Attitudes to teaching and learning in The History Boys
The different teaching styles of Mrs Lintott, Hector and Irwin, presented in Alan
Bennet’s The History Boys, are each effective and flawed in their own ways. Mrs Lintott’s
approach, the straightford and factual, provides a solid foundation that is essential to
one’s education, but lacks what the headmaster vaguely describes as ‘something more’.
Hector’s passionate and unconventional approach is both inspiring and somewhat
impractical, and Irwin’s clever and meretricious approach is very useful in
examinations, but lacks the heart and honesty that are perhaps more important to the
development of a moral individual.
Mrs Lintott is the type of teacher that every student needs. Before confronting abstract
ideas, it is important that they understand where they come from. This is what Mrs
Lintott provides. Her knowledge is a starting point, and more importantly, a relatively
stationary point. It gives structure to the subject from which students can build upon.
This sort of foundation is a resource I often find myself feeling quite lost without, and
Rudge expresses this same concern in the play; “So what’s the verdict then, sir? What do
I write down?” (p. 26) He is confused because Irwin is making points which don’t seem
to connect, and this shows that he favours being given the facts in a more
straightforward manner. Without a basic outline, concepts tend to float with only
uncertain and loose relations to each other. It is only with much effort that one can pull
the pieces together without help. In most cases it is simply more effective to provide
this structure, than to force students to figure it out on their own and risk losing them.
One of the biggest problems I have seen in students, is the knowledge gap that is a result
of being forced to move on from a topic without first acquiring a solid understanding of
it. This is not to say that all facts have to be ‘force-fed’, as Rudge describes it. There are,
of course, associations and ideas which people benefit from learning on their own.
There is also the fact that, where answers may be subjective, people will draw different
ideas from texts and occurrences, which is something Hector inspires. He lets the
material speak for itself, and thus various interpretations naturally arise. Similarly,
Irwin encourages students not to simply stick to ‘the truth’, but to look at things in
different ways. This teaching trait, which Mrs Lintott appears to lack, has the ability to
create more interesting individuals who will stand out among others in examinations.
However, it should not be forgotten that an individual should also be well rounded and
sturdy, and this is where Mrs Lintott’s style of teaching is vitally important.
Various characters assert that Hector’s lessons are a waste of time, but at the same time
claim that he is not a bad teacher. It is not that the students do not learn anything in
Hector’s classes, but rather that what they learn is not directed towards a curriculum,
examination, or any other obvious goal. Instead, he immerses them in a diverse range of
literature and art. They learn songs, movie scenes and poetry off by heart. When the
boys quote Auden, Irwin tells them to use these quotes if they get an essay about the
poet. However, the boys reject this notion, claiming that what they learn from Hector is
not meant for the examination. Later, Irwin confronts Hector about this: “…I sympathise
with your feelings about examinations, but they are a fact of life.” (p.48) Irwin makes a
good point. Hector’s teaching is broadening and full of heart, but the reality is that the
examination will dictate, to a large extent, each boy’s future, and, as such, it should be a
teacher’s duty to prepare them for it. Viewed in this light, Hector’s eccentric and
unpredictable teaching can appear somewhat irresponsible. The headmaster calls it
“…selfish, less to do with the interests of the boys than some cockeyed notion you have
about culture” (p.53), and Mrs Lintott notes that because he wants to leave his mark, he
‘impinges’ on them. However, Hector also has a point, and ‘impinging’ is the only
method he knows to communicate this point with. He argues that there is so much life
after examinations that people seem to forget. He is preparing them more for the future.
They might not understand now, but one day they will; “We’re making your deathbeds
here, boys.” (p.30) The play seems to indicate that the time for Hector’s teaching style
has passed, a point accentuated by his actual passing. At the end of the play, Irwin says
that he does not think there is time for Hector’s style anymore, but Scripps disagrees;
“…it is the only education worth having.” (p.109) What Hector teaches is important, but
perhaps not by itself.
Irwin is a young, modern teacher, employed to give the boys ‘polish’. His teaches them
tricks to impress examiners, rather than deepening or extending their knowledge as
Hector does. In his opinion, art, culture and poetry are just impressive extras to be
quoted in an argument to the intended persuasive effect. The truth is unimportant;
“Scripps: But it’s all true. Irwin: What has that got to do with it? What has that got to do
with anything…truth is no more at issue in an examination than thirst at a wine-tasting
or fashion at a striptease.” (pp.24-26) According to this belief, Irwin teaches the boys to
employ a ‘critical distance’ when writing about history, and to argue not what they
believe, but what they can make the most interesting and persuasive to their audience.
This is a very practical approach. It is true of the world that people are always, to some
extent, influenced by the presentation of facts or arguments. While discussing getting
the boys into Oxford and Cambridge, Mrs Lintott suggests that examiners should not be
so naive as to be swayed by presentation, to which the headmaster responds “Naive,
Dorothy? Or human?” (p.9) As proof that Irwin’s methods worked, all of the boys get
accepted into Oxford or Cambridge, and Posner gets a scholarship after displaying a
‘sense of detachment’ in ‘playing down’ the Holocaust, as Irwin had suggested. However,
despite this seemingly perfect victory, the play makes you wonder whether this sort of
‘victory’ is really all that important. Irwin is aware of his meretricious nature, and upon
being asked whether or not he would return to Oxford, he says that he would not, for
being “Not clever enough. Not… anything enough really.” (p.93) Interestingly, though,
everyone else in the play considers him to be very clever. It is as if underneath the
showy appearance, he feels that he lacks the real substance of character that people
really need. What then is Irwin really teaching the boys?
