TWO DEATHS, FOUR FUNERALS AND THREE BURIALS

Diarmuid Breatnach

 

IRA Volunteer Michael Gaughan was killed in Parkhurst Jail on the Isle of Wight this month in 1974. He was killed on the 3rd June that year by force-feeding while on hunger strike. An honour guard of Provisional IRA had presided over his body’s removal by ferry to the mainland and from there to London, where the first of his three funeral processions was to take place.

Volunteer Michael Gaughan, the image most often associated with him.
(Photo source: Internet)

Also on hunger-strike with Gaughan although in different jails in Britain were other Provisional IRA prisoners: Gerry Kelly, Paul Holmes, Hugh Feeney and fellow Mayoman Frank Stagg. They were acting in support of the struggle of Volunteers Dolours and Marion Price1 to obtain political status and to be transferred to a jail in Ireland. The prisoners’ demands were as follows:

  • The right to political status
  • The right to wear their own clothes
  • A guarantee that they would not be returned to solitary confinement
  • The right to educational facilities and not engage in penal labour
  • The setting of a reasonable date for a transfer to an Irish prison2

At the time I was a young and fairly inexperienced activist supporting an English-based Marxist-Leninist group.3

 

LONDON

Vol. Gaughan’s funeral procession in Kilburn, London.
(Photo source: Internet)

On the 7th a funeral procession was being organised by Provisional Sinn Féın in an area of strong Irish diaspora settlement in North-West London. I took a bus from my South-East London home by a part of the canal near Peckham (now filled in) to the Elephant & Castle and changed on to the London Underground metro system to travel to Kilburn, from where I walked up to the Cricklewood area. There in the forecourt of the Crown pub was where I had been told the funeral procession would gather and where I would also meet my comrades of the organisation.

After a little, preparations were being made for departure. A priest was to lead the procession, which I strongly disliked but obviously had no say in the arrangements. A lone piper would follow, a traditional feature of mourning where Irish resistance is involved. The coffin would be carried for a period on the shoulders of volunteers, before being transferred to the hearse and a senior comrade of my organisation approached me.

Another view of the funeral procession of Vol. Gaughan through Kilburn, London.
(Photo source: Internet)

Some representatives of British Left organisations are going to carry the coffin,” he said. “We’ve been asked if we’d like to take part. What do you think?”

He was asking me, I presumed, because I was the only Irish supporter of the organisation present, although it had an excellent record of supporting Irish resistance and prisoners and several of its comrades had gone to jail as a result.

He seemed not keen on the idea and I got the impression that he felt as I did that it was tokenism, distasteful posturing by the British Left. Tariq Ali (now a journalist but then a member of the now-defunct Trotskyist organisation in Britain, the International Marxist Group) was one of those hefting the coffin. I agreed with my comrade and said we should not (a decision I now regret) and so we didn’t. No organisation on the British Left at that time, in terms of commitment and actions in proportion to its size, deserved the honour more than our organisation.

From the forecourt of the Crown a long parade escorted Gaughan’s coffin from Cricklewood in West London along the main road to the Church of the Sacred Heart of Jesus in Quex Road church in Kilburn. It was a very Irish area then with nearly every pub being of mainly Irish clientele and it contained a dance hall where Irish bands played. Every shop and pub along the way was closed for the funeral and crowds lined the route. The atmosphere was very solemn with the laments being played by the piper very audible.

 

DUBLIN

Michael Gaughan’s funeral procession approaching O’Connell Bridge, Dublin city centre.
(Photo source: Internet)

Another view of the Michael Gaughan funeral, Dublin

On the 8th of June 1974, the body of IRA Volunteer Michael Gaughan arrived in Dublin, where it was met by mourners and an IRA guard of honour. The body was brought to the Adam and Eve’s Franciscan church on Merchant’s Quay, where thousands filed past as it lay in state (no doubt under the watchful eyes of the Garda Special Branch).

Vol Gaughan lying in state with IRA honour guard in Dublin.
(Photo source: Internet)

 

MAYO

On the following day, the 9th of June 1974, Michael Gaughan’s funeral took place in Ballina, County Mayo. The funeral mass was held at St. Muiredach’s Cathedral, Ballina, procession then to Leigue Cemetery, Ballina. He was given a full republican burial and laid to rest in the Republican plot (where Frank Stagg, also killed by force-feeding, would join him after being reburied in November 1976 – see further below). Vol. Gaughan’s coffin was draped in the same Tricolour that had been used for Terence McSwiney’s funeral 54 years earlier (the same flag would later be used in the funeral of James McDade, IRA member killed in a premature explosion in Coventry). Gaughan’s funeral was attended by over 50,000 people, larger than the funeral of former Irish president Éamon de Valera.

 

FRANK STAGG

Frank Stagg, the image most frequently used.
(Image source: Internet)

It was no doubt to avoid scenes such as this that the Irish state took certain steps when two years later, on 12th February 1976, a comrade of Gaughan’s, Vol. Frank Stagg, also from Mayo, was also killed in Wakefield Prison, Yorkshire, by force-feeding while on hunger-strike. Although much of this this took place during the IRA truce of 1975-January 1976, the British authorities refused to grant any of the demands. The Wikipedia entry says that “Stagg died on 12 February 1976 after 62 days on hunger strike” which, though not untrue is a lie by omission.4

The repatriation of the body of Frank Stagg at Shannon Airport from Wakefield Prison in Britain where he died on hunger strike on 12 February 1976.

The Irish Government had the flight carrying his coffin diverted from Dublin where a large crowd awaited it, to Shannon airport.

On arrival at Shannon, the Gardaí snatched the coffin and drove it straight to Ballina, Mayo under armed guard, to a cemetery near Stagg’s family home, where it was placed in a prepared grave into which wet concrete was then poured, six feet deep, instead of soil. And the site remained under guard until the concrete had set and for some time after.

Sean, one of Frank Stagg’s brothers, being assaulted at Shannon Airport by Gardai (Photo source: Internet)

Although those proceedings would have been in complete opposition to the wishes of the deceased, the State had obtained agreement for them from Frank Stagg’s widow and one of his brothers, the Labour Party’s Emmet Stagg. It was opposed by another two of Frank Stagg’s brothers and of course by the dead Volunteer’s comrades.

