Maturin is born on February 15, 1847, at All Saints’ vicarage, Grangegorman, Dublin, the third of the ten children of the Rev. William Basil Maturin and his wife, Jane Cooke (née Beatty). The Maturins, a prominent Anglo-Irish family of Huguenot ancestry, have produced many influential Church of Ireland clergymen over the generations, the most notable being Maturin’s grandfather, the writer Charles Robert Maturin. His own father, whose tractarian convictions are considered too “high church” for many in Dublin, is a somewhat controversial figure in the church. Religion plays a huge part in the Maturin children’s lives. Two of his brothers enter the church and two sisters become nuns. As a young man, he assists in training the choir and playing the organ at his father’s church. Educated at home and at a Dublin day school, he goes on to attend Trinity College Dublin (TCD), from where he graduates BA in 1870.
Though he initially intends to make a career in the army as an engineer, a severe attack of scarlet fever around 1868, and the death of his brother Arthur, changes his outlook on life, and he decides to become a clergyman. He is ordained a deacon in 1870 and later that year goes as a curate to Peterstow, Herefordshire, England, where his father’s friend Dr. John Jebb is rector. He subsequently joins the Society of St. John the Evangelist, entering the novitiate at Cowley, Oxford, in February 1873. As a Cowley father he is sent in 1876 to establish a mission in Philadelphia, Pennsylvania, where he works as an assistant priest and, from 1881, as rector of Saint Clement’s Church. Though he proves to be an effective clergyman and popular preacher, his growing religious doubts and increasing interest in Catholicism results in his returning to Oxford in 1888. Then follows a six-month visit in 1889–90 to a society house in Cape Town, South Africa. He returns to Britain, where he preaches, and conducts retreats around the country and occasionally on the continent. In 1896 he produces the first in a series of religious publications, Some Principles and Practices of Spiritual Life.
Maturin’s continuing religious anxieties eventually lead to his conversion to Catholicism on March 5, 1897, at the JesuitBeaumont College outside London. He then studies theology at the Canadian College, Rome, and is ordained there in 1898. Following his return to England he lives initially at Archbishop’s House, Westminster, and undertakes missionary work. He then serves at St. Mary’s, Cadogan Street, in 1901. He becomes parish priest of Pimlico and, in 1905, having joined the newly established Society of Westminster Diocesan Missionaries, organises the opening of St. Margaret’s chapel on St. Leonard’s Street, where huge crowds come to hear his sermons. As a Catholic priest, he returns to Ireland on several occasions, and frequently preaches at the Carmelite church, Clarendon Street, Dublin. His attempt, at the age of sixty-three, to enter into monastic life at the Benedictinemonastery at Downside, in 1910, proves unsuccessful. He returns to London and begins working in St. James’s, Spanish Place, while maintaining his preaching commitments. He continues to write, publishing Self-Knowledge and Self-Discipline (1905), Laws of the Spiritual Life (1907) and his autobiographical The Price of Unity (1912), in which he traces his gradual move toward Catholicism. His sermons, like his approach when hearing confessions, are said to have much appeal for their integrity. Despite his influence as a preacher, he seems often feel that his life and vocation lack real purpose and at times he suffers from depression.
After a brief visit to the United States in 1913, Maturin accepts the post of Catholic chaplain at the University of Oxford in 1914. He travels to New York in 1915 and, after preaching there throughout the spring, boards the RMS Lusitania in May to return to England. The liner is torpedoed and sinks on May 7, 1915, off the southern coast of Ireland. He assists his fellow passengers in the last minutes, and it is presumed that he refuses a life jacket, as they are in short supply. His body washes ashore. A service is held for him at Westminster Cathedral.
Maturin’s friend Wilfrid Philip Ward edits a collection of his spiritual writings, Sermons and Sermon Notes, in 1916.
(From: “Maturin, Basil William” by Frances Clarke, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
In January and February 1689, Butler votes against the motion to put William of Orange and Mary on the throne and against the motion to declare that James II has abdicated it. Nevertheless, he subsequently joins the forces of William of Orange, by whom he is made colonel of the 2nd Troop of Horse Guards on April 20, 1689. He accompanies William in his Irish campaign, debarking with him in Carrickfergus on June 14, 1690, and commands this troop at the Battle of the Boyne in July 1690. In February 1691 he becomes Lord Lieutenant of Somerset.
Butler serves on the continent under William of Orange during the Nine Years’ War and, having been promoted to major general, he fights at the Battle of Steenkerque in August 1692 and the Battle of Landen in July 1693, where he is taken prisoner by the French and then exchanged for the Duke of Berwick, James II’s illegitimate son. He is promoted to lieutenant general in 1694.
