the Jar” is the tale of a highwayman or footpad who, after robbing a military or government official, is betrayed by a woman. Whether she is his wife or sweetheart is not made clear. Various versions of the song take place in County Kerry, Kilmoganny, Cork, Sligo, and other locales throughout Ireland. It is also sometimes placed in the American South, in various places among the Ozarks or Appalachians, possibly due to Irish settlement in these places. Names in the song change, and the official can be a Captain or a Colonel, called Farrell or Pepper among other names. The protagonist’s wife or lover is sometimes called Molly, Jenny, Emzy, or Ginny among various other names. The details of the betrayal are also different, being either betraying him to the person he robbed and replacing his ammunition with sand or water, or not, resulting in his killing the person.
The song’s exact origins are unknown. The song first gains wide exposure when the Irish folk band The Dubliners perform it internationally as a signature song and record it on three albums in the 1960s. In the United States, the song is popularized by The Highwaymen, who record it on their 1962 album Encore. Building on their success, the Irish rock band Thin Lizzy hits the Irish and British pop charts with the song in 1973. In 1990 The Dubliners re-record the song with The Pogues with a faster rocky version charting at No.4 in Ireland and No.63 in the UK. The American metal band Metallica brings it to a wider rock audience in 1998 by playing a version very similar to that of Thin Lizzy’s, though with a heavier sound, winning a Grammy Award for the song in 2000 for Best Hard Rock Performance.
Thin Lizzy’s 1972 single stays at the top of the Irish charts for 17 weeks, and the British release stays in the top 30 for 12 weeks, peaking at No. 6, in 1973. This version has since been covered by U2, Pulp (first released on a 1996 various artist compilation album Childline and later on deluxe edition of Different Class in 2006), Smokie, Metallica (Garage Inc. 1998, which wins a Grammy), Belle and Sebastian (The Blues Are Still Blue EP 2006), Gary Moore (2006), Nicky Moore (Top Musicians Play Thin Lizzy 2008), Simple Minds (Searching for the Lost Boys 2009), and Israeli musician Izhar Ashdot. The song is also on the Grateful Dead live compilation So Many Roads(1965-1995) disc five.
The son of an army major, Croker has little school education but does read widely while working in merchant trade. For some years Croker holds a position in the Admiralty, where his distant relative, John Wilson Croker, is his superior.
Croker devotes himself largely to the collection of ancient Irish poetry and Irish folklore. He assists in founding the Percy Society and the Camden Society. He and his wife’s testimonies about funereal customs, particularly the tradition of keening the deceased are among the earliest and most significant contributions to the understanding of the Irish languagelament and the accompanying traditions. The first part of his Fairy Legends and Traditions of the South of Ireland is published in 1825. It grows to six editions and is translated into German by the Brothers Grimm (Irische Elfenmärchen, 1826). Parts two and three follow in 1828, the latter including Croker’s translation of the long Grimm preface to part one.
Croker publishes Legends of the Lakes: Or, Sayings and Doings at Killarney in 1829, in which he features discussions of the music of his friend, the Irish piper James Gandsey.
Harrington is educated locally at the Convent of Mercy in Kinsale, where she is one of only two girls in her class to sit the Leaving Certificate examination. Before entering politics, she works as a civil servant with the Department of Posts and Telegraphs. She marries Dan Desmond in 1958.
Desmond is elected to the European Parliament at the 1979 European Parliament election for the Munster constituency. However, her time in Europe is short-lived, as she returns to domestic politics when she is offered a position as Minister and the chance to impact upon national legislation. At the 1981 general election she switches her constituency to Cork South-Central. A Fine Gael–Labour Party coalition comes to power, and she is appointed Minister for Health and Social Welfare.
Desmond’s cabinet appointment is historic, as she is only the second woman to be a member of cabinet since the foundation of the state in 1922, and the first in any Fine Gael or Labour Party cabinet. Countess Markievicz had held the cabinet post of Minister for Labour in the revolutionary First Dáil in 1919, but only one woman had held cabinet office after the foundation of the state, Máire Geoghegan-Quinn of Fianna Fáil who was appointed as Minister for the Gaeltacht in 1979.
Desmond retires from full-time politics at the 1987 general election for health reasons. She dies suddenly in Cork, County Cork on January 6, 2005.
Kuno Meyer, German scholar distinguished in the field of Celticphilology and literature, is born in Hamburg, Germany on December 20, 1858. He was considered first and foremost a lexicographer among Celtic scholars but is known by the general public in Ireland rather as the man who introduced them to Selections from Ancient Irish Poetry (1911). His brother was the distinguished classical scholar, Eduard Meyer.
