Maude is born on May 22, 1941, in Casla, County Galway, and reared in the Irish language. Her mother, Máire Nic an Iomaire, is a school teacher, and she receives her primary education from her on a small island off the coast of Rosmuc. Her father, John Maude, is from Cill Bhriocáin township near Rosmuc. She attends secondary school at Coláiste Chroí Mhuire, Spiddal, an all-Irish language school in County Galway. She later credits one of her Irish language teachers there, Sister Ailbhe, as an early influence in cultivating her writing confidence.
Maude begins writing modern literature in Irish in secondary school and develops a rhythm of poetry closely attuned to the rhythms of the Conamara Theas dialect of Connacht Irish, spoken in her native district. Though not conventionally religious, she admits in an interview that she has a deep interest in spirituality and that this has left its mark on her poetry. She is noted as a highly effective reciter of her own verse. Géibheann is the best-known of her poems, and is studied at Leaving Certificate Higher Level Irish in the Republic of Ireland. A posthumous collected edition, Caitlín Maude, Dánta, is published in 1984, Caitlín Maude: file in 1985 in Ireland and Italy, and Coiscéim in 1985.
Maude is widely known as an actress. She acts at the university, at An Taibhdhearc in Galway and the Damer Theatre in Dublin, and is particularly successful in a production of An Triail by Máiréad Ní Ghráda at the Damer Theatre in 1964. She plays the protagonist, Máire Ní Chathasaigh, an unmarried mother who experiences family rejection, a stay in a Magdalene laundry, and ultimately murders her infant child followed by suicide. In 2017, Former Irish Minister For JusticeMáire Geoghegan-Quinn cites this performance as “pathbreaking”: “Caitlín Maude played the role, when nobody talked about the issue and when, as we know, women were still devalued, still caricatured, still incarcerated and disenfranchised if they became mothers out of wedlock.” Maude herself is a playwright and co-authors An Lasair Choille with poet Michael Hartnett.
Maude is very active in the Celtic Revival. She founds An Bonnán Buí, an Irish-speaking social club in the 1970s in Dublin. As a member of the Dublin Metropolitan Gaelgeoir community, she is active in many direct action campaigns by the language revival organization Gluaiseacht Chearta Sibhialta na Gaeltachta, including the campaign that forces the Irish State to establish a Gaelscoil (Irish-medium primary school) Scoil Santain in the suburb of Tallaght, County Dublin. A second Irish language school, Scoil Chaitlin Maude, opens in Tallaght in 1985 shortly after her death. It begins as a two-room school with 35 children and has grown to a 16 room new building serving 345 children as of 2023.
Maude is also a distinguished sean-nós singer. She makes one album in this genre, Caitlín, released in 1975 on Gael Linn Records and now available as a CD. It contains both traditional songs and a selection of readings of her poetry.
Maude marries Cathal Ó Luain in 1969. They have one child Caomhán, their son.
Maude dies of complications from cancer on June 6, 1982, at the age of 41. She is buried in Bohernabreena graveyard, which overlooks the city from the Wicklow Mountains.
In 2001, a new writers’ centre in Galway is named after her: Ionad Scríbhneoirí Chaitlín Maude, Gaillimh.
Since Maude’s death, critics in several languages have continued to study her literary works. Irish writer and The Irish Times columnist Michael Harding cites her as one of a few examples of groundbreaking women to “spin the hurt and wound of their oppression, and weave new loves songs and laments.” Irish Studies professor Sarah McKibben notes that Maude’s innovation in the poem represents an instance of recent Irish writers transgressing “literary, nationalistic, sociolinguistic and gender norms to craft new ways of writing in Irish.”
According to Louis de Paor, “Although no collection of her work was published during her lifetime, Caitlín Maude had a considerable influence on Irish language poetry and poets, including Máirtín Ó Direáin, Micheál Ó hAirtnéide, Tomás Mac Síomóin, and Nuala Ní Dhomhnaill. That influence is a measure of the dramatic force of her personality, her exemplary ingenuity and commitment to the language, and her ability as a singer to embody the emotional disturbance at the heart of a song. Her collected poems are relatively slight, including incomplete drafts and fragments, but reveal a poetic voice confident of its own authority, drawing on the spoken language of the Connemara Gaeltacht but rarely on its conventions of oral composition or, indeed, on precedents in Irish poetry in either language. The best of her work is closer to the American poetry of the 1960s in its use of looser forms that follow the rhythms of the spoken word and the sense of the poem as direct utterance without artifice, a technique requiring a high degree of linguistic precision and formal control.”
Maude’s work has also been translated into English and Spanish. Spanish language critic Pura Coloma notes that Maude’s work played a role in preserving Connemaran culture, as she “utilizes her own style to replicate the deep rhythms and tonalities of the regional voice.”
F. J. McCormick (real name Peter Christopher Judge), an Irish actor who becomes known for his work at Dublin‘s Abbey Theatre, is born in Skerries, County Dublin, on June 1, 1890. He acquires the stage name “F.J. McCormick” to disguise his identity from his current and future employers, and to avoid parental disapproval. He joins the Abbey at age 19, and acts in some 500 productions there. He is especially remembered for his work in the plays of Seán O’Casey.
After living in Skerries in his early years, at age ten McCormick moves to Dublin and proceeds to live there for the majority of the duration of his life. He is educated locally in Skerries. His father, Michael Judge, is a maltser and later becomes a brewery manager. He is of medium height, with “expressive eyes” and thick brown hair. As a young man, he begins writing by contributing articles to the press. He works briefly as a post office clerk in London but returns to Dublin to work as a junior clerk in the Civil Service. He resigns from his public service career in 1918 and decides to embrace acting as a full-time career as a member of the Abbey Theatre at age 19.
McCormick’s mother dies when he is 2 years old. He and his family move to Dublin when he is 10 or 12 years old. He is raised in Skerries and attends the Holy Faith Convent for primary education. He describes his childhood in Skerries “as a very happy one.” He marries Eileen Crowe on December 2, 1925, in Rathdown. They meet at the Abbey where Crowe is also an actor. In describing their performances together, Seamus De Burca writes, “F. J. McCormick and Eileen Crowe lived a life together of perfect bliss.” The couple has two children, a son, David, and a daughter, Marie.
