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Birth of Mary Anne Holmes, Poet & Writer

Mary Anne Holmes, Irish poet and writer, is born Mary Anne Emmet on October 10, 1773, in Dublin. She is connected by her brothers Thomas Addis and Robert Emmet, to the republican politics of the Society of United Irishmen.

Holmes is one of the four surviving children of Dr. Robert Emmet, state physician of Ireland, and Elizabeth Emmet (née Mason). As a young woman she is noted for her intelligence and is a classical scholar. Her father lauds her “good character” and is very hopeful she will make a good wife. Much like her brothers, Robert and Thomas Addis, who are both to join the Society of United Irishmen, she is interested in politics and is a member of liberal intellectual circles. She is a correspondent of Margaret King about their common passion for the writings of Mary Wollstonecraft.

In 1793, a family friend, William Drennan, describes her as genteel but distant. He predicts her match with the barrister Robert Holmes, who she secretly marries on September 21, 1799, in the Dublin Unitarian Church. The couple have at least four children, with Drennan attending all the births. One of their children is Elizabeth Emmet Lenox-Conyngham. Robert Holmes attends to the Emmet family legal affairs for a time, with the couple living with her parents at Casino, near Milltown, Dublin. Holmes helps to raise the children of her brother Thomas Addis, after he is sent to Fort George, Highland, Scotland for his involvement with the United Irishmen. During this time, their mother’s letters to Thomas Addis note Holmes’ devotion to her husband but also her delicate health and tendency towards low spirits. Holmes is the only surviving child of their 17 children who is still in Ireland, and she is a comfort to her parents in their old age. Her father dies in 1802, and her mother almost dies in 1803 at the same time as the arrest and execution of her brother Robert. Some claim that Holmes attempted to recover her brother’s body but failed.

After the failed Irish rebellion of 1803, Holmes’s husband is arrested but she is allowed to spend approximately a week with him. It is long claimed that she collapses and dies on her doorstep following his release in February 1804. In truth, she gives birth to a son at home, following which her health worsens, and her hearing also deteriorates. Her son, Hugh, also later dies. She is attended to by Drennan, who worries that she is succumbing to tuberculosis that December. She dies on March 10, 1805, and is buried with her parents in the graveyard of St. Peter’s Church, Aungier Street, Dublin. There is a legend that her brother Robert’s body is interred with her in secret, but this is unconfirmed. A portrait of Holmes by Thomas Hickey is held by Kilmainham Gaol.

Holmes writes prose and verse for The Press, a publication associated with the Society of United Irishmen. In 1799 she is active, along with members of her extended family, in the movement opposed to the legislative union of Ireland with the United Kingdom. The pamphlet An address to the people of Ireland is attributed to her but is now thought to have been written by Roger O’Connor. Holmes’ poems are included in her daughter’s 1833 book of verse The dream and other poems.

(Pictured: Portrait of Mary Anne Holmes by Thomas Hickey, held in the collections of Kilmainham Gaol)


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Birth of Richard Chenevix Trench, Anglican Archbishop & Poet

Richard Chenevix Trench, Anglican archbishop and poet, is born in Dublin on September 9, 1807.

Trench is the son of Richard Trench (1774–1860), barrister-at-law, and the Dublin writer Melesina Chenevix (1768–1827). His elder brother is Francis Chenevix Trench. He is educated at Harrow School, and graduates from Trinity College, Cambridge in 1829. In 1830 he visits Spain. While incumbent of Curdridge Chapel near Bishop’s Waltham in Hampshire, he publishes The Story of Justin Martyr and Other Poems (1835), which is favourably received, and is followed by Sabbation, Honor Neale, and other Poems (1838), and Poems from Eastern Sources (1842). These volumes reveal the author as the most gifted of the immediate disciples of William Wordsworth, with a warmer colouring and more pronounced ecclesiastical sympathies than the master, and strong affinities to Alfred, Lord Tennyson, John Keble and Richard Monckton Milnes.

