Young Ireland And the Writing of Irish History, by James Quinn
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Young Ireland And the Writing of Irish History, by James Quinn
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In 1842 a small group of Irish nationalists, who would later be known as Young Ireland, founded the Nation newspaper. They saw their mission as awakening the Irish people to the fact that they were an historic nation that should determine its own future. This book deeply explores the Young Ireland vision of history. Often selective and polemical, but ultimately compelling and powerful, their vision would inspire generations with a pride in Ireland's history, and would set the scene for the revolutionary period 1916-21 that followed.
Young Ireland And the Writing of Irish History, by James Quinn- Amazon Sales Rank: #2916361 in Books
- Published on: 2015-11-02
- Original language: English
- Number of items: 1
- Dimensions: 9.10" h x .80" w x 6.10" l,
- Binding: Paperback
- 236 pages
Review 'Educate, that you might be free. We are most anxious to get the quiet, strong minded people who are scattered throughout the country to see the force of this great truth' - Thomas Davis; 'Quinn has crafted an insightful and impartial examination into a movement which had little interest in impartiality; an exploration into why such history was written and how it was received. While his book will particularly appeal to students of the period, his style is accessible enough for anyone to enjoy.'17 May 2015, The Sunday Business Post 'James Quinn's important new book ... is a well-researched, well-written and balanced study of the ideas and writings of Young Ireland. The structure and layout of the chapters deal in succession with the environment in which they began their mission; their reading of history; their writing of it; the uses they made of the past; their attempt to make history for themselves; the narrative they wrote of their own times; how their work was continued by later writers; and, finally, their legacy.' 20 June 2015, Donal McCartney, The Irish Times 'James Quinn has analysed Young Ireland's approach to the writing of Irish history with great skill. This is a remarkably well-crafted study, grounded in deep research and written with an elegance of expression which is rare today in works of scholarly history. It is a major contribution to the intellectual history of our country.' 3 July 2015, Felix M. Larkin, The Irish Catholic 'James Quinn's new book (indirectly) allows us to appreciate how far we have moved on from insular and unsophisticated debates on revisionism in its scholarly treatment of a defining chapter of Irish identity and ideology, the fashioning of genuinely Irish history by the Young Irelanders. True, the historical writings of Young Ireland are rarely read nowadays and they produced no "great" historian or "great work" of history. But Quinn, unperturbed by the focus on the more fashionable actors and phases of Irish history, had previously taken on the "outmoded and even repugnant" John Mitchell.'July/August 2015, History Ireland 'Quinn keeps his narrative a tight one, making every page and paragraph count. This is a story of ideas, not of events (the 1848 Rebellion is told in barely a paragraph) nor of people (though there is a list of biographies at the end to help the reader keep track of who's who), and Quinn is well able to explain them, and the motivations of the men (they were overwhelmingly men, no Countess Markieviczs here) who nurtured them, spread them as best they could and, in the case of those exiled or imprisoned, suffered for them.' July 2015, --The Irish StoryQuinn does a brilliant job of uncovering the legacy Young Ireland left behind and the influence that leaders like Davis, Duffy, and Mitchel had on later generations of writers. --Irish America Magazine
About the Author James Quinn is the Managing Editor of the Royal Irish Academy's Dictionary of Irish Biography. His specialist interest is in the writing of Irish history in the nineteenth century. He is the author of two biographies, Soul on Fire: A Life of Thomas Russell (2002) and John Mitchel (2008).