After moving briefly to London, McCormick returns to Dublin, where he works in the Civil Service. He also takes acting roles in the Workmen’s Club on York Street, and for the first time under the pseudonym by which he becomes known for roles with the Queen’s Theatre, Dublin. By May 1919, he has a leading role in an independent production of The Curate of St. Chad’s by Constance Powell Anderson at the Abbey Theatre. An attack on Irish acting by Edward Martyn is answered by McCormick in the pages of the journal Banba in June 1921.
McCormick acts in over 500 plays at the Abbey Theatre, becoming particularly associated with the plays of Sean O’Casey staged there. From 1923 to 1925, he is also stage manager at the Abbey. Of his performance as Seumus Sheilds in The Shadow of a Gunman, O’Casey says that the actor created a character greater than that which he had written. He plays Capt. Brennan in the filmed version of O’Casey’s The Plough and the Stars but it is his return to film in Carol Reed‘s Odd Man Out (1947) that sees him singled out for praise in contemporaneous reviews. The Irish Times writes that “the acting of the Irish players was unremittingly professional, and, in the case of F. J. McCormick, as Shell, a weak-minded and elderly corner-boy, quite outstanding.” The Times of London finds “it is Mr. F. J. McCormick as a sly, bird-like creature, who stops just the right side of informing, who catches most surely at the imagination.”
In their review of the film Hungry Hill (1947), The New York Times writes, “As the butler who served John Brodrick, his sons, and their sons in turn, the late F. J. McCormick is truly magnificent, giving an even more subtle portrayal of Irish character than he did as the wily tramp in Odd Man Out.”
In the last five years of McCormick’s life he continues to work in the Abbey where he acts in over 70 plays before his death. He only stars in one play in the theatre in the final year of his life, the play They Got What They Wanted playing the role of Bartley Murnaghan. He secures more leading roles in the film industry. He dies in Dublin at the age of 56 from a brain tumour on April 24, 1947. He is buried in Dean’s Grange Cemetery, Deansgrange, County Dublin. He continues to work right up until his death.
It is said that people regarded McCormick as one of the greatest actors in his era. This comes from his work in 500 plays and 4 films over his career. A year after his death, Barry Fitzgerald says he only knew of two actors with the gift that McCormick had and they were Charles Laughton and Charlie Chaplin.
There are many popular plays and films that McCormick is part of which are still remembered to this day by many, some of them include the original The Plough and the Stars in 1926 where he originates the role of Commandant Jack Clitheroe. He also plays the role of Captain Brennan in the John Ford film version of the play in 1936. In his appreciation for McCormick, Gabriel Fallon remembers him as both a great actor and a great man.
It is said that McCormick was one of the most versatile actors of his generation, his early death was a huge loss to the Irish arts and more specifically the Abbey Theatre where he carried most of his work.
Yelverton is the eldest son of Francis Yelverton of Kanturk, County Cork, and Elizabeth Barry, daughter of Jonas Barry of Kilbrin (now Ballyclogh, County Cork). His father dies when he is only ten. His mother reaches a great age, dying only a year before her son. He goes to school in Charleville and Midleton College, and attends Trinity College Dublin, where he takes a degree of Bachelor of Arts in 1757 and of Bachelor of Laws in 1761. His family lacks wealth and social position and he is for some years an assistant master under Andrew Buck in the Hibernian Academy. This menial occupation is later a source of great embarrassment to him, as his enemies love to ridicule him as “Buck’s usher.”
In 1761, Yelverton marries Mary Nugent, daughter of William Nugent of Clonlost, County Westmeath, and his wife Ursula Aglionby, a lady of some fortune, and is thus enabled to read for the Irish Bar, entering the Middle Temple. He is called to the Bar in 1764. Despite his lack of family connections, his success in his profession is rapid, due to his legal ability, charm and remarkable eloquence, and he takes silk eight years afterward.
Yelverton is elected to the Irish House of Commons as member for Donegal Borough from 1774 to 1776. In the latter year, he is elected for both Belfast and Carrickfergus. He chooses to sit for the latter constituency and represents Carrickfergus until 1784. Although few examples of his oratory survive, all contemporaries agree on his eloquence, which gives him a dominant position in the Commons. He also serves as Recorder of Carrickfergus from 1778 until his death. This is not a Crown appointment as the Recorder is elected by a vote of the entire town corporation.
Yelverton gives his support to Henry Grattan and the Whigs during the greater part of his parliamentary career. He is a strong supporter of the demand for an independent Irish Parliament, but later changes his stance.
Yelverton plays a crucial role in the reforms which are collectively called the Irish Constitution of 1782. In particular he sponsors the Act 21 and 22 of George III, An Act to regulate the manner of passing bills and to prevent delays in summoning of Parliaments – which is popularly known as “Yelverton’s Act.” This radically modifies Poynings’ Law of 1495 by which all legislation to be passed by the Irish Parliament has to be drafted by the Privy Council of Ireland, then sent to the English privy council for approval. Under Yelverton’s Act, the role of the Irish Privy Council is abolished and legislation is commenced in the normal way in the Irish Parliament, which for the last 17 years of its existence enjoys a wide measure of independence.
In his latter days, Yelverton becomes identified with the court party and votes for the Act of Union 1800, for which his viscounty is a reward. For this he is never forgiven by many of his former friends. Sir Jonah Barrington, who continues to regard Yelverton with affection and respect, regrets that this action should have destroyed his reputation forever, but he argues that such a mistake of judgment is understandable in a man who lacks worldly wisdom, and despite his many good qualities, does not have a strong moral sense.
Yelverton becomes Attorney-General for Ireland in 1782, and is elevated to the bench as Lord Chief Baron of the Irish Exchequer in 1783. He is created Baron Yelverton in 1795, and in 1800 Viscount Avonmore in the Peerage of Ireland. As Chief Baron, he leads the opposition to the proposal to increase the number of judges in each of the courts of common law from three to four, on the practical ground that four-judge courts often divide evenly and thus cannot reach an effective decision. Despite this common-sense view, the new judges are eventually appointed.
