Ó Súilleabháin is deeply involved in Daniel O’Connell‘s Catholic emancipation movement and in relief work among the poor of County Kilkenny. He is also an avid bird watcher and a collector of manuscripts in the Irish language. His diary, published later as Cín Lae Amhlaoibh, is kept between 1827 and 1835. It remains one of the most important sources for 19th-century Irish life and one of the few surviving works from the perspective of the Roman Catholic lower and middle classes. (A translation has been published in English and an abridged and annotated edition in Irish, both edited by Tomás de Bhaldraithe.) He also composes verse and stories.
Ó Súilleabháin is born in Killarney, County Kerry. He comes to live at Callan, County Kilkenny, when he is nine years old, joining his father, Donncha Ó Súilleabháin. Father and son establish themselves as teachers in the surrounding towns. They begin by teaching under the hedges, but eventually a cabin is built as a school. He takes over the post of teacher there when his father dies in 1808. He remains a resident of Callan until his death. At the time, County Kilkenny is one of the most strongly Irish-speaking areas in Leinster.
As a teacher, Ó Súilleabháin is well versed in mathematics and Latin, and likely teaches English to a high standard. His diary shows him to have a deep interest in the natural world, and there are daily references to the weather.
Though Ó Súilleabháin is clearly a master of English, his diary is mostly in Irish, with occasional business-related entries in English, likely so that such transactions can be verified by others. He mostly eschews the archaisms favoured by other writers in Irish, writing in a fluent, flexible, colloquial style which could encompass both concision and literary elaboration. His diary shows him to be deeply involved in the life of the poor but to also be well acquainted with local notables. He is fond of occasional revelry and a good meal.
Ó Súilleabháin has an impressive collection of Irish language manuscripts, both prose and verse, which are supplemented by books. As a businessman, he deals in linen, corn and meal, and often has to make long trips to Dublin, Clonmel and Waterford.
Ó Súilleabháin marries a woman named Máire Ní Dhulachanta, not often mentioned in his diary. They have six or seven children, four of whom survive into adulthood. Her death, however, causes him great grief, and he never remarries.
Ó Súilleabháin dies on November 20, 1838, in Callan and is buried in the family plot in St. Brigid’s graveyard.
Amhlaoibh’s original manuscript is currently in the possession of the Royal Irish Academy. An edition of the complete manuscript is published as Cinnlae Amhlaoibh Uí Shúileabháin by M. McGrath in 1936-37 and an abridged and annotated edition, Cín Lae Amhlaoibh, by Tomás de Bhaldraithe in 1970–1973. A translation, The Diary of an Irish Countryman, is published by de Bhaldraithe (Mercier Press) in 1979.
(Pictured: The Seal of Milesius, the official seal of the Ó Súilleabháin Clann of Munster)
Cummins begins to study at UCC in 1912. At that time, there are 78 women students out of the 420 students enrolled. She graduates with an engineering degree in 1915. During her time in engineering, she is editor of the Journal of the Engineering Society.
While she is in college, Cummins is on the Ireland field hockey team. She earns her first “cap” for hockey in 1914 and leads the college hockey team to victory in the Munster cup. The Irish hockey team tours the United States in 1925 with Cummins as the captain. With the team she goes to the White House at the invitation of Calvin Coolidge.
Cummins works for the Royal Arsenal with the munitions factory at Woolwich, London, and then the Vickers Limited factory at nearby Erith. She works in a shipyard in Scotland during World War I between 1915 and 1916 before returning to Cork. Initially, she finds it difficult to find work there.
In 1924, Cummins founds a private practice in the city and works there until 1927 at which time she is appointed to the Irish Land Commission in Dublin. She moves to Dublin and although she visits, she never returns to live in Cork. She retires from the Land Commission in 1954.
