Clarke sings in a women’s choir from age 14 and is an outstanding piano pupil at the College of Music (now the DIT Conservatory of Music and Drama), Dublin. She studies music at University College Dublin (UCD), earning a Teacher’s Diploma in 1978 and a BMus in 1980. She teaches at a number of schools in the Dublin area. When she participates in the Ennis Composition Summer School in 1985, she is introduced to the music of continental composers such as Luciano Berio and Witold Lutoslawski, which leaves a lasting impression.
Some of Clarke’s early works receive awards, such as the Six Short Piano Pieces (1982), which wins the composition prize of the Feis Ceoil, and the choral work Suantraí Ghráinne (1983), which wins the Seán Ó Riada Memorial Trophy at the 1984 Cork International Choral Festival. For Sisyphus (1985) for flute, clarinet and string trio she receives the Varming Prize, which is awarded only every four years to an Irish composer under the age of thirty. She completes her first orchestral score in 1991 (A Great Rooted Tree). In 1992, she receives a Ph.D. from Queen’s University Belfast (QUB). She is a lecturer in music at St. Patrick’s College, Dublin City University (DCU).
Clarke receives commissions from RTÉ, the Cork International Choral Festival, Concorde, Music Network and the National Concert Hall, among others. Her work is performed and broadcast throughout Ireland and worldwide. In January 2014, she is the featured composer in the Horizon Series of contemporary music by the Irish national broadcaster RTÉ. For this event, the RTÉ National Symphony Orchestra commissions her orchestral composition SHIFT (2013). Since 2009 she has been collaborating with visual artist Marie Hanlon, including short experimental films with music, live music with visual projections and joint exhibitions, one example being the joint exhibition DIC TAT at the Gallery Draíocht, Blanchardstown, Dublin, July-September 2014.
Clarke is a member of Aosdána, Ireland’s state-sponsored academy of creative artists.
Clarke’s output includes choral, chamber, orchestral and electronic works. Her calm and evocative music in the early Suantraí Ghráinne creates some curiosity at its 1984 performance. Early chamber works such as Sisyphus (1985) and Purple Dust are characterised by wide-spaced harmonic settings of a rather sparse tonal material. Some aleatoric passages alternate with more strictly notated pitches and a rather limited degree of dissonance. In Gloria Deo (1988) for soprano, mixed chorus and orchestra she combines modal influences from Renaissance music with free atonality. Since the early 1990s she has been exploring the possibilities of electroacoustic music, winning an award at the 1992 Dublin Film Festival for her electronic score Whaling Afloat and Ashore. Her recent orchestral score SHIFT reflects her experiences in electroacoustic processes: “Extended techniques, deliberately avoided in previous work, are embraced here using harmonics and noise elements in strings, and bowed, timbral effects on percussion. In a single, fifteen-minute movement, transformations in colour and texture vary from slow and intense in the opening section, to sudden and harsh later in the piece.”
A snappy dresser who earns the nickname “the yellow rose of Finglas,” Tunney is sometimes seen as pompous, a perception possibly attributable to his acting background, which once leads to an audition at Dublin’s Abbey Theatre.
In 1963 Tunney joins Fianna Fáil, and stands for the party at the 1965 Irish general election but is not elected. He is elected to Dáil Éireann as a Fianna Fáil TD for the Dublin North-West constituency at the 1969 Irish general election. He serves continuously in the Dáil until losing his seat at the 1992 Irish general election, having been a TD for Dublin Finglas from 1977 to 1981 when Dublin constituencies are reconfigured as 3-seaters, before being returned for Dublin North-West in 1981.
During this period Tunney serves as Parliamentary Secretary to the Minister for Education (after 1978, Minister of State at the Department of Education) in three governments. He serves as Leas-Ceann Comhairle of Dáil Éireann from 1981 to 1982, and from 1987 to 1993. He is also chair of the Fianna Fáil parliamentary party for ten years. He is a member of Dublin City Council, and serves as Lord Mayor of Dublin from 1984 to 1985.