The first burial of Vol. Frank Stagg, managed by the State, contrary to his wishes of the deceased. One of his brothers, Emmet, who colluded in that operation, is on the back left, lowering the coffin. (Photo source: Internet)

In November of that year, a number of those comrades dug down near the grave, tunneled under the concrete, removed the coffin and re-interred it in the Republican plot, near to Michael Gaughan’s grave, where it rests today.

A simple but plaintive song about Michael Gaughan survives in not uncommon use: Take Me Home to Mayo. There are a number of versions on Youtube; this one contains relevant images and film footage: https://www.youtube.com/watch?v=14-kuxsHjPg

National Graves Association memorial in the Republican Plot, Leigue cemetery, Ballina, to which the names of Vol.s Stagg and Gaughan were added. The NGA is a nationwide non-State-funded organisation caring for the graves and erecting memorials to Ireland’s patriot dead. (Photo source: Internet)

 

end

FOOTNOTES

1Although Gerry Kelly is a current Sinn Féin MLA, both the Price Sisters denounced the Good Friday Agreement and Sinn Féin; Marian was effectively interned for a period because of her politics and has not been active politically due to ill-health since her release in May 2013.  On January 23rd of that year she was escorted from jail to attend the funeral of her sister, Dolours.  Of the surviving hunger strikers of 1975-’76, Paul Holmes was the only other one to attend that funeral.

2The British promised to concede the demands after Gaughan’s death – they had already conceded them to Loyalist prisoners – but reneged on the promise. The Price Sisters did eventually win repatriation to jail in the Six Counties, Ireland. The struggle on the issue of repatriation, which the British authorities conceded to British prisoners in Irish jails but not generally in reverse, carried on for many years. It is UN and generally human rights policy that prisoners should serve their sentences in jails close to their family networks.

3I had previously been an unaffiliated Anarchist activist, then came to support the English Communist Movement (M-L), which later became the Communist Party of England (M-L), which I left some years later. It has since gone through a number of bigger changes and evolved into the current Revolutionary Communist Party of Britain (M-L), a much-changed organisation from the days referred to in this article.

4This is an important omission because the death of Vol. Stagg at the State’s hands after Gaughan’s brought about a change in policy of the British Medical Association, which afterwards recommended to its members that people in sound state of mind embarking on a hunger strike should not be forcibly fed even if they were heading for death. In consequence, the British State no longer has a policy of force-feeding prisoners on hunger-strike, since such would have to be supervised by medical personnel.

SPANISH CIVIL WAR AIR RAID SHELTER, HIDDEN SINCE 1938, DISCOVERED IN MADRID

 

RECENTLY DISCOVERED DURING DEMOLITION WORK, THE UNDERGROUND COMPLEX HAD NOT BEEN SEEN BY HUMAN EYES SINCE 1938

(Translation to English by D.Breatnach from article by Daniel Ramirez in El Espanol on line on 14 May this year — link given at end of translation.  Photos reproduced and article translation published by kind permission of El Espanol)

A hole in the ground, in the entrails of the city. Dry earth covered with mud. It had rained. The American girls and those dressed up run in search of a taxi when the Raimundo Fernández Villaverde street dies, just as they rise in the Nuevos Ministerios area. Noise from horns, ambulances, shouts. And in the middle of it all, the big hole.

It is surrounded by cranes and scrap metal. Also building workers and architects in yellow vests. In the centre, five or six metres deep, a door of cement and brick. It may not be interfered with. In the guts of the Artillery Workshop, recently demolished, the financial heart of Madrid has just discovered an air raid shelter, built in 1938. That’s the reason for the dug earth, the mud, the emptiness.

The Condor Legion was a Luftwaffe air force unit supporting Franco)
(Image source: Internet)

The demolition of this neomudéjar-style building to make room for a block of housing split the Madrid City Council of which Carmena is Mayor. Those who wanted to keep it lined up against the rest, but few knew what was hidden by the floor of the now defunct first concrete construction of the city, built in 1899 by the Ministry of War. It belonged to the state – in military use for decades – until 2014, when it was sold to a real estate cooperative for 111 million euros.

“It’s the first visit after its discovery”

Steps descending from entrance.
(Photo Jorge Barreno, El Espanol newspaper)

Just beyond the open door, stairs. The cement benches that allayed the fear of death appear six metres down. Virgin earth for camera and notebook. “This is the first visit after its discovery,” says Isabel Baquedano, archaeologist of the General Directorate of Heritage of the Community of Madrid, which froze the work permit until the survival of the shelter had been ensured.

One last look at daylight. Baquedano brings to life the race to the basement. The hole in the earth was then an inner courtyard in the Artillery Workshop. On the floor, a door. Then another, like the one that we are now going through.

Photo showing entrance to air-raid shelter in a demolition/ building site (Photo Jorge Barreno, El Espanol newspaper)

HEMINGWAY AND THE AERIAL BOMBING

Hemingway said that, at the beginning of the war, the citizen would quickly see the enemy plane and the sirens would soon be screaming. Then they flew much higher and the deaths multiplied. A bomb was “that growing whistle, like a subway train that crashes against the cornice and bathes the room in plaster and broken glass.” The American, with lively irony, used to joke: “While you hear the glass tinkle as you fall you realize that, at last, you are back in Madrid.”

The stairs and walls are brick. “Like those of almost all shelters,” explains Baquedano. The archaeologist who acts as a guide for this visit outlines a universal, institutionalised architecture, fruit of necessity, constructed in a race against time. “The International Red Cross came to draw up a map of the air raid shelters in Madrid,” says Javier Rubio, a historian whose brother was hiding in Madrid at the time.

The shelter, when built, had an electricity supply.
(Photo Jorge Barreno, El Espanol newspaper)

Small steps for the flashlight to illuminate. In 1938, a filthy, rusty cabling gave light to the whole refuge. There were also subterranean armchairs and red velvet, but this is not the case now.

The chroniclers wrote that seeing a drunk and desperate man who pushed and jumped over elderly people and children was not unusual. Here is a quick but military descent. It is believed that this basement only sheltered the military of the Artillery Workshop, when a few meters away, in the Glorieta de Cuatro Caminos, a hospital had a similar space.