Scripps becomes a journalist, supposedly using the tricks Irwin taught him, but we are
told that he is always threatening to abandon it in order to 'really write', which, of
course, implies that he is not happy the dishonest nature of the job. Thus, although
Irwin's teaching may get students through examinations, in the long run, it lacks the
depth and honesty that gives people fuller and more open perspectives and lives.
We have seen that all three approaches have advantages and disadvantages. As all have
traits which are essential to a good education, I believe there is no need to pick out one
style as the best. In relation to Hector’s style of teaching, the play offers two clear
opinions. One suggests there is no time for Hector's style of teaching anymore, the other
claims it is the only worthwhile education to have. Is it not possible that both are right?
We have seen in Posner’s tragic future, the consequences of taking all of Hector's
teaching to heart. But we also see in Scripps’ unhappy career and even in Irwin himself,
the emptiness without it. And, of course, we cannot forget about the solid ground that
Mrs Lintott provided, and without which, we would be lost. The solution I see to
balancing these conflicting teaching styles is to either have teachers combine many
different approaches, and use them at different times as appropriate, or to take a ‘team
approach’. The headmaster, though not the most likable of characters, did do one very
good thing; he brought the different teachers together. “Hector: You give them the
education. I give them the wherewithal to resist it. We are that entity beloved of our
Headmaster, a ‘team’.” (p. 23) Once this ‘team’ is extended to include Irwin, a situation
much closer to the ideal is produced. I found that, though awkward at first, the shared
lesson with both Irwin and Hector teaching was one of the most interesting lessons in
the play.
A student needs many influences in order to succeed and flourish. The three teachers,
Mrs Lintott, Hector and Irwin, each bring something invaluable to the table. Firm and
organised facts, a passion for all sorts of knowledge and the skill to apply it where
needed. I would be glad to have all of these treasures.
References
Bennet, A, 2004, The History Boys, London: Faber and Faber.
English T Literary Essay Assessment Feedback
Student
Unit
Literature: Unit 4
ID
Year
12
Criteria
Line
G
Teacher DD
Mod.
Grade
A
Score
94
Advanced
Established
Demonstrated
Some Evidence
Control of the essay form
demonstrating an
awareness of audience,
purpose and question
(including word length)
Sophisticated control of the
essay form and awareness of
audience, purpose and question
(including word length)
Well-developed control of the
essay form and awareness
of audience, purpose and
question (including word
length)
Developing control of the essay
form and awareness of
audience, purpose and
question (including word
length)
Partial control of the essay
form and awareness of
audience, purpose and
question (including word
length)
Insufficient evidence of the
essay form or awareness
of audience, purpose and
question (including word
length)
Knowledge of text
Demonstrates extensive and
comprehensive knowledge of
text
Demonstrates substantial
knowledge of text
Demonstrates knowledge of
text
Demonstrates limited
knowledge of text
Demonstrates flawed or
superficial knowledge of
text
Critical and analytical skills
focussed on the question
Analyses, interprets and argues
with sophistication and a high
degree of insight linked to
evidence and question
Analyses, interprets and
argues clearly and effectively
with insight linked to
evidence and question
Developing critical and
analytical skills with some
insight and justification of
viewpoint linked to question
Responds to texts with
occasional insight but
limited justification of
viewpoint linked to
question
Understands simple and
concrete ideas –
paraphrases or retells
Use of quotations within the
essay
Citation of quotations
Skilful and discerning use of
quotations
Consistent application of
approved citation conventions
Effective use of appropriate
quotations
Consistent application of
approved citation
conventions
Use of appropriate quotations
Consistent application of
approved citation conventions
Limited or ineffective use
of quotations
Inconsistent application of
citation conventions
Very limited/no use of
quotations
Incorrect or no citation of
quotations
Distinctive voice and
originality of thought
Demonstrates independence
and originality of thought
Writes with a distinctive voice
Displays some originality of
thought and independent
voice
Evidence of a developing
independent voice
Relies on description or
retelling narrative
Little evidence of
independent thought
Expresses simple ideas
and paraphrases
Command of the technical
aspects of language:
spelling, grammar, sentence
structure, paragraphing,
word choice, formality of
tone
Writes with vitality and control of
language:
spelling, grammar, sentence
structure, paragraphing, word
choice, formality of tone
Writes with a well-developed
control of the technical
aspects of language:
spelling, grammar, sentence
structure, paragraphing,
word choice, formality of
tone
Developing control of the
technical aspects of language:
spelling, grammar, sentence
structure, paragraphing, word
choice, formality of tone
Partial control of the
technical aspects of
language: spelling,
grammar, sentence
structure, paragraphing,
word choice, formality of
tone
Lacks control of the
technical aspects of
language: spelling,
grammar, sentence
structure, paragraphing,
word choice, formality of
tone
Clarity and fluency of
expression
Writes with a high degree of
clarity and fluency of expression
Writes with clarity and
fluency of expression
Writes with some clarity and
fluency of expression
Writes with limited clarity
and fluency of expression
Lacks clarity and fluency of
expression
(See BSSS publication What’s
Plagiarism: how you can avoid
it)
Little Evidence
Comments: A succinct and well-polished introduction: clear and concise! I'm impressed by your ability to analyse and appraise the differing styles of each
teacher while at the same time reflecting on your own subjective, personal experiences of teaching and learning. In lesser hands, this could create a essay of
two distinct halves, but you integrate them effortlessly (or seemingly so). I really like what you say about the potential hollowness of the "victory" at the
play's end. You don't discuss it, but I find that Rudge's reaction when he gets into Oxford ("I wanted to tell them to stuff it") speaks for this hollowness.
Hector would probably quote Wordsworth at this point: "We have given our hearts away: a sordid boon". Overall,
precise, considered and persuasive.
, this is an excellent essay - clear,