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1 of 1 people found the following review helpful. A fascinating study of the men who sought to use history and make better patriots By Daniel Murray James Quinn’s 'Young Ireland and the Writing of Irish History' is a fascinating look at a group of ideological intellectuals who sought to make the rest of 19th century Ireland as interested in the country’s history as they were. The purpose of this mission was not for the sake of history itself; indeed, the Young Irelanders, as these men became known, were as contemptuous of overly dry works of impartial scholarship as they were of textbooks aiming to make the Irish into better Britons.History, as far as they were concerned, was there to excite, to arouse passion and, ultimately, to inspire its audience into becoming better patriots. Orwell had yet to say: “He who controls the past controls the future,” but the Young Irelanders had already come to that conclusion.With that purpose in mind, the Young Irelanders founded the 'Nation' newspaper in 1842 to publish heroic tales of derring-do, the more battles the merrier, and with an emphasis on ‘great men’ such as Owen Roe O’Neill, Hugh O’Neill and Patrick Sarsfield. In this, they were drawing much of their inspiration from contemporary Romantic writers such as Thomas Carlyle, Jules Michelet and Augustin Thierry, as the Young Irelanders were the first to admit (though the anti-Irish snobbery in Carlyle was best ignored), and the Romantic movement in general, which celebrated the past as a source of inspiration, as opposed to the more forward-thinking and self-consciously progressive thinking behind the Enlightenment a generation before.A strength of this book is Quinn’s skill at providing the intellectual context in which the Young Irelanders thought and wrote, both within Ireland (the Young Irelanders were happy to take advantage of works by more apolitical Irish antiquarians to buttress their own research) and on the Continent, where nationalists were similarly eager to uncover the true soul and essence of their countries through history and folk culture. However, Quinn is careful to avoid cluttering his narrative with excessive detail on side subjects, with the focus remaining on the Irish scene.Besides the Nation, the other great literary project of the Young Irelanders was the Library of Ireland book series, beginning in 1845 with the publication of 'History of the Volunteers of 1782', and followed by other books on subjects such as the Nine Years War, the Plantation of Ulster and the Confederation of Kilkenny. Envisioned as a collection of interlocking chapters on Irish history, the Library of Ireland went on to exceed all sales expectations, with several of its titles appearing on R. Barry O’Brien’s ‘100 Best Irish books’ in 1866.For all its success, the Young Irelanders’ mission of education was overtaken by events (“events, dear boy”), firstly by the straining of their alliance with Daniel O’Connell over issues such as that of political violence (O’Connell solidly against it, the Young Irelanders studiedly ambivalent), and then by the Famine, which rendered the high-minded talk of historical heroes meaningless when people were dying in the fields. It was a shift in priorities which the 'Nation' had no choice but to recognise: “What man with a heart would sit to write Ballad History while his country perishes?”Nonetheless, the Young Irelanders held a moderate line, repudiating proposals like a national rent strike. This angered the more radical members such as John Mitchel who proceeded to set up his own newspaper: 'United Irishman'. As the title would suggest, Mitchel had no problem with the notion of armed insurrection, with the 'United Irishman' helpfully giving tips on the best way to construct a barricade or drill with a pike.The government’s severe response to this increased militancy (such as the sentence of fourteen years of transportation for Mitchel) prompted the ramshackle Rebellion of 1848 though, as Quinn argues, the hero-worship of past revolutionaries such as Robert Emmet (true to form, Mitchel chose Emmet’s brother-in-law as his defence counsel at his trial) made the decision to follow in their idols’ revolutionary footsteps an inevitable one.Despite the end of the Young Irelanders post-Rebellion as a coherent group, many of their leading members continued on with their mission to present and propagate an acceptably pugnacious view of Irish history. Additionally, having propelled themselves into a role of their own onto the historical stage via the 1848 Rebellion, they were keen to defend it, depicting the uprising as essential, O’Connell as an untrustworthy opportunist, the Famine as a British plot, and each other as either uncontestably virtuous (if they were still friends) or as miserable rogues (if they were not).It was at this post-mortem stage that the Young Irelanders achieved their greatest success, for in many ways the subsequent generations were to follow their lead in writing history. Mitchel’s 'Jail Journal' was to provide the template for the prison memoirs of the likes of Jeremiah O’Donovan Rossa, Michael Davitt and Thomas Clarke. O’Connell’s reputation struggled to recover from the polemics against him (the centenary of his death in 1947 was to be a muted affair), and the idea of the Famine as a plot as much as a natural disaster has been passed down through historical works as recent as Tim Pat Coogan’s 2012 book.The turn of the 20th century was to find an Ireland which readily responded to Young Ireland’s telling of history as a call to arms: an officer in the Mayo IRA during the War of Independence remembered his father reciting Mitchel’s 'History of Ireland' “off by heart.” The first history book Éamon de Valera ever read was Alexander Martin Sullivan’s 'Story of Ireland', while Arthur Griffith’s 'United Irishman' owed inspiration for its title as much to Mitchell’s original newspaper as to the 1798 participants.This is a short book at only 147 pages, not including the extensive bibliographic notes, but Quinn keeps his narrative a tight one, making every page and paragraph count. This is a story of ideas, not of events (the 1848 Rebellion is told in barely a paragraph) nor of people (though there is a list of biographies at the end to help the reader keep track of who’s who), and Quinn is well able to explain them, and the motivations of the men (they were overwhelmingly men, no Countess Markieviczs here) who nurtured them, spread them as best they could and, in the case of those exiled or imprisoned, suffered for them.Quinn is very much not a writer of the Young Ireland school, keeping as he does his tone admirably impartial as befits the Managing Director of the Royal Irish Academy’s 'Dictionary of Irish Biography'. But towards the end, he lets slip a glimmer of admiration at the Young Irelanders’ achievements. It is hard for even a cynical reader to not feel likewise. For better or for worse, 20th century Ireland was as much a product of the Young Ireland movement as anything. This book should do much in making this team of intellectuals, pedagogues and would-be revolutionaries better known.
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