One of the galleries
(Photo Jorge Barreno, El Espanol newspaper)

The lightbulbs, intact, but empty. The shelter is a labyrinth of intersecting galleries. The photographer and Javier, one of the construction workers, leads the route with lanterns. The cement benches show some marks, made by the archaeological study commissioned by the Community, which confirmed the finding. They are almost at ground level. “Capacity is estimated for between 80 and 100 people,” says Baquedano.

WHAT DID NOGAL KEYS SAY?

In 1938, Madrid was the epic of a lost war. General Miaja, a Republican hero, defended the trenches exposed to gunfire. Gun in hand, he shouted for men who knew how to die. Strips of paper were stuck to shop windows to prevent the bombing’s vibration from shattering them.

“Everybody went scared to his hole. Life had fled streets and squares; not a light, nor a noise in the ghostly environment of the big city,” said journalist Manuel Chaves Nogales. “This little bourgeois liberal”so he described himself – who predicted the birth of a dictatorship regardless of the colour of victory, saw in the bombings a sort of lottery in which Madridians participated unconcerned: “Insensate and heroic, Madrid learned to live with joyful resignation. “

Little is left of that daily fear in these difficult tunnels, sometimes too narrow, fresh, guardians of absolute silence, still oblivious of the shopping centres that have grown up around them.

Intersection of galleries in the underground complex (Photo Barreno)

SÁNCHEZ MAZAS AND TALES TO FORGET

Some spoke, others were silent. Close or open your eyes? Different ways of coping. The fearful Rafael Sánchez Mazas, in the words of those who dealt with him then, wrote a novel to the rhythm of the bombs. For evasion and for other reasons. Chapter by chapter, he read it to his Falange colleagues at the Chilean embassy, where Carlos Morla Lynch, the diplomat in charge, provided refuge for them.

In the famous photo, Sánchez Mazas in the middle, several refugees listen to that unfinished novel of the title Rosa Kruger. Here the benches, in a row, do not invite conversation. Only recollection, although it may be the lack of habit.

In line with what Chaves said, Agustín de Foxa, in his “De Corte a Checa”, reflected: “At five o’clock in the morning, the local people commented on the bombardment by eating churros and drinking glasses of anise.”

“To leave a trail, not to disappear at all”

At the doors of the shelter, or perhaps inside, in these benches unequivocal proof of the finding, the tears of farewells ran. “Like those insects that perform the nuptial flight before they die, the men who were being sent to the Sierra or those who awaited in agitation their execution were longing for female presence and love so as to leave a trail, so as not to disappear altogether.”

Old cabling from 1938 (Photo Jorge Barreno, El Espanol newspaper)

“Little is known of this shelter,” Baquedano continues on this path of short steps. Archaeologists found no traces beyond the benches. The soldiers who arrived after the war used the subway as a shooting gallery. That is the reason for the gouges that bullets have left in the brickwork.

THE NOISE OF THE BOMBS

Suddenly a noise. Loud, deafening. The conversation ends abruptly. The cameraman and the journalist look at Javier, who laughs. “Calm down, the cranes are moving the scrap and it will have fallen up above.” It is a noise to make one cower and which makes the legs tremble.

A cosmopolitan and naive noise, which has nothing to do with the thunder of the shell that haunted Arturo Barea. In his “Forging of a Rebel” he confessed to having nightmares about the impact. He imagined the mutilation of bodies, their rotting, the limbs torn off the sidewalk … When the sirens began to sound and the danger became true, Barea reported feeling “a deep relief”, a result of the return to reality, the only way out then from that spiral of madness.

“My mouth was filled with vomit”

“We would go down to the basement, sit there with other guests, all in pajamas or gowns, while the antiaircraft barked and the explosions shook the building, sometimes my mouth filled with vomit, but it was a comfort because everything was real, I was deeply asleep,” he wrote.

On leaving, the light, and a city that beats, has nothing to do with that Madrid that, in Foxa’s words, turned off the lanterns for fear of bombing, while the last trams passed on their routes with their tragic, blue-green painted lights.

At the fence, several curious people approach the hole. Office workers, clerks, consultants, lawyers … In 1938, Barea said, there were neighbors of distant neighborhoods who came to see up close what a bombing was. “They left happy and proud with pieces of shrapnel, still hot, as a souvenir.”

Additional notes from translator, D. Breatnach:

There were a few words and phrases with which I had difficulty since the apparent translation from dictionaries did not seem to make sense in the article and I converted them into what seemed to be the sense in the text and context.

The future of the archaelogical site by law requires protection from the owners of the site in which it is located.  It may or may not be open to limited or full public access.

In the original article there was a lovely version of the Viva la Quinta Brigada song, about the 5th Brigade of the Republican forces (not Christy Moore’s wonderful song which, despite the original title is about the 15th International Brigade).  I tried to embed it here but failed but you may find it on the original article link below.

LINKS

Original article: http://www.elespanol.com/espana/20170513/215728433_0.html

PUBLIC DISORDER AND ASSAULTS AS PEOPLE PROTEST ROYAL VISIT AND COMMEMORATE PATRIOT DEAD

 

Clive Sulish

 

Scuffles broke out and people were pushed to the ground by Gardaí as an unidentified man, later assumed to be an undercover Special Branch officer, grabbed a megaphone from the hands of a person chairing the protest.  Yes, the public disorder and assaults were all the work of the Gardaí.

Garda blockade on Glasnevin Road, Dublin

An ad-hoc group called Socialist Republicans Against Royal Visits had organised the protest, also with the intention of marking 12th May, anniversary of the execution in 1916 by British firing squad of James Connolly, revolutionary socialist, as well as the death after 59 days on hunger strike of Francis Hughes in 1981.

Today Prince Charles of the British Royal Family, also Admiral of the Fleet, Field Marshal, Marshal of the Royal Air Force, Colonel-in-Chief of the Parachute Regiment (perpetrators of the Ballymurphy and Derry massacres), was due to visit Glasnevin Cemetery.

Participants in the event met this morning at Phibsboro Shopping Centre and marched along Phibsborough Road towards Glasnevin cemetery, carrying banners, flags and two floral sprays. Led by a banner carrying the legend which Connolly had erected over Liberty Hall during WW1, “We Serve Neither King nor Kaiser”, they passed over Cross Guns Bridge on the Royal Canal and on towards Glasnevin Cemetery, heading for the Hunger Strike Memorial there. However they found their way barred by a metal screen and blackout material, fronted by Riot police and other Gardaí with mounted police also being brought up.

