Moore is born in Moore Hall, near Lough Carra, County Mayo on February 24, 1852. He comes from a distinguished Catholic family of Irish landholders. When he is 21, he leaves Ireland for Paris to become a painter. His Reminiscences of the Impressionist Painters (1906) vividly describes the Café Nouvelle-Athènes and the circle of Impressionist painters who frequent it. He is particularly friendly with Édouard Manet, who sketches three portraits of him. Another account of the years in Paris, in which he introduces the younger generation in England to his version of fin de siècle decadence, is his first autobiography, Confessions of a Young Man (1888).
Deciding that he has no talent for painting, Moore returns to London in 1882 to write. His first novels, A Modern Lover (1883) and A Mummer’s Wife (1885), introduce a new note of French Naturalism into the English scene, and he later adopts the realistic techniques of Gustave Flaubert and Honoré de Balzac. Esther Waters (1894), his best novel, deals with the plight of a servant girl who has a baby out of wedlock. It is a story of hardship and humiliation illumined by the novelist’s compassion. It is an immediate success, and he follows it with works in a similar vein: Evelyn Innes (1898) and Sister Teresa (1901).
In 1901 Moore moves to Dublin, partly because of his loathing for the South African War and partly because of the Irish Literary Revival spearheaded by his friend, the poet William Butler Yeats. In Dublin he contributes notably to the planning of the Abbey Theatre. He also produces The Untilled Field (1903), a volume of fine short stories reminiscent of Ivan Turgenev’s writing that focuses on the drudgery of Irish rural life, and a short poetic novel, The Lake (1905). The real fruits of his life in Ireland, however, come with the trilogy Hail and Farewell (Ave, 1911; Salve, 1912; Vale, 1914). Discursive, affectionate, and satirical by turns, it reads like a sustained monologue that is both a carefully studied piece of self-revelation and an acute, though not always reliable, portrait gallery of his Irish acquaintance, which included Yeats, George William Russell, and Lady Gregory. Above all it is a perfectly modulated display of the comic spirit.
The increasing narrowness of the Irish mind, politics, and clericalism sends Moore back to England in 1911. After Hail and Farewell, he makes another literary departure. Aiming at epic effect he produces The Brook Kerith (1916), an elaborate and stylish retelling of the Gospel story that is surprisingly effective despite some dull patches. He continues his attempts to find a prose style worthy of epic theme in Héloïse and Abélard (1921). His other works include A Story-Teller’s Holiday (1918), a blend of autobiography, anecdote, Irish legend, and satire, Conversations in Ebury Street (1924), autobiography, The Pastoral Loves of Daphnis and Chloe (1924) and Ulick and Soracha (1926), an Irish legendary romance.
George Moore dies at his home at Ebury Street in the London district of Belgravia on January 21, 1933, leaving a fortune of £70,000. He is cremated in London at a service attended by Ramsay MacDonald among others. An urn containing his ashes is interred on Castle Island in Lough Carra in view of the ruins of Moore Hall, which had been burned by anti-treaty forces in 1923, during the final months of the Irish Civil War.
Rolleston is the youngest child among three sons and a daughter of Charles Rolleston-Spunner, barrister and county court judge for Tipperary, and his wife Elizabeth, daughter of John Richards, judge and baron of the Court of Exchequer, Ireland. He attends St. Columba’s College, Rathfarnham, where he is head boy, and Trinity College Dublin (TCD), graduating with an MA in 1878. His literary ambitions first emerge at university, where he wins the vice-chancellor’s prize for English verse in 1876.
In 1879 Rolleston marries Edith Caroline, daughter of Rev. William de Burgh of Naas, County Kildare. She suffers from rheumatism, and this encourages the couple to live in Germany from 1879 to 1883. During this period he develops a fascination for German philosophy and literature and begins a correspondence with the American poet Walt Whitman, whose work he knows through Edward Dowden. In 1881 he offers to translate into German, with S. K. Knortz, Whitman’s Leaves of Grass. This is published as Grashalme in 1889. In that year he also publishes a biography of the German philosopher Gotthold Lessing, and in 1892 delivers the Taylorian Lectures at the University of Oxford on this subject.
