It seems that history is to blame Essay Example

it into 'history proper' and the 'essential' literary aspect. He perceived the connection between literature and politics as an undesirable merging, infecting the authenticity of history with romanticism. Regrettably, his own perspective was impaired by his absence of objective facts. Nonetheless, his writings signaled the changing approach to history in Ireland starting from 1938 when the Irish Historical Studies journal was published.

According to the text, it was mentioned that the journal must be a continuous and thorough investigation in search of the truth about the past. Starting from 1960, this "historiographical revolution" began to be implemented in Irish schools by revising the history curriculum and changing the textbooks that were previously written from a nationalist perspective. Friel and McGuinness observed this shift in the portrayal of Irish history, and Making History itself reflects the kind of historical writing that O'Brien disagreed with. Both Making History and Translations display the conflicting nature of Irish History.

Hugh O'Neill is initially portrayed as someone who is familiar with the customs of the English court and speaks in a sophisticated manner. He is a man who enjoys leisurely activities such as flower arranging and appears to be oblivious to the business matters being presented to him. Despite being raised in the English court, O'Neill also takes on the role of a Gaelic chieftain, which creates a paradox. Interestingly, O'Neill is the only character who acknowledges this contradiction, questioning which side he should align himself with and how it will impact the course of history. He ponders which choice would be preferred by future historians in order to compose an acceptable narrative. O'Neill's recognition of this duality mirrors the overall complexity

of Irish history.

O'Neill, as a member of the Protestant, English court, is also the leader of the Gaelic chieftains. He is a Catholic Irishman married to a Protestant 'Upstart' and a prominent Irish politician who has an 'Old English' secretary. O'Neill's historical significance lies in the numerous cultural and political contradictions he embodies. He is fully aware of the impact his choices will have on history and how they will be interpreted by historians.

The play highlights the role of historians in shaping history rather than the individual characters. O'Neill, specifically, brings attention to the ironies of his position by discussing these discrepancies. The reversal of stereotypes concerning characters' positions and opinions is a recurring theme. This political contrast is also evident in Translations through the mention of O'Donnell, who, as a leading Catholic exponent of Irish Nationalism, surprisingly suggests that the old language hinders modern progress.

There is a juxtaposition between the audience's expectations of the characters and their actual views. Yolland and Owen's stances on the future of the Irish language contradict what one would anticipate. Interestingly, it is the English army officer who takes a romantic perspective and advocates for preserving the Irish language. He sees its erosion as a form of eviction. On the other hand, Hugh, Maire, and Owen all oppose this viewpoint, either dismissing the importance of their language or perceiving it as a constraint on their lives.

Maire understands that English is the language vital for trade and modernity, which she must learn in order to support her family. Interestingly, it is the Irish who can see past the romance and recognize the practical realities they face. Sometimes, a civilization can

be confined within a linguistic framework that no longer aligns with the truth. (43) History serves as a crucial connection to a nation's cultural identity. In 'Observe the Sons' and Translations, this connection is evident through language.

The conversation between Anderson and McIlwaine comes to an end with the phrase, 'Who gives a Fenian's curse? (44) The animosity of the 'Ulster boys' towards the Catholic 'Fenians' has become deeply ingrained in their everyday language. Language, particularly due to the historical roots of the Irish language, can be wielded as a weapon or perceived as such. McGuinness humorously portrays this idea by suggesting that the 'sons of Ulster' believe the Germans would learn Irish in order to insult them, stating, 'Fenians, Gaelic speakers. They get everywhere. Even in the German army.'(64) This demonstrates how the Irish are categorized based on their language.

In the view of Pyper and McIlwaine, an insult in German is not as severe as an insult in Irish. This humorous portrayal emphasizes the importance of language and its historical connections within their belief system. The history of the Irish language and its implications for both Protestants and Catholics have become closely linked to their cultural identity and strong belief in the superiority of their ideology. Surprisingly, Yolland values preserving the language's history more than any of the Irish characters do in Translations.

Hugh argues that words are temporary, not immortal (43). This idea is exemplified by the naming of the crossroads at Tobair Vree. Hugh questions the significance of keeping reverence for a man whose name has been forgotten and whose story is trivial and unknown to the parish (44). The issue of representing history

concerns not only whether it should be remembered accurately but also if it's even important to remember it. In the broader context of Irish history, the memory of a man who drowned in a well may not hold much significance.

