Mac Thomáis comes from a staunch Republican family. He is born Edward Patrick Thomas in the Dublin suburb of Rathmines on January 13, 1927. His father, a fire-brigade officer, dies when he is five years old and his family moves to Goldenbridge, Inchicore. He leaves school at thirteen to work as delivery boy for White Heather Laundry, learning Dublin neighbourhoods with great thoroughness. He says he found work to help his mother pay the rent. He later works as a clerk and is appointed credit controller for an engineering firm.
At the November 1959 Ardfheis Mac Thomáis is elected to the Ardchomhairle of Sinn Féin and edits and contributes to the Sinn Féin newspaper United Irishman. He is a close friend of Tomás Mac Giolla and is deeply affected by the 1970 split in Sinn Féin. He takes the Provisional side, opposing Mac Giolla.
Mac Thomáis takes over as editor of An Phoblacht in 1972. In July 1973, he is arrested and charged with IRA membership at the Special Criminal Court in Dublin. He refuses to recognise the court, but he gives a lengthy address from the dock. The following month he is sentenced to 15-months imprisonment. Within two months of completing his sentence he is again before the court on the same charge and again receives a 15-month sentence. Editors of six left-wing and Irish-language journals call for his release, as do a number of writers, and hundreds attend protest meetings – to no avail. He serves his full sentence.
Tim Pat Coogan, editor of The Irish Press, claims the charges against Mac Thomáis are politically motivated to a large degree as his activities are confined strictly to the newspaper An Phoblacht. Under Section 31 of the Broadcasting Act, due to his membership in Sinn Féin in the 1970s he is removed from his position in making some of the RTÉ historical programmes. As a historian he makes numerous contributions to various historical publications such as the Dublin Historical Review.
From 1974 Mac Thomáis writes a number of books on old Dublin. They sell well and remain in print for over 20 years. He also starts a number of walking tours of Dublin, which prove very popular.
O’Kelly is born James Kelly in Mobhill, Loughrea, County Galway, youngest of seven (or possibly eight) children of Michael Kelly, corn merchant, and his wife, Catherine Fitzgerald. His date of birth is uncertain. Some commentators believe he is the James Kelly whose birth was registered on November 16, 1875, but relatives claim this was a sibling and namesake who died prematurely. His death certificate implies he was born in 1878, and family members maintained he was born in 1880.
Loughrea is at the centre of the bitterly fought plan of campaign agitation on the Clanricarde estate from the late 1880s. Many tenants in the town and surrounding rural districts are evicted for non-payment of rent, and Lord Clanricarde resists reinstatement until the estate is purchased by special legislation shortly before World War I. According to one source, the O’Kellys are themselves evicted during the Plan of Campaign, though they seem to retain a degree of financial stability. A widespread perception that nationalist politicians had exploited the evicted tenants contributes to the relative strength of Parnellism in the area, and the early appearance of Sinn Féin. This background inspires such works as O’Kelly’s 1917 play, The Parnellite.
While growing up in Loughrea, O’Kelly is profoundly influenced by contact with older relatives and country folk from whom he learns some Irish and the folklore/storytelling tradition that shapes many of his stories. The example of his mother and friendship with the local Carmelite fathers, whom he serves as an altar boy, gives him a strong commitment to Catholicism. This coexists in his work with an Ibsenite-Parnellite insistence on individual defiance of conformity, and a gentle exaltation of the sensitive dreamer isolated from the life around him. The mixture is sometimes uneasy. His observations on domestic violence, the sexual exploitation of servant girls by hypocritically pious employers, and prejudice against children born outside marriage or raised in the workhouse are unobtrusive but biting. His play, The Bribe (1913), gives a devastating depiction of the social and economic pressures which induce a small-town shopkeeper and poor law guardian to accept a bribe to appoint an underqualified dispensary doctor, with disastrous results. The corrupt and snobbish doctor is called Power O’Connor, an unsubtle hit at the nationalist MP, T. P. O’Connor. This element of social observation distinguishes him from the more symbolist city-born Daniel Corkery, to whom he is often compared. Much of his writing is recognisably set in Loughrea.