Following Tunney’s death, TaoiseachBertie Ahern describes him as “a parliamentarian and a gentleman who was passionately committed to serving his country.” Ahern adds, “he was not only a man of substance but one of style. From the flower that was always in his buttonhole to the elegance of his language in both Irish and English he had a commanding and stylish presence.”
Fine Gael leader Michael Noonan says Tunney had gained “the widespread affection and respect of colleagues of all political parties.”
Leader of the Labour PartyRuairi Quinn describes Tunney as a “thoughtful and courteous colleague” who carried out his duties with “fairness but also with wit and style.”
In 1956, Whitaker is appointed Secretary of the Department of Finance, at the age of thirty-nine. His appointment takes place at a time when Ireland’s economy is in deep depression. Economic growth is non-existent, inflation apparently insoluble, unemployment rife, living standards low and emigration at a figure not far below the birth rate. He believes that free trade, with increased competition and the end of protectionism, will become inevitable and that jobs will have to be created by a shift from agriculture to industry and services. He forms a team of officials within the department which produce a detailed study of the economy, culminating in a plan recommending policies for improvement. The plan is accepted by the government and is transformed into a white paper which becomes known as the First Programme for Economic Expansion, and quite unusually is published with his name attached in November 1958. The programme becomes known as the “Grey Book” which many argue brings the stimulus of foreign investment into the Irish economy. However, other reforms such as the Department of Industry and Commerce‘s export profits tax relief introduced in 1956, are opposed by Whitaker.
In 1977, Taoiseach Jack Lynch nominates Whitaker as a member of the 14th Seanad. He serves as a Senator from 1977 to 1981, where he sits as an independent member.
In 1981, Whitaker is nominated to the 15th Seanad by Taoiseach Garret FitzGerald, where he serves until 1982. FitzGerald also appoints him to chair a Committee of Inquiry into the Irish penal system, and he chairs a Parole Board or Sentence Review Group for several years.
Whitaker also serves as Chancellor of the National University of Ireland (NUI) from 1976 to 1996. He was also President of the Royal Irish Academy (RIA) and as such, a member of the Board of Governors and Guardians of the National Gallery of Ireland, from 1985 to 1987. He has a very strong love for the Irish language throughout his career and the collection of Irish poetry, An Duanaire: Poems of the Dispossessed 1600–1900, edited by Seán Ó Tuama and Thomas Kinsella is dedicated to Whitaker. From 1995 to 1996 he chairs the Constitution Review Group, an independent expert group established by the government, which publishes its report in July 1996.
Whitaker receives many national and international honours and tributes for his achievements during his lifetime, most notably the conferral of “Irishman of the 20th Century” in 2001 and Greatest Living Irish Person in 2002. In November 2014, the Institute of Banking confers an Honorary Fellowship on him and creates an annual T. K. Whitaker Scholarship in his name. In April 2015, he is presented with a lifetime achievement award by University College Dublin‘s Economics Society for his outstanding contribution to Ireland’s economic policy.
In November 2016, to mark his centenary year, Dún Laoghaire–Rathdown County Council acknowledges Whitaker’s “outstanding and progressive contribution to Irish public service and to society.” The Cathaoirleach of Dún Laoghaire–Rathdown, Cormac Devlin, presents a special award to Whitaker which is accepted by Ken Whitaker on behalf of his father.
Whitaker marries Nora Fogarty in 1941 and they have six children. After his wife’s death in 1994, he remarries, to Mary Moore in 2005. The couple is invited to Áras an Uachtaráin in 2006 for his 90th birthday by the President of IrelandMary McAleese. Mary Moore Whitaker dies in 2008. T. K. Whitaker turns 100 in December 2016 and dies a month later on January 9, 2017, having survived both of his wives. He is buried at Shanganagh Cemetery, Shankill, Dublin.
