seamus dubhghaill

Promoting Irish Culture and History from Little Rock, Arkansas, USA


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John de Wogan Ceases to be Justiciar of Ireland

picton-castleSir John de Wogan, Cambro-Norman judge styled lord of Picton, ceases to be Justiciar of Ireland on August 6, 1312 although remaining nominally justiciar until April 1313. He serves as Justiciar of Ireland from 1295 to 1313.

There are several dubious theories about Wogan’s ancestry, and uncertainty exists about his wives, sons, and other relations. He comes from Picton Castle in Pembrokeshire and is a vassal of William de Valence, 1st Earl of Pembroke. He comes to have lands in Pembrokeshire, Somerset, Dorset, Devon, Wiltshire, and Oxfordshire. He represents de Valence at an Irish court case in 1275, and in 1280 he is steward of Wexford, Valence’s Irish liberty. He is an eyre in England from 1281 to 1284, and returns to Ireland in 1285. In 1290 he is a referee with Hugh de Cressingham in a dispute between Queen Eleanor and de Valence and his wife.

In December 1295 Wogan takes office as justiciar and organises a two-year truce between the feuding Burkes and Geraldines. In 1296 he organises a force with Richard Óg de Burgh, 2nd Earl of Ulster, Theobald Butler, and John FitzGerald, 1st Earl of Kildare, to assist Edward I in the First War of Scottish Independence. The king entertains them at Roxburgh Castle in May. After his return to Ireland, Wogan “kept everything so quiet that we hear of no trouble in a great while.” The Parliament of Ireland he summons in 1297 is for long compared to the English “Model Parliament” of 1295, though historical opinion now places less importance on it.

In February 1308, under orders from the new king Edward II, Wogan suppresses the Knights Templar in Ireland. In June 1308 his forces are defeated by the O’Tooles and O’Byrnes, who are harrying The Pale from the Wicklow Mountains. From September 1308 to May 1309 Piers Gaveston, 1st Earl of Cornwall is in Ireland as “king’s lieutenant,” a new position outranking the justiciar, and he has more success against the Gaels. Wogan leaves Ireland in August 1312 although remaining nominally justiciar until April 1313.

Either the same John Wogan or his son of the same name returns to Ireland in 1316 as advisor to Roger Mortimer, 1st Earl of March, who counters Edward Bruce‘s invasion of Ireland.

John de Wogan dies in 1321 and is buried in St. David’s Cathedral, initially in a chapel he had endowed, later in Edward Vaughan‘s chapel.

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Birth of Richard Todd, Stage & Film Actor

richard-toddRichard Andrew Palethorpe Todd OBE, an English soldier, stage and film actor and film director, is born in Dublin on June 11, 1919.

Todd spends a few of his childhood years in India, where his father, an officer in the British Army, serves as a physician. Later his family moves to Devon and he attends Shrewsbury School. Upon leaving school, he trains for a potential military career at Royal Military Academy Sandhurst before beginning his acting training at the Italia Conti Academy of Theatre Arts in London. This change in career leads to estrangement from his mother. When he learns at age 19 that she has committed suicide, he does not grieve long for her, he admits in later life.

Todd first appears professionally as an actor at the Regent’s Park Open Air Theatre in 1936 in a production of Twelfth Night. He plays in regional theatres and then co-founds the Dundee Repertory Theatre in Scotland in 1939. He also appears as an extra in British films like Good Morning, Boys (1937), A Yank at Oxford (1938) and Old Bones of the River (1939).

At the beginning of World War II, Todd enlists in the British Army, receiving a commission in 1941. On June 6, 1944, as a captain, he participates in Operation Tonga during the Normandy landings. He is among the first British officers to land in Normandy as part of Operation Overlord.

After the war, Todd is unsure what direction to take in his career. His former agent, Robert Lennard, has become a casting agent for Associated British Picture Corporation and advises him to try out for the Dundee Repertory Company. He does so, performing in plays such as Claudia, where he appears with Claudia Grant-Bogle. Lennard arranges for a screen test and Associated British offers him a long-term contract in 1948. He is cast in the lead in For Them That Trespass (1949), directed by Alberto Cavalcanti. The film is a minor hit and his career is launched.

Having portrayed the role of Yank in the Dundee Repertory stage version of John Patrick‘s play The Hasty Heart, Todd is subsequently chosen to appear in the 1948 London stage version of the play, this time in the leading role of Cpl. Lachlan McLachlan. This leads to his being cast in that role in the Warner Bros. film adaptation of the play, which is filmed in the United Kingdom, alongside Ronald Reagan and Patricia Neal. He is nominated for the Academy Award for Best Actor for the role in 1949.

