Dowden is the son of John Wheeler Dowden, a merchant and landowner, and is born three years after his brother John, who becomes Bishop of Edinburgh in 1886. His literary tastes emerge early, in a series of essays written at the age of twelve. His home education continues at Queen’s College, Cork and at Trinity College, Dublin. He contributes to the literary magazine Kottabos.
Dowden has a distinguished career, becoming president of the University Philosophical Society, and wins the vice-chancellor’s prize for English verse and prose, and the first senior moderatorship in ethics and logic. In 1867 he is elected professor of oratory and English literature in Dublin University.
Dowden’s first book, Shakespeare: A Critical Study of His Mind and Art (1875), results from a revision of a course of lectures, and makes him widely known as a critic: translations appear in German and Russian; his Poems (1876) goes into a second edition. His Shakespeare Primer (1877) is translated into Italian and German. In 1878 the Royal Irish Academy awards him the Cunningham gold medal “for his literary writings, especially in the field of Shakespearian criticism.”
Later works by Dowden in this field include an edition of The Sonnets of William Shakespeare (1881), Passionate Pilgrim (1883), Introduction to Shakespeare (1893), Hamlet (1899), Romeo and Juliet (1900), Cymbeline (1903), and an article entitled “Shakespeare as a Man of Science” (in the National Review, July 1902), which criticizes T. E. Webb’s Mystery of William Shakespeare. His critical essays “Studies in Literature” (1878), “Transcripts and Studies” (1888), “New Studies in Literature” (1895) show a profound knowledge of the currents and tendencies of thought in various ages and countries; but his The Life of Percy Bysshe Shelley (1886) makes him best known to the public at large. In 1900 he edits an edition of Shelley‘s works.
Other books by Dowden which indicate his interests in literature include: Southey (1879), his edition of Southey’s Correspondence with Caroline Bowles (1881), and Select Poems of Southey (1895), his Correspondence of Sir Henry Taylor (1888), his edition of William Wordsworth‘s Poetical Works (1892) and of his Lyrical Ballads (1890), his French Revolution and English Literature (1897), History of French Literature (1897), Puritan and Anglican (1900), Robert Browning (1904) and Michel de Montaigne (1905). His devotion to Johann Wolfgang von Goethe leads to his succeeding Max Müller in 1888 as president of the English Goethe Society.
In 1889 Dowden gives the first annual Taylorian Lecture at the University of Oxford, and from 1892 to 1896 serves as Clark lecturer at Trinity College, Cambridge. To his research are due, among other matters of literary interest, the first account of Thomas Carlyle‘s Lectures on periods of European culture; the identification of Shelley as the author of a review (in The Critical Review of December 1814) of a romance by Thomas Jefferson Hogg; a description of Shelley’s Philosophical View of Reform; a manuscript diary of Fabre d’Églantine; and a record by Dr Wilhelm Weissenborn of Goethe’s last days and death. He also discovers a Narrative of a Prisoner of War under Napoleon (published in Blackwood’s Magazine), an unknown pamphlet by Bishop George Berkeley, some unpublished writings of William Hayley relating to William Cowper, and a unique copy of the Tales of Terror.
Dowden’s wide interests and scholarly methods make his influence on criticism both sound and stimulating, and his own ideals are well described in his essay on The Interpretation of Literature in his Transcripts and Studies. As commissioner of education in Ireland (1896–1901), trustee of the National Library of Ireland, secretary of the Irish Liberal Union and vice-president of the Irish Unionist Alliance, he enforces his view that literature should not be divorced from practical life. His biographical/critical concepts, particularly in connection with Shakespeare, are played with by Stephen Dedalus in the library chapter of James Joyce‘s Ulysses. Leslie Fiedler is to play with them again in The Stranger in Shakespeare.
Dowden marries twice, first to Mary Clerke in 1866, and secondly in 1895 to Elizabeth Dickinson West, daughter of the dean of St Patrick’s. His daughter by his first wife, Hester Dowden, is a well-known spiritualist medium.
Dowden dies in Dublin on April 4, 1913. His Letters are published in 1914 by Elizabeth and Hilda Dowden.
A Dublin City Council plaque commemorating Dowden is unveiled on November 29, 2016.
Born in Derry in 1677, Farquhar is one of seven children born to William Farquhar, a clergyman of modest means. The author of “Memoirs of Mr. George Farquhar,” a biographical sketch prefixed to certain 18th-century editions of his works, claims that he “discovered a Genius early devoted to the Muses. When he was very young, he gave Specimens of his Poetry; and discovered a Force of Thinking, and Turn of Expression, much beyond his years.”
