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York Notes on Making History (York Notes Advanced) by Brian Friel ( 2006 ) Paperback
The central character of this play is Hugh O'Neill, Earl of Tyrone, who led an Irish and Spanish alliance against the armies of Elizabeth I in an attempt to drive the English out of Ireland. The action takes place before and after the Battle of Kinsale, at which the alliance was with O'Neill at home in Dungannon, as a fugitive in the mountains, and finally exiled in Rome. In his handling of this momentous episode Brian Friel has avoided the conventions of 'historical drama' to produce a play about history, the continuing process.
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First published January 9, 1989
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About the author
Brian Friel
124 books137 followersBrian Friel is a playwright and, more recently, director of his own works from Ireland who now resides in County Donegal.
Friel was born in Omagh County Tyrone, the son of Patrick "Paddy" Friel, a primary school teacher and later a borough councillor in Derry, and Mary McLoone, postmistress of Glenties, County Donegal (Ulf Dantanus provides the most detail regarding Friel's parents and grandparents, see Books below). He received his education at St. Columb's College in Derry and the seminary at St. Patrick's College, Maynooth (1945-48) from which he received his B.A., then he received his teacher's training at St. Mary's Training College in Belfast, 1949-50. He married Anne Morrison in 1954, with whom he has four daughters and one son; they remain married. From 1950 until 1960, he worked as a Maths teacher in the Derry primary and intermediate school system, until taking leave in 1960 to live off his savings and pursue a career as writer. In 1966, the Friels moved from 13 Malborough Street, Derry to Muff, County Donegal, eventually settling outside Greencastle, County Donegal.
He was appointed to the Irish Senate in 1987 and served through 1989. In 1989, BBC Radio launched a "Brian Friel Season", a series devoted a six-play season to his work, the first living playwright to be so distinguished. In 1999 (April-August), Friel's 70th birthday was celebrated in Dublin with the Friel Festival during which ten of his plays were staged or presented as dramatic readings throughout Dublin; in conjunction with the festival were a conference, National Library exhibition, film screenings, outreach programs, pre-show talks, and the launching of a special issue of The Irish University Review devoted to the playwright; in 1999, he also received a lifetime achievement award from the Irish Times.
On 22 January 2006 Friel was presented with a gold Torc by President Mary McAleese in recognition of the fact that the members of Aosdána have elected him a Saoi. Only five members of Aosdána can hold this honour at any one time and Friel joined fellow Saoithe Louis leBrocquy, Benedict Kiely (d. 2007), Seamus Heaney and Anthony Cronin. On acceptance of the gold Torc, Friel quipped, "I knew that being made a Saoi, really getting this award, is extreme unction; it is a final anointment--Aosdana's last rites."
In November 2008, Queen's University of Belfast announced its intention to build a new theatre complex and research center to be named The Brian Friel Theatre and Centre for Theatre Research.
Friel was born in Omagh County Tyrone, the son of Patrick "Paddy" Friel, a primary school teacher and later a borough councillor in Derry, and Mary McLoone, postmistress of Glenties, County Donegal (Ulf Dantanus provides the most detail regarding Friel's parents and grandparents, see Books below). He received his education at St. Columb's College in Derry and the seminary at St. Patrick's College, Maynooth (1945-48) from which he received his B.A., then he received his teacher's training at St. Mary's Training College in Belfast, 1949-50. He married Anne Morrison in 1954, with whom he has four daughters and one son; they remain married. From 1950 until 1960, he worked as a Maths teacher in the Derry primary and intermediate school system, until taking leave in 1960 to live off his savings and pursue a career as writer. In 1966, the Friels moved from 13 Malborough Street, Derry to Muff, County Donegal, eventually settling outside Greencastle, County Donegal.
He was appointed to the Irish Senate in 1987 and served through 1989. In 1989, BBC Radio launched a "Brian Friel Season", a series devoted a six-play season to his work, the first living playwright to be so distinguished. In 1999 (April-August), Friel's 70th birthday was celebrated in Dublin with the Friel Festival during which ten of his plays were staged or presented as dramatic readings throughout Dublin; in conjunction with the festival were a conference, National Library exhibition, film screenings, outreach programs, pre-show talks, and the launching of a special issue of The Irish University Review devoted to the playwright; in 1999, he also received a lifetime achievement award from the Irish Times.
On 22 January 2006 Friel was presented with a gold Torc by President Mary McAleese in recognition of the fact that the members of Aosdána have elected him a Saoi. Only five members of Aosdána can hold this honour at any one time and Friel joined fellow Saoithe Louis leBrocquy, Benedict Kiely (d. 2007), Seamus Heaney and Anthony Cronin. On acceptance of the gold Torc, Friel quipped, "I knew that being made a Saoi, really getting this award, is extreme unction; it is a final anointment--Aosdana's last rites."
In November 2008, Queen's University of Belfast announced its intention to build a new theatre complex and research center to be named The Brian Friel Theatre and Centre for Theatre Research.