O’Kelly begins working as a journalist on local papers, including the Midland Tribune, the Tuam News, and the Connacht Leader. He becomes editor of The Southern Star, based in Skibbereen, County Cork, in 1903, and is said to be the youngest newspaper editor in Ireland at the time. He moves to Naas, County Kildare, in 1906, as editor of the Leinster Leader. Here he lives in a house by the canal, which provides the inspiration for his linked series of short stories, The Golden Barque, along with his father, a nephew, and his brother Michael. Already a contributor to The United Irishman published by Arthur Griffith, and later its successor, Sinn Féin, he is active in the Naas Sinn Féin club and makes regular weekend visits to Dublin, where Griffith introduces him to Dublin literary circles. Here his closest friends are James Stephens, whose influence is visible in the more whimsical and fantastic elements of O’Kelly’s work, and Seumas O’Sullivan, who recalls O’Kelly as a man of remarkable gentleness and integrity.
O’Kelly’s journalistic career is accompanied by his development as a writer, publishing stories in a variety of outlets, including the Irish Rosary and the Irish Packet. From 1908 he has several plays produced by the Theatre of Ireland, a nationalist-oriented rival to the Abbey Theatre. Lustre (1913), written jointly with Casimir Markievicz, later becomes the basis for a Soviet film.
Around 1911, O’Kelly suffers a severe attack of rheumatic fever, which leaves him with a chronic heart condition and a strong sense of mortality. He continues to write extensively and with increasing skill. He becomes editor of Dublin’s The Saturday Evening Post in 1912 and moves to Dublin, where he lives in Drumcondra. At this time he is an occasional contributor to The Manchester Guardian, turning down a permanent job on that paper. He leaves the Post in 1915 because of continuing ill-health and is offered the editorship of The Sunday Freeman but has to retire after two weeks. He then returns to Naas. At this time his play Driftwood, commissioned by Annie Horniman, is produced in Manchester and London.
When O’Kelly’s brother is interned after the Easter Rising, he resumes the editorship of the Leinster Leader until his brother’s release at Christmas 1916. He also contributes topical articles to the Sunday Independent. His literary reputation continues to increase with a short story collection, Waysiders (1917), and his best-regarded full-length novel, The Lady of Deerpark (1917), a melancholy story about the last heiress of a declining Catholic gentry family. Another novel, Wet Clay (1922), is published posthumously and is the story of the tense relationship between a “returned Yank” and his small-farmer cousins, which shows deeply unresolved ambivalence about the nature and prospects of Irish rural society after the Land War.
When Griffith and many other Sinn Féin activists are arrested and imprisoned in May 1918, O’Kelly returns to Dublin to edit the Sinn Féin paper Nationality. During the days after the Armistice of November 11, 1918, a crowd of soldiers and women whose husbands are serving in the British Army attack the paper’s premises, which are also the headquarters of Sinn Féin. As a result of these attacks O’Kelly suffers a cerebral haemorrhage which leads to his death on November 14, 1918.
O’Kelly’s funeral turns into a major political demonstration and his status as a nationalist martyr leads to the posthumous publication of many of his works. These include the novella, The Weaver’s Grave (1920), generally regarded as his masterpiece. It has been reprinted regularly and translated into several languages. A 1961 Radio Éireann adaptation by Micheal Ó hAodha wins the Prix Italia. The twenty-fifth and fiftieth anniversaries of his death see various commemorations in his honour and a short-lived Seumas O’Kelly Society is founded in 1968. O’Kelly never marries but is said to have cherished a hopeless passion for the actress and nationalist activist, Máire Níc Shiubhlaigh, for whom he writes the play The Shuiler’s Child (1909).
(From: “O’Kelly, Seumas” by Patrick Maume, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Griffith, a Roman Catholic, is born at 61 Upper Dominick Street, Dublin on March 31, 1871, of distant Welsh lineage. He is educated by the Irish Christian Brothers. He works for a time as a printer before joining the Gaelic League (Conradh na Gaeilge), which is aimed at promoting the restoration of the Irish language.