In 1841 Trench resigns his living to become curate to Samuel Wilberforce, then rector of Alverstoke, and upon Wilberforce’s promotion to the deanery of Westminster Abbey in 1845 he is presented to the rectory of Itchen Stoke. In 1845 and 1846 he preaches the Hulsean Lectures, and in the former year is made examining chaplain to Wilberforce, now Bishop of Oxford. He is shortly afterwards appointed to a theological chair at King’s College London.

Trench joins the Canterbury Association on March 27, 1848, on the same day as Samuel Wilberforce and Wilberforce’s brother Robert.

In 1851 Trench establishes his fame as a philologist by The Study of Words, originally delivered as lectures to the pupils of the Diocesan Training School, Winchester. His stated purpose is to demonstrate that in words, even taken singly, “there are boundless stores of moral and historic truth, and no less of passion and imagination laid up” — an argument which he supports by a number of apposite illustrations. It is followed by two little volumes of similar character — English Past and Present (1855) and A Select Glossary of English Words (1859). All have gone through numerous editions and have contributed much to promote the historical study of the English tongue. Another great service to English philology is rendered by his paper, read before the Philological Society, On some Deficiencies in our English Dictionaries (1857), which gives the first impulse to the great Oxford English Dictionary. He envisages a totally new dictionary that is a “lexicon totius Anglicitatis.” As one of the three founders of the dictionary, he expresses his vision that it will be “an entirely new Dictionary; no patch upon old garments, but a new garment throughout.”

Trench’s advocacy of a revised translation of the New Testament (1858) helps promote another great national project. In 1856 he publishes a valuable essay on Pedro Calderón de la Barca, with a translation of a portion of Life is a Dream in the original metre. In 1841 he had published his Notes on the Parables of our Lord, and in 1846 his Notes on the Miracles, popular works which are treasuries of erudite and acute illustration.

In 1856 Trench becomes Dean of Westminster Abbey, a position which suits him. Here he introduces evening nave services. In January 1864 he is advanced to the post of Archbishop of Dublin. Arthur Penrhyn Stanley had been first choice, but is rejected by the Church of Ireland, and, according to Bishop Wilberforce’s correspondence, Trench’s appointment is favoured neither by the Prime Minister nor the Lord Lieutenant. It is, moreover, unpopular in Ireland, and a blow to English literature, yet it turns out to be fortunate. He cannot prevent the disestablishment of the Church of Ireland, though he resists with dignity. But, when the disestablished communion has to be reconstituted under the greatest difficulties, it is important that the occupant of his position should be a man of a liberal and genial spirit.

This is the work of the remainder of Trench’s life. It exposes him at times to considerable abuse, but he comes to be appreciated and, when he resigns his archbishopric because of poor health in November 1884, clergy and laity unanimously record their sense of his “wisdom, learning, diligence, and munificence.” He finds time for Lectures on Medieval Church History (1878), and his poetical works are rearranged and collected in two volumes (last edition, 1885). He dies at Eaton Square, London, on March 28, 1886, after a lingering illness. He is buried at Westminster Abbey.

George W. E. Russell describes Trench as “a man of singularly vague and dreamy habits” and recounts the following anecdote of his old age:

“He once went back to pay a visit to his successor, Lord Plunket. Finding himself back again in his old palace, sitting at his old dinner-table, and gazing across it at his wife, he lapsed in memory to the days when he was master of the house, and gently remarked to Mrs. Trench, ‘I am afraid, my love, that we must put this cook down among our failures.'”


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Birth of Poet Francis Edward Ledwidge

Francis Edward Ledwidge, Irish poet sometimes known as the “poet of the blackbirds,” is born on August 19, 1887, to a poor family in Slane, County Meath. He is later also known as a World War I war poet.

Ledwidge starts writing at an early age and is first published in a local newspaper at the age of fourteen. Finding work as a labourer and miner, he is also a trade union activist and a keen patriot and nationalist, associated with Sinn Féin. He becomes friendly with a local landowner, the writer Lord Dunsany, who gives him a workspace in the library of Dunsany Castle and introduces him to literary figures including William Butler Yeats and Katharine Tynan, with whom he has a long-term correspondence. He is elected to a local authority post and helps organise the local branch of the Irish Volunteers, while Dunsany edits and helps him secure publication for a first volume of his poetry.