In the meantime Rolleston has returned to Ireland and co-founds the Dublin University Review (DUR) with Charles Hubert Oldham in February 1885. In March 1885, under their stewardship the DUR is the first to publish W. B. Yeats. The poetry of Katharine Tynan and the first English translations of Ivan Turgenev also appear in the magazine. He has a fondness for clubs and at this time is associated with the Contemporary Club, where he becomes friendly with fellow member Douglas Hyde, and the Young Ireland Society, where he is vice-president and a disciple of John O’Leary. He writes the dedication to O’Leary in Poems and ballads of Young Ireland (1888) and is encouraged by the older man in his editing of The prose writing of Thomas Davis (1890). Under O’Leary’s influence he flirts with Fenianism, perhaps even joining the Irish Republican Brotherhood (IRB) for a time, and is strongly critical of the prominent involvement of Catholic clergy in the home rule movement.
After the demise of the DUR in December 1886 Rolleston moves to London, but remains involved in Irish literary activity. Although unenthusiastic in his assessment of The Wanderings of Oisín (1889), he is friendly with Yeats and they instigate the Rhymers’ Club (1890). He is a much better critic and organiser than poet, but contributes to The Book of the Rhymers’ Club (1892) and The Second Book of the Rhymers’ Club (1894). His work appears in a number of contemporary journals and anthologies and he has one collection published, Sea Spray (1909).
Rolleston is first secretary of the Irish Literary Society (1892) and attends the foundation of its sister organisation in Dublin, the National Literary Society. These societies are soon riven by a dispute for control between Yeats and Charles Gavan Duffy, centred on the political and literary agenda of the movement. Rolleston at least acquiesces in, if not actively contributes to, Yeats’s defeat. They remain on reasonable terms, but Yeats is resentful. Rolleston edits the famous anthology, Treasury of Irish Poetry (1900), with the Rev. Stopford Augustus Brooke, whose daughter, Maud, he had married in October 1897. They have four children. His first marriage also produces four children, and he is godfather to Robert Graves, whose father, Alfred Perceval Graves, is a friend.
In 1894 Rolleston returns to Dublin, becoming managing director and secretary of the Irish Industries Association (1894–7) and honorary secretary of the Arts and Crafts Society of Ireland (1898–1908). A central figure in the latter as an organiser, propagandist, and critic rather than a practitioner, lecturing regularly and editing the journal of the society, he seeks to integrate the arts and crafts revival with other contemporary developments, cooperating with the Congested Districts Board for Ireland to organise classes. He is a supporter of the co-operative movement of Horace Plunkett, and a member of the Recess Committee. On the foundation of the Department of Agriculture and Technical Instruction (DATI), he is employed by Plunkett and T. P. Gill as organiser of lectures (1900–05). In this capacity he manages the Irish historic collection at the St. Louis exhibition of 1904, and publicly supports Plunkett in his dispute with the DATI in 1908. Convinced that the development of Irish industry is central to national progress, he believes that the Irish Parliamentary Party (IPP) failed to offer a clear practical programme for Irish nationalism. By 1900, however, his own nationalism is tempered by a belief in the importance of the imperial connection, and he opposes the pro-Boer stance taken by many Irish nationalists. In later years he publishes pamphlets urging economic development as a means of quelling Irish demands for home rule.
Rolleston is a sporadic member of the Gaelic League, writing the lyrics for the ‘Deirdre cantata,’ which wins first prize at the first Feis Ceoil in Dublin in 1897. At one point he suggests the foundation of a separate Gaelic League for Protestants, and provokes controversy in 1896 by suggesting that scientific ideas cannot be represented in the Irish language. Later, he concedes that he is wrong. In 1909 he settles in London when offered the job of editor of the German language and literature section of The Times Literary Supplement, a position he holds until his death. He reinvolves himself in the Irish Literary Society and publishes a number of volumes based on Irish myth, including the influential Myths and Legends of the Celtic Race (1911), and Richard Wagner‘s Der Ring des Nibelungen. He is a founder of the India Society of London (1910). During the World War I he is librarian for the ministry of information and utilises his knowledge of Irish in the Obscure Languages section of the censor’s department.
