seamus dubhghaill

Promoting Irish Culture and History from Little Rock, Arkansas, USA

Tag Archives: Provinces of Ireland


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The Royal Irish Constabulary is Disbanded

The Royal Irish Constabulary (RIC), the police force in Ireland from 1822 until 1922, when all of the island was part of the United Kingdom, is disbanded on August 17, 1922, and replaced by the Garda Síochána.

A separate civic police force, the unarmed Dublin Metropolitan Police (DMP), patrols the capital and parts of County Wicklow, while the cities of Derry and Belfast, originally with their own police forces, later have special divisions within the RIC. For most of its history, the ethnic and religious makeup of the RIC broadly matches that of the Irish population, although Anglo-Irish Protestants are overrepresented among its senior officers.

The first organised police forces in Ireland come about through Dublin Police Act 1786, which is a slightly modified version of the failed London and Westminster Police Bill 1785 drafted by John Reeves at the request of Home Secretary Thomas Townshend, 1st Viscount Sydney, following the Gordon Riots of 1780. The force is viewed as oppressive by local elites and becomes a strain on the city budget. The arguably excessive budget is used as a pretext by Irish nationalist MP Henry Grattan and short-lived Lord Lieutenant of Ireland William Fitzwilliam, 4th Earl Fitzwilliam, to essentially abolish the Dublin Police in 1795 and even temporarily move it under Dublin Corporation.

The Peace Preservation Act 1814, for which Sir Robert Peel is largely responsible, and the Irish Constabulary Act 1822 forms the provincial constabularies. The 1822 act establishes a force in each province with chief constables and inspectors general under the United Kingdom civil administration for Ireland controlled by the Dublin Castle administration.

The RIC’s existence is increasingly troubled by the rise of the Home Rule campaign in the early twentieth century period prior to World War I.

In January 1922, the British and Irish delegations agree to disband the RIC. Phased disbandments begin within a few weeks with RIC personnel both regular and auxiliary being withdrawn to six centres in southern Ireland. On April 2, 1922, the force formally ceases to exist, although the actual process is not completed until August 17. The RIC is replaced by the Civic Guard (renamed as the Garda Síochána the following year) in the Irish Free State and by the Royal Ulster Constabulary (RUC) in Northern Ireland.

According to a parliamentary answer in October 1922, 1,330 ex-RIC men join the new RUC in Northern Ireland. This results in an RUC force that is 21% Roman Catholic at its inception in 1922. As the former RIC members retire over the subsequent years, this proportion steadily falls.

Just thirteen men transfer to the Garda Síochána. These include men who had earlier assisted Irish Republican Army (IRA) operations in various ways. Some retire, and the Irish Free State pays their pensions as provided for in the terms of the Anglo-Irish Treaty agreement. Others, still faced with threats of violent reprisals, emigrate with their families to Great Britain or other parts of the British Empire, most often to join police forces in Canada, Australia, New Zealand, South Africa and Southern Rhodesia. A number of these men join the Palestine Police Force, which is recruiting in the UK at the time.


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Preparations Commence for the Plantation of Ulster

On July 19, 1608, preparations commence for the plantation of six Ulster counties of Armagh, Cavan, Coleraine, Donegal, Fermanagh, and Tyrone.

The Plantation of Ulster is the organised colonisation, or plantation, of the Irish province of Ulster by people from Great Britain during the reign of King James I. Most of the settlers, or planters, come from southern Scotland and northern England. Their culture differs from that of the native Irish. Small privately funded plantations by wealthy landowners begin in 1606, while the official plantation begins in 1609. Most of the colonised land had been confiscated from the native Gaelic chiefs, several of whom had fled Ireland for mainland Europe in 1607 following the Nine Years’ War against English rule. The official plantation comprises an estimated half a million acres of arable land in counties Armagh, Cavan, Fermanagh, Tyrone, Donegal, and Coleraine. Land in counties Antrim, Down, and Monaghan is privately colonised with the king’s support.

Among those involved in planning and overseeing the plantation are King James, the Lord Deputy of Ireland, Arthur Chichester, and the Attorney-General for Ireland, John Davies. They see the plantation as a means of controlling, anglicising, and “civilising” Ulster. The province is almost wholly Gaelic, Catholic, and rural and has been the region most resistant to English control. The plantation is also meant to sever Gaelic Ulster’s links with the Gaelic Highlands of Scotland. The colonists, or “British tenants,” are required to be English-speaking, Protestant and loyal to the king. Some of the undertakers and settlers, however, are Catholic. The Scottish settlers are mostly Presbyterian Lowlanders and the English mostly Anglican Northerners. Although some “loyal” natives are granted land, the native Irish reaction to the plantation is generally hostile, and native writers bewail what they see as the decline of Gaelic society and the influx of foreigners.

The Plantation of Ulster is the biggest of the Plantations of Ireland. It leads to the founding of many of Ulster’s towns and creates a lasting Ulster Protestant community in the province with ties to Britain. It also results in many of the native Irish nobility losing their land and leads to centuries of ethnic and sectarian animosity, which at times spills into conflict, notably in the Irish Rebellion of 1641 and, more recently, the Troubles.


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Premiere of “Cathleen ni Houlihan”

cathleen-ni-houlihan

Cathleen ni Houlihan, a one-act play written by William Butler Yeats and Lady Gregory, is first performed in Dublin on April 2, 1902, with Maud Gonne in the leading role. It is first published in the October 1902 number of Samhain magazine.

The play centers on the Irish Rebellion of 1798. The play is startlingly nationalistic, in its last pages encouraging young men to sacrifice their lives for the heroine Cathleen ni Houlihan, who represents an independent and separate Irish state. The title character first appears as an old woman at the door of a family celebrating their son’s wedding. She describes her four “beautiful green fields,” representing the four provinces of Ireland, that have been unjustly taken from her. With little subtlety, she requests a blood sacrifice, declaring that “many a child will be born and there will be no father at the christening” and that “they that have red cheeks will have pale cheeks for my sake, and for all that, they will think they are well paid.” She convinces the future groom, Michael, to give up the wedding and go fight.

After the youth leaves the safety of his home to fight for her, she appears as an image of youth with “the walk of a queen,” professing of those who fight for her: “They shall be remembered forever, They shall be alive forever, They shall be speaking forever, The people shall hear them forever.”

Death is common during the time around the rising, but becoming a martyr is somethings that is admirable, so oftentimes people welcome death so they can create themselves a heroic memory. The martyrs will be remembered forever, which is why this theme is so ingrained into this play.

Cathleen ni Houlihan is such a simple play that contains many symbols and has the goal of convincing men to fight for Ireland. While the play is written about the rising of 1798, it is meant to inspire people for the 1916 Easter Rising. Throughout the whole play, there is constant reference to memory and its influence on the public. The men that die while fighting for Ireland are considered heroes, which is why memory and martyrdom are such important themes that are incorporated into works about revolution.

Cathleen ni Houlihan is about Irish Independence, but there are themes of martyrdom in other works, like the musicals about American Independence, Hamilton and 1776.

(Pictured: Scene from a production of “Cathleen ni Houlihan,” circa 1912)