Farquhar is educated at Foyle College and later enters Trinity College Dublin at age seventeen as a sizar under the patronage of the Bishop of Dromore, who may have been related to Farquhar’s mother. He may have initially intended to follow his father’s profession and become a clergyman but is “unhappy and rebellious as a student” and leaves college after two years to become an actor. His 18th-century biographer claims that the departure is because “his gay and volatile Disposition could not long relish the Gravity and Retirement of a College-life,” but another story of uncertain veracity has him being expelled from Trinity College due to a “profane jest.” The two accounts are not necessarily mutually exclusive.
Farquhar joins a company performing on the Dublin stage, probably through his acquaintance with the well-known actor Robert Wilks. However, he is reportedly not that impressive as an actor. It is said that “his voice was somewhat weak” and that “his movements [were] stiff and ungraceful.” But he is well received by audiences and thought to continue in this career “till something better should offer.” Some of the roles reportedly played by Farquhar are Lennox in William Shakespeare‘s Macbeth, Young Bellair in The Man of Mode by George Etherege, Lord Dion in Philaster by Francis Beaumont and John Fletcher, and Guyomar in The Indian Emperour by John Dryden.
During one of the performances in the Dryden play, an accident on stage puts an end to Farquhar’s acting career. As Guyomar, he is supposed to “kill” Vasquez, one of the Spanish generals in the drama. Forgetting to exchange his sword for a foil before enacting this scene, he severely wounds Price, the actor playing Vasquez. Although Price recovers, Farquhar resolves after this mishap to give up acting for good.
Farquhar then leaves for London, “possibly with a draft of his first play in his portmanteau.” Some writers tie his move to that of his friend Wilks, who had received an offer from the manager of Drury Lane to come to London and join that theatre. Wilks is also credited with encouraging Farquhar’s efforts at writing plays.
Farquhar’s first comedy, Love and a Bottle, premieres in 1698 and is well received by the audience. Called a “licentious piece” by one scholar and cited as proof that Farquhar had “absorbed the stock topics, character-types, and situations of Restoration comedy” by another, the play deals with Roebuck, “An Irish Gentleman of a wild roving Temper” who is “newly come to London.” The general character of the play can be evaluated by considering that in the opening scene, Roebuck tells his friend Lovewell that he has left Ireland due to getting a woman pregnant with twins and to Roebuck’s father trying to force Roebuck to marry the woman; however, Roebuck remarks, “Heav’n was pleas’d to lessen my Affliction, by taking away the She-brat.”
After the favourable reception of Love and a Bottle, Farquhar decides to devote himself to playwriting. He also at this point receives a commission in the regiment of the Earl of Orrery, so his time for the next few years is divided between the vocations of soldier and dramatist. It is also at about this time that he discovers Anne Oldfield, who is reading aloud a scene from The Scornful Lady at her aunt’s tavern. Impressed, he brings her to the notice of Sir John Vanbrugh, and this leads to her theatrical career, during which she is the first performer of major female roles in Farquhar’s last comedies.
In 1700, Farquhar’s The Constant Couple is acted at Drury Lane and proves a great success, helped considerably by his friend Wilks’ portrayal of the character of Sir Henry Wildair. The playwright follows up with a sequel, Sir Harry Wildair, the following year, and in 1702 writes the comedies The Inconstant and The Twin Rivals. Also in 1702, he publishes Love and Business, a collection that includes letters, verse, and A Discourse Upon Comedy.
The next year, Farquhar marries Margaret Pemell, “a widow with three children, ten years his senior,” who reportedly tricks him into the marriage by pretending to have a great fortune. His 18th century biographer records that “though he found himself deceived, his Circumstances embarrassed, and his Family increasing, he never upbraided her for the Cheat, but behaved to her with all the Delicacy and Tenderness of an indulgent Husband.” He is engaged in recruiting for the army, due to the War of the Spanish Succession, for the next three years, writing little except The Stage Coach in collaboration with Peter Motteux, an adaptation of a French play. He draws on his recruiting experience for his next comedy, The Recruiting Officer (1706). However, he has to sell his army commission to pay debts, reportedly after the Duke of Ormonde advises him to do so, promising him another but failing to keep his promise.
Early in 1707, Farquhar’s friend Wilks visits him. Farquhar is ill and in distress, and Wilks is said to have “cheered him with a substantial present and urged him to write another comedy.” This comedy, The Beaux’ Stratagem, is given its première on March 8, 1707. It is known from Farquhar’s own statement prefacing the published version of the play that he wrote it during his sickness:
“The reader may find some faults in this play, which my illness prevented the amending of; but there is great amends made in the representation, which cannot be match’d, no more than the friendly and indefatigable care of Mr. Wilks, to whom I chiefly owe the success of the play.”