Some participants and Police at Garda barrier

The marchers were not allowed to proceed and uninvolved members of the public were also prevented by police from proceeding along the pavement. After awhile, Dáithí Ó Riain, chairing the proceedings began to hand a megaphone to Diarmuid Breatnach who was about to speak when a man in plainclothes rushed forward and grabbed the megaphone. At no point did he identify himself nor give a reason for wishing to take the appliance except to say “Because I say so.”

Mounted Police visible at edge of barricade

Participants came forward to defend the speaker being assaulted and the police charged in, knocking people to the ground and twisting people’s hands and bending fingers back until they succeeded in forcibly removing the megaphone.

As participants demanded to have the megaphone returned and the police continued to refuse, Breatnach addressed onlookers to explain what had just happened and to say that “this is the kind of democracy that exists in this country …… when people want to peacefully protest and it doesn’t suit the State that they do so. When you hear of disturbances at a demonstration this is most likely how they started, with a police attack on people.”

Overhead, a helicopter kept circling the area for a period of hours.

Section of participants showing the man in plainclothes who later grabbed the megaphone (dark clothes 3pm position on right of photo)

A number of speakers addressed the participants and bystanders and congratulated them on not allowing themselves to be provoked by the police assault and a chant of “Shame!” was taken up against the police, in addition to the crowd singing two verses of “Take It Down From the Mast Irish Traitors” directed at the Gardaí.

Dáithí Ó Riain, chairperson of the event speaking after the police attack.

The floral sprays were laid at the corner of the wall of the cemetery since further progress was prevented by the Gardaí.

After some time, the protesters marched back to Phibsboro Shopping Centre where they held a short street meeting, to be addressed briefly by a number of speakers and to hear a reading of James Connolly’s last statement before his execution, after which they dispersed.

During the event, Sean Doyle and Ger Devereaux engaged with a radio program explaining the reasons for the protest and the commemoration, in addition to dealing with the statements of callers denouncing the participants.  The police attack occurred during the radio interview so listeners got to hear more of what went on than was expected.

 

A speaker on behalf of the organisers

Another view of the police and their barrier

Breatnach, who had the megaphone wrenched from his hand at Glasnevin after a struggle, addressing a short meeting afterwards in Phipsborough

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

LINKS:

Sean Doyle and Ger Devereaux interviewed live on radio from demonstration:

 

INTERNATIONAL WORKERS’ DAY IN DUBLIN

 

Clive Sulish

May 1st, International Workers’ Day was celebrated in warm sunshine in Dublin with a parade and rally organised by the Dublin Council of Trade Unions and a later event organised by the Independent Workers’ Union.

Crowd scene outside Garden of Remembrance, the starting point of the DCTU march

The DCTU-organised event met at the Garden of Remembrance at 2pm and set off at nearly 3pm, with numbers although still small by European standards nevertheless larger than has been seen for some time in Dublin, according to the organisers filling O’Connell Street, the city’s main street throughout its whole length (500 metres or 547 yards).

Seen on the parade were trade union banners, those of some political parties, also of campaigns and community groups.

As it has been doing for years, the parade ended in a rally in Beresford Place, in front of Liberty Hall, the very tall building owned by the SIPTU trade union, where the audience were addressed by speakers from trade unions and campaigns and NGOs.

Section of crowd at rally in Beresford Place

Curiously, soon after arrival the comparatively strong showing of Sinn Féin flags, the green one with their logo and the blue and white version of the Starry Plough, were nowhere to be seen.

Similar section with some banners noticeably missing

The issues of lack of affordable housing, of public land being sold for private housing and speculation, of precarious employment, of financial speculation and cuts in services were addressed by speakers, with a mention also of solidarity for the Palestinian prisoners on hunger strike. A number of speakers also addressed the treatment of migrants and in particular the conditions suffered by refugees in the Direct Provision hostels of the state’s welfare service.

Stage erected at Beresford Place, outside SIPTU’s offices

The Moore Street campaign banner was one of the campaign groups present on the parade and mentioned from the stage by the rally’s chairperson.

One of the speakers at the rally — she denounced the sale of private land including the deal done at O’Devaney Gardens estate in Dublin.

Somewhat later, the Independent Workers’ Union held their own event, marching with a colour party from their offices to James Connolly monument, also in Beresford Place and across the road from Liberty Hall.

IWU event colour party at Connolly Monument

Damien Keogh chaired the event and introduced veteran campaigner Sean Doyle who gave a short and to the point speech about the situation in which working people find themselves today and ending with a quotation from James Connolly, in which the revolutionary socialist castigated those who claimed to love Ireland but could tolerate seeing poverty and deprivation among its people. Doyle also sent solidarity greetings to the Palestinian political prisoners on hunger strike in Israeli jails.

Paul Bowman was then introduced and in a longer speech covered Connolly’s time in the USA, his membership of and activities of the IWW (“the Wobblies”); the Haymarket Incident in Chicago which led to the choosing of May 1st as International Workers’ Day and the state murder of the Haymarket Martyrs; the principles and attitude of the IWU today.

Another Moore Street campaign banner and supporters in period costume also participated in the IWU event

Some random tourists, one form London and the other from Madrid, who chanced to pass by and remained for the whole ceremony.

Damien then introduced Diarmuid Breatnach to sing “We Only Want the Earth” (an alternative title to the original of “Be Moderate”). Breatnach explained that the lyrics had been composed by James Connolly and published in a songbook of his in New York in 1907 without an air. As a consequence the lyrics have been sung to a variety of airs but Breatnach said he sings it to the air of “A Nation Once Again” (composed originally by Thomas Davis some time between 1841 and 1845). This arrangement provides a chorus and Breatnach invited the audience to join in the chorus with him, which they did.

We only want the Earth,

we only want the Earth,

And our demands most moderate are:

We only want the Earth!”

A wreath was laid at the monument on behalf of the IWU by Leanne Farrell.

The chairperson then thanked those in attendance, speakers and singer and invited all back to the offices of the IWU in the North Strand for refreshments.

End.

