Full Title: To what extent do you agree with the view that, in terms of subject matter and style, this conversation is an effective opening to “Making History”?

Through Friel’s use of subject matter and style in the opening conversation of “Making History”, he successfully and effectively opens the play, enticing the reader’s attention and introducing the major themes of the play.

One of the first themes Friel presents to his audience, is the idea that Hugh O’Neill is a very atypical hero, and very unlike how we would expect an Irish warlord to be. To the bemusement of the audience, the play opens with the “hero” arranging flowers in vases and questioning his secretary, Harry Hoveden, about his new jacket, “This jacket, what do you think, Harry?” O’Neill seems very distracted throughout the remainder of the conversation, and seems not to be listening at all to the important political matters Harry is pertaining to. Again, this seems the opposite of what we would expect from a warlord hero, especially the quiet and un-intimidating replies he offers.

Another theme introduced by this opening section is duality. The way O’Neill is caught between two cultures: the new English, and the old Irish. This is shown by the mix of news Harry is relating to O’Neill. “Sir Garret Moore invites you to Mellifont Abbey for a few days’ fishing…” and “…trouble with the Devlins and the Quinns… killed five women and two children…” are examples, not only of this duality, but also of the cultural divide between England and Ireland. The English are introduced as being more civilised and developed than the murderous Irish clans. It is also surprising that an Irish chieftain should be receiving invitations from upper-class Englishmen. The audience also begins to learn that O’Neill was also fostered in England, again an interesting revelation.

The major theme of History is also presented to the audience in this opening conversation. Although not much is mentioned at this point, this is one of the subjects which really catches O’Neill’s attention. “Did you know that he’s begun writing a book on you?” Foreshadowing is used here also in the line, “I don’t think I like this idea at all.” Which also creates a sense of tension and impending, ominous unrest. This is a good stylistic technique which gets the audience more involved in the play.

A further way in which the opening is striking , is that it immediately begins illustrating Friel’s purpose behind the play: to dispel the myth of O’Neill as a typical warrior hero. He does this by strongly displaying O’Neill’s sensitive site, and his interest in his private life over his political duties. Friel has a limited time in which to set-out the character of O’Neill, considering the length of the play, and this first conversation gives the audience a very good idea of his overall personality. However, some of the complexity of Hugh O’Neill’s character is also revealed. We gather that he has recently married his third wife (another aspect of O’Neill’s private life which does not portray him in a particularly heroic light) who is English, “…first marriage was never properly dissolved… second marriage was ambiguous. And of course this third.” We begin to get the impression he truly cares for her, but then O’Neill seems to rage against her people, “Staffordshire mongrel!… bloody Upstart!” This is also ironic, considering the polite invitations he has received from English associates.

Friel also uses an effective theatrical style to lure the audience’s attention, and open the play in an efficacious way. A prominent way in which this is achieved is through O’Neill’s switching of accent from his usual English, to Tyrone, “(Tyrone accent) Just to show him I haven’t reverted completely to type.” This aids in the presentation of his duality, showing how he adjusts himself to fit into different roles. This sudden switch of accent would also intrigue the audience.

The atmosphere during this first exchange is also effective. The two characters having a conversation in which neither of them is listening to the other creates a light-hearted and slightly comical setting. As shown by some of Harry’s sarcastic replies to O’Neill’s off-topic ramblings, “Really?”, “It’s very becoming, Hugh…” This helps the audience to relate to the characters and the situation, whilst still providing character explanation and development. A further way in which Friel makes this more accessible is by translating the historical period into a more modern context. By using words and phrases that his audience would comprehend and also including historical events and names, Friel succeeds in involving his audience and once again getting his message across; a very effective technique.

Friel also sparks emotions in his audience during the opening discourse, which further involve them in the developing action. The unusual and unexpected introduction of O’Neill wearing a vibrant jacket and arranging flowers engages the audience, as does the tension and suspense that we do not yet know fully why he is specially dressed and decorating the house. We also do not know if his strange and distracted behaviour has anything to do with this.

Another theatrical technique Friel uses is sudden juxtaposition of mood and contrast. The way in which O’Neill’s attention is suddenly caught by two pieces of news revealed to him contrasts with his otherwise passive attitude. Also, the two pieces of news which catch his attention relate to his personal life, rather than to Irish or political matters, further confusing the audience as to his “heroic” status. One of these pieces of news of particular interest to O’Neill regards his friend Essex, who he learns has been executed “For conferring with the basest and vilest traitor… Hugh O’Neill.” This description of O’Neill once again does not seem to fit how he has been portrayed thus far, again initiating the interest of the audience.

In conclusion, Friel has used subject matter and style in the opening section of the play effectively to engage the interest of the audience, and present his purpose and intentions. This introduction provides us with an overall picture of two main characters and almost all the major themes. The surprising portrayal of the “hero” Hugh O’Neill may bemuse an audience expecting to see the warlord shown on stage, but since this relates to Friel’s purpose of dispelling the myth, it does not make the opening any less powerful .

_{Mark achieved: 17/20}

_{Teacher comments: A very sound response to the question. Perhaps more on contempory style / ideas and public / private man. Commendation.}

_{My response: Woot ^^}

_{References: “Making History” by Brian Friel.}