In 1797, Yelverton attains a degree of infamy for presiding over what is widely regarded as a “show trial” which leads to the execution of the United Irishman, William Orr, although he is said to have shed tears when passing the death sentence on Orr. Orr is charged with administering the United Irish oath to a soldier called Hugh Wheatly. This had recently become a capital offence. In fact, it is generally believed that another man, William McKeever, administered the oath. Wheatly, who is the principal witness for the prosecution, later confesses that he had perjured himself, but despite a superb defence by John Philpot Curran, Orr is found guilty and hanged. Yelverton may have formed an early impression of Orr’s guilt and acted on it – even his admirers admitted that as a judge he lacks impartiality.
Peter Finnerty, a journalist, is later convicted of seditious libel for publishing an attack on Yelverton over his conduct of Orr’s trial and this does nothing to enhance the judge’s reputation.
Yelverton dies on August 19, 1805, at his mansion, Fortfield House, Terenure, County Dublin, which he had built at great expense around 1785. He is buried nearby in Rathfarnham.
Boland is enrolled in the IRB along with his younger brothers Harry in 1904, following in the footsteps of his father. He and his brothers Harry and Ned subsequently join the Irish Volunteers when that organisation is established in 1913, serving in the same company as Arthur Griffith. When news breaks out of the Easter Rising in 1916 he immediately leaves his job, however, he is bitterly disappointed when he finds out that the order has been countermanded. When the rebellion begins in earnest on Easter Monday, he makes his way to Jacob’s Mill where he fights under Thomas MacDonagh. Following the official surrender, he is arrested and interned at Frongoch internment camp in Wales, where he comes into contact with other notable revolutionary leaders, including his brother Harry’s friend Michael Collins.
Boland is released after a general amnesty in December 1916, however, he remains involved in revolutionary circles, although he declines to rejoin the IRB, believing the organisation is no longer needed. He is arrested and imprisoned in Belfast from May to December 1918 for practising military drills in the Dublin Mountains. Meanwhile, a number of his colleagues secure their release by winning seats in the 1918 United Kingdom general election.
Boland and his brothers are opposed to the Anglo-Irish Treaty of 1921. He is Battalion Commandant of 3 Battalion, 2 Dublin Brigade (South Dublin) in Blessington, County Wicklow, but is captured early on in the Irish Civil War on July 7, 1922, and is interned until his release in July 1924. On the outside, his brother Harry dies some days after being shot, in August 1922, after two National Army officers attempt to arrest him at the Grand Hotel in Skerries, County Dublin. Boland applies to the Irish government for a service pension under the Military Service Pensions Act of 1934 and is awarded 11 and 5/12 years of service at Grade C for his service with the Irish Volunteers and the IRA between April 1, 1916 and September 30, 1923.
Following the end of the Irish Civil War, Boland helps to build up Sinn Féin as the main Republican party. While still imprisoned, he is selected to stand for Dáil Éireann as the Teachta Dála (TD) for Roscommon, Harry’s old seat, for the 1923 Irish general election, in which he is successful. He is among those in Kilmainham Gaol who go on hunger strike in October 1923. The hunger strike does not result in his release and he credits his practice of yoga with keeping him alive at the time.[3]
Boland is eventually released from the custody of the state in July 1924. Upon his release, he becomes secretary of Sinn Féin and stands on the executive of the party.
Boland is among the first in Sinn Féin to call for an end to the party’s abstentionism from DáilÉireann, believing it to be a political dead end. Party leader Éamon de Valera proposes that the party abandon this policy and take their seats in the Dáil if changes are made to the oath of allegiance to the British monarch. His proposal is defeated and de Valera and his supporters, including Boland, leave Sinn Féin. Shortly after this split, a new party emerges called Fianna Fáil, with de Valera acting as leader and the other disillusioned Republican TDs joining. Boland is vital in transferring many members from Sinn Féin to Fianna Fáil. Fianna Fáil briefly also has an abstentionist policy but in 1927 a new law forces Fianna Fáil TDs to take the oath of allegiance and take their seats in the Dáil. Fianna Fáil dismisses the oath as “an empty formula.”
Boland works alongside Seán Lemass in building up Fianna Fáil’s grassroots support and organisation, giving particular attention to the party’s rural apparatus. In the September 1927 Irish general election Fianna Fáil comes within four seats of the ruling Cumann na nGaedheal party. The latter forms a coalition of sorts with the Farmers’ Party and returns to government.
Following the 1932 Irish general election, Fianna Fáil forms a new government. Boland is appointed Government Chief Whip, a position which allows him to attend cabinet meetings but not vote at them.
Fianna Fáil remains in power with an increased mandate following the 1933 Irish general election and Boland is promoted to the position of Minister for Posts and Telegraphs. Despite being the Minister in charge of the postal service, he does not own a telephone until some time later. During his tenure, the postal service makes considerable progress. It is also during this time that the Post Office becomes a paying concern. During his time as minister, he oversees a major expansion of the telephone service in Ireland, improvements in the transmission capacity of Radio Éireann, and construction of new provincial post offices and a new central postal sorting office.
Boland is acting Minister for Justice briefly for a time when P. J. Ruttledge is ill. It is during this time that he declares the Irish Republican Army a proscribed organisation.
A cabinet reshuffle in 1936 sees Boland become Minister for Lands. The Land Act 1939 reforms land distribution, broadening the criteria by which the state can take control over undeveloped land while offering the tenant of the land more favourable terms of compensation. He is critical of the policy of the Minister for Industry and Commerce, Seán Lemass, of centralising industrial development in Dublin. He instead wishes to see a more decentralised economy based around food production. The differing viewpoint causes a rift between Boland and Lemass, but despite this Boland favoured Lemass’s policy of state intervention in the economy over Seán MacEntee‘s more laissez-faire approach.