Butler plays a dramatic role at the notorious meeting of the Privy Council on March 8, 1711, when Antoine de Guiscard, a French double agent who is being questioned about his treasonable activities, attempts to assassinate Robert Harley, 1st Earl of Oxford, against whom he has a personal grudge for drastically cutting his allowance, by stabbing him with a penknife. Harley is wounded, but not seriously, due largely to the fact that he is wearing a heavy gold brocade waistcoat in which the knife gets stuck. Several Councillors, including Butler, stab Guiscard in return. Guiscard implores Butler to finish the deed, but he replies that it is not for him to play the hangman. In any case, he has the sense to see that Guiscard must be kept alive at least long enough to be questioned, although as it turns out Guiscard’s wounds are fatal, and he dies a week later.
On April 23, 1712, Butler leaves Harwich for Rotterdam to lead the British troops taking part in the war. Once there he allows himself to be made the tool of the Tory ministry, whose policy is to carry on the war in the Netherlands while giving secret orders to him to take no active part in supporting their allies under Prince Eugene. In July 1712, he advises Prince Eugene that he can no longer support the siege of Le Quesnoy and that he is withdrawing the British troops from the action and instead intends to take possession of Dunkirk. The Dutch are so exasperated at the withdrawal of the British troops that they close the towns of Bouchain on Douai to British access, despite the fact that they have plenty of stores and medical facilities available. Butler takes possession of Ghent and Bruges as well as Dunkirk, in order to ensure his troops are adequately provided for. On April 15, 1713, he becomes Lord Lieutenant of Norfolk.
Ormonde’s position as Captain-General makes him a personage of much importance in the crisis brought about by the death of Queen Anne and, during the last years of Queen Anne, he almost certainly has Jacobite leanings and corresponds with the Jacobite Court including his cousin, Piers Butler, 3rd Viscount Galmoye, who keeps barrels of gunpowder at Kilkenny Castle. King George I, on his accession to the throne in August 1714, institutes extensive changes and excludes the Tories from royal favour. Butler is stripped of his posts as Captain-General, as colonel of the 1st Regiment of Foot Guards and as Commander in Chief of the Forces with the first two posts going to the Duke of Marlborough and the role of Commander-in-Chief going to John Dalrymple, 2nd Earl of Stair. On November 19, 1714, Butler is instead made a member of the reconstituted Privy Council of Ireland.
Accused of supporting the Jacobite rising of 1715, Butler is impeached for high treason by Lord Stanhope on June 21, 1715. He might avoid the impending storm of Parliamentary prosecution, if he remains in England and stands trial but instead, he chooses to flee to France in August 1715 and initially stays in Paris with Lord Bolingbroke. On August 20, 1715, he is attainted, his estate forfeited, and honours extinguished. The Earl Marshal is instructed to remove the names and armorial bearings of Butler and Bolingbroke from the list of peers and his banner as Knight of the Garter is taken down in St. George’s Chapel.
On June 20, 1716, the Parliament of Ireland passes an act extinguishing the regalities and liberties of the county palatine of Tipperary; for vesting Butler’s estate in the crown and for giving a reward of £10,000 for his apprehension, should he attempt to land in Ireland. But the same parliament passes an act on June 24, 1721, to enable his brother, Charles Butler, 1st Earl of Arran, to purchase his estate, which he does accordingly.
Butler subsequently moves to Spain where he holds discussions with Cardinal Giulio Alberoni. He later takes part in a Spanish and Jacobite plan to invade England and puts James Francis Edward Stuart on the British throne in 1719, but his fleet is disbanded by a storm in the Bay of Biscay. In 1732, he moves to Avignon, where he is seen in 1733 by the writer Lady Mary Wortley Montagu. He dies at Avignon in exile on November 16, 1745, but his body is returned to London and buried in Westminster Abbey on May 22, 1746.
On July 20, 1682, Butler, then called Lord Ossory, marries Lady Anne Hyde, daughter of Laurence Hyde, who is then Viscount Hyde of Kenilworth but becomes Earl of Rochester in November. The couple has a daughter, Mary, who dies young in 1688.
Following the death of his first wife in 1685, Butler plans to marry again in order to secure a male heir. He gains permission from the House of Lords for the arranging of a jointure for another marriage in May 1685, and in August of that year, he marries Lady Mary Somerset, daughter of the Duke of Beaufort and Mary Capel. The couple has a son, Thomas (1686–1689), and two daughters, Elizabeth (1689–1750) and Mary (1690–1713). His second wife is a Lady of the Bedchamber to Queen Anne. Their younger daughter, Mary, marries John Ashburnham, 1st Earl of Ashburnham.
(Pictured: Portrait of James Butler, 2nd Duke of Ormonde, by Michael Dahl, National Portrait Gallery)
Joyce is the eldest of three sons of Michael Joyce, an Irish Catholic from a family of tenant farmers in Ballinrobe, County Mayo, and his wife, Gertrude (née Brooke), who although born in Shaw and Crompton, Lancashire, is from a well-off AnglicanAnglo-Irish family of physicians associated with County Roscommon. The Joyces return to Ireland in 1909. William, a precocious child, attends Coláiste Iognáid SJ, a Jesuit school in County Galway, from 1915 to 1921. At the age of fourteen, he abandons Catholicism for Anglicanism, apparently after being told that all non-Catholics, including his mother, would be damned. In adult life he is nominally anglican, though his adherence to Christianity is tenuous.