REPUBLIC DAY CELEBRATION HELD IN DUBLIN FOR EIGHTH CONSECUTIVE YEAR

 

Diarmuid Breatnach

 

On Monday 25th April people gathered in front of the General Post Office building in Dublin city centre. The occasion was the commemoration and celebration of the reading of the Proclamation of Independence by Patrick Pearse outside that same building, shortly after the 1916 Rising had begun under his overall command. Standing nearby during the reading had been James Connolly, Commandant of the GPO Garrison and also commanding officer of the Irish Citizen Army. Both were executed by the British weeks later for their part in the Rising, along with another thirteen (twelve in Dublin, one in Cork) and months later Roger Casement was tried in civilian court in London and hung.

 

Tom Stokes, who has been a chief organiser of this event since 2010, opened the proceedings, addressing the crowd and the flag colour party. He reminded his audience that in 1917 it had been Republican women who had organised the 1916 commemoration, printing many copies of the Proclamation and pasting them around the city, also defying British military law to gather outside the GPO to mark the events.

Tom Stokes speaking at the event outside the GPO (photo: D.Breatnach)

Among the reasons for this given by Stokes was that many Republican men had but recently been released from British prisons and concentration camps but also that the women had a special stake in the Republic for which the Rising had taken place – they in particular stood to gain from its achievement the status of citizens and many other changes in their status as a result.

So it was appropriate, Stokes said, to have women take prominent roles in the event, starting with Evelyn Campbell, who accompanied herself on guitar while singing her compositions Fenian Women Blues and Patriotic Games.

Evelyn Campbell performing (photo: D.Breatnach)

Following that, Tom Stokes gave the main oration, outlining his vision of a Republic and castigating the Irish state for what it had produced instead, in particular attacking its treatment of women and declaring that abortion was a private matter in which the State had no right to interfere.

This was followed by Fiona Nichols, in period costume, reading the Proclamation and after that came Dave Swift in Irish Volunteer costume, reading a message given by a wounded James Connolly  (he had been injured Thursday of Easter Week by a ricochet in Williams Lane while on a reconnaissance mission).

Fiona Nichols reading the 1916 Proclamation.
(photo: D.Breatnach)

Cormac Bowell, in period Volunteer costume played an air on the bagpipes, Fergus Russel sang The Foggy Dew, Bob Byrne sounded The Last Post on the bugle and Evelyn Campbell came forward again, this time to accompany herself on guitar singing Amhrán na bhFiann.

Cormac Bowell playing at the event.
(photo: D.Breatnach

Tom Stokes thanked the performers and everyone else for their attendance and said he hoped to see them all again on the 24th April 2018, which will be a Tuesday. He said it was his wish that this day be an annual National Holiday and they had started the annual celebration because no-one else was doing it.

Some of those present marched to Moore Street with a Moore Street campaign banner, taking the GPO Garrison’s evacuation route on Friday of Easter Week through Henry Place, past the junction with Moore Lane and on to Moore Street, where Dave Swift, still in Irish Volunteer uniform, competing with the noise of construction machinery coming from the ILAC’s extension work, read the Proclamation before all dispersed, leaving the street to street traders, customers, passers-by and builders.

 

A chríoch.

 

 

Bugler Bob Byrne sounding The Last Post.
(photo: D.Breatnach)

(photo: D.Breatnach)

(photo: D.Breatnach)

(photo: D.Breatnach)

(photo: D.Breatnach)

Dave Swift reading Connolly’s statement after he had been wounded. (Photo: D. Breatnach)

 

 

THE SHAMROCK AND THE COLOUR GREEN – NATIVE OR FOREIGN IMPORTS INTO IRISH ICONOGRAPHY?

Diarmuid Breatnach

We are long accustomed to the association of these two symbols with Irish ethnicity and nationalism, the shamrock and the colour green, but historically can they be shown to be authentically Irish?

Shamrock closeup
(Photo sourced at Internet)

 

The shamrock symbol has been used by a number of products and services, including Aer Lingus, formerly the Irish national airline and now a subsidiary of the International Airways Group1. Both as a plant and a living symbol it is now being sold on the streets and in shops in preparation for the celebration of the male patron saint of Ireland, St. Patrick on March 17th. St. Patrick himself was a foreign import, albeit one seized unwillingly by Irish raiders. The son of a Romanised Celt it seems and probably from Wales, Patricius was kept as slave labour herding pigs until his escape but he returned as a Christian missionary and became one of the founders of the Celtic Christian Church in Ireland. 

We may view this as an amazing feat in itself – Ireland was one of the few European countries which went from the old multi-gods religion to the monotheism of Judeo-Christianity in a largely peaceful transition. However the Celtic Church at least tolerated and many would say condoned many of the laws and customs of the old culture, including marriage of priests, the right to divorce by men or women and a higher status for women than was common in an increasingly feudal Europe.

The word “shamrock” is an Anglic corruption of the Irish seamróg, itself a contraction of seamair óg, meaning a sprig of young clover. The Irish shamrock is usually the species Trifolium dubium (lesser clover; Irish: seamair bhuí), with yellow flowers or the white-flowered Trifolium repens (white clover; Irish: seamair bhán).

Children at schools influenced by the Catholic clergy in Ireland (which was and still is the vast majority of the schools within the Irish state) were taught that St. Patrick used the shamrock to illustrate the existence of the Christian Holy Trinity of the Father, Jesus Christ and the Holy Ghost, i.e. how there may be three different aspects in one entity, as in the three leaves on the one stem of the shamrock.

A charming story but clearly without any foundation whatsoever – not only is it not mentioned in what is believed by historians to be Patrick’s autobiography but the story only emerged much later. However, the crucial evidence against the veracity of the story is that neither the Gaels nor the Celts in general2 had any need to be convinced of trinities of gods: in Ireland we already had the Morrigan, a female trinity of Badhb, Macha and Anand and of course the Celts had the ubiquitous triskele symbol (surviving as the national symbol of Manx), to illustrate a trinity, religious or otherwise.

The first clear association of the shamrock with St. Patrick in Ireland comes in an account by an English traveller to Ireland, Thomas Dineley, who described in 1681 Irish people on St. Patrick’s Day wearing green on their clothes, including the shamrock. But the first account of St. Patrick’s use of the shamrock is not seen until 1726, when it appears in a work by Caleb Threlkeld, a botanist.

