Educated in England, Boucicault begins acting in 1837 and in 1840 submits his first play to Lucia Elizabeth Vestris at Covent Garden, however it is rejected. His second play, London Assurance (1841), which foreshadows the modern social drama, is a huge success and is frequently revived into the 20th century. Other notable early plays were Old Heads and Young Hearts (1844) and The Corsican Brothers (1852).
In 1853 Boucicault and his second wife, Agnes Robertson, arrive in New York City, where his plays and adaptations are long popular. He leads a movement of playwrights that produces in 1856 the first copyright law for drama in the United States. His play The Poor of New York, based on the panics of 1837 and 1857, has a long run at Wallack’s Theatre in 1857 and is presented elsewhere as, for example, The Poor of Liverpool. The Octoroon (1859) causes a sensation with its implied attack on slavery.
Boucicault and his actress wife join Laura Keene’s theatre in 1860 and begin a series of his popular Irish plays — The Colleen Bawn, or The Brides of Garryowen (1860), Arrah-na-Pogue (1864), The O’Dowd (1873), andThe Shaughraun (1874). Returning to London in 1862, he provides Joseph Jefferson with a successful adaptation of Rip Van Winkle (1865). In 1872 he returns to the United States, where he remains, except for a trip to Australia that results in his third marriage (for which he renounced the legitimacy of his second marriage). Among his associates in the 1870s is the young David Belasco. At the time of his death on September 18, 1890, in New York City, he is a poorly paid teacher of acting. He is buried in Mount Hope Cemetery, Hastings, Westchester County, New York.
About 150 plays are credited to Boucicault, who, as both writer and actor, raises the stage Irishman from caricature to character. To the American drama he brings a careful construction and a keen observation and recording of detail. His concern with social themes prefigures the future development of drama in both Europe and America.
(Pictured: Dionysius Boucicault, taken 1890 or before. Photograph: Harvard Theatre Collection/Wikimedia Commons)
In 1861 Smyth enlists in the Union army in an Irish American three-months regiment, the 24th Pennsylvania, and is quickly made a captain. He is later commissioned as a major of the 1st Delaware Infantry, a three-years regiment. He serves at the battles of Chancellorsville and Fredericksburg, following which he is promoted to lieutenant colonel and then to colonel. During the Gettysburg campaign, he commands the 2nd Brigade, 3rd Division of the II Corps. During the Battle of Gettysburg, his men help defend Cemetery Ridge and advance to the area of the Bliss farm to oust enemy sharpshooters. He is wounded on the third day of the battle and relinquishes command briefly.
Smyth retains brigade command during the reorganization of II Corps before Ulysses S. Grant‘s Overland Campaign. He leads the second brigade of the first division from March 25 to May 17, 1864. When Colonel Samuel S. Carroll is wounded, Smyth is transferred to his command, the third brigade of second division, the Gibraltar Brigade. In October 1864, he is promoted to brigadier general during the Siege of Petersburg. He retains command of his brigade throughout the siege.
On March 18, 1867, PresidentAndrew Johnson nominates Smyth for posthumous appointment to the grade of brevet major general of volunteers to rank from April 7, 1865, the date he was mortally wounded, and the United States Senate confirms the appointment on March 26, 1867. He is the last Union general killed or mortally wounded during the war and is buried in Wilmington and Brandywine Cemetery in Wilmington, Delaware.
Hagan is born in County Tyrone on June 17, 1822. His family moves to a farm near Philadelphia, Pennsylvania when he is still at an early age, and he is educated at Clermont Academy. He moves to Alabama in 1837. His prosperous uncle, John Hagen of New Orleans, Louisiana, takes him into the family business and sets him up in Mobile to manage the Hagan business there.
Hagan serves in John Coffee Hays‘s Texas Rangers, a cavalry unit in Major GeneralZachary Taylor‘s army during the Mexican–American War. He is recognized for his gallantry at the Battle of Monterrey. He is commissioned a captain in the 3rd U.S. Dragoons in 1848 and is discharged on July 31, 1848. After the war, he returns to Mobile where he purchases and subsequently manages a plantation rather than remaining in the family mercantile business. In 1854, he marries Bettie Oliver, daughter of Alabama’s attorney general.
At the beginning of the American Civil War, Hagan organizes and is elected captain of a cavalry company for the Alabama Militia, the “Mobile Dragoons,” which serves on guard duty along the Gulf Coast. At the rank of major he transfers to the 1st Mississippi Cavalry Regiment on October 26, 1861. The regiment fights at the Battle of Shiloh on April 6–7, 1862. He leads his men in a mounted charge at the Battle of Perryville, which is highly commended by his brigade commander, Brigadier GeneralJoseph Wheeler.