Todd is now in much demand. He appears in the thriller The Interrupted Journey (1949), Alfred Hitchcock‘s Stage Fright (1950), opposite Marlene Dietrich and Jane Wyman, Portrait of Clare (1950), Flesh and Blood (1951), The Story of Robin Hood and His Merrie Men (1952), 24 Hours of a Woman’s Life (1952), with Merle Oberon, Venetian Bird (1952), The Sword and the Rose (1953) and Rob Roy, the Highland Rogue (1953). In 1953, he appears in a BBC Television adaptation of the novel Wuthering Heights.

Todd’s career receives a boost when 20th Century Fox signs him to a non-exclusive contract. He appears the film version of Catherine Marshall‘s best selling biography, A Man Called Peter (1955), which is a popular success. Other films in which he appears include The Dam Busters (1955), The Virgin Queen (1955), Marie Antoinette Queen of France (1956), D-Day the Sixth of June (1956), Yangtse Incident: The Story of H.M.S. Amethyst (1957), Saint Joan (1957), Chase a Crooked Shadow (1958), Intent to Kill (1958), Danger Within (1958), Never Let Go (1960) and The Long and the Short and the Tall (1961).

Todd’s career in films rapidly declines in the 1960s as the counter-culture movement in the Arts becomes fashionable in England, with social-realist dramas commercially replacing the more middle-class orientated dramatic productions that Todd’s performance character-type had previously excelled in.

In retirement, Todd lives in the village of Little Ponton and later in Little Humby, eight miles from Grantham, Lincolnshire. Suffering from cancer, he dies at his home on December 3, 2009. He is buried between his two sons, Seamus and Peter, at St. Guthlac’s Church in Little Ponton, Lincolnshire, England.


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Birth of Playwright Seán O’Casey

sean-ocaseySeán O’Casey, Irish playwright renowned for realistic dramas of the Dublin slums in war and revolution, in which tragedy and comedy are juxtaposed in a way new to the theatre of his time, is born at 85 Upper Dorset Street in Dublin on March 30, 1880.

Born as John Casey into a lower middle-class Irish Protestant family, his father dies when he is six, and thereafter the family becomes progressively poorer. With only three years of formal schooling, he educates himself by reading. He starts work at 14, mostly at manual labour, including several years with the Irish railways.

O’Casey becomes caught up in the cause of Irish nationalism, and he changes his name to its Irish form and learns the Irish language. His attitudes are greatly influenced by the poverty and squalor he witnesses in Dublin’s slums and by the teachings of the Irish labour leader Jim Larkin. He becomes active in the labour movement and writes for The Irish Worker. He also joins the Irish Citizen Army, a paramilitary arm of the Irish labour unions, and draws up its constitution in 1914. At this time he becomes disillusioned with the Irish nationalist movement because its leaders put nationalist ideals before socialist ones. He does not take part in the 1916 Easter Rising against the British authorities.

Disgusted with the existing political parties, he turns his energies to drama. His tragicomedies reflect in part his mixed feelings about his fellow slum dwellers, seeing them as incapable of giving a socialist direction to the Irish cause but at the same time admirable for their unconquerable spirit.

After several of his plays have been rejected, the Abbey Theatre in Dublin produces The Shadow of a Gunman (1923), set during the guerrilla warfare between the Irish Republican Army and British forces. In 1924 the Abbey stages Juno and the Paycock, his most popular play, set during the period of civil war over the terms of Irish independence. The Plough and the Stars (1926), with the 1916 Easter Rising as its background, causes riots at the Abbey by patriots who think the play denigrates Irish heroes. When first produced in the 1920s, these plays have an explosive effect on the audiences at the Abbey and help to enlarge the theatre’s reputation.

O’Casey goes to England in 1926, meets the Irish actress Eileen Carey Reynolds, marries her, and henceforth makes England his home. His decision to live outside Ireland is motivated in part by the Abbey’s rejection of The Silver Tassie, a partly Expressionist antiwar drama produced in England in 1929. Another Expressionist play, Within the Gates (1934), follows, in which the modern world is symbolized by the happenings in a public park. The Star Turns Red (1940) is an antifascist play, and the semiautobiographical Red Roses for Me (1946) is set in Dublin at the time of the Irish railways strike of 1911.