Like many involved in cultural activities at this time Rolleston is satirised by George Moore in Hail and Farewell, but he remains very friendly with Moore, who dedicates the 1920 edition of Esther Waters to him. Rolleston dies suddenly on December 5, 1920 at his home in Hampstead, London. His widow donates many of his books to Cork Public Library.
(From: “Rolleston, Thomas William Hazen (T. W.)” contributed by William Murphy, Dictionary of Irish Biography, http://www.dib.ie)
One of Ó Ceallaigh’s classmates in school is Sinéad O’Connor. He once tells an interviewer, “She told me she wanted to become famous and I tried to talk her out of it.”
Ó Ceallaigh graduates from University College Dublin (UCD) with a degree in philosophy. After receiving his degree, he travels the world, doing a variety of jobs, including waiter, newspaper editor, freelance journalist and volunteer for clinical trials. He moves to Bucharest, Romania, so that he can live cheaply and pursue his desire to write.
Ó Ceallaigh has spent much of his adult life in Eastern Europe, starting in Russia in the early 1990s. Since 1995 he has lived mostly in Bucharest, Romania. He has also lived for a while in the United States.
Ó Ceallaigh has published over 40 short stories, as well as essays and criticism. His work has appeared in Granta, The Irish Times and the Los Angeles Review of Books and has been translated into more than a dozen languages. In 2010, he edits Sharp Sticks, Driven Nails, an anthology of new short stories by twenty-two Irish and international writers, for The Stinging Fly Press. He translates Mihail Sebastian‘s autobiographical novel For Two Thousand Years. It tells the story of the author’s early years as a Jew in Romania during the 1920s. It is published in 2016.
Ó Ceallaigh has written an unpublished novel but reduces it to a long short story and believes “if you’ve got something to say and you can say it with less, that’s the way to go.”
The first story in Ó Ceallaigh’s third collection, Trouble, involves a security guard and the theft of sum of money from a gangster. He uses time he spent as a security guard in Dublin to form the basis of this fiction.
Ó Ceallaigh eschews the prevailing style of Irish short story writing in that his works are rarely set in Ireland, and instead are set in a variety of locations across the world, predominately in Romania. His stories generally feature solitary men, with women playing more incidental roles. He acknowledges being influenced in his writing style by Charles Bukowski, Anton Chekhov, Fyodor Dostoyevsky, Ernest Hemingway, Jack Kerouac, and Ivan Turgenev.
Ó Ceallaigh wins the Hennessy Award for his first published work in 1998. He wins the Rooney Prize for Irish Literature and the Glen Dimplex New Writers’ Award for his collection Notes from a Turkish Whorehouse in 2006. His second collection, The Pleasant Light of Day, is shortlisted for the Frank O’Connor International Short Story Award. He is the first Irish writer to receive this honour.
Risteárd Earnán Ó Glaisne is born on September 2, 1927 near Bandon, County Cork, the third of four children of George William Giles and his wife, Sara Jane (née Vickery). Educated at Bandon Grammar School and Trinity College Dublin, he graduates with a BA in 1949 and obtains a master’s degree in 1959. At TCD he is greatly influenced by Daithí Ó hUaithne.
Ó Glaisne first becomes interested in the Irish language at school in Bandon. His headmaster gives him a copy of Liam Ó Rinn‘s Peann agus Pár, along with a book of poems by Ivan Turgenev translated into Irish by Ó Rinn. “I suddenly found myself breaking into a world vastly larger than my own world in Irish,” he recalls. “The quality of mind I encountered made me realise I could never again connect Irish only with poteen and potatoes.”
Ó Glaisne further explores the language by making contact with the few native Irish speakers left in the Bandon area. He gradually comes to the conclusion that he is a member of a nation that has an extremely old and in many ways distinguished culture, of which Irish has been historically an integral part. Deciding that Irish best reflects the society in which he grew up and reflects him as an individual, he adopts it as his first language.
On graduating from TCD Ó Glaisne teaches Irish at Avoca School, Blackrock. He later teaches in St. Andrew’s College, Dublin, and at St. Patrick’s Cathedral Grammar School, where he ends his teaching career in 1989. He took a career break in the mid-1960s to study the French educational system and to travel on the Continent.