Macardle is born in Dundalk, County Louth, on March 7, 1889, into a wealthy brewing family famous for producing Macardle’s Ale. Her father, Sir Thomas Callan Macardle, is a Catholic who supports John Redmond and the Irish Home Rule movement, while her mother, Lucy “Minnie” Macardle, comes from an English Anglican background and is politically a unionist. Lucy converts to Catholicism upon her marriage to Thomas. Macardle and her siblings are raised as Catholics, but Lucy, who is politically isolated in Ireland, “inculcated in her children an idealised view of England and an enthusiasm for the British empire“. She receives her secondary education in Alexandra College, Dublin—a school under the management of the Church of Ireland—and later attends University College Dublin (UCD). Upon graduating, she returns to teach English at Alexandra where she had first encountered Irish nationalism as a student. This is further developed by her first experiences of Dublin’s slums, which “convinced her that an autonomous Ireland might be better able to look after its own affairs” than the Dublin Castle administration could.
Between 1914 and 1916, Macardle lives and works in Stratford-upon-Avon in Warwickshire, England. There, her encounters with upper-class English people who express anti-Irish sentiment and support keeping Ireland in the British Empire by force further weakens her Anglophilia. Upon the outbreak of World War I, she supports the Allies, as does the rest of her family. Her father leads the County Louth recruiting committee while two of her brothers volunteer for the British Army. Her brother, Lieutenant Kenneth Callan Macardle, is killed at the Battle of the Somme, while another brother, Major John Ross Macardle, survives the war and earns the Military Cross. While Macardle is a student, the Easter Rising occurs, an experience credited for a further divergence of her views regarding republicanism and her family.
On January 19, 1919, Macardle is in the public gallery for the inaugural meeting of the First Dáil and witnesses it declare unilateral independence from the United Kingdom, which is ultimately the catalyst for the Irish War of Independence.
By 1919 Macardle has befriended Maud Gonne MacBride, the widow of the 1916 Easter Rising participant John MacBride, and together the two work at the Irish White Cross, attending to those injured in the war. It is during this period she also becomes a propagandist for the nationalist side.
Following the signing of the Anglo-Irish Treaty in December 1921, Macardle takes the anti-treaty side in the ensuing Irish Civil War. Alongside Gonne MacBride and Despard, she helps found the Women Prisoners’ Defence League, which campaigns and advocates for republicans imprisoned by the newly established Irish Free State government. It is also during this same time that she begins working alongside Erskine Childers in writing for anti-treaty publications An Phoblacht and Irish Freedom.
In October 1922, Despard, Gonne MacBride and Macardle are speaking at a protest on O’Connell Street, Dublin against the arrest of Mary MacSwiney, a sitting Teachta Dála, by the Free State when Free State authorities move to break it up. Rioting follows and Free State forces open fire, resulting in 14 people being seriously wounded while hundreds of others are harmed in the subsequent stampede to flee. Following the event, Macardle announces she is going to pursue support of the Anti-treaty side full-time in a letter to Alexandra College, which ultimately leads to her dismissal on November 15, 1922. In the following days Macardle is captured and imprisoned by the Free State government and subsequently serves time in both Mountjoy Prison and Kilmainham Gaol, with Rosamond Jacob as her cellmate. During one point at her time in Kilmainham, Macardle is beaten unconscious by male wardens. She becomes close friends with Jacob and shares a flat with her in Rathmines later in the 1920s.
The Irish Civil War concludes in the spring of 1923, and Macardle is released from prison on May 9.
Following the Irish Civil War, Macardle remains active in Sinn Féin and is drawn into the camp of its leader Éamon de Valera and his wife Sinéad. She travels alongside the de Valeras as they tour the country and she is a frequent visitor to their home. As the trust between Macardle and de Valera develops, de Valera asks her to travel to County Kerry to investigate and document what later becomes known as the Ballyseedy massacre of March 1923, in which a number of unarmed republican prisoners are reportedly killed in reprisals. She obliges, and by May 1924 she has compiled a report that is released under the title of The Tragedies of Kerry.” Immediately upon the release of the report, the Minister for DefenceRichard Mulcahy sets up an inquiry in June 1924 to carry out a separate investigation by the government. However, the government’s inquiry comes to the conclusion there had been no wrongdoing committed. Her book The Tragedies of Kerry remains in print and is the first journalistic historical account of the Irish Civil War from those on the republican side detailing Ballyseedy, Countess Bridge and various other incidents that occur in Kerry during this time.