O’Casey’s later plays, given to fantasy and ritual and directed against the life-denying puritanism he believes has beset Ireland, include Cock-a-Doodle Dandy (1949), The Bishop’s Bonfire (1955), and The Drums of Father Ned (1958). His last full-length play is a satire on Dublin intellectuals, Behind the Green Curtains, published in 1961.

O’Casey’s three indisputably great plays are The Shadow of a Gunman, Juno and the Paycock, and The Plough and the Stars. All are tragicomedies set in the slums of Dublin during times of war and revolution. Violent death and the everyday realities of tenement life throw into relief the blustering rhetoric and patriotic swagger of men caught up in the struggle for Irish independence. The resulting ironic juxtapositions of the comic and tragic reveal the waste of war and the corrosive effects of poverty. His gifts are for vivid characterization and working-class language and, though he portrays war and poverty, he writes some of the funniest scenes in modern drama. His later plays are not considered as powerful or moving as his earlier realistic plays. In his later plays he tends to abandon vigorous characterization in favour of expressionism and symbolism, and sometimes the drama is marred by didacticism.

Six volumes of O’Casey’s autobiography appeared from 1939 to 1956. They are later collected as Mirror in My House (1956) in the United States and as Autobiographies (1963) in Great Britain. O’Casey’s letters from 1910 to 1941 are edited by David Krause in two volumes (1975, 1980).

Sean O’Casey dies of a heart attack at the age of 84 on September 18, 1964, in Torquay, Devon. He is cremated at the Golders Green Crematorium.


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Birth of Landscape Painter Francis Danby

Francis Danby, Irish painter of the Romantic era, is born near Killinick, County Wexford, on November 16, 1793. His imaginative, dramatic landscapes are comparable to those of John Martin. Danby initially develops his imaginative style while he is the central figure in a group of artists who have come to be known as the Bristol School. His period of greatest success is in London in the 1820s.

The death of Danby’s father in 1807 causes the family to move to Dublin. He begins to practice drawing at the Royal Dublin Society‘s schools and, under an erratic young artist named James Arthur O’Connor, he begins painting landscapes. Danby also makes acquaintance with George Petrie.

In 1813 Danby leaves for London together with O’Connor and Petrie. This expedition, undertaken with very inadequate funds, quickly comes to an end, and they have to get home again by walking. At Bristol they make a pause and Danby, finding he can get trifling sums for watercolor drawings, remains there working diligently and sending pictures of importance to the London exhibitions. There his large oil paintings quickly attract attention.

Around 1819, Danby becomes a member of the informal group of artists which become known as the Bristol School, taking part in their evening sketching meetings and sketching excursions visiting local scenery. He remains connected with members of the Bristol School for about a decade, even after leaving Bristol in 1824.

The group initially forms around Edward Bird, and Danby eventually succeeds Bird as its central figure. The Bristol artists, particularly the amateur Francis Gold, are also important in influencing Danby towards a more imaginative and poetical style. George Cumberland, another of the amateurs, has influential London connections. In 1820 when Danby exhibits The Upas Tree of Java at the British Institution, Cumberland uses his influence to promote its favourable reception. Danby’s atmospheric work An Enchanted Island, successfully exhibited in 1825 at the British Institution and then back in Bristol at the Bristol Institution, is in turn particularly influential on other Bristol School artists.

The Upas Tree of Java (1820) and The Delivery of Israel (1825) bring him his election as an Associate Member of the Royal Academy of Arts. He leaves Bristol for London, and in 1828 exhibits his Opening of the Sixth Seal at the British Institution, receiving from that body a prize of 200 guineas.

In 1829 Danby’s wife deserts him, running off with the painter Paul Falconer Poole. Danby leaves London, declaring that he will never live there again. For a decade he lives on the Lake Geneva in Switzerland, becoming a Bohemian with boat-building fancies, painting only occassionaly. He later moves to Paris for a short period of time. He returns to England in 1840.

Francis Danby lives his final years at Exmouth in Devon, where he dies on February 9, 1861. Along with John Martin and J. M. W. Turner, Danby is considered among the leading British artists of the Romantic period.


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Death of Irish Dramatist Seán O’Casey

Seán O’Casey, Irish dramatist and memoirist, dies of a heart attack in Torquay, Devon, England on September 18, 1964. A committed socialist, he is the first Irish playwright of note to write about the Dublin working classes.

O’Casey is born John Casey at 85 Upper Dorset Street, in the northern inner-city area of Dublin on March 30, 1880. He is a member of the Church of Ireland, baptised on July 28, 1880 in St. Mary’s parish and confirmed at St. John the Baptist Church in Clontarf. He is an active member of Saint Barnabas until his mid-twenties, when he drifts away from the church.