Hagan is promoted to colonel of a new regiment, the 3rd Alabama Cavalry Regiment, on July 1, 1862. The regiment fights in all of the campaigns of the Army of Tennessee. In July 1863, He is assigned to command Brigade 1 of Brigadier General William T. Martin‘s Division of the Cavalry Corps of the Army of Tennessee, which is Major General Joseph Wheeler’s old brigade. During the spring and summer of 1863, the brigade screens the left front of GeneralBraxton Bragg‘s army. Wheeler recommends that Hagan be promoted to brigadier general, but Bragg blocks the promotion because he says Hagan is in a state of “dissipation”, a reference to drunkenness or alcoholism. Hagan is wounded near Franklin, Tennessee in the winter of 1862 and again near Kingston, Tennessee in November 1863. In November 1863, he resigns and returns to Mobile to recover from his wounds and his disappointment from not being promoted.
Although Hagan is assigned as acting brigadier general in early 1865, he never receives an official appointment from Jefferson Davis or confirmation by the Confederate States Senate of an appointment as a general officer. Major General Wheeler later writes that he had been told unofficially by Confederate States War Department officials that brigadier general commissions had been issued for Hagan, Henry Marshall Ashby and Moses Wright Hannon near the end of the war, but no such commissions ever were delivered.
Hagan returns to Mobile after the war but is penniless since his fortune had been converted to Confederate money. He works as manager of a plantation on the Alabama River in the 1870s and early 1880s. President Grover Cleveland appoints him crier of the United States District Court in Alabama in 1885.
James Hagan dies on November 6, 1901, at Mobile, Alabama. He is buried in Magnolia Cemetery in Mobile.
Boyle is born to Alice (Lewis) and Francis Xavier Boyle. His paternal grandparents are Irish immigrants, and his mother is of mostly French and British Isles descent. He eventually moves to Philadelphia, where his father is a sought-after local TV personality and children’s show host. Following a solid Catholic upbringing, he is a sensitive youth and joins the Christian Brothers religious order at one point while attending La Salle University in Philadelphia. He leaves the monastery after only a few years when he “lost” his calling.
Bent on an acting career, Boyle initially studies with guru Uta Hagen in New York. The tall, hulking, prematurely bald actor wannabe struggles through a variety of odd jobs as a postal worker, waiter and bouncer while simultaneously building up his credits on stage and waiting for that first big break. Things start progressing for him after appearing in the national company of The Odd Couple in 1965 and landing TV commercials on the sly. In the late 1960s Boyle joins Chicago‘s The Second City improv group and makes his Broadway debut as a replacement for Peter Bonerz in Paul Sills’ Story Theatre (1971).
Boyle gains acclaim for his first starring role, playing the title character, a bigoted New York City factory worker, in the 1970 movie Joe, directed by John G. Avildsen. The film’s release is surrounded by controversy over its violence and language. The role leads to major notoriety, however, and some daunting supporting parts in T.R. Baskin (1971), Slither (1973) and as Robert Redford‘s calculating campaign manager in The Candidate (1972). During this time his political radicalism finds a visible platform after joining Jane Fonda and Donald Sutherland on anti-war crusades, which also includes the anti-establishment picture Steelyard Blues (1973). This period also sees the forging of a strong friendship with former BeatleJohn Lennon.
Destined to be cast as monstrous undesirables throughout much of his career, Boyle plays a monster of another sort in his early film days, and thus avoids a complete stereotype as a film abhorrent. His hilarious, sexually potent Frankenstein’s Monster in the cult Mel Brooks spoof Young Frankenstein (1974) sees him in a sympathetic and certainly more humorous vein. His creature’s first public viewing, in which Boyle shares an adroit tap-dancing scene with “creator” Gene Wilder in full Fred Astaire regalia, is a show-stopping audience pleaser. Late 1970s filmgoers continue to witness him in seamy, urban settings with brutish roles in Taxi Driver (1976) and Hardcore (1979). At the same time, he addresses several TV mini-movie roles with the same brilliant darkness such as his Senator Joe McCarthy in Tail Gunner Joe (1977), for which he receives an Emmy nomination, and his murderous, knife-wielding Fatso in the miniseries remake of From Here to Eternity (1979).
While the following decade finds Boyle in predominantly less noteworthy filming and a short-lived TV series lead as remote cop Joe Bash (1986), the 1990s bring him Emmy glory for a guest role in an episode of The X-Files (1993). Despite a blood clot-induced stroke in 1990 that impairs his speech for six months, he ventures on and caps his enviable career on TV wielding funny but crass one-liners in the “Archie Bunker” mold on the long-running sitcom Everybody Loves Raymond (1996). A major Emmy blunder has him earning seven nominations for his Frank Barone character without a win, the only prime player on the show unhonored. He survives a heart attack while on the set of Everybody Loves Raymond in 1999 but manages to return full time for the remainder of the series’ run through 2005.