The Joyces are unionists and teach their children fervent imperialism. During the Irish War of Independence, Joyce openly associates with the Black and Tans and acts as a scout for them. An acquaintance claims that his views are so extreme even loyalists dislike him. On December 9, 1921, he flees to England to join the Worcestershire Regiment and is followed to England in 1923 by the rest of the family. When he enlists, he claims to be eighteen, but after he contracts rheumatic fever, his age is discovered, and he is discharged in March 1922. For a time, he studies mathematics and chemistry at Battersea Polytechnic Institute as a pre-medical student (1922–23), but he leaves of his own accord, with a reputation for laziness and violent political views. His studies in English and history at Birkbeck College are more successful. He is a brilliant linguist and mathematician and graduates BA with first-class honours in 1927. He publishes an academic article on philology and considers progressing to an MA. He later falsely claims that his research had been plagiarised by a Jewish academic. In 1932, he enrolls at King’s College, London, for a Ph.D. in educational psychology.
Joyce is disturbed by the difference between depressed post-war Britain and the imperial ideal that he had imbibed in Galway and is mocked for his outspoken patriotism and obvious Irishness. He identifies strongly with Thomas Carlyle, an earlier angry anti-liberal from the provinces. His life is marked by repeated episodes of hero worship, followed by disillusion and bitter denunciation. In 1923, he joins the British Fascists, an organisation that has a significant Irish loyalist membership, and in 1924 he allies himself with a militant splinter group, the National Fascists. Most British fascists see themselves as Tory auxiliaries, and they often provide a security presence at conservative meetings. On October 22, 1924, while stewarding a meeting addressed by a Jewish conservative candidate, he has his face slashed and is left with a prominent scar across his right cheek. He joins the Conservative Party in 1928 and is active in the Chelsea constituency until 1930, when he is forced out because of his eccentricities and sexual misbehaviour. On April 30, 1927, he marries Hazel Kathleen Barr. They have two daughters but separate in 1935, largely because of his infidelities, heavy drinking, and temper. The marriage is dissolved in 1937.
In November 1933, Joyce abandons his Ph.D. studies to work for Sir Oswald Mosley‘s British Union of Fascists (BUF). By early 1934 he has become its paid publicity director, traveling throughout Britain to organise meetings. He is a powerful, rabble-rousing speaker, driven by an instinctive awareness that vitriolic verbal abuse gives speaker and audience a sense of power and solidarity. MI5 sees him as a compelling, though deranged, personality. On February 8, 1937, he marries Margaret Cairns White, a BUF activist from Lancashire, with whom he had cohabited since 1936.
Joyce leads a BUF faction that favours a recruitment strategy based on uncompromising ideological assertion. This is challenged by populists who prioritise marches and displays and hold that indoctrination should follow membership. In February 1937, he is BUF candidate for the London County Council in Shoreditch. The party wins 14 percent of the vote. In March 1937, he, along with many full-time BUF staff, are sacked when the BUF cuts expenses. But his dismissal also reflects Mosley’s awareness that his obsessive rhetoric repels “respectable” recruits and that he is no longer a biddable, slavish admirer of “the Leader.” He later falsely claims near-exclusive credit for the BUF’s escalating antisemitism, a view that Mosley eventually finds it convenient to adopt in order to evade his own responsibility.
In April 1937, Joyce founds the National Socialist League, helped by a wealthy patron. He supports himself as a private tutor, refusing to take Jewish pupils. He is active in various antisemitic and pro-Nazi groups such as the Right Club and engages in “peace” campaigns based on the view that British interests lay with Germany against Russia. Political marginalisation intensifies his admiration for Nazi Germany and hero worship of Adolf Hitler. By the time of the Munich crisis in 1938, he has decided that if war comes, he will go to Germany, though he also considers moving to Ireland. He renews his British passport for one-year terms in August 1938 and August 1939.
On August 26, 1939, Joyce and his wife leave London for Berlin. He is allegedly tipped off about his impending arrest and internment by an MI5 officer, to whom he had supplied information on communists. His siblings, whom he recruited into his fascist organisations, are variously penalised for his activities. At a loose end in Berlin, he is persuaded by a British associate to become a radio announcer with the English-language service of the Reichs-Rundfunk-Gesellschaft (RRG). He makes his first broadcast on September 6, 1939, and receives a contract in October. He finds in radio an outlet for his forceful style and delight in saying the unsayable, and in the early years of the war takes an exultant pride in recounting Nazi victories. His performances are admired by Joseph Goebbels, whom Joyce, to his regret, never meets. On September 26, 1940, he acquires German citizenship.
