Preliminary argument: How is comedy constructed through the use of darker themes such as abuse?

In act one, Bennett makes it very clear that the students have a sense of unspoken respect for their English teacher, Hector. This is shown through their tendency to repeat back to him that which Hector has taught them, such as Shakespeare – ‘The wonder is he hath endured so long. He but usurped his life.’ There is the feeling that there has been a past between the teacher and his students, that we are witnessing something which is picking up where it was left off. It is almost in media res, due to the idea that the students have an on-going relationship with Hector. This already shows affection and prompts the idea that Bennett is hinting toward something bigger.

It can be said that students such as Posner strive for Hector’s affection, due to his constant referring to the dictionary in order to impress his teacher, ‘Euphemism… substitution of mild or vague or roundabout expression for a harsh or direct one.’ This demonstrates their affection toward him and also raises the theme of sexuality, prompting the audience to ask if this will be a prominent element to the dramatic aspects of the play. As the act progresses, it becomes apparent from Rudge that the students are almost competing for the attention of Hector. This largely contributes to the way in which Bennett is constructing slapstick comedy, and as we begin to learn this is done through underlying themes of darkness – ‘He hits you if he likes you. He never touches me,’ to which Dakin replies, ‘(happily) I’m black and blue.’ This is interesting when considering comedy when time periods are taken into account, as an audience watching the play in the 1980’s would inevitably respond to this sort of line very differently to an audience watching now. This is because safeguarding was not as prominent years ago, but now is taken with the utmost care. However, this comedy can also be seen as a private joke between the boys, as Hector’s perception of them clearly means a lot but would be frowned upon greatly by anyone else. This, as well of the time of viewing, shows the idea of perception through the dramatic genre, and suggests that based on one's perception of and place in the situation, the dramatics of it would change.

When we learn that not only is Hector abusing his students by hitting them with books, but is actually sexually abusing them, it is very confusing to the audience. This is because Bennett has almost carefully threaded the genre of comedy with the dramatic genre, so it is almost impossible to decipher which is which. Bennett has deliberately made Hector a character of eccentricity and humour, with an unmistakable likeability about him, regardless of the fact he is molesting his students. Of course the theme of sexual abuse is undeniably wrong and unacceptable, but for reasons that are almost private to the students, they endure it, again reinforcing the theme of perception and place. 

Reading Journal - The History Boys, Act 1

Act 1 of The History Boys seems to me as a play of humor but with an underlying tone of sincerity and personal opinion. This is because of the extensive use of jokes, banter and teasing from the boys themselves but also their obvious respect for their English teacher, Hector, who has a dodgy taste for his students, (especially Dakin), and his view that effectively, exams are pointless and life has more meaning to it - 'I count examinations, even for Oxford and Cambridge, as the enemy of education.' This is rivaled by the new History teacher, Felix Irwin, who is only six or seven years older than the boys and takes the opposing view on exams and Oxbridge to Hector - 'I sympathise with your feelings about examinations, but they are a fact of life.'

Comedy 

Rivalry - Hector vs. Irwin - Hector and his views, Irwin and his views

Slapstick - Hector hitting the boys on the head with the book

Themes - molesting, Hector taking one of the boys out on his motorbike each day, elitism (the Headmaster, his only concern being league tables, Irwin and his primary concern being Oxbridge)

Metaphors - extensive use of metaphors, even euphemisms, from characters such as Dakin

Banter - Scripps teasing Posner, the lesson in French, Mrs Lintott and Hector, the boys teasing Irwin about his life 

Competition - the idea that the teachers are competing for the affection of the boys, nicknames: tot or totty for Mrs Lintott

It is confusing to me how Bennett has made Hector such a likeable character even though he is sexually abusing his students? Is it purely because of his eccentricity and is constructed through the use of jest, and would this be reacted to differently from an audience watching the play in the 80's to an audience watching the play now? 

How is the story told in chapter eight of The Great Gatsby?

In this chapter Fitzgerald uses multiple effective story telling techniques such as time and descriptive prose shown through colour, which has been extremely prominent in telling the story in previous chapters. At the beginning of the chapter we are given a shift in the dreamlike world that the characters, especially Nick and Gatsby, have been living in. Nick says, 'grotesque reality and savage, frightening dreams,' here Fitzgerald is using emotive language to demonstrate how Nick's feelings have changed toward the hazy reality he has been living in, surrounded by these people who are characterized by money.