Cummins is a Council member of the Women’s Engineering Society, having joined at the organisation’s inception. In December 1919, she writes an encouraging article in the very first edition of the society’s journal, The Woman Engineer. Based on her own Irish university experience, it lays out the practicalities of studies as well as social interactions likely to be encountered by a woman thinking of training as a civil engineer. The following year, she has another article published, this time in the Practical Engineer magazine, entitled The Suitability of Women for the Engineering Industries.
Twenty years later, in 1940, Cummins writes a lively piece entitled Women Engineers Overseas – in Eire for The Woman Engineer journal on her experiences as one of the earliest women engineers in Ireland. In this article, she recounts a tale of encountering the “oldest Inhabitant” of a very rural area, a proud owner of two fine horses, who on discovering “you must be an engineer, so would ye mind mending the electric light in the mare’s stable?”
Cummins dies at the age of 73 in Dublin on April 30, 1968.
(Pictured: Detail from photo of the 1913-14 2nd Year Engineering Class at University College Cork (UCC University Archives, OCLA, UCC))
Born in Derry in 1677, Farquhar is one of seven children born to William Farquhar, a clergyman of modest means. The author of “Memoirs of Mr. George Farquhar,” a biographical sketch prefixed to certain 18th-century editions of his works, claims that he “discovered a Genius early devoted to the Muses. When he was very young, he gave Specimens of his Poetry; and discovered a Force of Thinking, and Turn of Expression, much beyond his years.”
Farquhar is educated at Foyle College and later enters Trinity College Dublin at age seventeen as a sizar under the patronage of the Bishop of Dromore, who may have been related to Farquhar’s mother. He may have initially intended to follow his father’s profession and become a clergyman but is “unhappy and rebellious as a student” and leaves college after two years to become an actor. His 18th-century biographer claims that the departure is because “his gay and volatile Disposition could not long relish the Gravity and Retirement of a College-life,” but another story of uncertain veracity has him being expelled from Trinity College due to a “profane jest.” The two accounts are not necessarily mutually exclusive.
Farquhar joins a company performing on the Dublin stage, probably through his acquaintance with the well-known actor Robert Wilks. However, he is reportedly not that impressive as an actor. It is said that “his voice was somewhat weak” and that “his movements [were] stiff and ungraceful.” But he is well received by audiences and thought to continue in this career “till something better should offer.” Some of the roles reportedly played by Farquhar are Lennox in William Shakespeare‘s Macbeth, Young Bellair in The Man of Mode by George Etherege, Lord Dion in Philaster by Francis Beaumont and John Fletcher, and Guyomar in The Indian Emperour by John Dryden.
During one of the performances in the Dryden play, an accident on stage puts an end to Farquhar’s acting career. As Guyomar, he is supposed to “kill” Vasquez, one of the Spanish generals in the drama. Forgetting to exchange his sword for a foil before enacting this scene, he severely wounds Price, the actor playing Vasquez. Although Price recovers, Farquhar resolves after this mishap to give up acting for good.
Farquhar then leaves for London, “possibly with a draft of his first play in his portmanteau.” Some writers tie his move to that of his friend Wilks, who had received an offer from the manager of Drury Lane to come to London and join that theatre. Wilks is also credited with encouraging Farquhar’s efforts at writing plays.
Farquhar’s first comedy, Love and a Bottle, premieres in 1698 and is well received by the audience. Called a “licentious piece” by one scholar and cited as proof that Farquhar had “absorbed the stock topics, character-types, and situations of Restoration comedy” by another, the play deals with Roebuck, “An Irish Gentleman of a wild roving Temper” who is “newly come to London.” The general character of the play can be evaluated by considering that in the opening scene, Roebuck tells his friend Lovewell that he has left Ireland due to getting a woman pregnant with twins and to Roebuck’s father trying to force Roebuck to marry the woman; however, Roebuck remarks, “Heav’n was pleas’d to lessen my Affliction, by taking away the She-brat.”