Shortly before her twelfth birthday, Hone suffers from polio (infant paralysis), suffering a fall while helping to decorate the Taney parish church for Easter. Her resulting ill health leads to her seeking treatment in Harley Street, Marylebone, Central London. She is educated by a governess, continuing her education in Switzerland, and goes on tours to Spain and Italy before moving to London in 1913. Her three sisters all marry British Army officers, and all are widowed in World War I.
Hone is extremely devout. She spends time in an Anglican Convent in 1925 at Truro in Cornwall and converts to Catholicism in 1937. This possibly influences her decision to begin working in stained glass. Initially, she works as a member of the An Túr Gloine stained glass co-operative before setting up a studio of her own in Rathfarnham.
Hone’s most important works are probably the East Window, depicting the Crucifixion, for the Chapel at Eton College, Windsor (1949–1952) and My Four Green Fields, now located in Government Buildings, Dublin. This latter work, commissioned for the Irish Government’s Pavilion, wins first prize for stained glass in the 1939 New York World’s Fair. It graces CIÉ‘s Head Office in O’Connell Street from 1960 to about 1983. The East Window of Eton College is commissioned following the destruction of the building after a bomb is dropped in 1940 on the school during World War II. She is commissioned to design the East Window in 1949, and the new window is inserted in 1952. This work is featured on an Irish postage stamp in 1969. From December 2005 to June 2006, an exhibition of her work is on display at the National Gallery of Ireland. Saint Mary’s church in Clonsilla also features her stained glass windows.
Despite ill health, Hone continues to produce a huge number of small stained glass panels as well as oils, watercolours, and gouache landscapes. In 1953, she is represented at the Contemporary Irish Art exhibition at Aberystwyth, Wales, and at the Tate gallery in London, receiving as well an honorary LLD from Trinity College Dublin (TCD). In 1954, she is elected an honorary member of the Royal Hibernian Academy (RHA).
Unmarried, Hone dies on March 13, 1955, while entering her parish church at Rathfarnham. She is survived by two of her sisters. Over 20,000 people visit a memorial exhibition of her work at University College Dublin (UCD), Earlsfort Terrace, Dublin, in 1958.
(Pictured: Portrait of Evie Hone by Hilda van Stockum)
O’Connell had rejected a suggestion from “friends of emancipation,” and from the English Roman Catholic bishop, John Milner, that the fear of Catholic advancement might be allayed if the Crown were accorded the same right exercised by continental monarchs: a veto on the confirmation of Catholic bishops. O’Connell insists that Irish Catholics would rather “remain forever without emancipation” than allow the government “to interfere” with the appointment of their senior clergy. Instead, he relies on their confidence in the independence of the priesthood from Ascendancy landowners and magistrates to build his Catholic Association into a mass political movement. On the basis of a “Catholic rent” of a penny a month (typically paid through the local priest), the Association mobilises not only the Catholic middle class, but also poorer tenant farmers and tradesmen. Their investment enables O’Connell to mount “monster” rallies that stay the hands of authorities, and embolden larger enfranchised tenants to vote for pro-emancipation candidates in defiance of their landlords.
O’Connell’s campaign reaches its climax when he himself stands for parliament. In July 1828, he defeats a nominee for a position in the British cabinet, William Vesey-FitzGerald, in a County Clare by-election, 2057 votes to 982. This makes a direct issue of the parliamentary Oath of Supremacy by which, as a Catholic, he will be denied his seat in the Commons.
As Lord Lieutenant of Ireland, Wellington’s brother, Richard Wellesley, had attempted to placate Catholic opinion, notably by dismissal of the long-serving Attorney-General for Ireland, William Saurin, whose rigid Ascendancy views and policy made him bitterly unpopular, and by applying a policy of prohibitions and coercion against not only the Catholic Ribbonmen but also the Protestant Orangemen. But now both Wellington and his Home Secretary, Robert Peel, are convinced that unless concessions are made, a confrontation is inevitable. Peel concludes, “though emancipation was a great danger, civil strife was a greater danger.” Fearing insurrection in Ireland, he drafts the Relief Bill and guides it through the House of Commons. To overcome the vehement opposition of both the King and of the House of Lords, Wellington threatens to resign, potentially opening the way for a new Whig majority with designs not only for Catholic emancipation but also for parliamentary reform. The King initially accepts Wellington’s resignation and the King’s brother, Ernest Augustus, Duke of Cumberland, attempts to put together a government united against Catholic emancipation. Though such a government would have considerable support in the House of Lords, it would have little support in the Commons and Ernest abandons his attempt. The King recalls Wellington. The bill passes the Lords and becomes law.