Having sided with the faction of the Irish Volunteers which oppose participation in the war, he enlists in the Royal Inniskilling Fusiliers in October 1914, and continues to write poetry on assignment, sending work to Lord Dunsany and to family and other friends. The poems he writes on active service reveal his pride at being a soldier, as he believes, in the service of Ireland. He often wonders whether he would find a soldier’s death.

On July 31, 1917, a group from Ledwidge’s battalion of the Royal Inniskilling Fusiliers are road-laying in preparation for an assault during the Third Battle of Ypres, near the village of Boezinge, Ypres Salient, Belgium.

According to Irish author and lecturer Alice Curtayne, “Ledwidge and his comrades had been toiling since the early morning at roadmaking. The army’s first need was men; their second, guns; their third roads. These latter consisted mainly of heavy beech planks bolted together, which could be rapidly laid down. No advance could be supported in that sodden land without a sufficiency of these communications tracks, six or seven feet wide. Supplies were conveyed by pack mules over the wooden paths. Survivors concur in placing the road work done by B Company that day one mile northeast of Hellfire Corner, so called because it was very exposed to German shelling. There was a violent rainstorm in the afternoon, shrouding the region in a gray monochrome. Sullenly, the enemy’s long-range guns continued to fling their shells far behind the lines. Roadwork could not be suspended, however, as the tracks were in use as fast as they were laid down. Tea was issued to the men and drenched to the skin, they stopped to swallow it. A shell exploded beside Ledwidge, and he was instantly killed.”

A Roman Catholic military chaplain, Father Devas, is the first on the scene. That night, Father Devas writes in his diary, “Crowds at Holy Communion. Arranged for service but washed out by rain and fatigues. Walk in rain with dogs. Ledwidge killed, blown to bits, at Confession yesterday and Mass and Holy Communion this morning. R.I.P.”

Ledwidge is first buried at Carrefour de Rose, and later re-interred in the nearby Artillery Wood Military Cemetery, at Boezinge, where the Welsh poet Hedd Wyn, who was killed in action on the same day, also lies buried.

Dunsany arranges for the publication of more of Ledwidge’s poems, and a collected edition in 1919. Further poems, from the archives at Dunsany Castle and some material held by family, are later published by Ledwdige’s biographer, Alice Curtayne, and by one of the Ledwidge memorial societies. Ledwidge is selected as one of twelve prominent war poets for the exhibition Anthem for Doomed Youth at the Imperial War Museum in London in 2002, and memorialised at an event in Inchicore, Dublin, in 2017, with his work set to music by Anúna. A museum of his life and work is opened in his birthplace cottage in 1982. Some of his manuscripts are held in the National Library of Ireland and more in the archives of Dunsany Castle.


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Birth of Mary Devenport O’Neill, Poet & Dramatist

Mary Devenport O’Neill, Irish poet and dramatist and a friend and colleague of W. B. Yeats, George Russell, and Austin Clarke, is born in Barrack Street, Loughrea, County Galway, on August 3, 1879.

O’Neill is born Mary Devenport, the daughter of Royal Irish Constabulary (RIC) sub-constable, John Devenport, and his wife Bridget (née Burke). She attends the Dominican convent, Eccles Street, Dublin before enrolling in the Metropolitan School of Art from 1898 to 1903. In 1900 she wins the year’s prize in the School of Art. She apparently considers teaching as a career, as she is listed on the college register as a teacher in training from 1901 to 1903. It is while an art student that she starts to correspond with the writer she admires, Joseph O’Neill. Their relationship develops, and the couple marries on June 19, 1908, settling in Kenilworth Square, Dublin.

Many of O’Neill’s husband’s friends disapprove of her modern and unconventional ideas, but she is popular with “the Rathgar Group” who attends George Russell’s Sunday salons. After a few years, she establishes her own salon referred to as “Thursdays at home,” attended by Russell, Padraic Colum, W. B. Yeats, Richard Irvine Best, Frank O’Connor, Francis Stuart and Iseult Gonne. She becomes particularly close to Yeats, who she confides in. Yeats records their weekly consultations in his diary while working on A Vision (1925). In his Oxford anthology of English verse from 1936, he includes one of O’Neill’s poems. In 1917, she contributes lyrics to her husband’s play The Kingdom Maker. She publishes her only book in 1929, Prometheus and other poems. After this she occasionally contributes primarily modernist plays and poetry to The Dublin Magazine, The Irish Times and The Bell. She collaborates with Austin Clarke from the Lyric Theatre Company on her plays Bluebeard (1933) and Cain (1945).