After the favourable reception of Love and a Bottle, Farquhar decides to devote himself to playwriting. He also at this point receives a commission in the regiment of the Earl of Orrery, so his time for the next few years is divided between the vocations of soldier and dramatist. It is also at about this time that he discovers Anne Oldfield, who is reading aloud a scene from The Scornful Lady at her aunt’s tavern. Impressed, he brings her to the notice of Sir John Vanbrugh, and this leads to her theatrical career, during which she is the first performer of major female roles in Farquhar’s last comedies.
In 1700, Farquhar’s The Constant Couple is acted at Drury Lane and proves a great success, helped considerably by his friend Wilks’ portrayal of the character of Sir Henry Wildair. The playwright follows up with a sequel, Sir Harry Wildair, the following year, and in 1702 writes the comedies The Inconstant and The Twin Rivals. Also in 1702, he publishes Love and Business, a collection that includes letters, verse, and A Discourse Upon Comedy.
The next year, Farquhar marries Margaret Pemell, “a widow with three children, ten years his senior,” who reportedly tricks him into the marriage by pretending to have a great fortune. His 18th century biographer records that “though he found himself deceived, his Circumstances embarrassed, and his Family increasing, he never upbraided her for the Cheat but behaved to her with all the Delicacy and Tenderness of an indulgent Husband.” He is engaged in recruiting for the army, due to the War of the Spanish Succession, for the next three years, writing little except The Stage Coach in collaboration with Peter Motteux, an adaptation of a French play. He draws on his recruiting experience for his next comedy, The Recruiting Officer (1706). However, he has to sell his army commission to pay debts, reportedly after the Duke of Ormonde advises him to do so, promising him another but failing to keep his promise.
Early in 1707, Farquhar’s friend Wilks visits him. Farquhar is ill and in distress, and Wilks is said to have “cheered him with a substantial present and urged him to write another comedy.” This comedy, The Beaux’ Stratagem, is given its première on March 8, 1707. It is known from Farquhar’s own statement prefacing the published version of the play that he wrote it during his sickness:
“The reader may find some faults in this play, which my illness prevented the amending of; but there is great amends made in the representation, which cannot be match’d, no more than the friendly and indefatigable care of Mr. Wilks, to whom I chiefly owe the success of the play.”
Daniel Doyle, Irish folk singer, is born in Dublin on April 28, 1940. During the 1960s and 1970s, he is one of the top Irish singers, regularly featuring in the Irish charts and scoring three No.1 singles. He records twenty-five albums and is known for his chart-topping songs “Whiskey on a Sunday,” “Daisy a Day” and “The Rare Ould Times.”
After leaving school at the age of fourteen, Doyle starts doing odd jobs, including working as general factotum in Dublin’s Pike Theatre, where he begins to pick up, from the travelling players, songs from the Irish countryside.
During the 1960s and 1970s, Doyle is one of the top Irish singers, regularly featuring in the Irish charts and scoring three No.1 singles. His song “The Rare Auld Times” notably displaces ABBA‘s “Take a Chance on Me” after just one week at the top. The song is composed in the 1970s by Pete St. John for the Dublin City Ramblers and peaks on the Irish Music Charts for twelve weeks. In 1979, he is the first artist to record St. John’s song “The Fields of Athenry.” He is probably best known for his 1967 number one hit “Whiskey on a Sunday.” His other notable works are “A Daisy a Day” and “The Rare Auld Times.” The hit songs “Daisy A Day,” “Streets of London,” “Lizzie Lindsay” and “Whiskey on a Sunday” that are released in the 1960s make him popular.
In 1983, Doyle moves to the United States from Ireland.
Chancellor is born at 8 Fitzwilliam Place, Dublin, on January 9, 1910. Her parents are John William Chancellor, a Dublin clockmaker, jeweler, and photographer, and Cicely Chancellor (née Granger). They marry in Billericay, Essex, in 1904. She has an elder sister, Joyce Fanny, who also becomes an actress. She attends Nightingale Hall and Alexandra College, going on to train as a secretary.