But what of the colour green? Surely that at least is authentically Irish? Well, it certainly has a longer pedigree. Dineley’s account in 1681 associates wearing green with the celebration of the feast day of St. Patrick’s, one of the three patron saints of Ireland3 (yet another trinity?). But the Catholic Confederacy of 1642-1652, an alliance of Gaelic chieftains with Norman-Irish aristocracy against the Reformation being imposed upon them, also flew a green flag, with a gold harp upon it.

The symbol of Ulster was the Red Hand from an ancient Irish myth of arrival but what was the backround? Both the O’Neills and O’Donnells, dominant clans of Ulster, have designs in red and blue against a white background. Only Leinster province has a design in green and yellow.

BLUE?

The colour of an old design for Meath is blue. There is an old heraldic design for Ireland of three crowns on a blue background and although this was the arms granted by Richard II of England to Robert de Vere as Lord of Ireland in 13864, over two centuries after the Norman invasion, it may have drawn on the colour of an existing Irish flag or design.

The Wikipedia page on the Coat of arms of Ireland, although commenting that heraldry is a feudal practice suggests an older inspiration:

The colour of the field is sometimes called ‘St. Patrick’s blue’, a name applied to shades of blue associated with Ireland. In current designs, used by the UK and Irish states (sic), the field is invariably a deep blue. The use of blue in the arms has been associated with Gormfhlaith, a Gaelic mythological personification of Ireland. The word Gormfhlaith is a compound of the Irish words gorm (“blue”) and flaith (“sovereign”); it is noted in early Irish texts as the name of several queens closely connected with dynastic politics in the 10th and 11th century Ireland. The National Library of Ireland, in describing the blue background of the arms, notes that in early Irish mythology the sovereignty of Ireland (Irish: Flaitheas Éireann) was represented by a woman often dressed in a blue robe.”

The designers of the Cumann na mBan flag may have been aware of the ancient claim of the colour blue when they made that the background colour of their own flag; Markievicz and Hobson would even more likely have been aware of it as well as the alleged flag of the legendary band of warriors, blue with an orange, golden or silver sunburst, when they made that the flag of the Republican Youth organisation they founded, Na Fianna Éireann.

THE GREEN FLAG

But what about the United Irishmen’s flag of green, with a golden harp? When talking about the United Irishmen we need to remember from where they received their ideological influences. These were mostly from radical and republican thinkers and agitators in Britain, the USA and France. The United Irishmen organisation was founded by Anglicans and Presbyterians, mostly colonists and settlers or their descendants and most of their leadership in the uprisings of 1798 and 18035 came from from among that section of Irish society. That goes a long way to explaining why most of the revolutionary texts of the time are in the English language, in a country where the majority even then still spoke Irish and with a rich literary and oral tradition in the Irish language.

United Irishmen harp motif with motto.
(Photo sourced at Internet)

There is a historical trend among colonists to feel disadvantaged with regard to their compatriots back in “the mother country”, to resent levels of taxation, to complain of inadequate representation and of corrupt or inefficient government. This occurred in English-speaking America and led to the American Revolution and the creation of the United States. It also occurred in the other America, where the Spanish-speaking colones developed conflicts with the Spanish Kingdom and eventually rose in rebellion against it across South and Central America, eventually gaining independence for a number of states.

A similar process was taking place in Ireland, where the disaffected who belonged to the established church, the Anglican or Church of Ireland, understood that to create a strong autonomous nation, even as part of the English-ruled unity of nations, they would need to bring into government the greater majority, the Presbyterians6 and even the overwhelming majority, the Catholics (i.e the native Irish).

Henry Grattan attempted this by trying to get the excluded denominations admitted to the Irish Parliament but Crown bribery, sectarianism or fear of having to return lands grabbed by their grandparents or others, combined to have a majority vote the proposals down. That ensured that the organisers of the United Irishmen realised that no progress to their objectives was possible without revolution.

Irish nationalists among the descendants of colonists often adopted Irish symbols and some other Irish identifiers as a sign of difference from the English. There was some interest in the Irish language but it does not appear to have been widely studied by most Irish Republicans of the time as witnessed by the incorrect appellation of “Erin” for Ireland – any Irish-speaker would know that Éire is the nominative form for the country and ‘Éireann’ is employed in the genitive and dative cases. United Irishmen were involved in organising the Belfast Harp Festival of 1792, while folk-song collectors and antiquarians dug among the people and archives for survivals of an older Irish culture.

The Harp, an ancient Irish musical instrument employed also to accompany poetry recitation was employed as a symbol by the Unitedmen — often with the motto “ ‘Tis new-strung and shall be heard”. In addition, the English had long recognised the instrument as a symbol for Ireland, albeit under the Crown.

THE COLOUR GREEN

But where did the colour green come from to be associated with Irish nationalism? This question could do with more research than I have the time or other facilities to devote to it but one may comment what green is not: it is neither the Red of Royal England nor the Blue of Royal France. Nor is it the red with a white salterre of the Order of St. Patrick, another colonial creation and clearly of Royal and colonial origin and patronage, created at the time of a bubbling of the nationalist pot in Ireland and only sixteen years before the 1798 Uprising.

Interestingly, the Irish Brigade (1688–1791) of the French Army did include the colour green in its flag design, four quarters alternately green and red, with a crown in each. And the standard of Napoleon’s La Légion Irlandaise in 1841is described as of “emerald green”.

Regimental colours of one of the irish Regiments of the French Royal Amy, De Berwick, until 1791. (Photo sourced at Flags of Ireland — see Further Reading for link)

 

William Drennan (1754–5 February 1820), United Irishman, is credited with first use of the description “Emerald Isle” in his poem When Erin First Rose and it was much later re-used in the ballad Bold Robert Emmet. John Sheils, a Drogheda Presbyterian and United Irishman, employed the harp, the colour green, St. Patrick, Erin (sic) and the shamrock all in his song The Rights of Man, which he composed some years prior to the 1798 Rising. The “three-leaved plant” which is “three in one” is used in Sheils’ song

to prove its unity in that community

that holds with impunity to the Rights of Man”

The trinity there is clearly the political one desired by the Unitedmen of Protestant (Anglican), Catholic and Dissenter (Presbyterian and other sects).