Meyer then takes up the post of lecturer in Teutonic languages at the new University College, Liverpool, the precursor of the University of Liverpool, which is established three years earlier.
In 1903, Meyer founds the School of Irish Learning in Dublin, and the next year creates its journal Ériu of which he is the editor. Also in 1904, he becomes Todd Professor in the Celtic Languages at the Royal Irish Academy. In October 1911, he follows Heinrich Zimmer as Professor of Celtic Philology at Friedrich Wilhelm University in Berlin. The following year, a volume of Miscellany is presented to him by pupils and friends in honour of his election, and he is made a freeman of both Dublin and Cork.
At the outbreak of World War I, Meyer leaves Europe for the United States, where he lectures at Columbia University, University of Illinois at Urbana-Champaign, and elsewhere. A pro-German speech he gives in December 1914 to Clan na Gael on Long Island causes outrage in Britain and some factions among the Irish, and as a result, he is removed from the roll of freemen in Dublin and Cork and from his Honorary Professorship of Celtic at Liverpool. He also resigns as Director of the School of Irish Learning and editor of Ériu. Harvard University also had extended an invitation to Meyer to lecture on campus, but it subsequently cancels the invitation in the fall of 1914 on account of Meyer’s propagandist activity.
Meyer nevertheless accepts candidacy for the post of exchange professor at Harvard, at the recommendation of German professors there. However, when the April 1915 issue of The Harvard Advocate awards first prize to an anti-German satirical poem “Gott mit Uns” written by an undergraduate, Meyer sends the university and the press a letter of protest, rebuking the faculty members who served as judges for failure to exercise neutrality. Meyer also declines his candidacy from the exchange professorship in the letter. In a reply, President Abbott Lawrence Lowell says, in explaining Harvard’s policy, that freedom of speech includes pro-German and pro-Allied voices alike.
Meyer is injured in a railway collision in 1915 and meets 27-year-old Florence Lewis while he is recovering in a California hospital. They marry shortly afterwards. He returns to Germany in 1917 and dies in Leipzig on October 11, 1919.
Posthumously, in 1920, Meyer’s name is restored, both by Dublin and Cork, in their Rolls of Honorary Freemen. The restoration occurs on April 19, 1920, in Dublin, where Sinn Féin had won control of the City Council three months earlier, rescinding the decision taken in 1915 by the Irish Parliamentary Party. The restoration in Cork follows on May 14, 1920.
Hurling in Cork is thrown into chaos after the county’s senior squad goes on strike on November 29, 2002.
When the Cork hurling team paraded before the National League final the previous May with socks down and jerseys hanging out it seemed a petty protest. Any discontent, said the county board officials, would be quickly forgotten come the championship.
Instead it is Cork’s championship that is quickly forgotten, and the protest is merely the start of the deepest crisis ever to hit the state of hurling in the county. The players throw down their hurleys, leaving the split with the county board as a gaping chasm.
Details of the fallout start to appear from the players after their exit from the championship at the hands of Galway. Goalkeeper Donal Óg Cusack and the 1999 All-Ireland winning captain Mark Landers begin a series of revelations that come as a shock not just in Cork, but to hurlers all over the country.
The players, who are seeking better conditions, refuse to play or train with the county again until the dispute with the county board is resolved. Central to the crisis is what the players perceive to be the poor treatment from the county board. The players demands include having their own doctor at all Championship and League games, resolving disputes over travel arrangements and providing players with free gymnasium access. There are also complaints about the warnings sent to younger players that joining the Gaelic Players Association will jeopardise their chances of playing with the senior team.
Running parallel to the dispute is the search for a new Cork manager. Bertie Óg Murphy announces that he is stepping down in late September after one year in charge, although he refuses to get drawn into the controversy over the treatment of players.
At the same time, the unrest of the players is compounded by the decision of the Cork selectors not to follow Murphy’s suit. Three of the four selectors, Pat McDonnell, PJ Murphy and John Meyler, remain in place as they are half-way through a two-year term while county champions Blackrock have yet to officially reaffirm county secretary Frank Murphy as their nomination to the selection committee.
The players previously state, however, that they never saw it as their right or function to interfere with the choosing or workings of selectors or managers for hurling in Cork.
The strike is eventually resolved and all the demands are met.
(From “Cork hurling in deep state of crisis” by Ian O’Riordan, The Irish Times, November 30, 2002)
As dusk falls the ambush takes place on a road at Dus a’ Bharraigh in the townland of Shanacashel, Kilmichael Parish, near Macroom.