The novel experience of hearing the enemy in one’s own living room attracts wide audiences in Britain. Joyce’s practice of naming newly captured prisoners of war in his broadcasts is also a compelling motive for listening. In fact, he tries to recruit British prisoners of war as collaborators. The name “Lord Haw-Haw,” invented by the Daily Express radio critic in September 1939, initially applies to several English-language broadcasters but in time becomes associated with Joyce. He is initially a figure of fun, imitated by comedians, but there are sinister undercurrents of terrifying omnipotence, intensified by his sneering, gloating delivery and his delighted deployment of the “big lie” technique. It is widely believed that British-based fifth columnists supply him with information, that he predicts air raids, and shows minute local knowledge. In time, fear and his growing notoriety feed popular hatred of him in Britain, though his anti-British taunts allegedly win appreciative Irish audiences. He exults that he is daily committing treason and rendering himself liable to the death penalty.
In 1940, Joyce publishes a commissioned self-justifying propaganda work, Twilight over England. His representation of himself echoes that of Hitler in Mein Kampf – the provincial patriot, whose martial sacrifices are betrayed by corrupt elites, learning through poverty the hollowness of bourgeois patriotism and the need to synthesise socialism with nationalism. He shares with his hero a paranoid belief in his own ability to create an alternative reality through language and obstinacy. He dreams of becoming the English Führer.
In Berlin, the Joyces’ marriage comes under increasing strain, marked by drunken rows, domestic violence, and infidelity on both sides, though they retain a fierce mutual fascination. They divorce on August 12, 1941, but remarry on February 11, 1942, while continuing their previous behaviour. As the Axis powers begin to fail, his broadcasts become more defensive, focusing on the Soviet threat. On October 14, 1944, he is awarded the German War Merit Cross, first class. On October 22, he is sworn into the Volkssturm (territorial army) and begins drilling. The Joyces are evacuated from Berlin in March 1945, initially to Apen near the Dutch border and then to Hamburg, where he makes a last, drunken, defiant broadcast on April 30, 1945, the day of Hitler’s death. After an unsuccessful attempt to escape to Sweden, the Joyces hide at Flensburg near the Danish border. On May 28, 1945, he is shot and captured while gathering firewood.
Joyce is brought back to Britain on June 16 after Parliament passed legislation simplifying treason trial procedures. At his September 17-20 trial, he proves his American citizenship, but the court holds that his illegally acquired British passport incurred duties of allegiance. His appeals are rejected by the Court of Appeal and the House of Lords. His fate is influenced by British public opinion, and possibly by a desire to avoid antagonising the Soviet Union. In his death cell he blames the defeat of national socialism on German limitations. He also fantasises that he could have saved Hitler from his incompetent subordinates.
Joyce is hanged by Albert Pierrepoint at Wandsworth Prison on January 3, 1946. Unlike most of his fellow Nazis, he proclaims to the end his allegiance to national socialism and hatred of Jews. He corresponds cheerfully with Margaret, joking evasively about the death camps and expressing a belief that his spirit will survive, watch over her, and continue his work. To neo-Nazis he becomes a martyr. Even among those to whom his activities had been repellent, a significant body of opinion holds he should not have been condemned on a questionable and innovative technicality. The historian A. J. P. Taylor maintains that Joyce was executed for making a false declaration to obtain a passport, a misdemeanour that normally incurs a £2 fine.
In 1976, Joyce is reinterred in Galway as it is feared that a grave in England might become a fascist shrine. Thomas Kilroy‘s play Double Cross (1986) juxtaposes Joyce and Brendan Bracken as Irishmen who reinvented themselves through fantasies of Britishness. The BBC Sound Archive has recordings of some of Joyce’s broadcasts and transcripts of others, collected during the war as evidence for a future treason trial.
(From: “Joyce, William Brooke (‘Lord Haw-Haw’)” by Patrick Maume, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Coogan’s particular focus is on Ireland’s nationalist/independence movement in the 20th century, a period of unprecedented political upheaval. He blames the Troubles in Northern Ireland on “Paisleyism.”
In 2000, Irish writer and editor Ruth Dudley Edwards is awarded £25,000 damages and a public apology by the High Court in London against Coogan for factual errors in references to her in his book Wherever Green is Worn: The Story of the Irish Diaspora (2000). In the book, he writes that Dudley Edwards had “groveled to and hypocritically ingratiated herself with the English establishment to further her writing career.” He also alleges that Dudley Edwards “had abused the position of chairwoman of the British Association for Irish Studies (BAIS) by trying to impose her political views on it” and that her commission to write True Brits had been awarded because of political favouritism.
When TaoiseachEnda Kenny causes confusion following a speech at Béal na Bláth by incorrectly claiming Michael Collins had brought Lenin to Ireland, Coogan comments, “Those were the days when bishops were bishops and Lenin was a communist. How would that have gone down with the churchyard collections?”
Coogan has been criticised by the Irish historians Liam Kennedy and Diarmaid Ferriter, as well as Cormac Ó Gráda, for a supposed lack of thoroughness in his research and bias:
“Well, I waited in this book to hear some great revelation, and it just isn’t there. It’s anticlimactic. I could not see the great plot, and indeed there is no serious historian who … I can’t think of a single historian who has researched the Famine in depth – and Tim Pat has not researched it in depth” (The Famine Plot).