The key, defining, provision of the Acts is its repeal of “certain oaths and certain declarations, commonly called the declarations against transubstantiation and the invocation of saints and the sacrifice of the mass, as practised in the Church of Rome,” which had been required “as qualifications for sitting and voting in parliament and for the enjoyment of certain offices, franchises, and civil rights.” For the Oath of Supremacy, the act substitutes a pledge to bear “true allegiance” to the King, to recognise the Hanoverian succession, to reject any claim to “temporal or civil jurisdiction” within the United Kingdom by “the Pope of Rome” or “any other foreign prince … or potentate,” and to “abjure any intention to subvert the present [Anglican] church establishment.”
This last abjuration in the new Oath of Allegiance is underscored by a provision forbidding the assumption by the Roman Church of episcopal titles, derived from “any city, town or place,” already used by the United Church of England and Ireland. (With other sectarian impositions of the Act, such as restrictions on admittance to Catholic religious orders and on Catholic-church processions, this is repealed with the Roman Catholic Relief Act 1926.)
The one major security required to pass the Act is the Parliamentary Elections (Ireland) Act 1829. Receiving its royal assent on the same day as the relief bill, the act disenfranchises Ireland’s forty-shilling freeholders, by raising the property threshold for the county vote to the British ten-pound standard. As a result, “emancipation” is accompanied by a more than five-fold decrease in the Irish electorate, from 216,000 voters to just 37,000. That the majority of the tenant farmers who had voted for O’Connell in the Clare by-election are disenfranchised as a result of his apparent victory at Westminster is not made immediately apparent, as O’Connell is permitted in July 1829 to stand unopposed for the Clare seat that his refusal to take the Oath of Supremacy had denied him the year before.
In 1985, J. C. D. Clark depicts England before 1828 as a nation in which the vast majority of the people still believed in the divine right of kings, and the legitimacy of a hereditary nobility, and in the rights and privileges of the Anglican Church. In Clark’s interpretation, the system remained virtually intact until it suddenly collapsed in 1828, because Catholic emancipation undermined its central symbolic prop, the Anglican supremacy. He argues that the consequences were enormous: “The shattering of a whole social order. … What was lost at that point … was not merely a constitutional arrangement, but the intellectual ascendancy of a worldview, the cultural hegemony of the old elite.”
Clark’s interpretation has been widely debated in the scholarly literature, and almost every historian who has examined the issue has highlighted the substantial amount of continuity before and after the period of 1828 through 1832.
Eric J. Evans in 1996 emphasises that the political importance of emancipation was that it split the anti-reformers beyond repair and diminished their ability to block future reform laws, especially the great Reform Act of 1832. Paradoxically, Wellington’s success in forcing through emancipation led many Ultra-Tories to demand reform of Parliament after seeing that the votes of the rotten boroughs had given the government its majority. Thus, it was an ultra-Tory, George Spencer-Churchill, Marquess of Blandford, who in February 1830 introduced the first major reform bill, calling for the transfer of rotten borough seats to the counties and large towns, the disfranchisement of non-resident voters, the preventing of Crown officeholders from sitting in Parliament, the payment of a salary to MPs, and the general franchise for men who owned property. The ultras believed that a widely based electorate could be relied upon to rally around anti-Catholicism.
In Ireland, emancipation is generally regarded as having come too late to influence the Catholic-majority view of the union. After a delay of thirty years, an opportunity to integrate Catholics through their re-emerging propertied and professional classes as a minority within the United Kingdom may have passed. In 1830, O’Connell invites Protestants to join in a campaign to repeal the Act of Union and restore the Kingdom of Ireland under the Constitution of 1782. At the same, the terms under which he is able to secure the final measure of relief may have weakened his repeal campaign.
George Ensor, a leading Protestant member of the Catholic Association in Ulster, protests that while “relief” bought at the price of “casting” forty-shilling freeholders, both Catholic and Protestant, “into the abyss,” might allow a few Catholic barristers to attain a higher grade in their profession, and a few Catholic gentlemen to be returned to Parliament, the “indifference” demonstrated to parliamentary reform will prove “disastrous” for the country.
Seeking, perhaps, to rationalise the sacrifice of his freeholders, O’Connell writes privately in March 1829 that the new ten-pound franchise might actually “give more power to Catholics by concentrating it in more reliable and less democratically dangerous hands.” The Young IrelanderJohn Mitchel believes that the intent is to detach propertied Catholics from the increasingly agitated rural masses.
In a pattern that had been intensifying from the 1820s as landlords clear land to meet the growing livestock demand from England, tenants have been banding together to oppose evictions and to attack tithe and process servers.
Henry is the third of four sons of the Rev. Robert Mitchell Henry, minister of the Reformed Presbyterian Church, and his wife Kate Ann Berry, eldest of four daughters of Thomas Berry, minister of the Baptist church, Athlone. His father becomes a Baptist in 1858 and pastor of Great Victoria Street Baptist Church, Belfast, resigning in 1875 to join the Plymouth Brethren.