In 1937 Boland is highly vocal during the drafting of a new constitution of Ireland by Fianna Fáil against any word which would give the Catholic Church special status, something heavily considered at the time. He declares that if the constitution elevates the position of the Catholic Church above others, it would be sectarian, anti-republican, and a hindrance to any prospects of Irish reunification. As a compromise, the term “special position” is used in the approved text of the Constitution.
Following the outbreak of World War II in 1939, known in Ireland as the Emergency, there is a cabinet reshuffle, and Boland is appointed as Minister for Justice. He takes over at a time when the IRA has once again declared war against the British state and has begun their Sabotage Campaign. He is charged with the task of crushing the organisation and preventing the IRA from drawing the Irish state into conflict with the United Kingdom. Although he always considers himself a republican, he takes a hardline against the IRA and uses his powers to order the internment of hundreds of IRA members before introducing military courts and special criminal courts.
In 1940, several imprisoned IRA members go on hunger strike but Boland refuses to grant their release. Two of the men eventually die, one of whom is the nephew of one of his Fianna Fáil colleagues. Tony D’Arcy dies at the age of 32 on April 16, 1940, as a result of a 52-day hunger strike, and Jack McNeela dies three days later after 55 days on hunger strike. These deaths spark reprisals by the IRA on the Garda Síochána. Boland subsequently introduces tougher measures by setting up a military court with the death penalty and no provision for appeal except for a review by the government. In all, twelve men are found guilty with six of them facing death and the remaining six having their sentences changed to imprisonment. Among those executed is Charlie Kerins, an acting Chief of Staff of the IRA.
As Minister of Justice, Boland is also asked to enforce policies of wartime censorship, however, finding the idea of the state censorship distasteful he establishes a censorship board to avoid accusations of bias.
During the Emergency, Boland is also responsible for the detention of several foreign agents in pursuit of Ireland’s strict policy of neutrality. During this time some 500 individuals are interned and 600 are sentenced under the newly introduced Offences against the State Act, 1939. By 1943 the IRA is in disarray, particularly after the Chief of Staff is arrested and imprisoned, leaving the organisation without leadership. Boland and Fianna Fáil feel their hardline is backed by the electorate following strong returns for the party at the 1944 Irish general election.
In 1947, Boland is among four leading Fianna Fáil figures (including de Valera) involved in the “Locke’s Distillery Scandal”, an accusation brought by Oliver J. Flanagan that foreign businessmen are bribing members of Fianna Fáil to gain the right to purchase the distillery. A tribunal of inquiry finds no evidence to support the claims, but the event taints the public’s view of Fianna Fáil.
By 1948, Fianna Fáil has been in government for an uninterrupted 16 years. With World War II finally over, the electorate seeks change and a fresh start. Arising to meet this desire is the new political party Clann na Poblachta. Led by Seán MacBride, this new party seeks to kick off a new post-war political era in Ireland, and to do this means removing Fianna Fáil from power. Many in Clann na Poblachta have republican backgrounds and in some ways, the party can be partially described as an organic reaction to Fianna Fáil and Boland’s hardline stance during the war years. Many in political circles, including inside Fianna Fáil, believe Clann na Poblachta can be a new force to reckon with.
However, de Valera always holds a reputation for being cunning in selecting the dates of general elections, and he once again cements that notion, when he calls for a general election in early 1948 before Clann na Poblachta is completely ready to contest a national election. At the 1948 Irish general election Clann na Poblachta and other Fianna Fáil opponents do well, but not as well as expected. To remove Fianna Fáil from government, every single party in the Dáil and several independents have to form the unwieldy “First Inter-Party Government.” The coalition sees Clann na Poblachta forced to work with Fine Gael, considered the traditional “enemy” of Irish republicanism. By 1951, the coalition collapses and Fianna Fáil returns to government following that year’s election, with Boland re-appointed Minister for Justice.
Boland does not seek ministerial office in 1957 when Fianna Fáil returns to power after its defeat in 1954. However, his son, Kevin, is appointed to the cabinet as Minister for Defence at the beginning of his first term in the Dáil. By this stage, Boland is beginning to be seen as an aging warhorse, with his base in Roscommon starting to slip and Fianna Fáil unhappy that he is unable to get a Fianna Fáil running mate elected alongside himself.
At the 1961 Irish general election, Boland is defeated for the first time in fourteen general election campaigns. Despite losing his Dáil seat, he subsequently secures election to Seanad Éireann. Four years later in 1965, he returns to the Seanad, this time as a nominee by the Taoiseach Seán Lemass.
In 1970, the outbreak of the Arms Crisis sees Kevin Boland resign as a Minister and as Secretary of Fianna Fáil in protest at the government’s policy on Northern Ireland and in response to the sackings of Charles Haughey and Neil Blaney from the cabinet over allegations they had arranged for weapons to be provided to the Provisional IRA. Gerald Boland, in a similar protest, resigns as a vice president and as a trustee of Fianna Fáil, although he remains a member of the party. He also articulates his loss of confidence in the leadership of TaoiseachJack Lynch.
Boland dies in Dublin at the age of 87 on January 5, 1973. He is buried in the republican plot in Glasnevin Cemetery, Glasnevin, County Dublin. His wife, Annie Boland, predeceases him in 1970. He is survived by his three daughters and four sons.
Troy receives his early education at Liffey Street, Dublin. At the age of sixteen he joins the Dominican Order and proceeds to their house of San Clemente at Rome. Historian Edward D’Alton notes that he is “amenable to discipline, diligent in his studies, and talented.” He makes rapid progress, and while still a student is appointed to give lectures in philosophy. Subsequently, he teaches theology and canon law, and finally becomes prior/rector of the convent in 1772.
When Thomas Burke, the Bishop of Ossory, dies in 1776, the priests of the diocese recommend one of their number, Father Molloy, to Rome for the vacant see, and the recommendation is endorsed by many of the Irish bishops. But Troy, who is held in high esteem at Rome, has already been appointed Bishop of Ossory. He is consecrated at Leuven in June 1777 by the nuncio to Flanders, Archbishop (later Cardinal) Ignazio Busca.
