The History Boys': A Study of The Theme of Sexuality

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The History Boys’: A Study of The Theme of Sexuality

The complex exploration of homosexual relations that break the boundaries between pupils and teachers should be typically identified as scandalous, and as a form of paedophilia in a school. However, Alan Bennett presents the issue at a modest grammar school in Sheffield in a radically different manner. For Bennetts characters in The History Boys, such contact seems to be merely a normal aspect of school life.

Hectors character is constructed to be that of a humane generalist as depicted by John Sunderland for The Guardian, shown in Hectors worldly knowledge of the literature that he regards with compassion. His irreverence is equivalent to his passionate and almost religious faith in the power of literature as something that is precious whether or not it serves the slightest humane uses. However, the complexity of Hectors nature is revealed in the juxtaposition of his passion for literature and his grotesque form. The construction of his character is depicted in his physical appearance as a school master of fifty or so, old enough to be labelled as perverted for groping the boys. Additionally, the way in which he conducts his general studies lessons in such an informal and familiar fashion presents bawdiness, which serves as an aspect of comedy for the audience. The mutual exploration of boundaries of authority and physicality in the relations between himself and his students demonstrates his familiarity with the boys through the comedic use of bawdiness in his lessons; he even cultivates the role of the eccentric professor by hitting the boys as a demonstration of his fondness. Apparently, he hits you if he likes you. Furthermore, the way in which Hector gropes the boys in a sexual manner would cause his character to be alienated in a modern society as it is undeniably not normal and repulsive behaviour, as the Headmaster later warns him, reinforcing the idea of Hectors grotesque form.

The headmasters dismissal of Hector, after his wife witnesses him groping another student in public, is a test to the audiences view on homosexuality. The headmaster himself sexually harasses his secretary Fiona; however, his actions are not challenged, unlike those of Hector, who is forced to have an early retirement due to his sexual preferences. Arguably, Bennett is subtly insinuating to the audience the prejudice and social stigma that was attached to the gay community during the 1870s. However, Alan Bennett does not directly condemn nor redeem Hector in the play, allowing the audience members to make their own judgement whether or not to criticize Hectors character and his actions. Nicholas Hynter, director of the History Boys film, attended a school not unlike the one in Bennetts play but confesses even in the 70s we would have found casual homophobia disgusting, confirming that the portrayal of homosexual relations between the pupils and teachers to be an abnormal aspect of school life. The History Boys is an-almost fantasy creation of a world where the boundaries between teachers and students do not coexist and the views and values of a normal society are not upheld. The casual representation of homosexuality in the play to be, to a certain extent, accepted into society could be interpreted as Bennetts way of addressing and subverting the controversy and negativity that was associated with public homosexuality in the 1970s.

The boys responses to Hectors sexual harassment is notable and tells the audience that the boys have come to accept Hectors behaviour as one of his many literate eccentricities and his defining quality that they endure as if it were a ritual and an inevitable occurrence in their everyday school life. The way in which not one of the history boys condemns or questions Hectors sexual behaviour presents a mutual bond of trust and loyalty they share. This is first shown to the audience in the French scene, when the boys help Hector cover up what was a scene at a brothel, due to the Headmasters sudden entrance into the room where Dakin is sans ses trouseurs. The content of the scene is very sexual and thus highly inappropriate for boys of their age, further demonstrating Hectors unsuitable teaching and misunderstanding of the legal and moral boundaries that should exist between himself and the boys in a school setting. Furthermore, Bennetts principal purpose of the French scene is to serve as an aspect of comedy to the audience through the demonstration of role-play and bawdiness within the characters. Hectors pedagogical friendship and the camaraderie between him and the boys against their common enemy of the headmaster are also further enhanced by this particular scene in the play. The boys judgement about Hectors sexual desires gives them power over him that they refuse to use, despite how they know outside of school he would be perceived as perverted. In their acceptance of Hector in that role, the boys seem preternaturally wise, and perhaps Bennetts intellectually sophisticated construction of the History Boys with their sharp wit and ability and grace to negotiate in class, means they are easily identifiable to the teachers. Thus, the audience does not feel so quick to condemn the breach of boundaries between the teachers and students.

The character of Irwin is introduced to the Sheffield grammar school by the Headmaster to polish the Oxbridge history candidates and give them an edge to help them gain entry into Oxford or Cambridge, simultaneously positioning the school higher on the League tables (much to the results-driven headmasters satisfaction. It is apparent that almost immediately Irwin takes a fondness for the extrovert student Dakin, a ringleader among his friends and a handsome man who uses the comedic device of mockery to make Irwin purposely feel uncomfortable by continuously referring to him as sir. Like Hector he is a homosexual and is also perilously attracted to Dakin. However, Irwin rejects any connection to Hectors sexual desires after Dakin questions, is it that you dont want to be like Hector? Irwin can be perceived as the young pragmatist, whose modernised teaching methods and young age are in stark contrast to Hectors old idealistic and romantic views; his response and relationship with Dakin, in particular, differ.

While Hectors approach to the boys is much more physical, Irwin seeks a relationship with Dakin and feels uncomfortable with his sexual ambiguity and innuendos in the ending scenes of the second act. Dakins character points out Irwin still looks quite young and therefore that the characters are not that different in age. This arrangement further suggests to the audience that the sexual tension between Irwin as a teacher and Dakin a student is acceptable through Bennetts presentation of homosexuality as a normal aspect of school life. Evidently Irwins modern style reflects his modern views and the changing morality of society and thus he understands why a boundary must exist between a teacher and a pupil and why he cannot pursue such a relationship with Dakin. Despite Irwins evasive technique, with Dakin serving as comedic method in the play, he eventually succumbs to his sexual invitations by agreeing to have a drink, notably outside of the school environment where the illegality and morality of the relationship is less obvious. However, the sincerity of the homosexual relationship between Irwin and Dakin is questionable, as he vainly admits that he couldnt face the wheelchair as a reason why he did not pursue his relationship with Irwin, which tells the audience the relationship between the two characters was merely physical and provides the audience with an insight into their shallow personalities.

Arguably, moral resolution was concluded at the end of the play in the form of the motorcycle accident which crippled Irwin and killed Hector, perhaps suggesting the sexual abuse the teachers inflicted on the boys was the ultimate reason for the calamitous accident and had to happen to produce a normal school setting for future generations. Within the portrayal of homosexual relations in The History Boys, although inaccurate and not a typicality of 1980s Britain, Bennett does not directly condemn the homosexual relations between the teachers and pupils. Through the subversion of the narrative, Bennett tells the audience how he would want homosexuality to be presented.

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