Henry marries the painter Emily Grace Mitchell on September 17, 1903, in London at St Peter’s Anglican church, Bayswater. He returns to Ireland in 1910. From then until 1919 he lives on Achill Island, where he learns to capture the peculiar interplay of light and landscape specific to the west of Ireland. In 1919, he moves to Dublin and in 1920 he is one of the founders of the Society of Dublin Painters, originally a group of ten artists. He designs several railway posters, some of which, notably Connemara Landscape, achieves considerable sales. He separates from his wife in 1929. His second wife is the artist Mabel Young.
In the 1920s and 1930s, Henry is Ireland’s best-known artist, one who has a considerable influence on the popular image of the west of Ireland. Although he seems to cease experimenting with his technique after leaving Achill and his range is limited, he creates a large body of fine images whose familiarity is a testament to its influence.
Henry’s use of colour is affected by his red-green colour blindness. He loses his sight in 1945 and does not regain his vision before his death.
A commemorative exhibition of Henry’s work is held at Trinity College, Dublin, in 1973 and the National Gallery of Ireland holds a major exhibition of his work in 2004.
A painting by Henry is featured on an episode of the BBC‘s Antiques Roadshow, broadcast on November 12, 2006. The painting is given a value of approximately £40,000–60,000 by the Roadshow. However, due to the buoyancy of the Irish art market at the time, it sells for €260,000 on December 5, 2006, in James Adams’ and Bonhams’ joint Important Irish Art sale.
Pictured: “Roadside Cottages, below Mweelrea Mountain” by Paul Henry, RHA, oil on panel, 1940)
Tone is born Martha Witherington in Dublin on June 17, 1769. She is the eldest daughter of merchant William Witherington and his wife Catherine (née Fanning). Her father is listed as a woolen draper on Grafton Street, Dublin, from 1768 to 1784, as a wine merchant from 1784 to 1788, and finally as a merchant from 1788 to 1793. It is claimed that he is a lieutenant in the Royal Navy and sits on the merchants’ guild on Dublin’s common council from 1777 to 1783. Her mother is a housekeeper to her father after he is widowed.
Tone receives a good education and maintains an interest in drama and literature throughout her life. Katherine Wilmot visits her in Paris in 1802 and comments on the books she has by French, Italian and English authors. When she is fifteen years old, she gets to know Wolfe Tone through her older brother. He is still a student in Trinity College Dublin, and it is he that renames her Matilda. They marry when she is just sixteen, on July 21, 1785, in St. Ann’s Church, Dublin, honeymooning in Maynooth. Upon their return they live with the Witheringtons, though they are not on good terms, and then with Wolfe Tone’s parents in Bodenstown, County Kildare.
The Tone’s first child, Maria, is born before October 1786. She is followed by a son, Richard, who is named for their neighbour Richard Griffith, who dies in infancy. Tone stays with her husband’s family while he is studying for the bar in London from 1787 to 1788. When he returns, the couple has two more sons: William Theobald Wolfe Tone, born on April 29, 1791, and Francis Rawdon Tone, born on June 23, 1793. Francis is known as Frank and is named after Francis Rawdon-Hastings. William is born in Dublin and Frank is probably born in Bodenstown. By this time, the family has a cottage in Bodenstown which Wolfe Tone had inherited from his uncle Jonathan Tone, which the family jokingly refers to as Château Boue. They live there until May 1795, when they leave for Princeton, New Jersey, due to political reasons.
Tone and her children come back to Europe to join Wolfe Tone in France eighteen months later. The family settles in Paris, at first living with Colonel Henry Shee at Nanterre, later moving to the suburb, Chaillot. She educates her children at home. Very few of her letters survive, but many of her husband’s letters and diaries are addressed or intended for her. From these and her letter to her friend Eliza Fletcher, it is clear she shares her husband’s interest in politics. Following her husband’s death in November 1798, she moves to a small apartment at 51 Rue Saint-Jacques in the Latin Quarter of Paris. This is to be close to her son William, who is attending Lycée Louis-le-Grand. She is awarded a pension of 1,200 francs for herself and 400 for each of her children after the expiration of the Treaty of Amiens on May 1, 1803.
Tone’s daughter Maria dies in April 1803, and then her son Frank dies in 1807, both of tuberculosis. William is displaying symptoms of the disease as well, which prompts her to move to the United States in 1807. From there, they attempt to sort out her husband’s affairs, which had been entrusted to James Reynolds. They retrieve only a few of Wolfe Tone’s pre-1795 diaries, and all of the post-1795 letters and diaries, which they add to the autobiography she already has in her possession. When William enters the Cavalry School at Saint-Germain-en-Laye in November 1810 as a cadet, she moves to be close to him, living at the Hôtel de la Surintendance. By approaching Napoleon in 1811, who knew Wolfe Tone, she ensures that her son receives French citizenship and the privileged status of “élève du gouvernement.” In January 1813, when William begins his service, she returns to Paris to live on the Rue de Lille, and later moves to the Latin Quarter.