Chancellor’s first appearance on stage is as a fairy in a benefit performance at the Gaiety Theatre in 1914. She appears again at the Gaiety in 1922 as Gwennie in F. Anstey‘s The Man from Blankley’s, and then studies drama under Frank Fay. In the 1920s, she acts in the Dublin Drama League’s productions in the Abbey Theatre. Once she joins the Gate Theatre her career progresses, establishing her as one of the principal actresses in the Gate by the early 1930s.
Chancellor plays Naomi alongside Orson Welles in a production of Jud Süss in October 1931. Welles becomes infatuated with her and later describes her as “the sexiest thing that ever lived.” In 1931, she debuts in J. B. Fagan‘s production of The New Gossoon by George Shiels as Biddy Henley at the Apollo Theatre. Her most noted roles are as Toots in Youth’s the Season in 1932 by Mary Manning, Laura in a production of Carmilla in 1932, based on the Gothicnovella by Sheridan Le Fanu, Ophelia in 1932 and Cicely in The Importance of Being Earnest in 1933. Touring with the Gate company in 1935, she plays Stella in its production of Lord Longford‘s Yahoo performed in the Westminster Theatre, London. She stars with James Mason in the Gate’s production of Pride and Prejudice in 1937. Disappointed with the parts she is getting at the Gate after that and much to the annoyance of Micheál Mac Liammóir and Hilton Edwards, she joins Lord Longford’s first provincial tour in 1937.
In the late 1930s, Chancellor works more often in London. Following her appearance as Baby Furze in the 1938 production of Spring Meeting by Molly Keane and John Perry, she is nominated as “Star of the Future” by the Daily Mail. She acts alongside Alec Guinness and Peggy Ashcroft in 1940 in Clemence Dane‘s Cousin Muriel at the Globe Theatre, directed by John Gielgud.
Chancellor returns to the Gaiety Theatre in 1941 to act with Hilton Edwards in a production of Caesar and Cleopatra by George Bernard Shaw, a production that marks the 75th anniversary of the Gaiety. The press welcomes her return to the company, but her fellow actors are disturbed by the fact she is then living with Denis Johnston, the husband of fellow actress Shelah Richards. After Johnston’s divorce, they marry in March 1945 in Dungannon, County Tyrone. She partly retires from acting to raise their sons, but also due to her increasing deafness that had begun in her teens.
In 1969, Chancellor returns to Ireland with her family and settles in Dalkey, County Dublin. She dies in Dún Laoghaire on April 27, 1984, and is buried in the close of St. Patrick’s Cathedral, Dublin.
In 1904, King Edward VII and Queen Alexandra travel to Ireland for a semi-official eight-day visit, arriving in Kingstown (now Dún Laoghaire) on April 26. They are accompanied by their daughter, Princess Victoria.
They travel by rail to Naas via the Great Southern and Western Railway Company. They are seated in a luxuriously upholstered carriage, the engine decorated with flags and streamers. The visit triggers a frenzy of preparation among the elite and merchants of Naas. Leading citizens from diverse backgrounds, including Protestants, Catholics, Loyalists, and Home Rulers, come together to welcome the royal visitors. The town is adorned with bunting, banners, and arches bearing royal and loyalist symbols, creating an extravagant showpiece of imperial loyalty.
During their visit to Naas, the King and Queen attend the Punchestown Races, adding a touch of glamour to the occasion.
They stay in the Dublin area for a few days, attending several events and ceremonies. After finishing in Dublin, the royals board their royal train for a three-day visit to Kilkenny.
For the arrival of the King and Queen in Kilkenny, significant efforts are undertaken to ensure the city is elegantly presented. In the weeks and months prior to the visit, local businessmen convene meetings in how best to organise the occasion.
The city is heavily festooned with bunting and streamers, and the route from the railway station to Kilkenny Castle is decorated with tiny fairy lights of every colour. During the visit, Princess Victoria plants three trees on the grounds of the Castle.