One story telling technique is the shift in narrative focus when Nick decides to inform us about what had happened at the garage after Myrtle's death. It might seem to the reader that all information about the area surrounding where Myrtle had died would have been told at the same Nick was reliving that horrible moment, but the sketchy recollection illustrates how difficult the time had been for Nick and how he had felt confused. This is reinforced at the end of chapter nine when Fitzgerald writes, 'It was after we started with Gatsby that the gardener saw Wilson's body a little way off in the grass, and the holocaust was complete,' this is unusual as it is arguably the most striking and memorable element of the entire chapter yet it is given the least credit or build up, or even detail. Fitzgerald has done this to show how conflicted Nick feels over everything that has happened, and how he wishes to not remember such scenes with clarity.

Symbolism is used when Wilson speaks of the eyes of T.J Eckleburg, 'The eyes of God,' which is almost an anaphoric reference to the previous chapters when they have been mentioned as watchful and gives the feeling of them being omniscient. It is almost as if Fitzgerald is suggesting that the eyes are reflective of all the sin that has taken place and in the end the sinners will be punished. Effectively, the story is told here through the use of imagery and the symbolism of God.

Time is used when showing Gatsby's inability to accept the fact he cannot bring back better times that have passed. Nick says, 'I think he would have acknowledged anything now, but he wanted to talk about Daisy,' which shows how time has changed but Gatsby refuses to move along side it. He tells Nick of how Daisy was 'the first nice girl he had ever known,' and how he found her 'excitingly desirable.' Here the story effectively shifts to the past through Nick explaining Gatsby's interpretation of how things used to be.

Colour is also an important story telling feature in this chapter, especially the repeated use of the symbolic 'Green light' on Daisy's dock. This has been, throughout the story, an ongoing symbol of hope for Gatsby leading him toward her, like previously when he stretched his arms out toward the light. It has been keeping his dream for a life with Daisy alive. Fitzgerald uses words that the reader can almost feel, such as 'cool', 'radiant', 'fresh and breathing'. These words are important as they connote happier times in Gatsby's life, times where Daisy was almost graspable, and also contrast greatly with the rest of the atmosphere of the chapter in which Gatsby is murdered. This quote, to a degree, exists as a last attempt for Gatsby to relive his time with Daisy, before his life is taken from him. Here, the story telling technique is the use of colour and contrast to construct Gatsby's last brief moments of happiness telling Nick all about why he loved Daisy so much.

How far do you agree with Nick’s view that Gatsby is “worth the whole damn bunch put together”?

I agree with this statement completely as despite his involvement in 'bootlegging' and how his life was built around lies, Gatsby stands for something in which the other characters lack. I believe he stands for hope, for love and for dreams. This is shows through his adoration of Daisy and his tenacity to never give up on her.

The first reason that this statement holds truth is the contrast between Gatsby and Tom Buchanan. From chapter one we begin to understand that the relationship between Tom and Daisy is purely superficial, a relationship that seemed to be based on show and wealth. In this chapter, we learn from Jordan that Tom has been seeing another woman in New York, and Tom's attitude toward Daisy does not adopt the most loving manner. Instead of allowing his wife to join in on the conversation or take interest in what she talks of, he is more concerned about the extremist book he's been reading and discussing it's racist views - 'The idea is if we don't look out the white race will be - will be utterly submerged.'

This greatly contrasts with Gatsby. He is compassionate toward Daisy unlike Tom who treats her only as a possession, and his determination in refusing to give up on her and this dream world he has created for the two of them. Even in chapter seven when Daisy runs over Myrtle, Gatsby takes the blame himself just to protect her - Nick asks, 'Was Daisy driving?' to which Gatsby responds, 'Yes... but of course I'll say I was.' By this time Gatsby has already abandoned his elaborate parties, which only existed as a way to lure in the one he so yearned for, which counteracts the argument that he was purely covetous and materialistic. He even shouts at Tom in chapter seven, 'She only married you because I was poor and she was tired of waiting for me,' which illustrates how all the effort and his immersion in illegal business was all to build up an Empire big enough and grand enough for Daisy, and also demonstrates how money-orientated and trivial Daisy is. In comparison to Daisy, it may well be said he was worth a lot more than her. Towards the end of the book she and Tom both pack up and move on, recoiling back into all their money and hiding away from the upset and destruction they had both caused.