Following the defeat of Napoleon in June 1815, William is refused entry to Ireland or to visit Britain. This leads to both mother and son returning to the United States. Before she leaves Paris, she marries her old friend Thomas Wilson on August 19, 1816. Wilson is a Scottish businessman and advocate who has taken care of her financial affairs after the death of her husband. The couple visit Scotland, and then move to New York City in 1817, and finally to Georgetown, District of Columbia, around 1820. She lives there until her death and calls herself Matilda Tone-Wilson.
Starting in 1824, The New Monthly Magazine begins the unauthorised publication of extracts from Wolfe Tone’s autobiography. In response, Tone decides to publish all of Wolfe Tone’s papers and writing, including the autobiography, pamphlets and diaries, edited by their son William. What results is two large volumes entitled the Life of Theobald Wolfe Tone, published in May 1826. She adds a memoir of her own life in Paris following his death in 1798. The book is a best-seller, and ensures the legacy of Wolfe Tone, as well as being an important contemporary document of both Irish and French revolutionary politics.
William Tone dies in 1828, after which Tone lives more privately. She dies in Georgetown on March 18, 1849. Thomas Wilson predeceases her in 1824. Just two weeks prior to her death she is interviewed by a Young Irelander, Charles Hart. She is initially buried near William Tone at Marbury burying-ground, Georgetown. After that cemetery is sold, she is reinterred in Green-Wood Cemetery, Brooklyn, New York, on October 31, 1891, by her great-grandchildren. A new monument is dedicated to her, which is later restored in 1996.
Having begun his career as a freelance musician, playing with the BBC Philharmonic orchestra and English National Opera North, an accident ends Cusack’s career as a musician, resulting in him pursuing a career in arts administration. Initially he focuses on the classical music sector, working at two leading concert venues in London, the Wigmore Hall and the Southbank Centre.
In 1992, Cusack makes his first move into theatre following his appointment as Administrative Director of West Yorkshire Playhouse in Leeds, alongside Jude Kelly, where he produces a number of plays including the touring production of Five Guys Named Moe for Cameron Mackintosh Limited. In 1996, he is appointed Head of Planning of the Royal National Theatre under the outgoing artistic director, Sir Richard Eyre, and subsequently with Sir Trevor Nunn and Sir Nicholas Hytner. In 2009, he becomes the National Theatre’s Associate Producer. During this period, he produces numerous productions for tour both in the UK and internationally, taking the work of the National Theatre to five continents. Alongside this, he works as a touring consultant for the Abbey Theatre in Dublin, the Royal Court Theatre, London, Fiery Angel in London’s West End, Canadian Stage in Toronto, Bangarra Dance Theatre in Sydney, TheEmergencyRoom and Corn Exchange in Dublin and Galway International Arts Festival. In June 2016, he is appointed Executive Producer of Wales Millennium Centre in Cardiff. In addition to this, he is Consultant Producer to the National Centre for the Performing Arts (India) in Mumbai.
As well as his theatre producing work, Cusack offers representation to a number of Irish artists including the director Annie Ryan, the composer Mel Mercier and the British playwrightMatt Wilkinson.
In 2023, Cusack is the recipient of the Olwen Wymark Award from the Writers’ Guild of Great Britain for his championing of new writing which is presented at the 18th Annual Awards Ceremony in London.
The idea for a new party is discussed at a meeting in Dublin on February 21, 1940, attended by 104 former officers of the pro- and anti-Treaty wings of the Irish Republican Army (IRA). The inaugural meeting of the new party takes place on March 2, 1940. Simon Donnelly, who had fought in Boland’s Mill under Éamon de Valera in the 1916 Easter Rising, the former leader of the Dublin section of the IRA, and former chief of the Irish Republican Police (IRP), is elected as president of a central committee of fifteen members. Other leaders are Seán Fitzpatrick, another Irish War of Independence veteran; Con Lehane, who had recently left the IRA; Séamus Gibbons; Tom O’Rourke; Seán Dowling, one of Rory O’Connor‘s principal lieutenants in the Irish Civil War; Colonel Roger McCorley, one of the principal IRA leaders in Belfast during the Irish War of Independence who had taken the Irish Free State side in the Irish Civil War; Frank Thornton, one of Michael Collins‘ top intelligence officers; Roger McHugh, a lecturer in English at University College Dublin (UCD) and later professor; Captain Martin Bell and Peter O’Connor.