The style of trompe-l’œil painting that Harnett develops is distinctive and inspired many imitators, but it is not without precedent. A number of Dutch Golden Age painters, Pieter Claesz for instance, had specialized in tabletop still life of astonishing verisimilitude. Raphaelle Peale, working in Philadelphia in the early 19th century, pioneers the form in America. What sets Harnett’s work apart, besides his enormous skill, is his interest in depicting objects not usually made the subject of a painting.
Harnett paints musical instruments, hanging game, and tankards, but also paints the unconventional Golden Horseshoe (1886), a single rusted horseshoe shown nailed to a board. He paints a casual jumble of second-hand books set on top of a crate, Job Lot, Cheap (1878), as well as firearms and even paper currency. His works sell well, but they are more likely to be found hanging in a tavern or a business office than in a museum, as they did not conform to contemporary notions of high art.
Harnett spent the years 1880–1886 in Europe, staying in Munich from 1881 until early 1885. His best-known paintings, the four versions of After the Hunt, are painted between 1883 and 1885. Each is an imposing composition of hunting equipment and dead game, hanging on a door with ornate hinges at the right and keyhole plate at the left. These paintings, like the horseshoe or currency depictions mentioned earlier, are especially effective as trompe-l’œil because the objects occupy a shallow space, meaning that the illusion is not spoiled by parallax shift if the viewer moves.
Overall, Harnett’s work is most comparable to that of the slightly younger John F. Peto. The two artists know each other, and a comparison can be made between two paintings featuring violins. Harnett’s Music and Good Luck from 1888 shows the violin hanging upright on a door with ornate hinges and with a slightly torn piece of sheet music behind it. The elements are arranged in a stable, deliberate manner. Peto’s 1890 painting shows the violin hanging askew, as well as chipped and worn, with one broken string. The sheet music is dog-eared and torn around the edges and placed haphazardly behind the instrument. The hinges are less ornate, and one is broken. Harnett’s objects show signs of use but are well preserved, while Peto’s more humble objects are nearly used up.
Crippling rheumatism plagues Harnett in his last years, reducing the number but not the quality of his paintings. He dies in New York City on October 29, 1892. Other artists who paint similar compositions in Harnett’s wake include his contemporary John Haberle and successors such as Otis Kaye and Jefferson David Chalfant.
Creighton Hale, Irish American theatre, film, and television actor, is born Patrick Fitzgerald on May 24, 1882, in County Cork. His career extends more than a half-century, from the early 1900s to the end of the 1950s.
Some believe that in 1923 Hale stars in an early pornographic “stag” filmOn the Beach (a.k.a. Getting His Goat and The Goat Man). In the film, three nude women agree to have sex with him, but only through a hole in a fence. Photographs of the scene clearly show that the man in the film is not Hale but is another actor who also wears glasses.
Hale’s two sons, Creighton Hale, Jr. and Robert Lowe Hale, from his first marriage to Victoire Lowe, are adopted by Lowe’s second husband, actor John Miljan. After his divorce, Hale marries Kathleen Bering in Los Angeles in 1931.
The Real IRA broke off from the main Irish Republican Army and its political wing Sinn Féin in 1998 to oppose the decision by Sinn Féin to support the Northern Ireland peace process and work to end 30 years of fighting in Northern Ireland.
As a result of the FTO designation many activities, including fund-raising, of the Real IRA or its two so-called “front groups” or “political pressure groups” — the “32 County Sovereignty Movement” and the “Irish Republican Prisoner Welfare Association” — are now illegal.
A senior State Department official notes that this is the first time a group with “heavy ties” to the United States, with sympathizers and supporters coming from the United States, has been designated as a terrorist organization. But, in the words of this official, the “British and Irish government publicly asked us to look into this.” The “rigorous” review, begun in the fall of 2000, included volumes of evidence and was an inner-agency process that required the signature of the Secretary of the Treasury, the Attorney General and the Secretary of State.
According to the State Department Patterns of Global Terrorism report in 2000, the Real IRA was formed in February-March 1998, has between 150-200 hard-line members and is dedicated to removing British forces from Northern Ireland and unifying Ireland.
State Department officials say they absolutely anticipate the Real IRA to challenge the FTO designation in court. The designation comes as the Irish Republic prepares to prosecute Michael McKevitt, the Real IRA’s alleged leader.
Born and initially educated in Ireland, Shields emigrates to the United States in 1826. He is briefly a sailor and spends time in Quebec before settling in Kaskaskia, Illinois, where he studies and practices law. In 1836, he is elected to the Illinois House of Representatives, and later as State Auditor. His work as auditor is criticized by a young Abraham Lincoln, who with his then fiancée, Mary Todd, publishes a series of inflammatory pseudonymous letters in a local paper. Shields challenges Lincoln to a duel, and the two nearly fight on September 22, 1842, before making peace and eventually becoming friends.