After a short spell in South Africa, Griffith founds and edits the Irish nationalist newspaper The United Irishman in 1899. In 1904, he writes The Resurrection of Hungary: A Parallel for Ireland, which advocates the withdrawal of Irish members from the Parliament of the United Kingdom and the setting up of the institutions of government at home, a policy that becomes known as Sinn Féin (ourselves). On November 28, 1905, he presents “The Sinn Féin Policy” at the first annual Convention of the National Council. The occasion is marked as the founding date of the Sinn Féin party. Although the organization is still small at the time, Griffith takes over as president of Sinn Féin in 1911.
Griffith is arrested following the Easter Rising of 1916, despite not having taken any part in it. On his release, he works to build up Sinn Féin, which wins a string of by-election victories. At the party’s Ardfheis (annual convention) in October 1917, Sinn Féin becomes an unambiguously republican party, and Griffith resigns the presidency in favour of the 1916 leader Éamon de Valera, becoming vice-president instead. Griffith is elected as a member of parliament (MP) for East Cavan in a by-election in June 1918, and is re-elected in the 1918 Irish general election, when Sinn Féin wins a huge electoral victory over the Irish Parliamentary Party and, refusing to take their seats at Westminster, set up their own constituent assembly, Dáil Éireann.
In the Dáil, Griffith serves as Minister for Home Affairs from 1919 to 1921, and Minister for Foreign Affairs from 1921 to 1922. In September 1921, he is appointed chairman of the Irish delegation to negotiate a treaty with the British government. After months of negotiations, he and the other four delegates sign the Anglo-Irish Treaty, which creates the Irish Free State, but not as a republic. This leads to a split in the Dáil. After the Treaty is narrowly approved by the Dáil, de Valera resigns as president and Griffith is elected in his place. The split leads to the Irish Civil War.
Griffith enters St. Vincent’s Nursing Home, Leeson Street, Dublin, during the first week of August 1922, following an acute attack of tonsillitis. He is confined to his room by his doctors, who had observed signs of what they thought might be a subarachnoid hemorrhage. It is difficult to keep him quiet and he resumes his daily work in the government building. When about to leave for his office shortly before 10:00 AM on August 12, 1922, he pauses to retie his shoelace and falls down unconscious. He regains consciousness but collapses again with blood coming from his mouth. Three doctors render assistance, but to no avail. Father John Lee of the Marist Fathers administers extreme unction, and Griffith expires as the priest recites the concluding prayer. The cause of death, intracerebral hemorrhage, is also reported as being due to heart failure. He dies at the age of 51, ten days before Michael Collins‘s assassination in County Cork and two months after the outbreak of the Irish Civil War. He is buried in Glasnevin Cemetery four days later.
Trained as he was in the graphic side of newspaper production, Arthur Griffith has both a professional interest in and a profound understanding of visual culture. He is also very much aware of how visual discourses can be used to defend the Irish nation against cultural Anglicisation. In his newspaper propaganda he continually promotes the use of such discourses to develop a strong brand awareness for the Irish nation.
The most important graphic element of the Sinn Féin newspaper is the Déanta i nÉirinn symbol. This distinctive logo is created by the Irish Industrial Development Association (IIDA). The text in Irish means “Made in Ireland.” From the autumn of 1909, Griffith’s newspapers displays it proudly and very prominently on their front page between the words ‘sinn’ and ‘féin’ in the title-piece. It can also frequently be seen in advertisements and cartoons throughout. Both a trade description and a statement of Sinn Féin‘s industrial politics, this mark plays a fundamental role in the newspaper propaganda published by the SFPP.
For the first few years of its existence the circulation of Sinn Féin is limited. From January 1909 onwards, however, Griffith attempts to attract new readers by publishing a daily newspaper, the Sinn Féin Daily, with sensational articles from overseas, a fashion column aimed at women readers, and a new graphic approach. The daily newspaper is abandoned by the SFPP when it plunges the company into enormous debt.
Thanks to the purchase of two brand new Linotype machines, the newspaper becomes more attractive from a typographical point of view and easier to read. The addition of images give Sinn Féin a far less austere look and at the same time significantly improve its commercial appeal, with sales reaching a peak of 64,000 in September 1909. Foremost among these images are the large political cartoons which regularly appear on the front page. This user-friendly graphic discourse translates the National question into a series of emotionally charged life and death struggles set against familiar mythical and literary backdrops. At the same time, it illustrates Griffith’s instructions to the individual Sinn Féiner, indicating the path to follow and the dangers to avoid.