Also in attendance at the first meeting is Seamus O’Donovan, Director of Chemicals on IRA Headquarters Staff in 1921 and architect of the IRA Sabotage Campaign in England by the IRA in 1939–40. Indeed, O’Donovan proposes several of the basic resolutions. Additionally, the meeting is attended by Eoin O’Duffy and several former leaders of the Irish Christian Front.
Many members of the Irish far-right join Córas na Poblachta including Gearóid Ó Cuinneagáin, who becomes the leader of the party’s youth wing Aicéin and goes on to found Ailtirí na hAiséirghe, Alexander McCabe, Maurice O’Connor and Reginald Eager from the Irish Friends of Germany, George Griffin, Patrick Moylett, his brother John and Joseph Andrews of the People’s National Party, Dermot Brennan of Saoirse Gaedheal, and Hugh O’Neill and Alexander Carey of Córas Gaedhealach. As a result, the party assumes a pro-German and antisemitic attitude which is frequently expressed in party functions, and Gardaí suspects Córas na Poblachta members of daubing the walls of Trinity College Dublin in antisemitic slogans following the visit of British politician Leslie Hore-Belisha to Ireland in 1941.
Socialist republicans Nora Connolly O’Brien and Helena Molony take an interest in the group. Reflecting divisions within the IRA, a minority of the party’s leaders sympathise with communism rather than fascism.
The main aim of Córas na Poblachta is the formal declaration of a Republic. It also demands that the Irish language be given greater prominence in street names, shop signs, and government documents and bank notes. It proposes to introduce national service in order that male citizens understand their responsibilities. The party’s economic policy is the statutory right to employment and a living wage. It proposes breaking the link with the British pound, the nationalisation of banks and the making of bank officials into civil servants. In the area of education, the party espouses free education for all children over primary age as a right, and university education when feasible. It also calls for the introduction of children’s allowances. In addition, Córas na Poblachta advocates for “the destruction of the Masonic Order in Ireland” and during its founding meeting reporters are told that the party will be ready to take over the government of Ireland “on either a corporate or fascist basis.”
The party has close ties with the Irish nationalist and pro-fascist party Ailtirí na hAiséirghe, whose leader, Gearóid Ó Cuinneagáin, had led Córas na Poblachta’s youth wing Aicéin until its independence is terminated in 1942. There is talk of a merger, however, while the majority of the party’s executive committee, noted by G2 to be made up of “four ex-Army men, old IRA, ex-Blueshirts and a number of IRA who had been active up until comparatively recently”, desires a combination of Ireland’s extreme nationalist movements, the three most prominent leaders, Simon Donnelly, Sean Dowling and Roger McCorley, oppose one due to the fear that the party will be submerged in a joint organisation. Ó Cuinneagáin is dismissive of Córas na Poblachta’s prospects and discussions between him and the party’s leaders reinforce their fears that Ó Cuinneagáin seeks an outright takeover by Ailtirí na hAiséirghe. Proposals for a merging of the two parties are dropped though they continue to maintain cordial relations and co-operate in the 1943 Irish general election.
The party is not successful and fails to take a seat in a by-election held shortly after the party’s foundation. The party slowly falls apart, and Tim Pat Coogan notes that: “Dissolution occurred because people tended to discuss the party rather than join it.” Importantly, the party is not supported by the hardcore of republican legitimatists, such as Brian O’Higgins, who views the IRA Army Council as the legitimate government of an existing Irish Republic. Indeed, in March 1940, O’Higgins publishes a pamphlet entitled Declare the Republic lambasting the new party as making what he regards as false promises that will be compromised on following the party’s election to the Oireachtas.
Córas na Poblachta fields candidates in the 1943 Irish General Election but none are elected, receiving a total of 3,892 votes between them.
Although a failure, Tim Pat Coogan argues Córas na Poblachta was the “nucleus” of the Clann na Poblachta party which emerges to help take power from Fianna Fáil in 1948.
(Pictured: IRA veteran Simon Donnelly who serves as President of Córas na Poblachta)
Nolan is born to parents Joseph and Bernadette Nolan in Mullingar, County Westmeath on September 6, 1965. Due to asphyxiation at birth, he is born with permanent impairment of his nerve-signaling system, a condition now labelled dystonia. Because of these complications, he is born with cerebral palsy and can only move his head and eyes. Due to the severity of the cerebral palsy, he uses a wheelchair. In an interview, his father, Joseph, explains how, at the age of 10, he is placed on medication that “relaxed him so he could use a pointer attached to his head to type.” To write, he uses a special computer and keyboard. In order to help him type, his mother holds his head in her cupped hands while he painstakingly picks out each word, letter by letter, with a pointer attached to his forehead.