In 1926, Éamon de Valera resigns as President of Sinn Féin and walks out of the party following a vote against his motion that members of the party should end their policy of abstentionism against Dáil Éireann. De Valera and his supporters, including Macardle, form the new political party Fianna Fáil in May 1926, with Macardle immediately elected to the party’s National Executive|Ard Chomhairle, one of six female members out of twelve on the original party National Executive, the others being Hanna Sheehy-Skeffington, Kathleen Clarke, Countess Constance Markievicz and Linda Kearns. Macardle is made the party’s director of publicity. However, she resigns from Fianna Fáil in 1927 when the new party endorses taking their seats in Dáil Eireann. Nevertheless, her views remain relatively pro-Fianna Fáil and pro-de Valera.
Macardle recounts her civil war experiences in Earthbound: Nine Stories of Ireland (1924). She continues as a playwright for the next two decades. In her dramatic writing, she uses the pseudonymMargaret Callan. In many of her plays a domineering female character is always present. This is thought to be symbolic of her own relationship with her own mother. Her parents’ marriage had broken up as her mother returned to England and her father raised the children with servants in Cambrickville and they were sent away for school. This female character holds back the growth and development of the younger female character in Dorothy’s plays and writings.
By 1931, Macardle takes up work as a writer for The Irish Press, which is owned by de Valera and leans heavily toward supporting Fianna Fáil and Irish republicanism in general. In addition to being a theatre and literary critic for the paper, she also occasionally writes pieces of investigative journalism such as reports on Dublin’s slums. In the mid-1930s she also becomes a broadcaster for the newly created national radio station Radio Éireann.
In 1937, Macardle writes and publishes the work by which she is best known, The Irish Republic, an in-depth account of the history of Ireland between 1919 until 1923. Because of the book, political opponents and some modern historians consider her to have been a hagiographer toward de Valera’s political views. In 1939 she admits, “I am a propagandist, unrepentant and unashamed.” Overall, however, the book is well-received, with reviews ranging from “glowing” to measured praise. She is widely praised for her research, thorough documentation, range of sources and narration of dramatic events, alongside reservations about the book’s political slant. The book is reprinted several times, most recently in 2005. Éamon de Valera considers The Irish Republic the only authoritative account of the period from 1916 to 1926, and the book is widely used by de Valera and Fianna Fáil over the years and by history and political students. She spends seven years writing the book in a cottage in Delgany, County Wicklow, and it is a day-by-day account of the history of the events in Ireland from 1919 to 1923 recorded in painstaking detail together with voluminous source material.
In 1937, de Valera’s Fianna Fáil government is able to create a new Constitution of Ireland following a successful referendum. However, there is widespread criticism of the new Constitution from women, particularly republican women, as the language of the new Constitution emphasises that a woman’s place should be in the home. Macardle is among them, deploring what she sees as the reduced status of women in this new Constitution. Furthermore, she notes that the new Constitution drops the commitment of the 1916 Proclamation of the Irish Republic to guarantee equal rights and opportunities “without distinction of sex” and writes to de Valera questioning how anyone “with advanced views on the rights of women” can support it. DeValera also finds her criticising compulsory Irish language teaching in schools.
While working as a journalist with the League of Nations in the late 1930s, Macardle acquires a considerable affinity with the plight of Czechoslovakia being pressed to make territorial concessions to Nazi Germany. Believing that “Hitler‘s war should be everybody’s war,” she disagrees with de Valera’s policy of neutrality. She goes to work for the BBC in London, develops her fiction and, in the war’s aftermath, campaigns for refugee children – a crisis described in her book Children of Europe (1949). In 1951, she becomes the first president of the Irish Society of Civil Liberties.
Macardle dies of cancer on December 23, 1958, in a hospital in Drogheda, at the age of 69. Though she is somewhat disillusioned with the new Irish State, she leaves the royalties from The Irish Republic to her close friend Éamon de Valera, who had written the foreword to the book. De Valera visits her when she is dying. She is accorded a state funeral, with de Valera giving the oration. She is buried in Sutton, Dublin.