“Coogan is not remotely interested in looking at what others have written on 20th-century Irish history…. he does not appear interested in context and shows scant regard for evidence. He does not attempt to offer any sustained analysis in relation to the challenges of state building, the meaning of sovereignty, economic and cultural transformations, or comparative perspectives on the evolution of Irish society. There is no indication whatsoever that Coogan has engaged with the abundant archival material relating to the subject matter he pronounces on. There is no rhyme or reason when it comes to the citation of the many quotations he uses; the vast majority are not referenced. For the 300-page text, 21 endnotes are cited and six of them relate to Coogan’s previous books, a reminder that much of this tome consists of recycled material…. Tim Pat Coogan… he is a decent, compassionate man who has made a significant contribution to Irish life. But he has not read up on Irish history; indeed, such is the paucity of his research efforts that this book amounts to a travesty of 20th-century Irish history” (1916: The Mornings After).
MacCarthy is born in Lower O’Connell Street, Dublin, on May 26, 1817, and educated there and at St. Patrick’s College, Maynooth. He acquires an intimate knowledge of Spanish from a learned priest, who had spent much time in Spain, which he is later to turn to good advantage. In April 1834, before turning seventeen, he contributes his first verses to the Dublin Satirist. He is one of a coterie of writers whose works appear in The Nation, which is started by Charles Gavan Duffy in 1842. Writing under the pseudonym “Desmond,” most of MacCarthy’s patriotic verse appears in this organ.
In 1846, MacCarthy is called to the Irish bar but never practises. In the same year he edits The Poets and Dramatists of Ireland, which he prefaces with an essay on the early history and religion of his countrymen. About this time, he also edits The Book of Irish Ballads (by various authors), with an introductory essay on ballad poetry in general. His Ballads, Poems, and Lyrics appears in 1850, original and translated. His attention is first directed to Pedro Calderón de la Barca by a passage in one of Percy Bysshe Shelley‘s essays, and from then on, the interpretation of the “Spanish Shakespeare” claims the greater part of his attention.
The first volume of MacCarthy’s translations, containing six plays, appears in 1853, and is followed by further instalments in 1861, 1867, 1870, and 1873. His version of Daybreak in Capacabana is completed only a few months before his death.
Until 1864, MacCarthy resides principally on Killiney Hill, overlooking Dublin Bay. The delicate health of some members of his family then renders a change of climate imperative, and he pays a prolonged visit to continental Europe. On his return, he settles in London in 1871, where he publishes – in addition to his translations – Shelley’s Early Life, which contains an account of that poet’s visit to Dublin in 1812.
MacCarthy’s poems are distinguished by a sense of harmony and sympathy with natural beauty. Such poems as “The Bridal of the Year,” “Summer Longings” (alias “Waiting for the May”), and his long narrative poem, “The Voyage of St. Brendan,” are among his most enduring works. The last-mentioned, which paraphrases the “Ave Maria Stella” as the evening song of the sailors, is also marked by the earnest religious feeling which mark its author throughout life. But it is by his version of Calderon that he is considered to have won a permanent place in English letters. His success is sufficiently testified by George Ticknor, who declares in his History of Spanish Literature that MacCarthy “has succeeded in giving a faithful idea of what is grandest and most effective in [Calderon’s] genius… to a degree which I had previously thought impossible. Nothing, I think, in the English language will give us so true an impression of what is most characteristic of the Spanish drama, and of Spanish poetry generally.”
Solomons is born to Maurice Solomons and poet Rosa Jane Jacobs. Her father is an optician whose practice in 19 Nassau Street, Dublin, is mentioned in Ulysses. Her father is also the Vice-Consul of Austria-Hungary. The Solomons family, who came to Dublin from England in 1824, are one of the oldest continuous lines of Jews in Ireland.
Solomons grandmother, Rosa Jacobs Solomons, who is born in Hull in England, is the author of a book called Facts and Fancies (Dublin 1883). Her brother, Bethel Solomons, a renowned physician, a master of the Rotunda Hospital and Irish international rugby player, is mentioned in Finnegans Wake. Her brother Edwin is a stockbroker and prominent member of the Dublin Jewish community. Her younger sister Sophie is a trained opera singer. A portrait of Sophie, by her cousin the printmaker Louise Jacobs, survives in the Estella Solomons archives in the Library of Trinity College Dublin (TCD).