Nolan communicates with others by moving his eyes, using a signal system. When he is young, his father tells him stories and reads passages from James Joyce, Samuel Beckett and D. H. Lawrence to keep his mind stimulated. His mother strings up letters of the alphabet in the kitchen, where she keeps up a stream of conversation. His sister, Yvonne, sings songs and acts out skits. His mother states that “he wrote extensively since the age of 11 and went on to write many poems, short stories and two plays, many of which were published.” Many of the writings are compiled for his first publication, the chapbookDam-Burst of Dreams.
Nolan spends more than a decade writing The Banyan Tree. According to The New York Times, the book is a multigenerational story of a dairy-farming family in Nolan’s native county of Westmeath. The story is seen through the eyes of the aging mother. It is inspired, he tells Publishers Weekly, by the image of “an old woman holding up her skirts as she made ready to jump a rut in a field.” A review of the book is done in The New York Times by Meghan O’Rourke. She reviews the book and relates it to James Joyce’s A Portrait of the Artist as a Young Man; in the story the protagonist leaves his mother in Ireland while he moves on to travel the world. Nolan, however, gives the reader a version of the mother’s story. “And so, in the end, one suspects that he wants Minnie’s good-natured, commonplace ways to stand as their own achievement, reminding us that life continues in the places left behind.”
At the age of 43, while working on a new novel, Nolan dies in Beaumont Hospital in Dublin at 2:30 a.m. on February 20, 2009. His death is the result of a piece of salmon becoming trapped in his airway. Nothing from the novel he was working on has been released since his death.
Upon hearing the news of Nolan’s death, President of IrelandMary McAleese says, “Christopher Nolan was a gifted writer who attained deserved success and acclaim throughout the world for his work, his achievements all the more remarkable given his daily battle with cerebral palsy.”
On February 21, 1910, Carson accepts the parliamentary leadership of the anti-Home Rule Irish Unionists and, forfeiting his chance to lead the British Conservative Party, devotes himself entirely to the Ulster cause. His dislike of southern Irish separatism is reinforced by his belief that the heavy industry of Belfast is necessary to the economic survival of Ireland. The Liberal government (1908–16) under H. H. Asquith, which in 1912 decides to prepare a Home Rule bill, cannot overcome the effect of his extra-parliamentary opposition. The Solemn League and Covenant of resistance to Home Rule, signed by Carson and other leaders in Belfast on September 28, 1912, and afterward by thousands of Ulstermen, is followed by his establishment of a provisional government in Belfast in September 1913. Early in that year he recruits a private Ulster army, the Ulster Volunteer Force, that openly drills for fighting in the event that the Home Rule Bill is enacted. In preparation for a full-scale civil war, he successfully organizes the landing of a large supply of weapons from Germany at Larne, County Antrim, on April 24, 1914. The British government, however, begins to make concessions to Ulster unionists, and on the outbreak of World War I he agrees to a compromise whereby the Home Rule Bill is enacted but its operation suspended until the end of the war on the understanding that Ulster’s exclusion will then be reconsidered.
Appointed Attorney General for England in Asquith’s wartime coalition ministry on May 25, 1915, Carson resigns on October 19 because of his dissatisfaction with the conduct of the war. In David Lloyd George’s coalition ministry (1916–22) he is First Lord of the Admiralty from December 10, 1916, to July 17, 1917, and then a member of the war cabinet as minister without portfolio until January 21, 1918.
Carson retires in October 1929. In July 1932, during his last visit to Northern Ireland, he witnesses the unveiling of a large statue of himself in front of Parliament Buildings at Stormont. The statue is sculpted by Leonard Stanford Merrifield, cast in bronze and placed upon a plinth. The inscription on the base reads “By the loyalists of Ulster as an expression of their love and admiration for its subject.” It is unveiled by James Craig, 1st Viscount Craigavon, in the presence of more than 40,000 people.
Carson lives at Cleve Court, a Queen Anne house near Minster-in-Thanet in the Isle of Thanet, Kent, bought in 1921. It is here that he dies peacefully on October 22, 1935. A warship brings his body to Belfast for the funeral. Thousands of shipworkers stop work and bow their heads as HMS Broke steams slowly up Belfast Lough, with his flag-draped coffin sitting on the quarterdeck. Britain gives him a state funeral on Saturday, October 26, 1935, which takes place in Belfast’s St. Anne’s Cathedral. He remains the only person to have been buried there. From a silver bowl, soil from each of the six counties of Northern Ireland is scattered onto his coffin, which had earlier been covered by the Union Jack. At his funeral service the choir sings his own favourite hymn, “I Vow to Thee, My Country.”
seamus dubhghaill 