Troy arrives at Kilkenny in August 1777 and for the next nine years he Labour a hard for the spiritual interests of his diocese. Maddened by excessive rents and tithes, and harried by grinding tithe-proctors, farmers have banded themselves together in a secret society called the “Whiteboys,” so called from the white smocks the members wear in their nightly raids. They attack landlords, bailiffs, agents, and tithe-proctors, and often commit fearful outrages. Bishop Troy frequently and sternly denounces them, declaring any who join the secret society to be excommunicated. He has no sympathy with oppression, but he had lived long in Rome, and does not fully appreciate the extent of misery in which the poor Catholic masses live.
Troy is ready to condemn all violent efforts for reform, and has no hesitation in denouncing not only all secret societies in Ireland, but also “our American fellow-subjects, seduced by specious notions of liberty.” This makes him unpopular. He is zealous in correcting abuses in his diocese and in promoting education. So well is this recognized at Rome that in 1781, in consequence of some serious troubles which have arisen between the primate and his clergy, Troy is appointed Administrator of Armagh. He holds this office until 1782.
Upon the death of Archbishop John Carpenter of Dublin in 1786, Troy is appointed to succeed him. At Dublin, as at Ossory, he shows his zeal for religion, his sympathy with authority, and his distrust of popular movements, especially when violent means are employed. Though his circular, issued on March 15, 1792, disavowing the authority of any ecclesiastical power to absolve subjects from their allegiance, is believed to influence the concession in that year of the relaxations embodied in Langrishe’s Act, and the extension of the franchise to Roman Catholics in 1793, he declines to associate himself with John Keogh and other Catholic reformers in their demands for further relief.
In early 1798, the French Directory conquers Rome, and establishes the Roman Republic. Its ally in Ireland, the Society of United Irishmen, starts a rebellion in May 1798. Troy issues a sentence of excommunication against all those of his flock who decide to join the rebellion. In a pastoral read in all the churches, he speaks of the clerical organisers of the rebellion as “vile prevaricators and apostates from religion, loyalty, honour, and decorum, degrading their sacred character, and the most criminal and detestable of rebellious and seditious culprits.” Hus action at this time appears to endanger his life. But the influence he has acquired with the government enables him to moderate the repressive measures taken by the authorities. Believing that Catholic emancipation can never be conceded by the Irish parliament, he is one of the most determined supporters of the Union.
In 1799, Troy agrees to accept the veto of government on the appointment of bishops in Ireland, and even when the other bishops, feeling they have been tricked by Pitt and Castlereagh, repudiate the veto, he continues to favour it. However, in 1809, he recommends Daniel Murray be appointed his coadjutor. Murray is an uncompromising opponent of the veto, and while Troy’s coadjutor, makes trips in 1814 and 1815 to Rome concerning the controversy.
In April 1815, Archbishop Troy lays the foundation of St. Mary’s Pro-Cathedral in Marlborough Street, Dublin, but does not live to see it completed. He dies in Dublin on May 11, 1823, at the age of eighty-four. He dies very poor, leaving scarce sufficient to pay for his burial, and is interred in the unfinished St. Mary’s Pro-Cathedral.
In the administration of his diocese and in his private life, Troy is eminently zealous, pious, and charitable. Although his cordial relations with the government expose him to many suspicions and accusations, there is no ground for questioning the integrity of his motives and conduct, which are inspired by his views of the interest of his church. His distrust of revolutionary tendencies in civil affairs is fully aligned with the policy of the Vatican throughout his career. John D’Alton speaks of Troy as “a truly learned and zealous pastor, … a lover and promoter of the most pure Christian morality, vigilant in the discharge of his duty, and devotedly solicitous not only for the spiritual good of those consigned to his charge, but also for the public quiet of the state.”
Though Gregg is instinctively conservative, his awareness of contemporary trends make him responsive to demands for change: he supports the resolution for women to hold parochial office and presents a petition to the General Synod in 1914, signed by 1,400 women. Though the motion is lost, he perseveres undaunted, and a bill for the ecclesiastical enfranchisement of women is finally carried in 1920. A unionist, he is also one of three Anglican and seventeen Catholic bishops to sign the declaration against partition in 1917, which is organised by the Catholic Bishop of Derry, Charles McHugh.
From the 1920s the Irish church is dominated by Gregg, first as Archbishop of Dublin (1920–39) and later as Archbishop of Armagh and Primate of All Ireland (1939–59). He provides stability to the church during a turbulent period of political and social change and is outspoken in defence of its interests, pragmatically espousing policies that will lead to the greater integration of the Protestant community into the new Irish state, as in his acceptance of the teaching of compulsory Irish in national schools. Despite a declining Protestant community in the south of Ireland, he maintains the unity of the church, overcoming the political division of the country into two entities. He regrets constitutional change but pledges the loyalty of the church to the Irish Free State. While recognising that the Protestant ethos is different from that of the majority of Irishmen, he maintains that “whatever our religious or political outlook may be, here is our home, and we have a right to be here.” He is elected to the first Irish Free State senate, and is subsequently consulted by Éamon de Valera, who later describes him as “a most learned and kindly gentleman, and . . . a highly valued friend,” in framing the text of the 1937 constitution. In 1949, he adapts, albeit with sadness, the state prayers to fit the republican form of government, observing that “the republic is a fact” and that “in our prayers, above all, there must be reality.”
Gregg is an able administrator, and his courage and integrity in facing difficult situations and his scholarship and devotion to the church earn him respect in the councils of the wider Anglican communion. He is known as “the churchman’s bishop” for his emphasis on doctrinal orthodoxy, ecclesiastical discipline, and loyalty to the clergy. Though conservative in his approach to church unity, he seeks closer relations between the Christian churches and frequently visits the reformed churches of the Iberian Peninsula, where a portrait plaque is unveiled in 1950 in St. John’s Church, Vila Nova de Gaia, Portugal. A baptistry in St. Paul’s Cathedral, Lisbon, is dedicated to his memory. Well known in England as a writer and preacher, he is appointed select preacher at the University of Cambridge (1916, 1930, 1936) and the University of Oxford (1946, 1947) and supports the institution of annual theological lectures at Queen’s University Belfast (QUB). His publications include Epistle of St. Clement of Rome (1899) and The Primitive Faith and Roman Catholic Developments (1909) – a minor classic which is used as a textbook for ordinands of the Church of England. He writes the introduction and notes to the revised version of the Wisdom of Solomon for the Cambridge Bible for Schools (1909) and publishes sermons and articles in religious journals. Elected Member of the Royal Irish Academy (MRIA) in 1914, he is elected to honorary fellowship in 1934 by Christ’s College, Cambridge, is awarded an honorary Doctor of Divinity (DD) in 1949 by QUB, and is created Order of the Companions of Honour (CH) in 1957.