The visit is well-received in Kilkenny, although sometimes expressed in primitive fashion: an old man remarks, “Sure, the King’s a man after all,” his wife correcting him, “But he’s a great man, and the lovely lady’s an angel.” Although well-supported, black flags protesting the visit are hung from some buildings along the route. (It is more than 110 years before another royal visit is made to Kilkenny when Prince Charles and Princess Camilla visit the city on May 11, 2017.)
Shortly before her twelfth birthday, Hone suffers from polio (infant paralysis), suffering a fall while helping to decorate the Taney parish church for Easter. Her resulting ill health leads to her seeking treatment in Harley Street, Marylebone, Central London. She is educated by a governess, continuing her education in Switzerland, and goes on tours to Spain and Italy before moving to London in 1913. Her three sisters all marry British Army officers, and all are widowed in World War I.
Hone is extremely devout. She spends time in an Anglican Convent in 1925 at Truro in Cornwall and converts to Catholicism in 1937. This possibly influences her decision to begin working in stained glass. Initially, she works as a member of the An Túr Gloine stained glass co-operative before setting up a studio of her own in Rathfarnham.
Hone’s most important works are probably the East Window, depicting the Crucifixion, for the Chapel at Eton College, Windsor (1949–1952) and My Four Green Fields, now located in Government Buildings, Dublin. This latter work, commissioned for the Irish Government’s Pavilion, wins first prize for stained glass in the 1939 New York World’s Fair. It graces CIÉ‘s Head Office in O’Connell Street from 1960 to about 1983. The East Window of Eton College is commissioned following the destruction of the building after a bomb is dropped in 1940 on the school during World War II. She is commissioned to design the East Window in 1949, and the new window is inserted in 1952. This work is featured on an Irish postage stamp in 1969. From December 2005 to June 2006, an exhibition of her work is on display at the National Gallery of Ireland. Saint Mary’s church in Clonsilla also features her stained glass windows.
Despite ill health, Hone continues to produce a huge number of small stained glass panels as well as oils, watercolours, and gouache landscapes. In 1953, she is represented at the Contemporary Irish Art exhibition at Aberystwyth, Wales, and at the Tate gallery in London, receiving as well an honorary LLD from Trinity College Dublin (TCD). In 1954, she is elected an honorary member of the Royal Hibernian Academy (RHA).
Unmarried, Hone dies on March 13, 1955, while entering her parish church at Rathfarnham. She is survived by two of her sisters. Over 20,000 people visit a memorial exhibition of her work at University College Dublin (UCD), Earlsfort Terrace, Dublin, in 1958.
(Pictured: Portrait of Evie Hone by Hilda van Stockum)
In April 1916, Germany offers the Irish 20,000 Mosin–Nagant 1891 rifles, ten machine guns and accompanying ammunition, but no German officers. It is a fraction of the quantity of the arms Casement had hoped for, with no military expertise on offer. The weapons leave Germany bound for Ireland on a German cargo vessel named the SS Libau, disguised as a Norwegian vessel, Aud-Norge.
Casement confides his personal papers to Dr. Charles Curry, with whom he has stayed at Riederau on the Ammersee, before leaving Germany. He departs with Robert Monteith and Sergeant Daniel Beverley (Bailey) of the Irish Brigade in a submarine, initially the SM U-20, which develops engine trouble, and then the SM U-19, shortly after the Aud sails. According to Monteith, Casement believes the Germans are toying with him from the start and providing inadequate aid that will doom a rising to failure. He wants to reach Ireland before the shipment of arms and to convince Eoin MacNeill, who he believes is still in control, to cancel the rising.
Casement sends John McGoey, a recently arrived Irish American, through Denmark to Dublin, ostensibly to advise what military aid is coming from Germany and when, but with Casement’s orders “to get the Heads in Ireland to call off the rising and merely try to land the arms and distribute them.” McGoey does not reach Dublin, nor does his message. His fate is unknown until recently. Evidently abandoning the Irish Nationalist cause, he joins the Royal Navy in 1916, survives the war, and later returns to the United States, where he dies in an accident on a building site in 1925.
