"I went further and further back through the centuries to get a sense of perspective but now at least I understand why Irish history evokes such strong passions and emotions"
About this Quote
There is a particular kind of humility in an actor admitting that “perspective” isn’t something you reach by zooming out. D’Arcy describes a familiar, almost touristy instinct: go “further and further back through the centuries,” as if time is a wide-angle lens that will soften the edges of conflict. The twist is that the deeper he digs, the less detached he becomes. History doesn’t cool Irish feeling down; it explains why it runs hot.
The line works because it stages an emotional reversal. “At least I understand” is understated, even sheepish, but it signals a shift from abstract knowledge to lived comprehension. Irish history isn’t presented as a timeline of events; it’s framed as an engine of identity, grievance, pride, and memory that keeps generating present-tense stakes. The subtext is that Irish passions aren’t excessive; they’re proportional to accumulated dispossession, rebellion, and contested narratives that never fully resolved into a neat national consensus.
Coming from an actor, the quote also gestures toward craft. To perform a story rooted in Ireland, research can’t stop at facts; it has to reach the texture of why certain names, places, and symbols still spark arguments at dinner tables and in parliaments. D’Arcy positions himself as an outsider doing the work, and that matters culturally: it’s a small corrective to the lazy “ancient hatreds” cliché. The past isn’t a distant country here. It’s a script still being revised, and people are understandably protective of who gets to write the next draft.
The line works because it stages an emotional reversal. “At least I understand” is understated, even sheepish, but it signals a shift from abstract knowledge to lived comprehension. Irish history isn’t presented as a timeline of events; it’s framed as an engine of identity, grievance, pride, and memory that keeps generating present-tense stakes. The subtext is that Irish passions aren’t excessive; they’re proportional to accumulated dispossession, rebellion, and contested narratives that never fully resolved into a neat national consensus.
Coming from an actor, the quote also gestures toward craft. To perform a story rooted in Ireland, research can’t stop at facts; it has to reach the texture of why certain names, places, and symbols still spark arguments at dinner tables and in parliaments. D’Arcy positions himself as an outsider doing the work, and that matters culturally: it’s a small corrective to the lazy “ancient hatreds” cliché. The past isn’t a distant country here. It’s a script still being revised, and people are understandably protective of who gets to write the next draft.
Quote Details
| Topic | Knowledge |
|---|---|
| Source | Help us find the source |
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