The man responsible for these cartoons is the Dublin-born designer, illustrator, and stained glass artisan Austin V. Molloy. At the age of twenty-two Molloy is hired by the SFPP to provide cartoons at a rate of 1 shilling and 6 pence per week. His work appears in the newspaper between August 1909 and April 1911. As is the case for many of the contributors to Sinn Féin, Molloy uses the Irish version of his name, Maolmhuidhe, to sign his contributions. His cartoons provide a snapshot of the issues preoccupying Sinn Féin’s propagandists between 1909 and 1911, namely the status of the Irish language, the development of Irish industry and the prevention of emigration.
Through The United Irishman and Sinn Féin Griffith demonstrates the need to arrogate legislature from the hands of the British by transferring Irish Parliament back to Dublin. However, Irish Parliamentary parties quite clearly cannot agree to Griffith’s urgings, as such a move would undermine the foundation of their existence in Westminster. Sinn Féin thus serves as conduit for Griffith’s opposition to the Acts of Union 1800.
The Sinn Féin weekly and the SFPP both come to an end when they are suppressed by the British Government in 1914.
Mitchel is one of the great propagandists of his day, although the causes he espouses often place him on the wrong side, he is loved and loathed in equal measure. He is one of the few Irishmen to have incurred the wrath of the British government and of the Federal administration of the United States.
Inflamed by the suffering he witnesses on a trip to Galway, it is Mitchel, more than any other writer or politician, who shapes the nationalist perception of an Gorta Mór (Great Famine):
“I could see, in front of the cottages, little children leaning against a fence when the sun shone out for they could not stand, their limbs fleshless, their bodies half-naked, their faces bloated yet wrinkled, and of a pale, greenish hue… I saw Trevelyan’s claw in the vitals of those children: his red tape would draw them to death: in his government laboratory he had prepared for them the typhus poison.”
Responding to such writing, Ireland simmers, angry and ready for rebellion. Fearful of Mitchel’s power, London’s Punch magazine emphasises his international standing by portraying him as an Irish monkey challenging the Great British Lion. The Times thunders against him. When Mitchel produces his own republican newspaper, The United Irishman, which, in its inaugural edition, claims that “the world was weary of Old Ireland and also of Young Ireland” thus attacking both Daniel O’Connell and his younger antagonists with the same broadsword. He aims to be an equal opportunities offender and succeeds admirably.
The United Irishman sells out and is shut down by the British authorities after a mere sixteen issues. In order to silence Mitchel, to rob him of his heroic status and his possible martyrdom, the British government passes the Treason Felony Act 1848, which seeks to treat treason as a common crime. He is later tried before an elegantly and efficiently packed jury, found guilty of treason-felony, and deported to Van Diemen’s Land (Tasmania). The result is one of the greatest works of Irish political history, The Jail Journal, in which Mitchel writes about his own experience of deportation and advocates a far more militaristic approach to Ireland’s “English problem” than would have been popular heretofore.
Mitchel is acclaimed by Patrick Pearse, who declares The Jail Journal to be “the last of the four gospels of the New Testament of Irish nationality, the last and the fieriest and the most sublime.” Éamon de Valera reveres Mitchel, and when in 1943 he imagines Ireland as “the home of a people who valued material wealth only as a basis for right living, of a people who, satisfied with frugal comfort, devoted their leisure to the things of the spirit,” he too is delving into The Jail Journal for his inspiration.
(From: #OTD in 1848 – John Mitchel Publishes First United Irishman, Stair na hÉireann | History of Ireland)
The first issue of The Nation, an Irish nationalist weekly newspaper, is published on October 15, 1842. It is printed at 12 Trinity Street, Dublin until January 6, 1844. The paper is later published at 4 D’Olier Street from July 13, 1844, until July 28, 1848, when the issue for the following day is seized and the paper suppressed. It is published again in Middle Abbey Street on its revival in September 1849.
John Mitchel joins the staff of The Nation in the autumn of 1845. On Mitchel’s frequent trips from Banbridge, County Down to Dublin, he had come in contact with the Repeal members who gathered about The Nation office and in the spring of 1843, he becomes a member of the Repeal Association. For the next two years he writes political and historical articles and reviews for The Nation. He covers a wide range of subjects, including the Irish Potato Famine, on which he contributes some influential articles which attract significant attention.