In 1898, at the age of 16, Solomons enters the Dublin Metropolitan School of Art where she wins a significant prize. Her classmates include future Irish artists including Mary Swanzy, Eva Hamilton and William J. Leech. She also attends the Chelsea School of Art from 1903 to 1906. A visit to the tercentenary exhibition of the work of Rembrandt in Amsterdam in 1903 impacts her creative practice and possibly influences her adoption of printmaking as her principal vehicle of expression. She studies under two of Ireland’s leading artists, Walter Osborne, who is another major influence, and William Orpen. With her friends Cissie Beckett (aunt of Samuel Beckett) and Beatrice Elvery, she goes to study in Paris at Académie Colarossi. On her return she exhibits in Leinster Hall, Molesworth Street, with contemporaries such as Beatrice Elvery, Eva Hamilton and Grace Gifford. Her work is also included in joint exhibitions with other artists at Mills Hall and the Arlington Gallery, London. She also exhibits at her Great Brunswick Street studio in December 1926.
Solomons illustrates Padraic Colum‘s The Road Round Ireland (1926) and DL Kelleher’s The Glamour of Dublin in 1928. Originally published after the devastation of the 1916 Easter Rising, the later edition features eight views of familiar locations in the city centre including Merchant’s Arch and King’s Inns. Her etching “A Georgian Doorway” is included in Katherine MacCormack’s Leabhar Ultuin in 1920. This publication features illustrations by several prominent Irish artists and is sold in aid of the new Saint Ultan’s Children’s Hospital in Charlemont Street, Dublin, that had been founded by two prominent members of Cumann na mBan, Dr. Kathleen Lynn and Madeleine ffrench-Mullen.
Solomons is elected an associate of the Royal Hibernian Academy (RHA) in July 1925, but it is not until 1966 that she is elected an honorary member. Her work is included in the Academy’s annual members’ exhibition every year for sixty years.
Solomons is married to poet and publisher Seumas O’Sullivan, whose birth name is James Sullivan Starkey. Her parents oppose the relationship as O’Sullivan is not of the Jewish faith. They marry in 1925, when she is 43 and he 46, after her parents have died. She collaborates with her husband on The Dublin Magazine (1923–58), the renowned literary and art journal, of which O’Sullivan is editor for 35 years. She provides vital financial support to the magazine, particularly in sourcing advertising, which is difficult in the tough economic climate of the new Free State. She is helped in this endeavour by poet and writer, Kathleen Goodfellow, a lifelong friend. When Solomons and O’Sullivan are looking to move from their house in Rathfarnham because of a damp problem, Goodfellow offers them the house beside her own on Morehampton Road for a nominal rent. Two of Solomons’ portraits of Goodfellow are in the Model Arts and Niland Gallery in Sligo.
Solomons joins the Ranelagh branch of Cumann na mBan at the same time as Goodfellow. They are taught first aid, drilling and signaling by Phyllis Ryan. She is active before and during the Irish War of Independence. She conceals ammunition in the family vegetable garden before delivering it to a Sinn Féin agent. Her studio at Great Brunswick Street is used as a safe house by republicanvolunteers. During this time, she paints the portraits of a number of revolutionaries, some of which she has to later destroy to avoid incriminating them. Her work includes a portrait of Frank Aiken when we was chief of staff of the Irish Republican Army (IRA).
Solomons takes up a teaching position at Bolton Street College, Dublin. In 1939, she organises an exhibition in Dublin to help refugee artists from Europe.
Solomons dies on November 2, 1968, and is buried in Woodtown Cemetery, Rathfarnham. Her friend Kathleen Goodfellow gifts the Morehampton Road Wildlife Sanctuary, where Solomons liked to paint, to An Taisce. Two plaques have subsequently been erected there, one in memory of Solomons and one for Goodfellow.
Some of Solomons works are held in the Niland Collection, at The Model gallery in Sligo and in the National Gallery of Ireland. Her archives, which include artwork and photographs (and prints by Louise Jacobs), and the archives of The Dublin Magazine are in the Library of Trinity College Dublin.
The RMS Royal Adelaide, captained by John Batty, leaves Cork fully laden with cargo and about 250 passengers on Wednesday, March 27,1850, touching off at Plymouth, Devon, England, on Thursday evening. By the time the ship leaves Plymouth for London at 3:00 a.m. on Friday, March 29, there are almost three hundred deck passengers.
The ship is totally lost at about 11:00 p.m. on Saturday, March 30 on Tongue Sands north of Margate, Kent, England, with the loss of all on board. News only reaches London late on Sunday as the river pilot waiting for the ship happens to meet a Deal, Kent, pilot, Charles Gillham, who reports seeing a ship of a similar description in distress the previous evening (The Illustrated London News, April 6 and 13, 1850).
The dead include more than one hundred fifty deck passengers from Ireland, during a time when the Great Famine is at its height.
(Pictured: “The Wreck of the Royal Adelaide,” illustration for The Illustrated London News, April 13, 1850)
O’Connor is one of five children of Irish Republican Brotherhood (IRB) Supreme Council member and later MPJames O’Connor. He is IRB treasurer in 1870 and party to the discussions on the New Departure, a collaboration between constitutional and physical force nationalists, the open and the secret movements. Her uncle, John O’Connor, is a leading member of the Supreme Council.