Marrinan becomes ill with infantile paralysis at the age of five, and as a result is tutored privately. He has no formal training in art but is largely influenced by his reading matter, particularly the American comic strips of Bud Fisher. The variety of facial expressions that Fisher can achieve, with only a pencil, intrigues and inspires him. Likewise, the images evoked by Celtic mythology and religious art also contributes to his visual language, and many hours are spent in the Belfast Museum and Art Gallery studying the paintings in their collection.
Marrinan exhibits with the Ulster Academy of Arts from an address at 524 Donegall Road, Belfast, entering “The Wee Gate, Earl Street, Belfast” (1931) and “The Painter’s Father” and the “Apache” (1934), which is judged “picture of the year.” He last exhibits with a landscape, “Connemara,” along with four other works in 1949.
Marrinan paints and sketches portraits of many notable Irish figures, among which is the charcoal drawing of northern Fenian Robert Johnston (1934; National Gallery of Ireland) and a sketch of the Donegal storyteller Niall Duffy (University College Dublin). His literary portraits include one of Brian Friel. He holds a one-man show in 1951 at 55a Donegall Place, Belfast, where he exhibits a bust of John McLaverty. He takes an interest in sculpture although painting and drawing remain his preferred form of expression. Important commissions are for a memorial portrait (completed 1952) of Éamonn Ceannt for Ceannt Barracks officers’ mess, Curragh Camp, County Kildare, and for a portrait of Vice-brigadier Peadar Clancy for Clancy Barracks, Dublin. He paints two memorial portraits of PresidentJohn F. Kennedy, one of which is in the Irish Club, London.
Marrinan is an honorary member of the Royal Ulster Academy and exhibits with them every year from 1950 onward, showing a portrait of Mrs. Padraig Marrinan in 1967 (no other details of his marriage are known). He is preparing for an exhibition to be held at the Irish Club, London, in 1974, but dies on October 25, 1973, at Tyrone County Hospital in Omagh. He is then living at James Street, Omagh.
(From: “Marrinan, Padraig H.” by Ruth Devine, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “The River Lee, Cork City, Ireland” by Padraig Marrinan, oil on canvas)
According to Sam Smyth in the Irish Independent, Mac Mathúna is “on a mission to collect songs and stories, music, poetry and dance before they were buried under the coming tsunami of pop music.”
Mac Mathúna presents the radio programme, Mo Cheol Thú, for 35 years. Upon his retirement in 2005, the managing director of RTÉ Radio, Adrian Moynes, describes him as “inseparable from RTÉ Radio.” Upon his death in 2009, the Irish Independent describes him as “a national treasure.”
After college Mac Mathúna works as a teacher and later at the Placenames Commission. In 1954, he joins Radio Éireann where his job is to record Irish traditional musicians playing in their own locales. This entails visiting such places as Sliabh Luachra, County Clare and County Sligo, and the resulting recordings feature in his radio programmes: Ceolta Tire, A Job of Journeywork and Humours of Donnybrook.
Mac Mathúna’s long-running Sunday morning radio series, Mo Cheol Thú (You are my music), begins in 1970 and continues until November 2005, when he retires from broadcasting. Each 45-minute programme offers a miscellany of archive music, poetry and folklore, mainly of Irish origin. It is one of radio’s longest running programmes. The last episode is broadcast on November 27, 2005, at 8:10 a.m.
Mac Mathúna wins two Jacob’s Awards, in 1969 and 1990, for his RTÉ Radio programmes promoting Irish traditional music. He receives the Freedom of Limerick city in June 2004. He is also awarded honorary doctorates by NUI Galway and the University of Limerick. In 2007, he receives the Musicians Award at the 10th annual TG4 Traditional Music Awards.
Joe Kennedy in the Sunday Independent in 2007 compares Mac Mathúna to “an amiable rock, rolling gently along, still picking up some moss and morsels of music that he may have missed.”