Furthermore, the actual act of naming the crossroads may not be the most important aspect; instead, it is the existence of the story and its ability to be recounted that matters. Friel explores whether it is the story or the truth that should be preserved. People may claim to desire factual information, but what they truly want is a narrative (8).

The tradition of storytelling and oral history, while not always accurate for historians, still offers important information about the past. Although biased, this history can provide insights into the contemporary perspectives of individuals and historians at that time. The element of storytelling allows for various interpretations of history, which can be used for different purposes. In Making History, the irony of multiple interpretations is highlighted through the presentation and comparison of different points of view.

Both O'Donnell and Mabel refer to Henry Bagenal in negative terms, with O'Donnell calling him 'Butcher Bagenal' (14) and Mabel stating that 'Henry calls him Butcher O'Donnell;' (17). Despite their opposing viewpoints, both sides share similar stories. Mabel falls into the trap of believing stereotypes, as she goes so far as to check her hand to see if it has turned black after shaking hands with an Archbishop. This event mirrors Pyper's tale about the three-legged Papist whore. The fact that both Mabel and Moore believe these stories, to some extent, highlights the dangers of spreading false narratives.

The stories perpetuate stereotypes

about both sides, fostering fear and superstition, and causing a harmful division among people who actually share many fundamental societal beliefs. This division is based on falsehoods. Various events in Irish history can be twisted or interpreted to support the agendas of both factions. Mary argues that her father, who was a colonialist, successfully subdued the ignorant Irish population and established order.

Mabel possesses an understanding of the nationalist perspective, specifically the Irish viewpoint. It is my belief that our grandfather's expulsion of the Cistercian monks from their monastery in Newry and subsequent transformation into our home was not seen as a civilizing force by them. These events are exploited for propaganda purposes by both sides, as historians have the ability to manipulate historical "truths" to suit their own agendas. Ultimately, it is the audience who determines what is presented as the "absolute truth." The depiction of Hugh O'Neill's life can vary depending on different individuals and time periods, influenced by their needs, demands, and expectations. What do people want to hear? How do they prefer his story to be told? Lombard argues that historians and historical figures are subservient to the desires of the audience, with truth taking a backseat. Lombard justifies his liberal interpretation by claiming it aligns with popular preferences, yet provides no explanation on how he arrived at this "fact." Furthermore, Lombard implies having control over which narrative of Hugh's life readers are allowed access to. Ironically enough, Hugh himself opposes this excessively idealized portrayal of his own life.

Similarly, in 'Observe the sons of Ulster' the audience is presented with conflicting views of the same events, however, on this occasion the

contradictory stories come from the same side. The discussions over Pearce, 'the boy who took over a post office because he was short of a few stamps.' (64) Yet immediately juxtaposed is the view that Pearce was 'a bastard [who] shot down our men until he got what he was looking for.' (64) Even the negative, accusatory stories of the situation are opposing. Was he a Fenian or a soldier? Did he plan it? Did his mother shoot him? To hell with the truth as long as it rhymes.' (65)

McIlwaine even admits that Roulston 'invented' the best bits of the story, yet it is still told and the soldiers still accept it. When faced with a story they feel comfortable with, a palatable history, a story that justifies their hatred and serves their needs, it becomes acceptable. Lombard's views on the recording of history are true; people find it difficult to accept a story that upsets their beliefs. A view supported by Cruise O'Brien who, Compelled people to make uncomfortable reappraisals of emotions osily and lazily cherished, he incurred considerable personal and political hostility. 8 The most difficult story to believe, or write accurately, is one which goes against that which we have taken to be 'absolute truth' and based our ideologies upon.

'But are truth and falsity the proper criteria?' (8) The plays Making History and Observe the Sons of Ulster both emphasize the importance of accurately recording history. In the beginning of the play, Pyper suggests, 'You are the creator, invent such details as suit your purpose best.' (9) The power lies in the hands of historians and the audience rather than in the

actual events themselves. It is impossible to verify whether Pyper's narratives about past events are true or false. However, what matters is understanding why he chooses to recount these stories. Pyper employs his narratives to critique his companions' stereotypical beliefs. He exploits their inclination to believe him and manipulates how a story can potentially cause harm. By portraying the horrors of war, Pyper illustrates that it is within the historian's ability as 'the creator' to impose order upon it.

The past is beyond description or recreation, according to Fenians who claim Cuchullian as their ancestor while acknowledging his belonging to others. Various versions of history will always coexist, each claiming divine favor. These different interpretations may be deemed acceptable; nevertheless, there remains a necessity to rationalize the past for comprehension purposes, even if this results in the distortion of factual events. The dispute between O'Neill and Lombard epitomizes the argument regarding whether truth or falsehood should serve as the proper criteria for historical representation—a debate where both sides hold equal validity.