About 2:00 a.m. on the morning of April 21, 1916, three days before the rising begins, Robert Monteith, Daniel Bailey (calling himself Beverly), and Casement climb into a small boat for the trip to shore at Banna Strand in Tralee Bay, County Kerry. Their boat, now in the Imperial War Museum in London, capsizes before they reach shore.
Monteith helps an exhausted Casement to safety on shore. Casement is convinced that the Rising cannot be successful without a large number of German troops, and the best he has been able to obtain is one boatload of arms. Suffering from a recurrence of the malaria that had plagued him since his days in the Congo, and too weak to travel, Monteith and Bailey leave Casement at the ruins of McKenna’s Fort, an ancient ring fort in Rahoneen, Ardfert, now renamed Casement’s Fort, and head for Tralee.
About 1:30 p.m., Casement is discovered by two Royal Irish Constabulary (RIC) officers. He nearly talks his way out of being arrested, but a 12-year-old boy at the scene points out a piece of paper Casement had tossed away as the police approach. On that paper is a German code list. He is arrested on charges of high treason, sabotage and espionage against the Crown. He manages to send word to Dublin about the inadequate German assistance.
The Kerry Brigade of the Irish Volunteers might have tried to rescue Casement over the next three days, but its leadership in Dublin holds that not a shot is to be fired in Ireland before the Easter Rising is in train and therefore orders the Brigade to “do nothing.” A subsequent internal inquiry attaches “no blame whatsoever” to the local Volunteers for failing to attempt a rescue. Casement is taken to Brixton Prison and placed under special observation for fear of an attempt of suicide as there is no staff at the Tower of London to guard suicidal cases.
On the day of his execution by hanging at Pentonville Prison, August 3, 1916, Casement is received into the Catholic Church at his request. He is attended by two Catholic priests, Dean Timothy Ring and Father James Carey, from the East London parish of SS Mary and Michael. The latter, also known as James McCarroll, says of Casement that he was “a saint … we should be praying to him [Casement] instead of for him.” At the time of his death he is 51 years old.
Casement’s body is buried in quicklime in the prison cemetery at the rear of Pentonville Prison, though his last wish was to be buried at Murlough Bay on the north coast of County Antrim, in present-day Northern Ireland. Finally, in 1965, his remains are repatriated to Ireland. His remains lay in state at the Garrison Church, Arbour Hill (now Arbour Hill Prison) in Dublin for five days, close to the graves of other leaders of the 1916 Easter Rising, although he would not be buried beside them. After a state funeral, the remains are buried with full military honours in the republican plot in Glasnevin Cemetery in Dublin, alongside other Irish republicans and nationalists. The President of Ireland, Éamon de Valera, who is then in his mid-eighties and the last surviving leader of the Easter Rising, attends the ceremony, along with an estimated 30,000 others.
Seán Proinsias Ó Faoláin, short story writer of international repute and one of the most influential figures in 20th-century Irish culture, dies in Dublin on April 20, 1991. He is also a leading commentator and critic.
Ó Faoláin writes his first stories in the 1920s, eventually completing ninety stories over a period of sixty years. From 1929 to 1933 he lectures at the Catholic college, St. Mary’s College, at Strawberry Hill, London, during which period he writes his first two books. His first book, Midsummer Night Madness, is published in 1932. It is a collection of stories partly based on his Civil War experiences. He afterward returns to Ireland. He publishes four novels, seven additional volumes of short stories, six biographies, three travel books, a play, a memoir, a history book, translations and literary criticism, including one of the rare full-length studies of the short story, The Short Story (1948). He also writes a cultural history, The Irish, in 1947. His last short story volume, Foreign Affairs, is published in 1976. His Collected Stories is published in 1983.
Ó Faoláin produces critical studies of the novel and the short-story form, introduces texts of historical and literary merit, and contributes scores of articles, reviews, and uncollected stories to periodicals in Ireland, Britain, and the United States.