Another reason Gatsby stands for something greater than the other characters is the fact that he died with love still in his heart and a dream to aspire to. He did not die bitter and anguished over the fact he could not have Daisy, over the fact that his whole life had been created with her at the center, and all for nothing. Gatsby died only with a taste on his tongue of what life could be like with Daisy, of what it would feel like to have her as his own, but this seemed to console him enough to know he was dying a happier and better man. He refused to give in until the very end, when Nick suggests that Gatsby 'ought to go away,' Gatsby is almost in shock when he responds, 'Go away now, old sport?' He could not bear to tear himself away after how far he had come, how far he had gotten to Daisy being his. And despite his love's own selfishness and shallow ways, he dies still with that green glow of hope in his heart. Gatsby is 'worth the whole damn bunch put together' because he died with love.

Reading Journal Gatsby Chapter 8-9

• 'Grotesque reality and savage, frightening dreams' - big difference from previous chapters - setting of West Egg has usually been dreamlike in the sense that it has been extravagant and elegant, beautiful colours and sounds of laughter and chatter, now it is much more sincere and dark
• Focus of narrative shifts - informs the reader about what happened at the garage after Myrtle died
• Wilson speaks of the eyes of T.J Eckleburg, eyes of God - relates back to previous chapters where they have been described - gives the idea that the eyes have seen everything and are all knowing
• Time: Gatsby cannot accept the fact that he cannot control time, cannot go back to how things used to be between him and Daisy
• Green light: green light on her dock a symbol of his destiny with her, his dream for a life with Daisy kept alive with symbolism
• Time: not linear, shifts between the past, Gatsby telling Nick of his and Daisy's past, again reinforcing how he just wants to keep his dream alive, and then bringing it back up to date
• 'There was a ripe mystery about it...bedrooms upstairs more beautiful and cool... of gay and radiant activities... laid away already in lavender but fresh and breathing and redolent of this year's shining motor cars and of dances whose flowers were scarcely withered.' - these particular words having such a deep contrast with the rest of chapter 8 and with events that have already happened, relating back to Gatsby's parties
• chapter 9: time is not linear once again, Nick writes two years after Gatsby's death, and Gatsby's father telling Nick of his earlier life
• Nick decides to leave West Egg due to its empty values - shows how time has changed once again, at the start of the book West Egg is empty for Nick with nothing there for him, until he then meets Jordan and Gatsby, when he has more purpose, and then Gatsby dies and Jordan announces she is engaged, when West Egg becomes meaningless to him once more
• By now the story has obviously shifted from a love story to a tragedy
• 'I see now that this has been a story of the West, after all—Tom and Gatsby, Daisy and Jordan and I, were all Westerners, and perhaps we possessed some deficiency in common which made us subtly unadaptable to Eastern life.' - Nick commenting on their inability to shape themselves into characters of West Egg - almost summarizing, tying the story together