Just before the Auxiliaries in two lorries come into view, two armed IRA volunteers, responding late to Barry’s mobilisation order, drive unwittingly into the ambush position in a horse and sidecar, almost shielding the British forces behind them. Barry manages to avert disaster by directing the car up a side road and out of the way. The Auxiliaries’ first lorry is persuaded to slow down by the sight of Barry placing himself on the road in front of a concealed Command Post, wearing an IRA officer’s tunic given to him by Paddy O’Brien. Concealed on the south side of the road are six riflemen, whose instructions are to prevent the enemy taking up positions on that side. Another six riflemen are positioned some way off as an insurance group, should a third Auxiliary lorry appear.
The first lorry, containing nine Auxiliaries, slows almost to a halt close to their intended ambush position, at which point Barry gives the order to fire. He throws a Mills bomb that explodes in the open cab of the first lorry. A savage close-quarter fight ensues. According to Barry’s account, some of the British are killed using rifle butts and bayonets in a brutal and bloody encounter. This part of the engagement is over relatively quickly with all nine Auxiliaries dead or dying.
While this part of the fight is going on, a second lorry also containing nine Auxiliaries has driven into the ambush position. This lorry’s occupants, at a more advantageous position than Auxiliaries in the first lorry because of their distance from the ambushing group, dismount to the road and exchange fire with the IRA, killing Michael McCarthy. Barry then brings the Command Post soldiers who had completed the attack on the first lorry to bear on this group. Barry claimed these Auxiliaries called out a surrender and that some dropped their rifles but opened fire again with revolvers when three IRA men emerged from cover, killing volunteer Jim O’Sullivan instantly and mortally wounding Pat Deasy. Barry then orders his men to open fire and not stop until told to do so. Barry ignores a subsequent attempt by remaining Auxiliaries to surrender and keeps his men firing until he believes all the Auxiliaries are dead.
At the conclusion of the fight, it is observed that two IRA volunteers, Michael McCarthy and Jim O’Sullivan, are dead and that Pat Deasy, brother of Liam Deasy, is mortally wounded. Although the IRA fighters think they had killed all of the Auxiliaries, two actually survive, one very badly injured and another who escapes and is later captured and shot dead. Among the 16 British dead on the road at Kilmichael is Francis Crake, commander of the Auxiliaries in Macroom, probably killed at the start of the action by Barry’s Mills bomb.
Many IRA volunteers are deeply shaken by the severity of the action, referred to by Barry as “the bloodiest in Ireland,” and some are physically sick. Barry attempts to restore discipline by making them form-up and perform drill, before marching away. Barry himself collapses with severe chest pains on December 3 and is secretly hospitalized in Cork. It is possible that the ongoing stress of being on the run and commander of the flying column, along with a poor diet as well as the intense combat at Kilmichael contribute to his illness, diagnosed as heart displacement.
The political fallout from the Kilmichael ambush outweighs its military significance. While the British forces in Ireland can easily absorb 18 casualties, the fact that the IRA had been able to wipe out a whole patrol of elite Auxiliaries is for them deeply shocking. The British forces in the West Cork area take their revenge on the local population by burning several houses, shops and barns in Kilmichael, Johnstown and Inchigeelagh, including all of the houses around the ambush site. On December 3, three IRA volunteers are arrested by the British Essex Regiment in Bandon, beaten and killed, and their bodies dumped on the roadside.
For the British government, the action at Kilmichael is an indication that the violence in Ireland is escalating. Shortly after the ambush, barriers are placed on either end of Downing Street to protect the Prime Minister‘s office from IRA attacks. On December 10, as a result of Kilmichael, martial law is declared for the counties of Cork, Kerry, Limerick and Tipperary.
The British military now has the power to execute anyone found carrying arms and ammunition, to search houses, impose curfews, try suspects in military rather than civilian courts and to intern suspects without trial. On December 11, in reprisal for Kilmichael and other IRA actions, the centre of Cork city is burned by Auxiliaries, British soldiers and Black and Tans, and two IRA men are assassinated in their beds. In separate proclamations shortly afterwards, the authorities sanction “official reprisals” against suspected Sinn Féin sympathisers and the use of hostages in military convoys to deter ambushes.
(Pictured: The Kilmichael Ambush Monument at the ambush site)
When Peirce-Evans is one year old, her father, John Peirce-Evans, bludgeons her mother, Kate Theresa Dooling, to death with a heavy stick. He is found guilty of murder and declared insane. She is taken to the home of her grandfather in Newcastle West where she is brought up by two maiden aunts, who discourage her passion for sports.
After schooldays in Rochelle School in Cork, Princess Garden Belfast and St. Margaret’s Hall on Mespil Road in Dublin, where she plays hockey and tennis, Peirce-Evans enrolls in the Royal College of Science for Ireland. The college is designed to produce the educated farmers which the country then needs. One of the few women in the college, she duly takes a top-class degree in science, specialising in agriculture. She also plays with the college hockey team and contributes to a student magazine, copies of which are held in the National Library of Ireland.