A commanding figure, tall, thin, with raven-black hair, piercing eyes, and fine features, Gregg has an air of sacerdotal austerity, lightened on occasion by his dry sense of humour. He maintains a well regulated daily timetable and keeps a diary, writing his most personal thoughts in Greek. He makes time for recreation, a daily walk of two miles, tennis, and (from 1929) sailing, and holidays in Ireland and on the Continent. He has a great love of English literature and church music. In 1959, he retires to the Woodhouse, Rostrevor, County Down. Though incapacitated by blindness, deafness, and lameness, he never complains, and according to his wife, his life of prayer is enriched. He dies on May 2, 1961, at his home and is buried in Enniskerry, County Wicklow, beside his first wife and son.
Gregg marries Anna Alicia Jennings on November 26, 1902. They have two sons and two daughters. Anna dies in 1945. On January 22, 1947, he marries secondly Leslie Alexandra, daughter of the Rev. T. J. McEndoo, dean of Armagh, who officiates at the marriage of his daughter and of his archbishop.
(From: “Gregg, John Allen Fitzgerald” by Helen Andrews, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Elvery is the second among seven children of William Elvery , merchant, and Theresa Elvery (née Moss), singer and music teacher, whose parents are English Quakers. Her father’s ancestors were silk merchants from Spain, called Alvarez. Her early childhood is spent in Carrickmines, County Dublin. In 1896 the family moves to Foxrock and she attends the Dublin Metropolitan School of Art. Her mother’s family is artistic – one aunt is the artist Phoebe Anna Traquair – and she and her sisters are talented artists and singers. Her younger sister, Dorothy Kay, becomes a noted portrait painter in South Africa. At the age of sixteen, she wins a three-week scholarship to study at the Royal College of Art in South Kensington, London. Back in Dublin, she models for William Orpen, then teaching in the school. They become friends, and she regrets never studying painting under him. She concentrates on sculpture under John Hughes and has great success, winning the Taylor scholarship three years in a row (1901–03). The first year she wins, the judges, seeking evidence that she had worked unaided, asks her to model a head from life in their presence.
Elvery’s first exhibit in the Royal Hibernian Academy (RHA) is a bronze statuette of a boy in 1902. Thereafter she is a lifelong exhibitor with the RHA, showing almost annually until her death. Friendship with the older Sarah Purser introduces her to Dublin’s artistic milieu and to the arts and crafts movement. In the movement’s 1904 exhibition she shows ten items, including terracotta statuettes, a holy water stoup, and a plaster cast of a lectern, which is cast in bronze in Paris that year and placed in her former parish church in Carrickmines. The movement’s historian, Paul Larmour, calls this lectern “a remarkable piece of organic Art Nouveau . . . There is nothing else like it in Ireland.”
In 1904, after a brief period studying in Paris with her sister and fellow students Estella Solomons and Frances “Cissie” Beckett, Elvery takes lessons in stained glass from Alfred E. Child, and is then persuaded by Purser to join her Tower of Glass (An Túr Gloine) studio. She remains six years, executing windows for St. Stephen’s Church, Mount Street, Dublin; St. Nicholas Church, Carrickfergus; and a war memorial at the Church of Ireland church, Carrickmines. Although her work is generally well received, she does not rate her skill in the medium highly – “I never got the right feeling for glass or the detached, austere quality necessary for ecclesiastical art” – and her window for a Gortconvent leads to a critical review of Purser’s studio by W. B. Yeats. She does not, however, confine herself to glass but also designs for silversmiths and illustrated books for children. For Iosagán agus Sgealta Eile (1907), by Patrick Pearse, she provides a black-and-white frontispiece and four colour illustrations. For the Cuala Press, run by Lily and Elizabeth Yeats, she designs calendars, Christmas cards, and fifteen hand-coloured prints, which continue to be issued until after World War II.
Elvery’s social life in Dublin is busy. An active member of the United Arts Club, she is called by Lady Gregory “the beautiful Miss Elvery,” and Orpen’s portrait, showing her long-necked, graceful, and vivacious, bears out this description. Tiring of glass, and wishing to become a painter, she leaves in 1910 for the Slade School of Fine Art in London. There Henry Tonks is less complimentary than her Dublin teachers. He finds her work facile: “The speed, the slickness, the skill. It is horrible!” Orpen also comes to this view: “her only fault was that the transmission of her thoughts from her brain to paper or canvas, clay or stained glass, became so easy to her that all was said in a few hours. Nothing on earth could make her go on and try to improve on her first translation of her thought.”
Back in Dublin, Elvery takes a studio in Kildare Street and teaches for a time in the Metropolitan School of Art, before her parents arrange a marriage with Charles Henry Gordon Campbell, eldest son of the future Lord Chancellor of Ireland, James Campbell. They marry on August 1, 1912, and move to London where he is called to the English bar. It is not initially a love match but they are well-suited – he likes artistic, Bohemian circles and they become friends with D. H. and Frieda Lawrence, the painter Mark Gertler, the publisher John Middleton Murry, and his wife, the writer Katherine Mansfield, who describes Campbell as “a queer mixture for she is loving and affectionate, and yet she is malicious.”