Mac Mathúna‘s wife, Dolly MacMahon (using the English version of her surname), is a singer of traditional songs. She comes from Galway and meets her husband in 1955. He has two sons named Padraic and Ciarán, one daughter named Déirdre, and four grandchildren at the time of his death: Eoin, Colm, Conor and Liam.
Musicians performing at the ceremony include Peadar Ó Riada, Cór Cúil Aodha and members of The Chieftains and Planxty. The corpse is then taken to Mount Jerome Crematorium. Journalist Kevin Myers says Mac Mathúna’s legacy will be the “rebirth of Irish music,” adding, “Well, if Ciarán Mac Mathúna can die, I suppose anyone can. Actually, I had always thought that he was immortal. He certainly appeared to have all the ingredients.”
Josephine McNeill, Irish diplomat, dies in Dublin on November 19, 1969. She is the first Irish female diplomat appointed to represent Ireland abroad in a ministerial capacity.
McNeill is born Josephine Ahearne on March 31, 1895, in Fermoy, County Cork, the daughter of shopkeeper and hotelier, James Ahearne, and his wife Ellen Ahearne (née O’Brien). She attends the Loretto Convent, Fermoy, and goes on to graduate from University College Dublin (UCD) with a BA, H.Dip.Ed. in French and German. With this she begins a teaching career, at St. Louis’ Convent, Kiltimagh, at the Ursuline Convent, Thurles, and at Scoil Íde. Scoil Íde, the female counterpart to St. Enda’s School, had been established by her friend, Louise Gavan Duffy. She is fluent in the Irish language and takes an active part in the cultural elements of the Irish independence movement, such as literature and music. She is a member of Cumann na mBan, serving as a member of the executive committee in 1921.
After the death of her husband in 1938, McNeill becomes the honorary secretary of the council of the Friends of the National Collections, as well as serving as chair of the executive committee of the Irish Countrywomen’s Association until 1950. As a member of the Department of External Affairs advisory committee on cultural relations, she writes on economic, social and cultural issues. She represents Ireland at the UNESCO general assembly in Paris in 1949.
McNeill is an active member of Clann na Poblachta from its foundation in 1946. She is appointed the minister to the Netherlands in 1950 by Seán MacBride, making her the first Irish female diplomat to represent the Republic of Ireland abroad in a ministerial capacity. This appointment is not well received by diplomats in the Department of External Affairs. Her reports from The Hague focus on the issues the Netherlands faces with decolonisation. In 1955, she becomes the minister to Sweden, going on to hold the joint appointment to Austria and Switzerland from 1956 to 1960, after which she retires. While serving in Switzerland she puts aside the resentment she feels towards Éamon de Valera based on how he had treated her husband, to sit with him during a convalescence while de Valera recovers from an eye operation.
McNeill is an amateur pianist and collects paintings and porcelains. In 1933, she publishes the Irish language book, Finnsgéalta ó India.
O’Farrelly is born Agnes Farrelly on June 24, 1874, in Raffony House, Virginia, County Cavan, one of five daughters and three sons of Peter Dominic Farrelly and Ann Farrelly (née Sheridan), a family with a traditional interest in the Irish language. After her articles Glimpses of Breffni and Meath are published in The Anglo-Celt in 1895, the editor, E. T. O’Hanlon, encourages her to study literature. Graduating from the Royal University of Ireland (BA 1899, MA 1900), she is appointed a lecturer in Irish at Alexandra College and Loreto College. A founder member in 1902, along with Mary Hayden, of the Irish Association of Women Graduates and Candidate Graduates, to promote equal opportunity in university education, she gives evidence to the Robertson (1902) and Fry (1906) commissions on Irish university education, arguing successfully for full co-education at UCD. Appointed lecturer in modern Irish at UCD in 1909, she is also a member of the first UCD governing body and the National University of Ireland (NUI) senate (1914–49). In 1932, on the retirement of Douglas Hyde, she is appointed professor of modern Irish at UCD, holding the position until her retirement in 1947. She is also president of the Irish Federation of University Women (1937–39) and of the National University Women Graduates’ Association (NUWGA) (1943–47).