O’Neill suffers with poor health, which sees her and her husband spending extended periods in the south of France and Switzerland. They sell their home in Dublin in August 1950 and move to Nice, with the intention of settling there. However, due to rapidly depleting finances they are forced to return to Ireland in April 1951. They rent a cottage in Wicklow from their friend Con Curran. When her husband dies in 1953, she goes to live with relatives in Dublin. She dies there in 1967.


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Birth of Liam Redmond, Stage, Film & Television Character Actor

Liam Redmond, Irish character actor known for his stage, film and television roles, is born in Limerick, County Limerick, on July 27, 1913.

Redmond is one of four children born to cabinet-maker Thomas and Eileen Redmond. Educated at the Christian Brothers schools in Dublin, he later attends University College Dublin and initially reads medicine before moving into drama.

While Director of the Dramatic Society Redmond meets and marries the society’s secretary, Barbara MacDonagh, sister of Donagh MacDonagh and daughter of 1916 Easter Rising leader Thomas MacDonagh and Muriel Gifford. They have four children.

Redmond is invited to join the Abbey Theatre in 1935 as a producer by William Butler Yeats, the Irish poet. Yeats writes his play Death of Cú Chulainn for Redmond to star as Cú Chulainn, hero of one of Ireland’s foundational myths.

Redmond makes his acting debut at the Abbey Theatre in 1935 in Seán O’Casey‘s The Silver Tassie. His first stage appearance is in 1939 in New York City in The White Steed. After returning to Britain at the outbreak of World War II he is a regular on the London stage. He is one of the founders of the Writers’, Artists’, Actors’ and Musicians’ Association (WAAMA), a precursor of the Irish Actors’ Equity Association. His insistence that “part-time professionals” – usually civil servants who act on the side – should be paid a higher rate than professional actors for both rehearsal time and performance, effectively wiping out this class, raising the wages and fees of working actors.

Redmond stars in Broadway, among other plays starring in Paul Vincent Carroll‘s The White Steed in 1939, playing Canon McCooey in The Wayward Saint in 1955, winning the George Jean Nathan Award for Dramatic Criticism for his performance, and starring in 1968 in Joe Orton‘s Loot and Brian Friel‘s The Loves of Cass Maguire.

Redmond works in television and film throughout the 1950s to the 1980s and is regularly seen in television series such as The Avengers, Daniel Boone, The Saint and Z-Cars. He is often called upon as a character actor in various military, religious and judicial roles in films such as I See a Dark Stranger (1946), Captain Boycott (1947), High Treason (1951), The Cruel Sea (1953), The Playboy of the Western World (1962), Kid Galahad (1962), The Luck of Ginger Coffey (1964), Tobruk (1967), The Ghost and Mr. Chicken (1966) and Barry Lyndon (1975). His performance as the kindly occult expert in the cult horror film Night of the Demon (1957) is a favourite of fans of the film.

Redmond retires to Dublin and dies at age 76, after a long period of ill health, on October 28, 1989. His wife Barbara predeceases him in 1987.


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Birth of William Wall, Novelist, Poet & Short Story Writer

William “Bill” Wall, Irish novelist, poet and short story writer, is born in Cork, County Cork, on July 6, 1955.

Wall is raised in the coastal village of Whitegate, County Cork. He receives his secondary education at the Midleton CBS Secondary School in Midleton. He progresses to University College Cork where he graduates in Philosophy and English. He teaches English and drama at Presentation Brothers College, Cork, where he inspires Cillian Murphy to enter acting.

In 1997, Wall wins the Patrick Kavanagh Poetry Award. He publishes his first collection of poetry that same year. His first novel, Alice Falling, a dark study of power and abuse in modern-day Ireland, appears in 2000. He is the author of four novels, two collections of poetry and one of short stories.