As O’Casey’s interest in Irish nationalism grows, he joins the Gaelic League in 1906 and learns the Irish language. At this time, he Gaelicises his name from John Casey to Seán Ó Cathasaigh. He also learns to play the Uilleann pipes and is a founder and secretary of the St. Laurence O’Toole Pipe Band. He joins the Irish Republican Brotherhood, and becomes involved in the Irish Transport and General Workers Union, established by James Larkin to represent the interests of the unskilled labourers who inhabit the Dublin tenements. In March 1914 he becomes General Secretary of Larkin’s Irish Citizen Army. On July 24, 1914 he resigns from the ICA, after his proposal to deny dual membership to both the ICA and the Irish Volunteers is rejected.

In 1917, his friend Thomas Ashe dies in a hunger strike and it inspires him to write. He spends the next five years writing plays. O’Casey’s first accepted play, The Shadow of a Gunman, is performed at the Abbey Theatre in 1923. This is the beginning of a relationship that is to be fruitful for both theatre and dramatist but which ends in some bitterness. It is followed by Juno and the Paycock (1924) and The Plough and the Stars (1926).

The Plough and the Stars is not well received by the Abbey audience. There is a riot reported on the fourth night of the show. His depiction of sex and religion offends some of the actors who refused to speak their lines. W.B. Yeats intervenes and describes the audience as “shaming themselves.”

In 1928, Yeats rejects O’Casey’s fourth play, The Silver Tassie, for the Abbey. It is an attack on imperialist wars and the suffering they cause. The Abbey refuses to perform it. The plays O’Casey writes after this include the darkly allegorical and highly controversial Within the Gates (1934), which is set within the gates of a busy city park based on London’s Hyde Park. It closes not long after opening and is another box office failure.

Over the next twenty years, O’Casey writes The Star Turns Red (1940), Purple Dust (1943), Red Roses for Me (1943), Oak Leaves and Lavender (1945), Cock-a-Doodle Dandy (1949), The Bishop’s Bonfire (1955), and The Drums of Father Ned (1958). In 1959, O’Casey gives his blessing to a musical adaptation of Juno and the Paycock by American composer Marc Blitzstein. The musical, retitled Juno, is a commercial failure, closing after only 16 Broadway performances. Also in 1959, George Devine produces Cock-a-Doodle Dandy at the Royal Court Theatre and it is also successful at the Edinburgh International Festival and has a West End run.

On September 18, 1964, at the age of 84, O’Casey dies of a heart attack, in Torquay, Devon. He is cremated at the Golders Green Crematorium.


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Birth of Anna Catherine Parnell

anna-catherine-parnellAnna Catherine Parnell, Irish nationalist and younger sister of Irish Nationalist leader Charles Stewart Parnell, is born at Avondale House, near Rathdrum, County Wicklow on May 13, 1852.

Parnell receives her early education at home, later attending the Royal Dublin Society Art School and the South Kensington School of Design.

Following her father’s death in 1859, the family leaves Avondale, living in Dublin, Paris, and London. While studying in London, Parnell attends parliamentary sittings and writes accounts of them for an Irish-American journal. She helps to organize an American fund for the relief of famine in Ireland in 1879–1880.

When it becomes apparent that the men of the Irish National Land League are likely to be arrested, it is suggested that a women’s league in Ireland can take over the work in their absence. Public opinion at the time is against women in politics, but Anna and her sister, Fanny Parnell, establish the Central Land League of the Ladies of Ireland (LLL), of which she becomes organizing secretary and effective leader in January 1881.

When Charles Stewart Parnell and other leaders are imprisoned in 1881, as predicted, the Ladies’ Land League takes over their work. Offices are given to the ladies but they receive very little assistance. The women hold public meetings and encourage country women to be active in withholding rent, in boycotting, and in resisting evictions. They raise funds for the League and for the support of prisoners and their families. They distribute Land League wooden huts for shelter to evicted tenant families and by the beginning of 1882 they have five hundred branches, thousands of women members, and considerable publicity. Fanny Parnell dies in 1882 at the age of thirty three.

After his release from prison, Charles Stewart Parnell dissolves the Ladies’ Land League in August 1882. Anna, whose nationalist fervor exceeds that of her brother, parts with him on bad terms over politics. She lives the rest of her life in the south of England under an assumed name. She writes an angry account of her Land League experiences in Tale of a Great Sham, which is not published until 1986.

Anna Parnell never marries. She drowns at Ilfracombe, Devon, England on September 20, 1911.