One of the most prominent women in the Gaelic League, a member of its coiste gnótha (executive committee) and a director of the Gaelic press An Cló-Chumann Ltd, O’Farrelly is a close friend of most of its leading figures, especially Douglas Hyde, Kuno Meyer, and Eoin MacNeill. One of Hyde’s allies in his battle to avoid politicising the league, she is so close to him that students at UCD enjoy speculating about the nature of their friendship. She advocates pan-Celticism, but does not get involved in disputes on the matter within the league. A founder member, and subsequently principal for many years, of the Ulster College of Irish, Cloghaneely, County Donegal, she is also associated with the Leinster and Connacht colleges and serves as chairperson of the Federation of Irish Language Summer Schools.
Having presided at the inaugural meeting of Cumann na mBan in 1914, espousing its subordinate role in relation to the Irish Volunteers, O’Farrelly leaves the organisation soon afterward because of her support for recruitment to the British Army during World War I. A close friend of Roger Casement, in 1916, along with Col. Maurice Moore she gathers a petition that seeks a reprieve of his death sentence. She is a member of a committee of women which negotiate unsuccessfully with Irish Republican Army (IRA) leaders to avoid civil war in 1922, and is heavily defeated as an independent candidate for the NUI constituency in the general elections of 1923 and June 1927. In 1937 she is actively involved in the National University Women Graduates’ Association’s campaign against the constitution, seeking deletion of articles perceived as discriminating against women.
Popular among students at UCD, O’Farrelly has a reputation as a social figure and entertains frequently at her homes in Dublin and the Donegal Gaeltacht. A founder member (1914) and president (1914–51) of the UCD camogie club, she persuades William Gibson, 2nd Baron Ashbourne, to donate the Ashbourne Cup for the camogie intervarsities. She is also president of the Camogie Association of Ireland in 1941–42. A supporter of native Irish industry, she is president of the Irish Industrial Development Association and the Homespun Society, and administrator of the John Connor Magee Trust for the development of Gaeltacht industry. A poet and writer in both Irish and English, often using the pseudonym ‘Uan Uladh’, her principal publications in prose are The reign of humbug (1900), Leabhar an Athar Eoghan (1903), Filidheacht Segháin Uí Neachtáin (1911), and her novel Grádh agus crádh (1901); and in poetry Out of the depths (1921) and Áille an domhain (1927).
Concannon is educated by the Loreto nuns in Coleraine, County Londonderry. In 1897, she studies modern languages at the Royal University of Ireland on a three-year scholarship. She studies abroad during these years as in 1899, she travels to Germany and studies German in Berlin University accompanied by her friend, Mary Macken. She then travels to France to study French at Sorbonne University. In 1900, she graduates Bachelor of Arts with first class honours and goes on to study Master of Arts in 1902 at the Royal University of Ireland. She is fortunate to being one of the first generation of educated women.
In 1906, Concannon marries Tomás Bán Ó Conceanainn, who she met in 1900 when he arrived home from the United States. They settle down in County Galway where they share the same love for the Irish language and write many Irish texts. They have no children. In Galway, she is a professor at University College Galway where she teaches history, which mainly involves the history of Irish women. In 1909, she is offered a lectureship at University College Dublin, in Italian, but the offer is then withdrawn before she can accept it, so she decides to pursue a writing career.
Concannon produces over twenty books, including works on religion, the history of Ireland and Irish women’s history. Her works are highly impacted by her political and nationalist views. Her analyses of Irish history is based on Catholicism and patriotism. She is also an advocate of Irish language restoration. Her first writings are love poems to her husband. These poems are ”simple, sensuous and passionate.”
Concannon also produces a number of imaginative historical text for children. She uses her married name for her publications and her first book, entitled A Garden of girls, or the famous schoolgirls of former days, is published in 1914. It is about “school life and education of real little girls” Her next well known piece is the Life of St. Columban in 1915, which is a study about the Irish ancient monastic life and a biography of a sixth-century saint.
Two of Concannon’s books, Daughters of Banba (1922) and St. Patrick (1932), receive the Tailteann Medal for Literature, and The Poor Clares in Ireland (1929) wins the National University Prize, a D.Litt. higher doctorate degree for historical research.