In 2005, This Is The Country appears. A broad attack on politics in “Celtic Tiger” Ireland, as well as a rite of passage novel, it is longlisted for the Man Booker Prize, and shortlisted for the Irish Book Awards. It can be read as a satirical allegory on corruption, the link between capitalism and liberal democracy exemplified in the ‘entrepreneurial’ activities of minor drug dealers and gangsters, and reflected in the architecture of business-parks and sink estates. This political writing takes the form of “an insightful and robust social conscience”, in the words of academic John Kenny. Kenny also focuses on what he sees as Wall’s “baneful take on the Irish family, his fundamentally anti-idyllic mood” which has “not entirely endeared Wall to the more misty-eyed among his readers at home or abroad.” The political is also in evidence in his second collection of poetry Fahrenheit Says Nothing To Me. He is not a member of Aosdána, the Irish organisation for writers and artists. In 2006, his first collection of short fiction, No Paradiso, appears. In 2017, he becomes the first European to win the Drue Heinz Literature Prize.

His provocative political blog, The Ice Moon, has increasingly featured harsh criticism of the Irish government over their handling of the economy, as well as reviews of mainly left-wing books and movies. Many of his posts are satirical. He occasionally writes for literary journals, writes for Irish Left Review, and reviews for The Irish Times. His work has been translated into several languages. He has also appeared on the Irish-language channel TG4, such as in the programme Cogar.

He is one of the Irish delegates at the European Writers Conference in Istanbul in 2010.

Described by writer Kate Atkinson as “lyrical and cruel and bold and with metaphors to die for,” critics have focused on Wall’s mastery of language, his gift for “linguistic compression,” his “poet’s gift for apposite, wry observation, dialogue and character,” his “unflinching frankness” and his “laser-like … dissection of human frailties,” which is counterbalanced by “the depth of feeling that Wall invests in his work.” A review of his first novel in The New Yorker declares “Wall, who is also a poet, writes prose so charged—at once lyrical and syncopated—that it’s as if Cavafy had decided to write about a violent Irish household.” In a recent review, his long poem “Job in Heathrow,” anthologised in The Forward Book of Poetry 2010 but originally published in The SHOp, is described as “a chilling airport dystopia.” Poet Fred Johnston suggests that Wall’s poetry sets out to “list the shelves of disillusion under which a thinking man can be buried.” For Philip Coleman, “Ghost Estate is a deeply political book, but it also articulates a profound interest in and engagement with questions of aesthetics and poetics.”

Wall is a longtime sufferer of adult-onset Still’s disease (AOSD) and describes his efforts to circumvent the disabling effects of the disease using speech-to-text applications as “a battle between me and the software.”


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Death of Poet James Clarence Mangan

James Clarence Mangan (Irish: Séamus Ó Mangáin), Irish poet, weakened by poverty, alcoholism and malnutrition, dies of cholera on June 20, 1849.

Mangan is born on May 1, 1803, in Dublin. His poetry fits into a variety of literary traditions. Most obviously, and frequently, his work is read alongside such nationalist political authors as John Mitchel, as they appear in The Nation, The Vindicator and the United Irishman newspapers or as a manifestation of the 19th-century Irish Cultural Revival. He is also frequently read as a Romantic poet.

Mangan is the son of James Mangan, a former hedge school teacher and native of Shanagolden, County Limerick, and Catherine Smith from Kiltale, County Meath. Following his marriage to Smith, James Mangan takes over a grocery business in Dublin owned by the Smith family, eventually becoming bankrupt as a result. Mangan describes his father as having “a princely soul but no prudence,” and attributes his family’s bankruptcy to his father’s suspect business speculations and tendency to throw expensive parties. Thanks to poor record keeping, inconsistent biographies, and his own semi-fictional and sensationalized autobiographical accounts, his early years are the subject of much speculation. However, despite the popular image of him as a long-suffering, poor poet, there is reason to believe that his early years are spent in middle class comfort.

Mangan is educated at a Jesuit school where he learns Latin, Spanish, French, and Italian. He attends three schools before the age of fifteen. Obliged to find a job in order to support his family, he then becomes a lawyer’s clerk, and is later an employee of the Ordnance Survey and an assistant in the library of Trinity College, Dublin.