To perfect his Irish Ó Glaisne holidays on the Great Blasket Island, where he immerses himself in the rich oral culture. He makes many friends among the islanders, and the friendships continue after they are resettled on the mainland in Dún Chaoin. He regularly visits Corca Dhuibhne to meet friends like Muiris Mhaidhc Léan Ó Guithín, one of the last surviving islanders, and to enjoy the annual Ceiliúradh an Bhlascaoid.
Ó Glaisne holds that Protestants have enjoyed a long association with Irish, pointing to 18th-century followers of John Wesley such as Charles Graham, Gideon Ousley and Tomás Breathnach, who evangelised in Irish. He firmly believes that Protestants can be “every whit as Irish” as Roman Catholics. He urges his co-religionists to identify fully with Ireland.
Ó Glaisne is the founder and editor of Focus (1958-66), a monthly magazine that aims to help Protestants “come to an understanding of their cultural heritage.” He is a regular contributor to programmes on RTÉ and RTÉ Raidió na Gaeltachta, and writes for Comhar, Inniú, An tUltach and The Irish Times.
Moore comes from a distinguished Catholic family of Irish landholders. When he is 21, he leaves Ireland for Paris to become a painter. His Reminiscences of the Impressionist Painters (1906) vividly describes the Café Nouvelle-Athènes and the circle of Impressionist painters who frequent it. He is particularly friendly with Édouard Manet, who sketches three portraits of him. Another account of the years in Paris, in which he introduces the younger generation in England to his version of fin de siècle decadence, is his first autobiography, Confessions of a Young Man (1888).
Deciding that he has no talent for painting, Moore returns to London in 1882 to write. His first novels, A Modern Lover (1883) and A Mummer’s Wife (1885), introduce a new note of French Naturalism into the English scene, and he later adopts the realistic techniques of Gustave Flaubert and Honoré de Balzac. Esther Waters (1894), his best novel, deals with the plight of a servant girl who has a baby out of wedlock. It is a story of hardship and humiliation illumined by the novelist’s compassion. It is an immediate success, and he follows it with works in a similar vein: Evelyn Innes (1898) and Sister Teresa (1901).
In 1901 Moore moves to Dublin, partly because of his loathing for the South African War and partly because of the Irish Literary Revival spearheaded by his friend, the poet William Butler Yeats. In Dublin he contributes notably to the planning of the Abbey Theatre. He also produces The Untilled Field (1903), a volume of fine short stories reminiscent of Ivan Turgenev’s writing that focuses on the drudgery of Irish rural life, and a short poetic novel, The Lake (1905). The real fruits of his life in Ireland, however, come with the trilogy Hail and Farewell (Ave, 1911; Salve, 1912; Vale, 1914). Discursive, affectionate, and satirical by turns, it reads like a sustained monologue that is both a carefully studied piece of self-revelation and an acute, though not always reliable, portrait gallery of his Irish acquaintance, which included Yeats, George William Russell, and Lady Gregory. Above all it is a perfectly modulated display of the comic spirit.
The increasing narrowness of the Irish mind, politics, and clericalism sends Moore back to England in 1911. After Hail and Farewell he makes another literary departure. Aiming at epic effect he produces The Brook Kerith (1916), an elaborate and stylish retelling of the Gospel story that is surprisingly effective despite some dull patches. He continues his attempts to find a prose style worthy of epic theme in Héloïse and Abélard (1921). His other works include A Story-Teller’s Holiday (1918), a blend of autobiography, anecdote, Irish legend, and satire, Conversations in Ebury Street (1924), autobiography, The Pastoral Loves of Daphnis and Chloe (1924) and Ulick and Soracha (1926), an Irish legendary romance.
George Moore dies at his home at Ebury Street in the London district of Belgravia on January 21, 1933, leaving a fortune of £70,000. He is cremated in London at a service attended by Ramsay MacDonald among others. An urn containing his ashes is interred on Castle Island in Lough Carra in view of the ruins of Moore Hall, which had been burned by anti-treaty forces in 1923, during the final months of the Irish Civil War.
seamus dubhghaill 