Concannon’s most common publication, Women of ‘Ninety Eight, is dedicated to all the dead women and all the living ones who have given their loved ones. This book emerges on the ideologies of Catholicism and patriotism “praising the devotion of Irish nationalist women while emphasising the centrality of women’s spiritual and domestic role in the home to the well-being of the nation.” As this work is written during the time of the Irish War of Independence, she stresses the importance of women help during the rebellion as “they acted as messengers and intelligence officers,” and in some cases, they fought as any men.
Concerning the Land Purchase (Guarantee Fund) Bill 1935, which according to George Cecil Bennett will negatively impact the rural middle class of which he is a representative, Bennett accuses Concannon and her fellow Dublin men of not caring about the people of the country. Concannon goes on to vote that the Dáil should disagree with the Seanad Éireann-proposed bill with 71 others.
Though Concannon is a TD as a university representative, she votes with her party to remove university representation from the Dáil, leading one TD to say, “I am very much surprised to see such a distinguished scholar and such a great contributor to Irish literature as Deputy Mrs. Concannon voting for the disfranchisement of the University that she has so well and so ably represented.”
Concannon speaks on behalf of Irish women in the Dáil in 1936. She speaks on how Irish women play a fundamental role in Ireland’s agricultural economy and therefore more money should be put toward educating these women.
Concannon is one of the minority voices against the role appointed to women in Éamon de Valera‘s constitution. She does not contest the Dáil election of 1937.
After the adoption of the Constitution of Ireland in 1937, the National University of Ireland constituency is reconstituted in the new Seanad Éireann. The first election takes place in 1938, and Concannon is elected. She is a popular figure and is re-elected each election in the Seanad until she dies in office on February 27, 1952.
Clery is the son of Arthur Clery (who also uses the names Arthur Patrick O’Clery and Arthur Ua Cléirigh), a barrister, and Catherine Moylan. His father, who practises in India, publishes books on early Irish history.
Clery’s principal themes include the difficulties of Roman Catholic graduates seeking professional employment, dramatic criticism (he hails Lady Gregory‘s play Kincora as the Abbey Theatre‘s first masterpiece but is repulsed by the works of John Millington Synge), Catholic-Protestant rivalry, tension within the Dublin professional class, and the vagaries of the Gaelic revival movement.
Clery advocates partition on the basis of a two nations theory, first advanced in 1904–1905, possibly in response to William O’Brien‘s advocacy of securing Home Rule through compromise with moderate Unionists. Several of his articles on the subject are reprinted in his 1907 essay collection, The Idea of a Nation.
Clery derives this unusual view for a nationalist from several motives, including a belief that arguments for Irish nationalists’ right to self-determination can be used to justify Ulster Unionists’ right to secede from Ireland, fear that it might be impossible to obtain Home Rule unless Ulster is excluded, and distaste for both Ulster Protestants and Ulster Catholics, whom he sees as deplorably anglicised. He remains a partitionist for the rest of his life. He is not particularly successful as a barrister, but on the establishment of University College Dublin (UCD) in 1909, he is appointed to the part-time post of Professor of the Law of Property.
Clery does not take his seat and does not contest the September 1927 Irish general election since new legislation obliges candidates to pledge in advance that they will take their seat. He is one of the lawyers who advises Éamon de Valera that the Irish Free State is not legally obliged to pay the Land Annuities which had been agreed in the Anglo-Irish Treaty of 1922.
Clery was a close friend of Tom Kettle, with whom he founds a dining club, the “Cui Bono.” Hugh Kennedy is also a lifelong friend. As Auditor of the L & H, he tries to prevent James Joyce from reading a paper praising Henrik Ibsen, asserting that “the effect of Henrik Ibsen is evil,” but Joyce succeeds in reading it after he argues his case with the college president. The principal influence on Clery is the Irish Ireland editor D. P. Moran, to whose weekly paper, The Leader, Clery becomes a frequent contributor. In addition to The Idea of a Nation, he publishes Dublin Essays (1920) and (as Arthur Synan) The coming of the king.
seamus dubhghaill 