Ó Faoláin is a founder member and editor of the Irish literary periodical The Bell from 1940 to 1946. Under his editorship, The Bell participates in many key debates of the day. It also provides a crucial outlet for established and emerging writers during the lean war years. The list of contributors to The Bell include many of Ireland’s foremost writers, among them Patrick Kavanagh, Patrick Swift, Flann O’Brien, Frank O’Connor and Brendan Behan.
A recurring thread in Ó Faoláin’s work is the idea that national identities are historically produced and culturally hybrid; an additional thesis is that Irish history should be conceived in international terms, and that it should be read, in particular, in the context of social and intellectual developments across Europe.
Ó Faoláin marries Eileen Gould, a children’s book writer who publishes several books of Irish folk tales, in 1929. They have two children: Julia (1932–2020), who becomes a Booker-nominated novelist and short story writer, and Stephen (b. 1938).
Ó Faoláin dies in Dublin at the age of 91 on April 20, 1991.
Ó Faoláin is a controversial figure in his own lifetime and two of his books are banned for “indecency” in Ireland — his debut collection of short stories and his second novel, Bird Alone (1936). His legacy has proven divisive. If some consider him a social liberal cosmopolitan who challenges “proscriptive” definitions of Irish culture, others see him as a chauvinistic snob who paradoxically restricts the development of Irish writing. Proto-revisionist or nascent postcolonial, O’Faoláin has been considered both, sometimes within the same critical survey. Either way, his work is central to the evolution of a post–Literary Revival aesthetic, and his voice is one of the most prominent, and eloquent, in the fight against censorship in Ireland.
(Pictured: Portrait of Seán Ó Faoláin by Howard Coster, 1930s, National Portrait Gallery)
MacMahon, who is educated at home, is also literary. From the 1890s she begins contributing to periodicals such as the New Ireland Review, for which she writes on local history. Her first novel, A New Note, appears in 1894 and over the next thirty-five years she is prolific, publishing over twenty novels as well as making numerous contributions to magazines, and several to BBC radio programmes. She is unmarried and writing is her main source of income, but during World War I she works as a civil servant in various government departments including War, Trade, and the newly created Intelligence department. Afterward she lives in Brockenhurst, Hampshire, England, and converts at some stage to Catholicism.
MacMahon’s novels are romances. Typical of them is An Honorable Estate (1898), which features an English heiress marrying an impoverished Irish clergyman in a fit of pique, only to fall in love with him. They are undemanding but entertaining and occasionally ironic, with clever social commentary. Irish Book Lover, a quarterly review of Irish literature and bibliography, commends The Job (1914) for its insightful and sympathetic characterisation. It is an account of a baronet‘s struggle to improve his Irish estate despite the fecklessness of the inhabitants. Ireland is a frequent setting for her stories. Her view of it verges on the sentimental, and she often features eccentric but ultimately good-hearted country people.
However, MacMahon’s last book, Wind of Dawn (1927), is a more profound, interesting study. Set during the Irish War of Independence and the truce, it looks at the complexities within Irish society and the differences in attitude between the Anglo- and native Irish. Rich in characters, it features a naive English girl in love with Ireland, a papist-hating domestic servant, and an ascendancy grande dame who finds England monotonous but is adamant that her children will be educated there and will not acquire a brogue. Unlike MacMahon’s other books, it is not a romance and ends in tragedy and then acceptance for the coming change of regime. It reads like a lesser novel by Elizabeth Bowen and resembles in theme and argument, though not in quality, The Last September (1929), which it predates. Unfortunately, she is not inspired to go further in this line. She writes no more and retires on a government civil pension.
By the time of her death on April 19, 1956, MacMahon has fallen into complete obscurity, and surprisingly, given the quantity and relative merit of her work, she has no entry to date in any of the numerous anthologies of Irish or women writers.
seamus dubhghaill 