In 1890, when O’Connor’s father is a journalist, her mother, Mary O’Connor, and four of her sisters – Annie, Aileen, Kathleen and Norah – die after eating contaminated mussels gathered on the seashore near where they lived in what became known as the Seapoint tragedy. She becomes violently ill, but survives.
O’Connor travels to London after a falling out with her stepmother six years later. She finds work as a civil servant and a paid speaker for the Liberal Party, through which she meets Crompton Llewelyn Davies, adviser to David Lloyd George and solicitor to the General Post Office, brother of Arthur Llewelyn Davies and uncle of the boys who inspire the creation of Peter Pan. They marry on December 8, 1910. The marriage produces two children: Richard and Catherine.
Davies is an orthodox home ruler but is radicalised by the 1916 Easter Rising. Davies and her husband raise funds for Roger Casement‘s legal defence and later lobby for his death sentence to be commuted. She is saluted as one of the “fond ones” in a letter from Casement to Margaret Gavan Duffy on the eve of his August 3, 1916, execution in Pentonville Prison.
Following the Easter Rising, Davies takes her two children to Ireland and purchases Furry Park, a crumbling mansion near Dublin. She collaborates with Michael Collins during the Irish War of Independence and her home in Clontarf becomes one of Collins’ many safe houses as he directs the war. She is arrested and imprisoned in 1920. Collins also stays at her Portmarnock house, using it as a safe house.
Davies says in later life that she and Michael Collins had been lovers, but the historian Peter Hart claims her to be a stalker. It has been suggested that Collins is the father of her son Richard. Historian Meda Ryan denies this saying “Letters from him and a phone call confirmed that he was born December 24, 1912, before his mother met Collins.”
Historian Tim Pat Coogan in his book Michael Collins says that Davies claimed on the night that Collins learned that Éamon de Valera was going to reject the Anglo-Irish Treaty “he was so distressed that I gave myself to him.” Coogan refuses to give a source and in the footnotes, he says, “Confidential source.”
Davies makes a lasting contribution to Irish literature with a translation, with George Thomson, of the Muiris Ó Súilleabháin book Fiche Bliain faoi Bhláth as Twenty Years a-Flowering. She is thought to have helped Collins write his book The Path to Freedom.
Stewart is born on December 16, 1825, the second of two sons of Charles Frederick Stewart of 6 Pitt Street (now Balfe Street), Dublin, librarian of King’s Inns. Nothing is known of his mother other than that she studies music with one of the Logier family, presumably the noted military musician and piano teacher Johann Bernhard Logier, a resident of Dublin from 1809.
Stewart is educated at Christ Church Cathedral school in Dublin, where he is a chorister. He begins to accompany choral services in his early teens, and in 1844 is appointed organist of Christ Church Cathedral and the Trinity College Dublin (TCD) chapel. In addition, in 1852 he becomes de facto organist of St. Patrick’s Cathedral, and holds all three positions concurrently for the rest of his life.
Stewart’s first conducting appointment is with the Dublin University Choral Society in 1846, to which he later adds similar appointments in Dublin, Bray, and Belfast. He is active as a teacher, both privately and from 1869 at the Royal Irish Academy of Music (RIAM), and as a critic with the Dublin Daily Express. On occupying the University of Dublin‘s chair of music in 1862, he takes steps to formalise requirements for the music baccalaureate, introducing examinations in a modern language, Latin (or a second modern language), English (literature and composition), arithmetic, and music history. As a result, though not until 1878, similar examinations are introduced at the University of Oxford and the University of Cambridge. In his professorial capacity he delivers in the 1870s public lectures on Bach, Handel, Wagner, church music, music education, organology, and, most notably, Irish music, in which he reveals an uncanny knowledge of the wire-strung harp and the uilleann pipes. He also contributes entries on Irish music and musicians to the first edition of George Grove‘s A Dictionary of Music and Musicians.
By all accounts, Stewart is a very adept musician, having perfect pitch, a formidable memory, and astonishing facility in transposition. Apparently an autodidact, he is the first Irish organist to cultivate pedal technique, while in the art of improvisation both Joseph Robinson and Sir John Stainer hold him to be the equal of Mendelssohn.
Intent on broadening his musical horizons, Stewart travels widely. From 1851 he is a regular visitor to London, and from 1857 makes frequent trips to Continental Europe, attending the Beethoven and Schumann festivals at Bonn in 1871 and 1873 respectively and Wagner’s first Bayreuth Festival in 1876. On the initiative of the Dublin University Choral Society, he is conferred with the simultaneous degrees of Mus.B. and Mus.D. at a special ceremony on April 9, 1851. On February 28, 1872, he is knighted at Dublin Castle by John Poyntz Spencer, 5th Earl Spencer, a social climb that Stewart, who has no independent income, can afford only by accumulating professional appointments and by relentless private teaching. In addition to successive townhouses in the vicinity of Merrion Square, he owns a smaller property on Bray Esplanade, named Holyrood.