Campbell’s husband becomes secretary of the Department of Industry and Commerce in the Irish Free State and in 1922 the family moves to Clonard, Terenure, Dublin. His government position means that within six months the house is burned down by anti-Treatyites, who are, however, almost comically accommodating – local men, they express distress at the job and allow her to save the children’s Christmas presents. In 1931 she becomes Lady Glenavy after her husband succeeds to his father’s title, an important member of Dublin’s social and artistic scene. She helps establish the Dublin Drama League and assists Shelah Richards in the production of two plays in 1936. Her friendships are wide and varied and her conversation imaginative and engaged. Dressed in beige – what her son calls “variations on a theme of porridge” – she entertains constantly. Her house has what she terms a “caravanserai” character and is constantly full of people.
Appointed an associate of the RHA in 1932, Campbell becomes a full member in 1934 and takes her turn at teaching. She also joins the more radical Society of Dublin Painters and holds in February 1935 a one-person show at their premises, 7 Stephen’s Green, but she never shows with the Irish Exhibition of Living Art, though her work is more avant-garde than that of most academicians. At its best in still lifes and figure compositions, her work has “a sense of drama and an enigmatic or near-surrealist appearance.” Brian Kennedy notes that she is the first Irish painter to go surrealist (though she never thinks of herself in this way) and although she is serious about her work – taking lessons at an advanced age from Patrick Hennessy – she is also diffident. Her memoir does not trace her development as an artist and mentions only one work with approbation – The Intruder (exhibited at the RHA in 1932). Now in the National Gallery of Ireland, it depicts in bold, rich colours a female centaur beckoning a young man from a group of picnickers. It immediately attracts attention. Richard Orpen wants the academy to buy it, but they think it obscene.
About 1941 the Campbells move to a large Georgian house in Rathfarnham, and twenty years later they transfer to a smaller house in Sandycove. After her husband’s death in 1962, she publishes her memoirs, And Today We Will Only Gossip (1964). The title is well chosen as the book is not self-revelatory but full of characters she encountered. Monk Gibbon calls her a “unique mixture: of talent and diffidence; of gregariousness and contempt for the herd; of gentle consideration and a savage determination to wound. Only those who knew her well knew her at all; and even to them she remained something of a mystery” (The Irish Times, December 2, 1980).
Campbell dies in Dublin on May 21, 1970, and is survived by her two sons, the writer and humorist Patrick Campbell and the novelist Michael Campbell, and predeceased by her daughter, Bridget, an Irish international lacrosse player and talented scientist, who is killed by a bomb during the London blitz.
(From: “Campbell, Beatrice Moss” by Bridget Hourican and Pauric J. Dempsey, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “Bridgit – a picture of Miss Elvery (Beatrice Elvery),” oil on canvas by William Orpen, 1909)
Carrigan is born to Irish parents in Glasgow, but moves to Denny, Stirlingshire, following the early death of his father. He is a trained tailor to trade but also attends classes in history and literature and is proficient in French and Latin, studies the Irish language, and is a Gaelic Leaguer.
Carrigan becomes president of his local branch of the United Irish League (UIL) in Denny in 1898 and later becomes a member of the Irish Republican Brotherhood (IRB). In 1905, he becomes the Chairman of Sinn Féin‘s first ever cumann in Scotland, the Éire Óg Craobh Cumann. In 1916, he is the official Scottish representative to the IRB.
On April 28, 1916, his 34th birthday, during an evacuation of the General Post Office (GPO) in Dublin under the command of The O’Rahilly, Carrigan is shot and killed by British soldiers on Moore Street. He is buried in the St. Paul’s section of Glasnevin Cemetery in Dublin.
Boland is born in Dublin on September 24, 1944. Her father, Frederick Boland, is a career diplomat and her mother, Frances Kelly, was a noted painter.
When she is six, Boland’s father is appointed Irish Ambassador to the United Kingdom, and the family moves to London, where she has her first experiences of anti-Irish sentiment. Her dealing with this hostility strengthens her identification with her Irish heritage. She speaks of this time in her poem, “An Irish Childhood in England: 1951.”
In 1969, Boland marries the novelist Kevin Casey. They have two daughters together. Her experiences as a wife and mother influence her to write about the centrality of the ordinary, as well as providing a frame for more political and historical themes. According to her friend Gabrielle Calvocoressi, she “loved gossip like fish love water.”
In the late 1970s and 1980s, Boland teaches at the School of Irish Studies in Dublin. From 1996 she is a tenured Professor of English at Stanford University where she is the Bella Mabury and Eloise Mabury Knapp Professor in the Humanities and Melvin and Bill Lane Professor for Director of the Creative Writing program. She divides her time between Palo Alto and her home in Dublin.
Boland’s first book of poetry is New Territory published in 1967 with Dublin publisher Allen Figgis. This is followed by The War Horse (1975) and In Her Own Image (1980). Night Feed (1982) establishes her reputation as a writer on the ordinary lives of women and on the difficulties faced by women poets in a male-dominated literary world. While she is writer in residence at the National Maternity Hospital in Dublin in 1994, she composes “Night Feed” and “The Tree of Life,” and her work remains on a plaque in the hospital garden.
In March 2018, RTÉ broadcasts a documentary on Boland’s life as a poet called “Eavan Boland: Is it Still the Same?” In the same year, she is commissioned by the Government of Ireland and the Royal Irish Academy (RIA) to write the poem “Our future will become the past of other women” to be read at the United Nations (UN) and in Ireland during the centenary commemorations of women gaining the vote in Ireland in 1918.
Boland co-edits The Making of a Poem: A Norton Anthology of Poetic Forms (with Mark Strand; W. W. Norton & Co., 2000). She also publishes a volume of translations in 2004 called After Every War (Princeton University Press). With Edward Hirsch, she co-edits “The Making of a Sonnet: A Norton Anthology of the Sonnet” (W. W. Norton & Co., 2008).
In 1976, Boland wins a Jacob’s Award for her involvement in The Arts Programme broadcast on RTÉ Radio. Her other awards include a Lannan Foundation Award in Poetry and an American Ireland Fund Literary Award. Her collection In a Time of Violence (1994) receives a Lannan Award and is shortlisted for the T. S. Eliot Prize.
