Essay on ‘Making History’ by Brian Friel.

Although the monarchs ruled the same way, and had the same views all of them had

As Red Hugh is growing up and being raised to be the next king Ireland, he shows noble qualities. He proves his noble qualities by proving that he is very brave, smart and charming. Also in the palace when the elders are around and he keeps his chores up and his mother and father are very happy with him and he was glad he was their son.

It was at this juncture, when the play takes place, that Britain began to make deeper inroads to Irish society and culture. An attempt to colonise the mind and the people as opposed to conquering land through brute force. Translations is Friel’s vehicle for representing methods central to the colonial discourse of Imperialist aspirations. In the foreground of the play

The beginning of this chapter mainly demonstrates the idea of shame towards one's response to change. By using a regretful tone, O'Brien is able to convey the reader to believe that he feels shame and embarrassment towards his actions that are revealed later in the chapter.

Chavez uses the “Latino Threat Narrative” to compare the Hispanics to the “German language threat, the Catholic threat, the Chinese and Japanese language threat, and the southern and eastern European threats.” He suggests that “each was pervasive and defined “truths” about the threat posed by immigrants that, in hindsight, were unjustified or never materialized in the long run of history.” Chavez was trying to explain that the Hispanic would pattern these other threats by upsetting the America people. He states that “… the Latino Threat Narrative is part of a grand tradition of alarmist discourse about immigrants and their perceived negative impacts on society.”

Additionally, Limerick lays forth a challenge to the “cheerful remarks about how the understanding of history will help us to understand ourselves and to cope with the dilemmas we have inherited from the past” (412); this challenge is to find out what. By remembering these stories in their full intensity and completeness, what do we gain besides a revival and restoration of the misery? The following paragraphs will clarify what is missing in much of our history and why it is a problem; they will also address the challenge put forth of what we can possibly learn

Arden of Faversham, an anonymous play thought to be a collaboration between prominent Early Modern playwrights, is based on Hollinshed’s account of “a gentleman named Arden most cruelly murdered and slain by the procurement of his own wife” in Chronicles of England, Scotland and Ireland (Arden, “Appendix” 113). Even though Hollinshed is giving an account of what happened thirty years ago, in a society so concerned with possession of land, by using familiar tropes such as class anxiety and social climbing, correspondences of trade and exchange, patrilineal pressures, premonitory dreams, and the poison and knife as murder weapons, the domestic tragedy successfully displays the politics of domestic space, infidelity, ownership and male same-sex

Book March three is about making history. On how some people were willing to do anything to get their right for everyone? It also about bringing people together to end measly to say it wasn’t an easy task .March book three details the racisms and how people dealt with-it.

Henry is immersed in self-pity and incapable of being "appeased," content to dwell in his malaise. The structure of the lines and stanzas also heighten the effect of the sulking. The effect created by the meter in first two lines is analogous to experiencing the whine of a demanding child (e.g. "You can't make me!" or "I don't wanna!"). The brevity and simplicity of his convictions also suggest that he is firmly rooted in his sulky disposition and will not easily be swayed otherwise. However, the speaker sympathizes with Henry and understands his resentment, but also recognizes that "talking" about and resolving the matter would be the best, most mature course, but there is no resolution. Author Lewis Hyde states, in regard to the childish tone:

Context: While the regiment is in the battle, Henry gives into his fears. He thinks

Henry’s speech before the siege of Harfleur in Shakespeare’s rendition as full of references to heroics and bravery. The exact opposite of Owen’s poem. This bravery is particularly shown in the line, “show us here, the mettle of your pasture.” It sparks the men’s anger at his doubt of their skill and riles

A historian’s job is to shine a spotlight on the past in a manner that presents a whole and proper picture that includes all facets. The accurate narratives will not appeal to everyone all the time, which is an issue that will not be overcome. History is frequently a messy ordeal, not often a heroic tale of patriotism. It is the responsibility of a historian to tell the tale as it actually happened, be it the ruthlessness of Columbus, the horrors of colonialism, or the atrocities committed during the world wars. One outcome of a historian’s presentation is leaving it up to the audience to draw their own conclusion from the information

History is one subject that most people choose to believe blindly and not question. We learn from textbooks the proclaimed “truth” of the whole world. As said by Winston Churchill, a British politician and Prime Minister who led Britain to victory during WW2, “History is written by the victors” (“Winston Churchill Quotes”). He is suggesting that history is not always exact and that it is possible that history cannot be necessarily trusted. The novels The Demon King by Cinda Williams Chima and A Court of Mist and Fury by Sarah J Maas use their essential episodes, dialogue, and characters to epitomize the theme that history is written by the victors.

The History Manifesto, the ‘rallying cry’ for the historical field, drew attention to what ought to have been the methodology and research method of choice. This reanalysis of such a fundamental aspect of history came, contrary to the overt argument of Jo Guldi and David Armitage as a result of increasing global concerns and short-term thinking of professionals worldwide, but rather in part to the increased use of digital technology and media in scholarly work. The History Manifesto called for a return to the longue-duree in historical work, as a supposed superior historical method over that of the short-term. Further, the manifesto’s call for increased digital media use ignored the fundamental problems associated with the use of digital technology

Friel uses the characters of O'Neill and Mabel as microcosms to portray the conflict of the two during the sixteenth century. In Act 1 Hugh O’Neill is portrayed as a formidable and influential character; towards the end we see that he is no longer the man Friel presented him to be, he is torn between the Gaelic civilisation and the British. For example he displays his divided identity and seeks recognition from the other characters within the play of which country he should be loyal to. We can see this through his utterance to Mabel in Act 2, "Which hand should I grasp?”. This suggests that he is not assertive and the division in his identity is a prominent part of his life.