Questioning whether truth alone holds utmost importance might raise eyebrows. In due time, imagination could potentially rival information in significance. This perspective permeates throughout the play, rendering O'Neill incapable of coherent expression and reducing him to a trembling wreck. O'Neill's quest for truth stems from his fear that Lombard will immortalize him through an embellished falsehood. Hugh's yearning for truth is driven by personal motives, placing less emphasis on how this "florid lie" would impact believers and its consequential effects but rather focusing on his own individual presentation.

Hugh does not want to be a martyr or have his body preserved. He desires his history to be

accurately portrayed, emphasizing the importance of truth. He continuously emphasizes this word. He wants both Mabel and himself to know the truth, rather than a version of truth that is deemed acceptable by the Irish nation. O'Neill has been used and exploited by both history and historians, resulting in the loss of his individual significance. Both plays also illustrate how history and its presentation are responsible for the perpetuation of deep-seated grievances. The quote "History has to be made - before it's remade" (9) highlights the necessity of examining the individuals responsible for creating history.

Hugh highlights the paradoxical fact that he and Henry Bagenal once fought together, a detail that our annalists chose to ignore. It raises doubt about whether we should rely on historians. (27) Eventually, Hugh comes to the realization that historians, as well as figures like Lombard who claims not to be a historian but still writes "The History of Hugh O'Neill," cannot be trusted. However, even though Hugh loses faith in their reliability, he still wants his history to be documented. Unfortunately, his determination to have it portrayed truthfully weakens and ultimately crumbles by the end of the play.

Hugh comes to understand that his struggle against the inevitable progression of history is pointless. He is constantly mindful of how he will be remembered by future generations, and this governs his life. Lombard is crafting a historical account tailored to a nationalist readership, thus excluding those who do not identify as nationalists. In doing so, he asserts his ownership over a specific period of time. Lombard acknowledges that certain elements of history are untouchable, despite his efforts to shape the narrative.

Lombard's

perspective on history allows for the molding of objective facts, despite the potential consequences of tampering with the truth. According to Pyper, history is essentially invention, with the historian serving as the inventor. However, shaping events in the war ultimately results in elements of falsehood. The impact of the past on the future knows no bounds. In 'Observe the Sons of Ulster,' the Ulster Unionists play a significant role in the war, yet are deemed as inferior by saying, 'But we're the scum of it.'

It is important to recognize that England owes a significant debt to Ireland because of the large number of Ulster boys who lost their lives. It is crucial for future events and agreements to be based on truth in order to prevent undermining them later on. The sons of Ulster will rise and conquer their enemy, just as they did at the Boyne and Somme battles. However, it is essential to acknowledge that the truth is that the "sons of Ulster" were actually killed at the Somme. History's inconsistencies arise from remembrance being history's main ritual.

Owen is the only one who recalls the story of Tobair Vree in Translations. However, Hugh believes that remembering everything is a form of madness (67), and the play ends with Hugh's forgetfulness. Pyper echoes this perspective, asking if the intention was for us to keep seeing ghosts and suggesting that the horrors have driven us mad (9). Ghosts represent memories of history, and focusing only on these memories would lead to madness. "Observe the Sons of Ulster" begins with Remembrance, highlighting its importance. Remembering events is essential in order to learn from them.

The irony of

the ritual is that one may learn from inaccurately represented information and base beliefs on the accounts of historians like Lombard. The three plays I have examined all show the danger of unquestioningly believing in history. The 'sons of Ulster' mistakenly trust that they are 'God's chosen' and will always succeed like they did at the Boyne. The inhabitants of Baile Baeg believe that there will never be potato blight because of St.'s prophecy.

The text suggests that history should not be accepted at face value as it is always influenced by the agenda of the historian. The way individuals are portrayed in history diminishes their significance. Colmcile's quote, 'The spuds will bloom in Baile Baeg/ till rabbits grow an extra lug,' emphasizes this idea. Personal names like Pyper, Roulston Moore, and even Hugh O'Neill are reduced to being known as 'the sons of Ulster' or 'The O'Neill,' disregarding their individuality. Additionally, place names are translated and the culture and language associated with them are forgotten. Hence, the representation of history only focuses on useful and convenient facts, which eliminates the possibility of discovering absolute truths.