Before becoming a pilot, Peirce-Evans has already made her mark. She spends two years as a dispatch rider during World War I, based in England and later France. By that time, she has married the first of her three husbands, Major William Elliot Lynn, and, as Sophie Mary Eliott-Lynn, is one of the founders of the Women’s Amateur Athletic Association after her move to London in 1922. She is Britain’s first women’s javelin champion and sets a disputed world record for the high jump. Alleging cruelty, her marriage to Elliot Lynn ends in divorce.
In 1925, Elliot-Lynn takes her first flying lessons and two years later becomes the first woman to hold a commercial flying licence in Britain. Along the way, she set records for altitude in a small plane and later a Shortsseaplane and is the first woman to parachute from an aeroplane.
In an era when the world has gone aviation-mad due to the exploits of Charles Lindbergh and Amelia Earhart, Elliot-Lynn is more than able to hold her own. “Britain’s Lady Lindy,” as she is known in the United States, makes front-page news as the first pilot, male or female, to fly a small open-cockpit aircraft from Cape Town to London. A scale model of the plane is on display at The Little Museum of Dublin. She writes about the experience later in the book Woman and Flying, which she co-authors with Stella Wolfe Murray. After her great flight from the Cape, she takes a mechanic’s qualification in the United States, the first woman to do so.
On October 11, 1927, Peirce-Evans marries Sir James Heath at Christ Church in Mayfair, London, and assumes the title Lady Heath. In July 1928, she spends a few weeks volunteering as a co-pilot with a civil airline, KLM. She is hoping to be appointed to the newly created Batavia route, which would make her the first female pilot with a commercial airline. The world is not ready for female pilots and her hope is not fulfilled.
In 1929, just when her fame is at its height, with her life a constant whirl of lectures, races and long-distance flights, Lady Heath is badly injured in a crash just before the National Air Races in Cleveland, Ohio. Before the accident Lady Heath applies for American citizenship, intending to remain in the United States where she has made a good living on the lecture circuit and as an agent for Cirrus engines. She is never the same after her accident.
Lady Heath divorces Sir James Heath in Reno, Nevada in January 1930. On 12 November 12, 1931, in Lexington, Kentucky, she marries G.A.R Williams, a horseman and pilot of Caribbean origin. They return to Ireland, and she becomes involved in private aviation, briefly running her own company at Kildonan, near Dublin in the mid-1930s, and helping produce the generation of pilots that would help establish the national airline Aer Lingus.
Lady Heath dies in St Leonard’s Hospital, Shoreditch, London on May 9, 1939, following a fall inside a double-decker tram. Although alcoholism had been a problem in previous years, a pathologist finds no evidence of alcohol but detailed evidence of an old blood clot which might have caused the fall. On May 15, 1939, according to newspaper reports, her ashes are scattered over Surrey from an aircraft flown by her estranged husband although legend has it that her ashes are returned to Ireland where they are scattered over her native Newcastle West.
Bax is encouraged by his parents to pursue a career in music, and his private income enables him to follow his own path as a composer without regard for fashion or orthodoxy. Consequently, he comes to be regarded in musical circles as an important but isolated figure.
While still a student at the Royal Academy of Music, Bax becomes fascinated with Ireland and Celtic culture, which become a strong influence on his early development. In the years before World War I he lives in Ireland and becomes a member of Dublin literary circles, writing fiction and verse under the pseudonym Dermot O’Byrne. Later, he develops an affinity with Nordic culture, which for a time supersedes his Celtic influences in the years after World War I.
Between 1910 and 1920 Bax writes a large amount of music, including the symphonic poem Tintagel, his best-known work. During this period he forms a lifelong association with the pianist Harriet Cohen – at first an affair, then a friendship, and always a close professional relationship. In the 1920s he begins the series of seven symphonies which form the heart of his orchestral output.
In 1942 Bax is appointed Master of the King’s Music, but composes little in that capacity. In his last years he maintains a contented retirement for much of the time but finds his music regarded as old-fashioned, and after his death it is generally neglected.
Celebrations are planned by the Hallé Orchestra and others to celebrate Bax’s seventieth birthday in November 1953. However, the celebrations become memorials as while visiting Cork in October 1953 he dies suddenly of heart failure. He is interred in St. Finbarr’s Cemetery, Cork.
From the 1960s onwards, mainly through a growing number of commercial recordings, his music is gradually rediscovered, although little of it is heard with any frequency in the concert hall. In more recent years, his music has been rediscovered enthusiastically by a new generation via online distribution services such as YouTube.
seamus dubhghaill 