Among Stewart’s compositions, his disciple James Culwick lists about forty part songs (of which several win prizes), more than twenty solo songs, fifteen anthems, several church services, a quantity of shorter liturgical music, and sixteen choral cantatas with orchestra. Three of the cantatas set texts by John Francis Waller: the 24-movement A Winter Night’s Wake (1858), The Eve of St. John (1860) and Inauguration Ode for the Opening of the National Exhibition of Cork (1852) for the opening of the Irish Industrial Exhibition in Cork. Other occasional pieces are Who Shall Raise the Bell? (The Belfry Cantata) for the inauguration of Trinity College campanile in 1854, Ode to Shakespeare (1870) for the Birmingham Triennial Music Festival, Orchestral Fantasia (1872) for the Boston Peace Festival, How Shall We Close Our Gates? (1873) for the Dublin Exhibition and Tercentenary Ode (1892) for the tercentenary of Trinity College Dublin.
Though Stewart destroys many of his works, his surviving music is consistently well crafted, and the rapid decline in the popularity of the odes is at least partly attributable to the tawdry and ephemeral character of their texts. Yet despite his esteem for Wagner, he never shakes off the conservative stylistic influences of Handel, Beethoven, and Mendelssohn, and the posthumous performance of his music has been restricted almost entirely to the Dublin cathedrals.
In August 1846 Stewart marries Mary Emily Browne, the daughter of Peter Browne of Rahins House, Castlebar, County Mayo. They have four daughters, of whom the eldest dies in 1858. Following Mary’s death on August 7, 1887, he marries on August 9, 1888, Marie Wheeler of Hyde, Isle of Wight, the daughter of Joseph Wheeler of Westlands, Queenstown (now Cobh).
Stewart dies in Dublin on March 24, 1894, and is buried at Mount Jerome Cemetery alongside his first wife and eldest daughter. Portraits of him are in the possession of the Dublin University Choral Society and the Royal Irish Academy of Music (RIAM), and his statue, erected on Leinster Lawn in 1898, still stands.
(From: “Stewart, Sir Robert Prescott” by Andrew Johnstone, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
McLaverty is born on July 5, 1904, at Magheross, near Carrickmacross, County Monaghan, the son of Michael McLaverty, a waiter, and Kathleen McLaverty (née Brady). His father works in a hotel in the town until they move to Rathlin Island, and later to Belfast, when he is five years old. He attends St. Malachy’s College in the city, where an inspiring teacher instills in him a love of William Shakespeare‘s writings. He entered Queen’s University Belfast (QUB) in October 1924 and studies physics. He obtains a B.Sc. in 1928 and immediately takes his H.Dip.Ed., completing his teaching practice in St. Mary’s University College, Strawberry Hill, London. The following year he begins teaching at St. John’s Primary School in Colinward Street, west Belfast. He is admitted to the degree of M.Sc. at QUB in 1933.
In 1933, McLaverty marries Mary Conroy (formerly Giles), a young widow and fellow teacher at St. John’s. They have two sons and two daughters.
During his time at St. John’s, McLaverty writes his first five novels and fifteen short stories. In the 1930s he has developed a distinctive style in precise, unsentimental, but compassionate short stories. By the late 1930s, however, he switches his energies from short stories to the novel. Call My Brother Back (1939) contrasts the traditional world of Rathlin Island with the northern troubles in a family context. Another novel, Lost Fields (1941), and his collection of short stories, The White Mare (1943), explore the Belfast of his childhood and deal with the underlying tensions in Irish rural life. In the period 1949–55 he publishes five other novels: Three Brothers (1948), Truth in the Night (1951), School for Love (1954), The Choice (1958), and Brightening Day (1965). These novels deal with ordinary people and the dilemmas they encounter in their families and communities. His writings are influenced by Anton Chekhov, Leo Tolstoy, Katherine Mansfield, Gerard Manley Hopkins, and the Irish short story writers Liam O’Flaherty and Daniel Corkery.
As headmaster of St. Thomas’s intermediate school, a large school for boys in Ballymurphy, off the Falls Road, McLaverty gives his first job to the young Seamus Heaney, in whom he cultivates an interest in the writings of Chekhov and Tolstoy and the Irish writers Mary Lavin and Patrick Kavanagh. He deems Heaney to be the only genius he has ever met, and his work and success are a great source of pride and joy to him. His encouragement of the young John McGahern is of as much benefit to McLaverty himself, as their short but intense correspondence give him the energy to resume his writings.
Between his resignation from St. Thomas’s in 1963 and the early 1970s he teaches part-time at St. Joseph’s training college and St. Dominic’s High School, one of Belfast’s best-known grammar schools. In 1981 his old alma mater recognises his contribution to literature by awarding him an honorary master’s degree. In the same year he wins the American Irish literary fellowship, a prestigious literary award of $10,000, in recognition of his “impressive body of work as a short story writer and novelist.”
McLaverty dies on March 22, 1992, in County Down, Northern Ireland.
(From: “McLaverty, Michael” by Éamonn Ó Ciardha, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
seamus dubhghaill 