Mitchel resigns his position as lead writer for The Nation in 1847 because he comes to regard as “absolutely necessary a more vigorous policy against the English Government than that which William Smith O’Brien, Charles Gavan Duffy and other Young Ireland leaders were willing to pursue.” Upon his resignation he starts his own paper, The United Irishman.
Women also write for The Nation and publish under pseudonyms such as Speranza (Jane Elgee, Lady Wilde, Oscar Wilde‘s mother), Eithne (Marie Thompson) and Eva (Mary Eva Kelly, who would marry Kevin Izod O’Doherty.
The role played by some of its key figures in the paper in the ill-fated Young Ireland Rebellion of 1848 cement the paper’s reputation as the voice of Irish radicalism. Dillon is a central figure in the revolt and is sentenced to death, the sentence later commuted. He flees Ireland, escaping first to France and, eventually, to the United States, where he serves the New York Bar.
The Nation continues to be published until 1900, when it merges with the Irish Weekly Independent. Later political figures associated with the paper included Timothy Daniel Sullivan and J.J. Clancy.
Arthur Joseph Griffith, writer, newspaper editor and politician who founded the political party Sinn Féin, is born in Dublin on March 31, 1871. He leads the Irish delegation at the negotiations that produce the 1921 Anglo-Irish Treaty and serves as President of Dáil Éireann from January 1922 until his death in August 1922.
After a short spell in South Africa, Griffith founds and edits the Irish nationalist newspaper The United Irishman in 1899. In 1904, he writes The Resurrection of Hungary: A Parallel for Ireland, which advocates the withdrawal of Irish members from the Parliament of the United Kingdom and the setting up of the institutions of government at home, a policy that becomes known as Sinn Féin (ourselves). On November 28, 1905, he presents “The Sinn Féin Policy” at the first annual Convention of the National Council. The occasion is marked as the founding date of the Sinn Féin party. Although the organization is still small at the time, Griffith takes over as president of Sinn Féin in 1911.
Griffith is arrested following the Easter Rising of 1916, despite not having taken any part in it. On his release, he works to build up Sinn Féin, which wins a string of by-election victories. At the party’s Ardfheis (annual convention) in October 1917, Sinn Féin becomes an unambiguously republican party, and Griffith resigns the presidency in favour of the 1916 leader Éamon de Valera, becoming vice-president instead. Griffith is elected as a member of parliament (MP) in June 1918, and is re-elected in the 1918 general election, when Sinn Féin wins a huge electoral victory over the Irish Parliamentary Party and refusing to take their seats at Westminster, set up their own constituent assembly, Dáil Éireann.
In the Dáil, Griffith serves as Minister for Home Affairs from 1919 to 1921, and Minister for Foreign Affairs from 1921 to 1922. In September 1921, he is appointed chairman of the Irish delegation to negotiate a treaty with the British government. After months of negotiations, he and the other four delegates sign the Anglo-Irish Treaty, which creates the Irish Free State, but not as a republic. This leads to a split in the Dáil. After the Treaty is narrowly approved by the Dáil, de Valera resigns as president and Griffith is elected in his place. The split leads to the Irish Civil War.
Griffith enters St. Vincent’s Nursing Home, Leeson Street, Dublin, during the first week of August 1922, following an acute attack of tonsillitis. He is confined to his room by his doctors, who had observed signs of what they thought might be a subarachnoid hemorrhage. It is difficult to keep him quiet and he resumes his daily work in the government building. When about to leave for his office shortly before 10:00 AM on August 12, 1922, he pauses to retie his shoelace and falls down unconscious. He regains consciousness but collapses again with blood coming from his mouth. Three doctors render assistance, but to no avail. Father John Lee of the Marist Fathers administers extreme unction, and Griffith expires as the priest recites the concluding prayer. The cause of death, cerebral hemorrhage, is also reported as being due to heart failure. He dies at the age of 51, ten days before Michael Collins‘ assassination in County Cork and two months after the outbreak of the Irish Civil War. He is buried in Glasnevin Cemetery four days later.
The first issue of 
seamus dubhghaill 