Mangan’s first verses are published in 1818. From 1820 he adopts the middle name Clarence. In 1830 he begins producing translations – generally free interpretations rather than strict transliterations – from German, a language he had taught himself. Of interest are his translations of Johann Wolfgang von Goethe. From 1834 his contributions begin appearing in the Dublin University Magazine. In 1840 he begins producing translations from Turkish, Persian, Arabic and Irish. He is also known for literary hoaxes as some of his “translations” are in fact works of his own, like Twenty Golden Years Ago, attributed to a certain Selber.

Mangan is friends with the patriotic journalists Thomas Davis and John Mitchel, who ultimately writes his biography. His poems are published in their newspaper The Nation.

Although Mangan’s early poetry is often apolitical, after the Great Famine he begins writing patriotic poems, including influential works such as Dark Rosaleen, a translation of “Róisín Dubh,” and A Vision of Connaught in the Thirteenth Century.

Mangan’s best known poems include Dark Rosaleen, Siberia, Nameless One, A Vision of Connaught in the Thirteenth Century, The Funerals, To the Ruins of Donegal Castle, Pleasant Prospects for the Land-eaters and Woman of Three Cows. He writes a brief autobiography, on the advice of his friend Charles Patrick Meehan, which ends mid-sentence. This is apparently written in the last months of his life, since he mentions his narrative poem of the Italian Gasparo Bandollo, which is published in the Dublin University Magazine in May 1849.

Mangan is a lonely and often difficult man who suffers from mood swings, depression and irrational fears, and becomes a heavy drinker and opium user. His appearance grows eccentric, and he is described by the artist WF Wakeman as frequently wearing “a huge pair of green spectacles,” padded shirts to hide his malnourished figure and a hat which “resembled those which broomstick-riding witches are usually represented with.” On June 20, 1849, weakened by poverty, alcoholism and malnutrition, he succumbs to cholera at the age of 46. He is buried in Glasnevin Cemetery in Dublin.

(Pictured: Memorial bust of James Mangan in St. Stephen’s Green, sculpted by Oliver Sheppard)


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Birth of Emily Lawless, Irish Novelist & Poet

The Honourable Emily Lawless, Irish novelist and poet, is born at Lyons Demesne below Lyons Hill, Ardclough, County Kildare, on June 17, 1845. According to Betty Webb Brewer, writing in 1983 for the journal of the Irish American Cultural Institute, Éire/Ireland, “An unflagging unionist, she recognised the rich literary potential in the native tradition and wrote novels with peasant heroes and heroines, Lawless depicted with equal sympathy the Anglo-Irish landholders.”

Lawless’s grandfather is Valentine Lawless, 2nd Baron Cloncurry, a member of the Society of United Irishmen and son of a convert from Catholicism to the Church of Ireland. Her father is Edward Lawless, 3rd Baron Cloncurry, thus giving her the title of “The Honourable.” In contrast, her brother Edward Lawless is a landowner with strong Unionist opinions, a policy of not employing Roman Catholics in any position in his household, and chairman of the Property Defence Association set up in 1880 to oppose the Irish National Land League and “uphold the rights of property against organised combination to defraud.” The prominent Anglo-Irish unionist and later nationalist, Home Rule politician Horace Plunkett is a cousin. Lord Castletown, Bernard FitzPatrick, 2nd Baron Castletown is also a cousin. It is widely believed that she is a lesbian and that Lady Sarah Spencer, dedicatee of A Garden Diary (1901) is her lover.

Lawless spends part of her childhood with the Kirwans of Castle Hackett, County Galway, her mother’s family, and draws on West of Ireland themes for many of her works. She occasionally writes under the pen name “Edith Lytton.”

Lawless writes nineteen works of fiction, biography, history, nature studies and poetry, many of which are widely read at the time. She is most famous today for her Wild Geese poems (1902).