Green was widely worn by people with United Irish sympathies and particularly during repression by Orange militia, people wearing green were targeted. However, if one wanted to wear a suspect nationalist colour, how safer than to do so than on the feast day of the alleged founder of Christianity in Ireland and acknowledged by Protestant, Sects and Catholics alike?

From the United Irishmen onwards, green has been unarguably associated with Irish nationalism and Irish Republicanism, in the flags of the Fenians, the Irish Volunteers and even of the Irish Citizen Army, also part of the tricolour flag awarded to the Young Irelanders which is now the national flag of the Irish state. Green was also the colourof the St. Patrick’s Battallion that fought for Mexico against the invasion by the USA (1846-’48) and of ceremonial uniforms of some Irish formations during the American Civil War and the main colour of some of their regimental flags, also of the flags of the Fenian veterans of that war invading Canada in 1866.

Flag of the Irish Brigade (later the Fighting 69th) in the Union Army, American Civil War.
(Photo sourced at Internet)

Does it matter whether green is authentically an ancient Irish colour or not? Would Irish Republicanism or nationalism be de-legitimised if it could be proven the colour they are using was of dubious origin or of comparatively recent political significance for Ireland? I don’t think so. But it is good to be aware of the different origins of symbols and to question and even challenge what is handed to us as unquestionably authentic.

However, enough people have now fought under the green in eight uprisings in Ireland and struggles abroad; enough people have laid down their lives under the colour and indeed, once it became a symbol of Irishness, enough Irish have been persecuted, prosecuted and even executed for wearing it, to ensure that “wherever green is worn” can be Irish. And in that representation, the shamrock too, which of course happens to be green, and could be passed off as a devotional symbol to suspicious authorities and murderously insecure and sectarian minorities of colonial origin, has its place.

Painting depicting the Battle of Ridgeway, Fenian invasion of Canada, 1866. (Photo sourced at Wikipedia)

The Wearing o’ the Green

(by John Keegan “Leo” Casey (1846 – March 17, 1870). Keegan, known as the Poet of the Fenians, was an Irish poet, orator and republican who was famous for authorship of this song, apparently written when he was 15 and also as the writer of the song “The Rising of the Moon” (to the same air), also as one of the central figures in the Fenian Rising of 1867. He was imprisoned by the English and by a huge irony died on St. Patrick’s Day in 1870 at the age of 24).

O Paddy dear, and did ye hear the news that’s goin’ round?

The shamrock is by law forbid to grow on Irish ground!

No more Saint Patrick’s Day we’ll keep, his colour can’t be seen

For there’s a cruel law ag’in the Wearin’ o’ the Green.”

I met with Napper Tandy7, and he took me by the hand

And he said, “How’s poor old Ireland, and how does she stand?”

“She’s the most distressful country that ever yet was seen

For they’re hanging men and women there for the Wearin’ o’ the Green.”

So if the colour we must wear be England’s cruel red

Let it remind us of the blood that Irishmen have shed

And pull the shamrock from your hat, and throw it on the sod

But never fear, ’twill take root there, though underfoot ’tis trod.

When laws can stop the blades of grass from growin’ as they grow

And when the leaves in summer-time their colour dare not show

Then I will change the colour too I wear in my caubeen

But till that day, please God, I’ll stick to the Wearin’ o’ the Green.

But if, at last, her colours should be torn from Ireland’s heart

Her sons, with shame and sorrow, from the dear old soil will part;

I’ve heard whispers of a Country that lies far beyond the sea,

Where rich and poor stand equal, in the light of Freedom’s day!

O Erin! must we leave you driven by the tyrant’s hand!

Must we ask a Mother’s blessing, in a strange but happy land,

Where the cruel Cross of England’s thralldom’s never to be seen:

But where, thank God! we’ll live and die, still Wearing of the Green!

End.

John ‘Leo’ Keegan Casey monument, Glasnevin Cemetery, Dublin (Photo sourced at Wikipedia)

FURTHER READING

An undated interesting article about the origins of Irish national symbols (also giving a list of additional reading) http://www.gov.ie/en/essays/symbols.html

https://en.wikipedia.org/wiki/List_of_flags_of_Ireland

https://en.wikipedia.org/wiki/Coat_of_arms_of_Ireland

Reference to colour green in the standard of Napoleon’s Irish unit La Légion Irlandaise http://www.irishtimes.com/culture/heritage/enlisting-for-my-enemy-s-enemy-1.1779145

and in some uniforms and flags of Irish formations in the Union Army in the American Civil War https://www.abebooks.com/book-search/title/new-yorks-fighting-sixty-ninth-regimental/author/john-mahon/ and

https://www.amazon.com/Rising-Moon-Peter-Berresford-Ellis/dp/0312006764

https://en.wikipedia.org/wiki/Shamrock

About Leo Casey http://www.irishidentity.com/extras/gaels/stories/leocasey.htm

FOOTNOTES

1A consortium of Iberia, Vueling and ironically, British Airways.

2Nor indeed other cultures such as the Hindi or the classical Greeks

3Sts. Patrick, Bridget and Columcille

4It continued in use until 1541

5 And even many of the leaders, journalists and poets of the Young Irelanders and of the Fenians.

6And other “Dissenters” such as Unitarians, Methodists, Society of Friends (Quakers) etc.

7Napper Tandy was a United Irishman who lived in Dublin; his home is mentioned in the most common versions of the well-known Dublin song, The Spanish Lady.

A VERBAL HANGING IN DUBLIN’S THOMAS STREET

Clive Sulish

While eastbound drivers in Thomas Street on Friday 3rd March gawped, traffic slowed in the westbound lane to allow az small procession pushing a gallows, trundling along on wheels. There were surprisingly few witty comments, even the notoriously quick Dubliners too surprised to come up with a witty bon mot (or even a focal maith).

Diarmuid Breatnach outside St. Catherine’s Church, Thomas Street.
(Photo: /////)

The procession stopped at the Robert Emmet plaque, in the railing wall of the former Protestant St. Catherine’s Church, approximate place of execution of Robert Emmet on 20th December 1803.