In 1848, Shields is appointed to and confirmed by the Senate as the first governor of the Oregon Territory, which he declines. After serving as Senator from Illinois, he moves to Minnesota and there founds the town of Shieldsville. He is then elected as Senator from Minnesota. He serves in the American Civil War and, at the Battle of Kernstown, his troops inflict the only tactical defeat of Stonewall Jackson in the war. He resigns his commission shortly thereafter. After moving multiple times, he settles in Missouri and serves again for three months in the Senate.
Shields dies unexpectedly in Ottumwa, Iowa on June 1, 1879, while on a lecture tour, after reportedly complaining of chest pains. His body is transferred to Carrollton, Missouri by train, where a funeral is held at the Catholic church, and his body escorted to St. Mary’s Cemetery by two companies of the Nineteenth Infantry, the Craig Rifles, and a twenty-piece brass band. His grave remains unmarked for 30 years, until the local government and the U.S. Congress fund a granite and bronze monument there in his honor.
Ford is born to Edward Ford (1805-1880) and Ann Ford (1815-1893), emigrating with his parents to Boston, Massachusetts in 1845, never returning to Ireland. He writes in the Irish World in 1886 that “I might as well have been born in Boston. I know nothing of England. I brought nothing with me from Ireland — nothing tangible to make me what I am. I had consciously at least, only what I found and grew up with in here.”
Ford leaves school at the age of thirteen and two years later is working as a printer’s devil for William Lloyd Garrison‘s The Liberator. He credits Garrison for his advocacy for social reform. He begins writing in 1855 and by 1861 is editor and publisher of the Boston Tribune, also known as the Boston Sunday Tribune or Boston Sunday Times. He is an abolitionist and pro-union.
Ford spends four years after the war in Charleston, South Carolina, editing the Southern Carolina Leader, printed to support newly freed slaves. He settles in New York City in 1870 and founds the Irish World, which becomes the principal newspaper of Irish America. It promises “more reading material than any other paper in America” and outsells John Boyle O’Reilly‘s The Pilot.
In 1878, Ford re-titles his newspaper, the Irish World and American Industrial Liberator. During the early 1880s, he promotes the writings of land reformer, Henry George in his paper.
In 1880, Ford begins to solicit donations through the Irish World to support Irish National Land League activities in Ireland. Funds received are tabulated weekly under the heading “Land League Fund.” Between January and September 1881 alone, more than $100,000 is collected in donations. British Prime MinisterWilliam Ewart Gladstone later states that without the funds from the Irish World, there would have been no agitation in Ireland.”
John Millington Synge, a leading figure in the Irish Literary Revival, dies in Dublin, on March 24, 1909. He is a poetic dramatist of great power who portrays the harsh rural conditions of the Aran Islands and the western Irish seaboard with sophisticated craftsmanship.
After studying at Trinity College and at the Royal Irish Academy of Music in Dublin, Synge pursues further studies from 1893 to 1897 in Germany, Italy, and France. In 1894 he abandons his plan to become a musician and instead concentrates on languages and literature. He meets William Butler Yeats while studying at the Sorbonne in Paris in 1896. Yeats inspires him with enthusiasm for the Irish renaissance and advises him to stop writing critical essays and instead to go to the Aran Islands and draw material from life. Already struggling against the progression of Hodgkin’s lymphoma which is untreatable at the time and eventually leads to his death, Synge lives in the islands during part of each year between 1898 and 1902, observing the people and learning their language, recording his impressions in The Aran Islands (1907) and basing his one-act plays In the Shadow of the Glen and Riders to the Sea (1904) on islanders’ stories. In 1905 his first three-act play, The Well of the Saints, is produced.
Synge’s travels on the Irish west coast inspire his most famous play, The Playboy of the Western World (1907). This morbid comedy deals with the moment of glory of a peasant boy who becomes a hero in a strange village when he boasts of having just killed his father but who loses the villagers’ respect when his father turns up alive. In protest against the play’s unsentimental treatment of the Irishmen’s love for boasting and their tendency to glamorize ruffians, the audience riots at its opening at Dublin’s Abbey Theatre. Riots of Irish Americans accompany its opening in New York City in 1911, and there are further riots in Boston and Philadelphia. Synge remains associated with the Abbey Theatre, where his plays gradually win acceptance, until his death. His unfinished Deirdre of the Sorrows, a vigorous poetic dramatization of one of the great love stories of Celtic mythology, is performed there in 1910.
In the seven plays he writes during his comparatively short career as a dramatist, Synge records the colourful and outrageous sayings, flights of fancy, eloquent invective, bawdy witticisms, and earthy phrases of the peasantry from County Kerry to County Donegal. In the process he creates a new, musical dramatic idiom, spoken in English but vitalized by Irish syntax, ways of thought, and imagery.