Some critics identify a theme of noble landlord and noble peasant in her fourth book, Hurrish, a Land War story set in The Burren of County Clare which is read by William Ewart Gladstone and said to have influenced his policy. It deals with the theme of Irish hostility to English law. In the course of the book a landlord is assassinated, and Hurrish’s mother, Bridget, refuses to identify the murderer, a dull-witted brutal neighbour. The book is criticised by Irish-Ireland journals for its “grossly exaggerated violence,” it’s embarrassing dialect, staid characters.

Her reputation is damaged by William Butler Yeats who accuses her in a critique of having “an imperfect sympathy with the Celtic nature” and for adopting “theory invented by political journalists and forensic historians.” Despite this, Yeats includes her novels With Essex in Ireland (1890) and Maelcho (1894) in his list of the best Irish novels.

Lawless dies at Gomshall, a village in the borough of Guildford in Surrey, England, on October 19, 1913. Her papers are preserved in Marsh’s Library in Dublin.


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Death of Gerald Griffin, Novelist, Poet & Playwright

Gerald Griffin (Irish: Gearóid Ó Gríofa), Irish novelist, poet and playwright, dies of typhus fever on June 12, 1840. His novel The Collegians is the basis of Dion Boucicault‘s play The Colleen Bawn, or The Brides of Garryowen. Feeling he is “wasting his time” writing fiction, he joins the Congregation of Christian Brothers, a Catholic religious congregation founded by Edmund Ignatius Rice, to teach the children of the poor.

Griffin is born in Limerick, County Limerick, on December 12, 1803, the youngest son of thirteen children of a substantial Catholic farming family. Patrick Griffin, his father, also makes a living through brewing, and he participates as one of Henry Grattan‘s Irish Volunteers (18th century). His mother comes from the ancient O’Brien dynasty and first introduces him to English literature. When he is aged seven, the family moves to Fairy Lawn, a house near Loghill, County Clare, which sits on a hill above the bank of the Shannon Estuary, about twenty-seven miles from Limerick. Here he has an idyllic childhood and receives a classical education.

In 1820 the family at Fairy Lawn is broken up. The parents with several of the children emigrate to the United States and settle in Pennsylvania. Griffin, with one brother and two sisters, is left behind under the care of his elder brother William, a practicing physician in Adare, County Limerick. He meets John Banim in Limerick. Inspired by the successful production of Banim’s play Damon and Pythias (1821), Griffin, at nineteen years of age, moves to London in 1823. After an unsuccessful attempt at becoming a playwright, he endures years of poverty in London, managing only to scrape by through writing reviews for periodicals and newspapers. At the end of two years, he obtains steady employment in the publishing house as reader and reviser of manuscripts, and in a short time becomes frequent contributor to some of the leading periodicals and magazines. His early pieces in The Literary Gazette vividly describe the rural setting of his childhood, recount Irish folklore, translate the Celtic Irish language for the English readers, and, as Robert Lee Wolff observes, “waxed richly sardonic about Irishmen who tried to be more English than the English.”

Griffin’s Holland-Tide or Munster Popular Tales is published by Simpkin & Marshall in 1827. Holland-Tide is a collection of seven short stories, all of which are told in the house of a hospitable Munster farmer during All Hallows’ Eve in Munster. Holland-Tide establishes his reputation, and he returns to Ireland, where he writes Tales of the Munster Festivals in Pallaskenry to which his brother William has moved.

Experience leads Griffin to modify his expectations in relation to literary work, and, with a view to the legal profession, he enters the University of London as a law student, but in a short time removes to Dublin for the study of ancient Irish history, preparatory to his work The Invasion, which is published in 1832. This work has a good sale and is highly praised by scholars but never becomes popular.

With the exception of a tour through Scotland and a short trip on the European continent, Griffin lives with his brother, keeping up to some extent his literary labours. By 1833, he is increasingly concerned that he is wasting his time and begins to devote himself to teaching the poor children of the neighborhood. In 1838, hes all of his unpublished manuscripts and joins the Congregation of Christian Brothers, a Catholic religious order which has as its special aim the education of children of the poor. Writing to an old friend he says he feels a great deal happier in the practice of this daily routine than he ever did while roving about the great city, absorbed in the modest project of rivaling Shakespeare and throwing Scott in the shade. In June 1839, he is transferred from Dublin to Cork, where he dies of typhus fever at the age of thirty-six on June 12, 1840.