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Displaying 1 - 26 of 26 reviews
February 22, 2025
didn’t expect to enjoy this so much as i was reading it for college but i was genuinely very gripped and taken by it
July 20, 2009
Awful. The worst play I have ever read/studied.
February 18, 2022
4.5 stars. no i did not almost cry at basically a historical fanfiction about hugh o' neill shut up.
October 8, 2025
terrible x
March 21, 2023
As we delve into the story of Hugh O'Neill and Mabel Bagenal in Brian Friel's play "Making History," we are confronted with the challenge of unravelling the truth behind the historical portrayal. Lombard's account paints a male-centric and nationalist view of history, leading to the question of who Mabel is and why her image is depicted in a way that does not align with her true character.
It is tempting to attribute Mabel's absence from history to her gender and unsuitability in a male-dominated political arena or her Anglo background. However, Friel's play aims to uncover the truth behind the omission. Instead of questioning the author's ability to uncover buried history, we must examine the message he conveys through this "historical" play.
Friel is explicit in his self-identification as a history-maker rather than a historian. Clues throughout the play, such as Mabel's death being inaccurately portrayed, suggest that what we see may not be genuine history, similar to Lombard's biased accounts. Therefore, we must ask, what is Friel attempting to express through this play?Precisely, what does Mabel symbolise?
Of course Mabel is the woman O’Neill loved, but what was behind his love? Through Mabel's characterisation as an intelligent and educated English-style Irish aristocrat, Friel suggests that she represents a more advanced civilisation. Her ambition to civilise Ireland with English culture, as seen in her conversation with Mary about spreading seeds from England, further reinforces this notion. Additionally, her comparison to Queen Elizabeth I through O'Neill's line in Act 1, scene 1, regarding the watch, symbolises her equality with the queen. In short, Mabel illustrates the potential for progress and modernisation, which is O’Neill really loves to see, and which is also Irish people fail to see.
Returning to the main character, Hugh O'Neill. If the previously deduction is valid, we can interpret his "sorry letter" to Queen Elizabeth I as a confession to Mabel. Through this, we can see that O'Neill's betrayal of the queen, Mabel, and progressive culture is due to his Irish allies' seduction in politics, symbolised by the mistresses in his personal life. Despite his awareness of the danger of embracing Irish patriotism over English civilisation, his emotions and loyalty to his people leave him with no other option. Ultimately, his attempt to portray himself as the only one who can unite Irish clans fails. His failure not only signified the failure of Irish people to embrace an advanced culture, or even a more moderate version of it - through the hybridity of Irish-born English-educated political elite Hugh O’Neill - but also the victory of over-simplified patriotic historiography represented by the work of Lombard which led to the opposite version of historical nihilism.
Broadly speaking, the tension between progressive and patriotic love is a recurring theme in Irish literature, as seen in the story of Dervorgilla, who believed that the English would bring a "good end" to Ireland. Through O'Neill's betrayal and regret for Mabel, Friel warns us of the danger of blind patriotic passion. Friel's desired outcome for Irish history is for Ireland to coexist and be civilised by modern civilisation, such as England. Only through this coexistence can the history of Ireland truly begin.
It is tempting to attribute Mabel's absence from history to her gender and unsuitability in a male-dominated political arena or her Anglo background. However, Friel's play aims to uncover the truth behind the omission. Instead of questioning the author's ability to uncover buried history, we must examine the message he conveys through this "historical" play.
Friel is explicit in his self-identification as a history-maker rather than a historian. Clues throughout the play, such as Mabel's death being inaccurately portrayed, suggest that what we see may not be genuine history, similar to Lombard's biased accounts. Therefore, we must ask, what is Friel attempting to express through this play?Precisely, what does Mabel symbolise?
Of course Mabel is the woman O’Neill loved, but what was behind his love? Through Mabel's characterisation as an intelligent and educated English-style Irish aristocrat, Friel suggests that she represents a more advanced civilisation. Her ambition to civilise Ireland with English culture, as seen in her conversation with Mary about spreading seeds from England, further reinforces this notion. Additionally, her comparison to Queen Elizabeth I through O'Neill's line in Act 1, scene 1, regarding the watch, symbolises her equality with the queen. In short, Mabel illustrates the potential for progress and modernisation, which is O’Neill really loves to see, and which is also Irish people fail to see.
Returning to the main character, Hugh O'Neill. If the previously deduction is valid, we can interpret his "sorry letter" to Queen Elizabeth I as a confession to Mabel. Through this, we can see that O'Neill's betrayal of the queen, Mabel, and progressive culture is due to his Irish allies' seduction in politics, symbolised by the mistresses in his personal life. Despite his awareness of the danger of embracing Irish patriotism over English civilisation, his emotions and loyalty to his people leave him with no other option. Ultimately, his attempt to portray himself as the only one who can unite Irish clans fails. His failure not only signified the failure of Irish people to embrace an advanced culture, or even a more moderate version of it - through the hybridity of Irish-born English-educated political elite Hugh O’Neill - but also the victory of over-simplified patriotic historiography represented by the work of Lombard which led to the opposite version of historical nihilism.