Elayne Harrington, aka Temperamental MiscElaynous performing her piece outside St. Catherine’s Church, Thomas Street.
(Photo: D.Breatnach)

Despite continuous rain a small crowd had gathered on the pavement in front of the monument and the gallows, with a small platform less than a foot high, was placed facing them. Dublin artist Elayne Harrington, also known as the well-established street poet/ rapper artist from Finglas, Temperamental MiscElayneous, stood on the platform to announce that the event was to honour Robert Emmet and was a project as part of the Liberties Street Project, a continuation of the IPIP (In Public In Particular) program at the National College of Art and Design, Thomas Street, Dublin 8.

Harrington thanked people for attending despite the weather and, after outlining the program for the event, announced Diarmuid Breatnach, who took up position with the gallows and hanging noose just behind him.

Breatnach is best known as a co-founder of the Save Moore Street From Demolition campaign, maintaining a campaign table with a petition and leaflets on the market street for a few hours every Saturday but is also known as an acapella singer, particularly in Dublin traditional-folk circles.

Section of the crowd at the event outside St. Catherine’s Church, Thomas Street.
(Photo: D.Breatnach)

After thanking MiscElayneous for the invitation and the crowd for attendance, Breatnach proceeded to reiterate that the event was taking place very near the spot where, at the age of 25, Robert Emmet had been hung and then decapitated by the British colonial administration in 1803.

Harrington reminded him to stand on the low platform which Breatnach did, drawing a laugh from the crowd when he indicated the hanging noose and commented: “Me Ma always said I’d end up like this.”

Breatnach asked the audience to imagine the scene of the execution in 1803 and referred them to a painting of the scene available on the Internet, showing a huge crowd, with people looking out of windows in nearby buildings and mounted redcoats keeping the crowd back from the gallows. Many of in the crowd would have been supporters but the better-known would not have been there – they were in jail or in hiding.

The execution was carried out there, Breatnach said, because the whole Thomas Street and Liberties was known as a revolutionary area, which Breatnach went on to describe (see video below).

Elayne Harrington, aka Temperamental MiscElaynous performing her piece outside Stl Catherine’s Church, Thomas Street.
(Photo: D.Breatnach)

Executions, said Breatnach, have been carried out down through the ages on Irish people resisting invasion, colonialism and imperialism and fighting for social justice. The gallows have become an enduring image in Irish history and a number of songs (Breatnach mentioned ten from the 19th century up to the present) refer to it.

The state we have now, said Breatnach, set up in 1922, preferred shooting, which was the method by which it eliminated its opponents at the time, 81 of them in official executions. Hanging remained however in this state but the last execution was in 1954.

Breatnach stated that we are often taught history as a dead subject, something in the past to which we are largely unrelated but he believed history to be a living thing, in the stones of walls and streets, in the air and in the words people have left us. And in our songs.

Breatnach selected three songs that mentioned Robert Emmet: The Three Flowers, written early last Century by Norman G. Reddin (two verses); Bold Robert Emmet perhaps by Tom Maguire around 1916 but certainly published in 1934; and Anne Devlin in recent decades by Pete St. John. Breatnach sang the three songs one after the other with MiscElayneous accompanying on her bodhrán.

Diarmuid Breatnach outside St. Catherine’s Church, Thomas Street, talking about the radical revolutionary history of the area.
(Photo: ////)

During the applause which greeted the end of Breatnach’s performance, Elayne Harrington replaced him on the stage, thanked him and introduced herself as Temperamental Miscellaneous and spoke about her contribution, which was to be an extract of Emmet’s famous speech from the dock in the Green Street Courthouse, but re-worked into more modern Dublin idiom. Harrington then launched into a spirited rendition of her piece (see video below for the full performance).

No matter what words I utter, it’ll fail to change your mind and I wouldn’t have it any other way. You’ve made me a bed and I’ll lie in it. ………….

There’s plenty I could tell why my reputation should be kept clean from the utter lies and slander which’ve been lashed upon it. ……………

I wouldn’t dream that I could impress upon a court as trapped in its own self and corrupted, a fair impression of my character. …………………….

If merely dying was the case, after being deemed in the wrong and you in the right I’d take it on the chin and I wouldn’t breathe a word but that same law that not only wants to get rid of me also aims at filthying my name and sullying the memory of me. ……………..

In the hope that my memory won’t fade and that it might retain its honour among my brothers and sisters, I’ll stand up for myself and my integrity and weaken those charges against me. ……………

…. our cloths are entwined, mine and the martyred heroes of the gallows and battlefield, consecrated by sacrifice … for protection and guardianship of their homestead and their righteousness. ………..

This is what I hope: for my memory and name to serve those who live on by it being a source of empowerment …. witness the malignant malicious government that gains its false riches through sin alone, that treats a people as wolves to be domesticated and blooded to the taste of their fellows, to dance to their tune and to the death knell ……………..

Concluding the event, Harrington thanked the attendance and invited them to place small pots of growing flowers she had provided in front of the monument, which they did.

Stablising the scaffold outside St. Catherine’s Church, Thomas Street.
(Photo: D.Breatnach)

WHY THE EVENT?

What had led Elayne Harrington to choose this act as part of her course?

“I was interested in Robert Emmet and his uprising ever since I heard a Dublin tour guide dismiss Robert Emmet while briefly mentioning his uprising”, explained the rapper from Finglas.

“I came to think that although Emmet failed in his objective, he had attempted a brave and good thing and his speech was really impressive. His uprising attempt took place in the area where my college is and he was executed just down the road, so that’s how I came to think of this event.

“I’m thankful to my course tutor and fellow students for supporting me in this act and to another tutor who helped me with the construction of the gallows. I am grateful to Diarmuid Breatnach also, who has been very supportive and contributed to the performance and I was really glad that my Da was able to be here and help today too.”

Why did Harrington call this “the first of the verbal execution series”?

“I see this as an event that can be brought to other places – like the gallows I built, it is transportable” she says with a grin but then turns serious. “The performances can be adapted also to other occasions of which Irish history is full.”

We’ll be watching this space!

Elayne Harrington and section of audience outside St. Catherine’s Church, Thomas Street, looking eastward (in the direction of Dublin Castle, ten minute’s walk away).
(Photo: D.Breatnach)

VIDEO OF EVENT

(complete event outside St. Catherine’s)

https://www.youtube.com/watch?v=wJmb553yKf8