Abstract

In Alan Bennett’s play The History Boys, Irwin, a sixth-form history tutor destined for a media career (based, it is rumored, on that specialist in historical controversy Niall Ferguson) sets out his views on how a difficult change in the law that will affect individual rights should be dealt with. The tactic Irwin advocates is for the Government to insist that the Bill, rather than reducing the liberty of the subject “amplifies it.” The use of paradox, notes Irwin, “works well . . . the loss of liberty is the price we pay for freedom type thing” (Bennett 2004, 3). Thus, in a few sentences, Bennett encapsulates one of the greatest, or, at least, what we in the West have come to think of as one of the greatest, of ..