Boland receives the Bucknell Medal of Distinction 2000 from Bucknell University, the Corrington Medal for Literary Excellence by Centenary College of Louisiana in 2002, the Smartt Family prize from The Yale Review and the John Frederick Nims Award from Poetry magazine 2002. Her volume of poems Against Love Poetry is a New York Times Notable Book of the Year. Her volume Domestic Violence (2007) is shortlisted for the Forward Prize in the United Kingdom. Her poem “Violence Against Women” from the same volume is awarded the James Boatwright III Prize for Poetry for the best poem published in 2007 in Shenandoah magazine. In 2012, she wins a PEN Award for creative nonfiction with her collection of essays, A Journey With Two Maps: Becoming a Woman Poet, published in 2012.
On May 25, 2018, Boland is elected an honorary member of the Royal Irish Academy. She receives the Irish PEN Award for Literature in 2019. She is writer in residence at the National Maternity Hospital, Dublin, in 1994. During this time she composes “Night Feed” and “The Tree of Life,” and her work remains on a plaque in the hospital garden.
Boland dies in Dublin on April 27, 2020, at the age of 75. Later that year she is posthumously awarded the Costa Book Award for poetry for her final collection The Historians.
In 2024, Trinity College Dublin announces the renaming of the “denamed” former Berkeley Library as the Eavan Boland Library. This makes it the first building named after any woman on Trinity’s city centre campus. The name is made official in March 2025.
Ordained in 1924, the theology in which McQuaid is trained is conservative — strongly neo-scholastic and hostile to modernism and liberalism. His hatred of the French Revolution is expressed in several pastorals and speeches throughout his career. He also regards Protestantism as a fundamental error from which Irish Catholics should be quarantined as much as possible.
Appointed Dean of Studies at Blackrock College, McQuaid becomes a prominent figure in Catholic education and chairs the Catholic Headmasters’ Association for several years. In 1931 he is appointed president of Blackrock College, in which capacity he becomes acquainted with Éamon de Valera, the future Irish Taoiseach whose sons attend the school. In 1936, while drafting a new Irish constitution, de Valera consults McQuaid, although he rejects McQuaid’s draft “One, True Church” clause which states, among other things, that the Catholic Church is the one true church in Ireland.
When McQuaid is appointed Archbishop of Dublin in 1940, the appointment of a priest from the regular clergy causes considerable surprise. Irish government archives reveal that de Valera, as is suspected at the time, presses McQuaid’s claims at the Vatican. However, it is doubtful whether the Vatican needs much persuasion. There is a dearth of potential episcopal talent and McQuaid has an outstanding reputation as a Catholic educationalist.
Once appointed, McQuaid proves to be one of the ablest administrators in the history of the Irish Church. In the first two years of his episcopate, he sets up the Catholic Social Service Conference to alleviate the poverty and distress in Dublin which is aggravated by the war, and the Catholic Social Welfare Bureau to help the thousands of Irish emigrants going to Britain for war work. These two organizations fill a much-needed gap and continue to exist after the war. The expansion of Dublin city and its suburbs during his episcopate requires the building of new churches, schools, and hospitals. Meeting these demands also necessitates a considerable increase in the number of clergies, secular and regular, whose numbers more than double in the period from 1941 to 1972.
Given his previous career, the importance McQuaid assigns to education is not surprising. He is critical of the low priority accorded to education by successive governments and is particularly critical of the poor and pay conditions of teachers. His intervention in the primary teachers’ strike in 1946 is poorly received by the government and marks the souring of his relationship with de Valera. During his episcopate the number of primary schools increases by a third while the number of secondary schools more than double but, as with social welfare, the government increasingly assumes a dominant role in education from the 1960s onwards. Almost immediately after his appointment in 1940, he takes a hardline stand against the attendance of Catholic students at Trinity College Dublin (TCD). The ban lasts until 1970, when the increase in student numbers renders it untenable and he accedes reluctantly.
McQuaid has a formidable list of achievements in health care, especially maternity and pediatric services, physical and mental handicap services, and the treatment of alcoholism. It is ironic, therefore, that the most controversial episode of his career occurs in this area — the Irish hierarchy’s rejection in 1951 of a free mother-and-child health service. This leads to the resignation of the Minister for Health, Dr. Noël Browne, and is a watershed in Church-State relations in Ireland. With Irish tuberculosis and infant mortality statistics ranking among the highest in the world, the hierarchy, and particularly McQuaid, lose considerable support by lining up with the conservative medical establishment to resist efforts at socialized medicine.
From various pastorals that McQuaid issues at the time, it is clear that he does not see the need for the Second Vatican Council. As its deliberations proceed, his unease grows, and he becomes increasingly preoccupied with the issue of episcopal power and independence that he believes are being threatened by the Council. In the areas of liturgical reform, greater lay participation, and ecumenism, he is slow in implementing the Vatican II reforms. His views on ecumenism had always been lukewarm and had led to allegations that he was anti-Protestant. His personality and policies are criticized by a more assertive Dublin laity, but being a shy, reserved man who increasingly feels the isolation of office, he never responds to such comments. In 1968 the reaction to Humanae vitae causes open rebellion in the Dublin diocese, the force of which catches him unaware. His last pastoral as archbishop in 1971 betrays his anger and bemusement at the response to Humanae vitae in Dublin.
At the age of 75, McQuaid submits his resignation to the Vatican, and it is accepted. His resignation is announced in January 1972, when he is replaced by Dermot Ryan. McQuaid dies in Loughlinstown, County Dublin, the following year on April 7, 1973. He is buried in St. Mary’s Pro-Cathedral in Dublin, the seat of the Roman Catholic Archdiocese of Dublin.
McQuaid’s substantial archives are released by the Dublin Diocesan Archives in the late 1990s. In 1999 journalist John Cooney publishes a hostile biography of McQuaid, which makes controversial allegations of sexual abuse against McQuaid. The allegations are based on tenuous evidence gathered by McQuaid’s nemesis from the 1951 Mother and Child controversy, Dr. Noël Browne, who had died in 1997. No corroborating evidence is produced or has since emerged.
seamus dubhghaill 