How does Bennett make effective use of dramatic methods to raise pertinent issues in the History Boys?
How does Bennett make effective use of dramatic methods, in pages 34-41, to raise pertinent issues in the History Boys?
Alan Bennett uses a number of methods throughout the play in order to raise pertinent issues and fully convey his concerns, and I believe many of these are present within this extract; varying from his common language and structure techniques to the ever running themes of conflicting pedagogical philosophies, sinister pederast undertones and the drive for acceptance at Oxbridge.
The conflict between Hector and Irwin’s educational philosophies is highlighted within this extract, as their differing pedagogical practices are decidedly contrasting. Hector educates with the purpose of developing his students into “more rounded human beings” and believes in “knowledge, and the pursuit of it for its own sake”. The adjective ‘rounded’ is clearly conveyed through the boy’s prevailing use of literary references and poets such as ‘Auden’ and ‘Pascal’ along with their displays of a broad understanding and knowledge of the theatrical arts. He is presented as an anachronous character conveyed through the metaphor “he locks the doors against the future” and “the forces of progress”, and as one who throughout the play, almost purports to despise the pursuit of educational success. His cultural knowledge is perceived as no longer “useful” amongst the boys in regards to “preparing (them) for examination”, an aim sought out by Irwin, a counterpoint to Hector. This suggests one of the key pertinent issues of the play; is there a place and time for culture in today’s changing and politicised educational system? However, Posner and Scripps’ performance of the brief encounter, along with Timms’ claim that poetry “sometimes just flows out” all prove Hector’s pedagogical approach to be effective in achieving what he aims to bring across, and this sense of culture and the power of literature (a crucial theme to the play) still resonates within the boys and the audience
Alan Bennett uses a number of methods throughout the play in order to raise pertinent issues and fully convey his concerns, and I believe many of these are present within this extract; varying from his common language and structure techniques to the ever running themes of conflicting pedagogical philosophies, sinister pederast undertones and the drive for acceptance at Oxbridge.
The conflict between Hector and Irwin’s educational philosophies is highlighted within this extract, as their differing pedagogical practices are decidedly contrasting. Hector educates with the purpose of developing his students into “more rounded human beings” and believes in “knowledge, and the pursuit of it for its own sake”. The adjective ‘rounded’ is clearly conveyed through the boy’s prevailing use of literary references and poets such as ‘Auden’ and ‘Pascal’ along with their displays of a broad understanding and knowledge of the theatrical arts. He is presented as an anachronous character conveyed through the metaphor “he locks the doors against the future” and “the forces of progress”, and as one who throughout the play, almost purports to despise the pursuit of educational success. His cultural knowledge is perceived as no longer “useful” amongst the boys in regards to “preparing (them) for examination”, an aim sought out by Irwin, a counterpoint to Hector. This suggests one of the key pertinent issues of the play; is there a place and time for culture in today’s changing and politicised educational system? However, Posner and Scripps’ performance of the brief encounter, along with Timms’ claim that poetry “sometimes just flows out” all prove Hector’s pedagogical approach to be effective in achieving what he aims to bring across, and this sense of culture and the power of literature (a crucial theme to the play) still resonates within the boys and the audience