Griffin’s play Gisippus is produced posthumously at Theatre Royal, Drury Lane on February 23, 1842, by William Macready, and it runs to a second edition in print.

One of Griffin’s most famous works is The Collegians, a novel based on a trial that he had reported on, involving the murder of a young Irish Catholic girl (Ellen Hanley) by a Protestant Anglo-Irish man (John Scanlon). The novel is later adapted for the stage as The Colleen Bawn by Dion Boucicault.

Griffin has a street named after him in Limerick and another in Cork. Loughill/Ballyhahill GAA club in west Limerick plays under the name of Gerald Griffins.

(Pictured: “Portrait of Gerald Griffin (1803-1840), Poet and Novelist,” painting by Richard Rothwell (1800-1868), National Gallery of Ireland)


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Death of Cecil Ffrench Salkeld, Painter, Printmaker, Critic & Writer

Cecil Ffrench Salkeld, Irish painter, printmaker, critic and writer dies in Dublin on May 11, 1969.

Salkeld is born in Assam, India on July 9, 1904. His parents are Henry Lyde Salkeld, a member of the Indian Civil Service (ICS), and Blanaid Salkeld (née Mullen), a poet. He returns to Ireland with his mother in 1910 following the death of his father in 1909. He attends Mount St. Benedict’s, Gorey, County Wexford, and the Dragon School in Oxford, England. He wins a scholarship to Oundle School in Oundle, North Northhamptonshire, but returns to Dublin where he enters the Dublin Metropolitan School of Art in 1919 to study under Seán Keating and James Sleator. He marries Irma Taesler in Germany in 1922. They have two daughters, Celia and Beatrice. The latter marries Brendan Behan in 1954.

Salkeld works in tempera and oil, as well as etching and wood engraving. In 1921 he travels to Germany to study under Ewald Dulberg at the Kassell Kunstschule. He attends the Union of Progressive International Artists in Düsseldorf in May 1922, and is exhibited at the Internationale Kunstausstellung. Upon his return to Dublin in 1924, he holds his first solo exhibition in the Society of Dublin Painters gallery. He becomes a member of the Dublin Painters in 1927. With Francis Stuart, he co-edits the first two issues of To-morrow in 1924. His studio is in a converted labourer’s cottage at Glencree, County Wicklow. He also exhibits with the New Irish Salon and the Radical Painters’ Group.

Salkeld wins the 1926 Royal Dublin Society‘s Taylor scholarship, and has his first exhibited work with the Royal Hibernian Academy (RHA) in 1929. He lives in Berlin for a year in 1932. He exhibits in Daniel Egan’s Gallery in Dublin in 1935. He has a wide circle of literary friends, including Samuel Beckett and Flann O’Brien. In O’Brien’s At Swim-Two-Birds, the character of Michael Byrne is designed for Salkeld, reflecting his debilitating alcoholism. He also teaches at the Dublin Metropolitan School of Art, teaching artists such as Reginald Gray.

From 1937 to 1946 Salkeld runs a private press called Gayfield Press. This is co-founded with his mother, and operates from a garden shed at their home, 43 Morehampton Road. The press is a small Adana wooden hand press. He illustrates her 1938 The Engine Left Running, as well as Ewart Milne‘s Forty North Fifty West (1938) and Liam O’Flaherty‘s Red Barbara and Other Stories (1928). In 1951, he loans the press to Liam and Josephine Miller to found the Dolmen Press.

Salkeld’s most famous public work is his 1942 three-part mural in Davy Byrne’s pub. He is a co-founder of the Irish National Ballet School in the 1940s in his capacity as a pianist. In 1946 he is appointed an associate member of the RHA. In 1953 his play Berlin Dusk is staged at 37 Theatre Club, Dublin. During the 1950s he is a broadcaster with Radio Éireann as well as a director of cultural events for An Tóstal. He dies on May 11, 1969 in St. Laurence’s Hospital, Dublin.

The National Gallery of Ireland holds a portrait by Salkeld of his daughter, Celia.

(Pictured: “The Climber” by Cecil Ffrench Salkeld, oil on canvas)