Reading Journal Gatsby Chapter 7

• This chapter is the longest chapter in the book but I think this is because it is arguably the most important chapter. Because of the events that take place it deserves more time and coverage.
• There are a lot of dramatic moments in the chapter, obviously because Tom finds out about Gatsby and Daisy and Myrtle is run over. 
• In the first part of the chapter, Nick says that Gatsby's 'career as Trimalchio was over.' Trimalchio was known for throwing lavish dinner parties and having power and wealth - this shows his affection for Daisy as after she attended one of his parties Gatsby is sure she didn't like it, and gets new servants because he doesn't want any gossip going about - Nick writes, 'so the whole caravansary had fallen at the disapproval in her eyes.'
• Pathetic fallacy is used to show how uncomfortable the characters are, as Nick writes, 'the next day was broiling', and how the train driver says 'Some weather...Hot!' he also says how when they are all in the hotel and the window is opened that it is 'hot shrubbery', and also writes, 'compressed heat exploded-' here Nick is using the heat of the weather to build up the tension to what is about to happen
• Tone is used a lot to express how the characters feel, for example, 'open another window', commanded Daisy,' and 'the thing to do is forget about the heat,' said Tom impatiently,' showing the frustration between the couple surrounding their rocky relationship
• I think that there is a change in genre when we get to chapter seven as it goes from being a sort of romantic novel to a tragedy, however the elements of love are still present. This is because of the sudden explosion in the characters emotions, as Nick puts it, 'they were out in the open and at last Gatsby was content,' to suggest he had been waiting for this for such a long time and he was relieved to have everything laid out on the table at last.
• In this chapter there is actually a lack of colour and sound, which is something Nick uses a lot in the previous chapters, but that may be because he doesn't want the reader to concentrate on the trivial details but wants to express the scene just how he recalled it.
• We also notice in this chapter that it is in linear chronology which differs from the other chapters as they usually skip from one event to another in time. This may be because the other chapters do not focus solely on one solid event, but describe several things and maybe because of other reasons such as in chapter 2 when he's drunk and cannot remember things strictly as they happened.

Character, theme and ideology - Gatsby Chapter 4

The Great Gatsby Chapter 4 - character, theme and ideology

Main discussion points:

• Nick’s confidence growing
• How he is becoming more involved with the people
• His feelings toward Gatsby
• Daisy’s past

In the first section of chapter 4 Nick names all the attendants of Gatsby’s parties. This explores Nick’s character development as it suggests to the readers his materialistic side. An example of this would be when he writes, ‘and Edgar Beaver, whose hair, they say, turned cotton white one winter afternoon for no good reason at all.’ He finds himself repeating rumour just like the characters would at the parties, who he looks upon as superficial and materialistic. In chapter one he tells us of how he would be referred to as a ‘politician’ in University and this is supported further throughout the novel as we begin to understand Nick; he is very reserved, observant and tends to think very carefully about all he does. However now we see Nick developing and beginning to succumb to the nature of the East and West Egg. Another point is when Nick writes, ‘a Prince of something, whom we called Duke,’ – here he uses the pronoun ‘we’, including himself when he regards the people of Gatsby’s elaborate parties. Clearly this is very contrasting to chapter 3 when he attends his first party at Gatsby’s when he writes, ‘I slunk off in the direction of the cocktail table – the only place in the garden where a single man could linger without looking purposeless and alone.’ His confidence is growing and this becomes more apparent as the novel continues.

In this chapter, Nick goes out with Gatsby in his car, which he describes as ‘rich cream’, and says that the colour of Gatsby’s suit is ‘caramel’. These colours are also sweet things, which may show a deeper affection for Gatsby despite Nick’s initial disgust in him, as he represents everything Nick begrudges. Again this shows character progression in Nick as his feelings toward Jay Gatsby are gradually changing. Also, the use of colours here represents the theme of materialism, as these may be seen as beautiful and grand colours, the colour of money. The theme/idea of wrong doing is also reinforced at the beginning of the chapter when Nick says, ‘on Sunday morning when church bells rang in the villages along the shore, the world and its mistress returned to Gatsby’s house and twinkled hilariously on his lawn.’  The bells ringing from the Church on a Sunday is religious and holy, with Sunday being a holy day, and the ‘world and it’s mistress’ representing all the wrong doing taking place, such as the illegal drinking and affairs, namely Tom and Myrtle, laughing in the face of morality – ‘and twinkled hilariously on his lawn’ – also representing the people who gather there to drink.

Nick further pursues his own desires and seems to be caving in his diplomatic ways. He writes, ‘There are only the pursued, the pursuing, the busy, and the tired.’ This acts as a shift in Nick Carraway, as a personal acceptance of his own adaptation - as at the end of chapter four, he kisses Jordan, despite his earlier thinking that he should sort the situation back home before moving on to anything else. Daisy also develops in this chapter as more is revealed about her and the relationship with Gatsby through Jordan. Here we learn that Daisy never wanted to marry Tom, but maybe did so as to conform to the character she was expected to be, to act as a trophy wife, or perhaps she was too scared to abandon her plans with Tom on a whim that Gatsby would come riding back into her life on a white stallion.