Broadly speaking, the tension between progressive and patriotic love is a recurring theme in Irish literature, as seen in the story of Dervorgilla, who believed that the English would bring a "good end" to Ireland. Through O'Neill's betrayal and regret for Mabel, Friel warns us of the danger of blind patriotic passion. Friel's desired outcome for Irish history is for Ireland to coexist and be civilised by modern civilisation, such as England. Only through this coexistence can the history of Ireland truly begin.
August 15, 2021
a fine if unsubtle play !
i liked it bc i'm interested in irish history but even if you're not it's rlly not overwhelming by any means - feels much more human + the language is more down to earth than you'd expect
i liked it bc i'm interested in irish history but even if you're not it's rlly not overwhelming by any means - feels much more human + the language is more down to earth than you'd expect
February 14, 2023
Really love everything I’ve read/seen from Friel. His diligent study of past Irish histories is incredible. It’s nice how he can make the play casually playful and humorous while dealing with tense and tragic themes at the forefront. I’d love to see this in theatre!
February 14, 2020
An awful lot of verbiage to wrench some fairly uninspired reflections on historiography out of a costume drama.
February 18, 2023
The History Boy
February 16, 2024
very nearly cried
April 25, 2024
Read for college, yawn
October 19, 2025
Overwritten and overly-modern dialogue. Give me cod Shakespeare any day.
April 10, 2024
Read this in English lit class and it was okay. Some passages and writing choices, I found incredibly interesting. In this drama, Friel often has two characters talk about very different topics at the same time. One character usually talks about important matters, the other about ones that seem more futile, but that proves to not be the case.
While I know that Mabel and Hugh's relationship was highly romanticised for the story's sake, I didn't mind most of their interactions, especially when the men were actively listening to a girl's thoughts.
While I know that Mabel and Hugh's relationship was highly romanticised for the story's sake, I didn't mind most of their interactions, especially when the men were actively listening to a girl's thoughts.
March 22, 2018
I read this play because of an university assignment and I must admit that it surely isn't my favourite, though I must admitt that presents an interesting take on how to interpret history.
November 13, 2014
This is infuriatingly hard to find (at least the Samuel French edition, which is what I need). I found it online, but it cuts off somewhere in the first act. I was just starting to get into it, too. Bollocks.
I had only given this two stars because the characters were not entirely likeable and, since I skimmed it a bit, I got kind of confused with who was speaking and who was who for a lot of the first act. But upon finishing it I think that I really liked it. I quite enjoyed O'Neil's unabashed humanity, even though it often made him unlikeable. And Mabel's awesome.
I had only given this two stars because the characters were not entirely likeable and, since I skimmed it a bit, I got kind of confused with who was speaking and who was who for a lot of the first act. But upon finishing it I think that I really liked it. I quite enjoyed O'Neil's unabashed humanity, even though it often made him unlikeable. And Mabel's awesome.
October 19, 2016
Although Beckett may be my favorite writer, and he is best known for his plays, it's his novels that grip me - my favorite playwrite has become Brian Friel. This play is a brilliant simultaneous celebration and criticism of Ireland, set in the 1590's and making use of historical characters, the play centers on the ideas of Irish self-identity among those that made it what it is. A quick, well written and fascinating work.
June 23, 2008
I might be teaching this next year so i read it in a hurry. But i liked it because it wasnt as dry as the concept suggested [a bit like translations]. an interesting interchange between characters and left you with an increased interest in irish history which can only be a good thing. reminded me of saint joan by george bernard shaw.
January 12, 2015
Okay, so I really don't want to write a bad review but this play is not for me. I had to read this play as part of my English Literature course and whilst I do find the metaphors and interpretation of certain parts of the text very interesting, I generally found the text to be slow and quite draining to read. Maybe a re-read might change my opinion?
April 28, 2013
Upon having to read this title for my English Lit. AS I am very glad it is over personally I found it boring only reward in it was the accents some people in class put on I don't recommend this book unless you are into Irish History *snore*
May 16, 2012
Seriously don't even know how I made it through this book, possibly my biggest life achievement to date?
June 20, 2012
Pretty hard to get your head around, there is often details which you need to pay extra detail to.
November 7, 2013
Yes, it may seem a bit "dry" but it's not too taxing and it's all in the title.
January 23, 2014
An enjoyable read that taught me something new as well as giving me an idea as to what life might have been like for O'Neill during his final days.
February 2, 2017
"People think that they just want to know the 'facts'; they think they believe in some sort of empirical truth, but what they really want is a story." Really enjoyed this play, it surprised me.
May 1, 2024
Mabel deserved so much better
Displaying 1 - 26 of 26 reviews