John is a peculiar character who feels the need to punish himself frequently. When he decides that he 'ate civilization' and then after ate his own wickedness, he punishes himself by vomiting in means to purify himself. This is only a simple and just way that John punishes himself; he does it again by spending his first night in the luxurious lighthouse praying to Jesus and his guardian animal (whom is an eagle, just like Pookong is), among other entities. He would even hold his arms up and out as though being crucified to experience tremulous and excruciating agony. Why? Simply because he is an extremist in begging for forgiveness and becoming 'clean' again.
The society and the people in it are extremely different compared to John; as though they are on opposite extreme sides of a spectra. John feeds off of religion and when he is in a situation that is impure or distasteful, which is not hard to come across in the society, he instantly feels the need to punish himself. For example, when John finds himself enjoying making tools while he is in the 'wilderness', he punishes himself for the fact of enjoyment. He is supposed to constantly remember the bad events that have occurred while he has entered the society (another method of punishment). Especially the thought of Lenina, and how she sauntered towards him completely naked, makes John instantly torture himself to undergo purification.
I could not imagine undergoing such painful punishment for every wrong or immoral thing I thought about. To be honest, I doubt I would be alive if I did that every single time.
The society, on the other hand, believe that the majority of what we would find immoral is delightful and right. They find the thought of purification unnecessary, as they have no wrongs that they can commit, nor would they have the desire to do so.
When crowds of people come to see John in his hiding place, he his shocked at what they want - the whip. For some ironic reason, they wish to see pain in all its glory. When Lenina starts coming towards John, he snaps and begins to slash Lenina with his whip. Instead of the people helping the poor woman, they whoop and stampede towards the centre of attraction, "Pain was a fascinating horror" (XVIII, 227), which is terrifying. Since the society is so used to their simple, working and lecherous lives, they do not know what true pain is. They are continuously happy and never have a bad feeling, and if they do then there's soma. They literally cheer and are fascinated by the horror of pain as John continues to slash at Lenina and then at himself.
What is incredible is the power of suggestion. Their conditioning has made the people of the society become a sponge - they soak up and re-enact anything that they see as new. They begin to slash and whip themselves, "drawn by the fascination of the horror of pain and, from within...that desire for unanimity and atonement, with their conditioning had so ineradicably implanted in them, they began to mime the frenzy of his gestures" (XVIII, 228); such indisputably terrifying reactions are ludicrous. They absorb and re-enact actions without even thinking, just as a child would do. It is ridiculous that such a population, all at once, can create and partake in such reckless and disturbing behaviour, and like it! It is a twisted sick world.
The most important part in this chapter is the ending. At the very end, we learn that John has hung himself and committed suicide - the most powerful punishment he could wreak upon himself. He committed in 'orgy-porgy' and participated in erotic play; he became one of the society's people. He was meant to suffer for eternity and instead, he became so wrapped up in the soma and the frenzy of sensuality, that he lost his control on morality. Thus, in order to purify himself of such a terrible act of immorality, he kills himself.
The most amazing thing is that nothing has changed in the society. Nothing. They are still childish, dead souls as the day John the Savage came. As they saw John they described his dangling feet, "Slowly, very slowly, like two unhurried compass needle, the feet turned towards the right; north, north-east, east, south-east, south, south-south-west; then paused, and after a few seconds, turned as unhurriedly back towards the left. South-south-west, south-south-east, east. . ." (XVIII, 229), such an emotionless description. It is sad, really. Nothing in their society has been affected by the presence of John, and even as they watch his corpse, they are emotionless. There are no tears, no pain, no terrified emotions.. nothing. Such a world... I would not want to live in. Such sociopath tendencies in an entire society is just too painful, and sad.
A 'brave new world'?
Not in this lifetime. Not through these eyes.
Friday, May 21, 2010
Chapter XVII - Overall Analysis
When Mustapha assumes that John the Savage knows all about God, John hesitates. He does not actually know all about God, but basically lives by the religion aspect of it. John understands how he came to know about God, during the time he thought about plunging into a sea of darkness to end his life, but when he wants to talk about it, “…there were no words. Not even in Shakespeare” (XVII, 203).
“…we feel the need to lean on something that abides, something that will never play us false – a reality, an absolute and everlasting truth. Yes, we inevitably turn to God; for this religious sentiment is of its nature so pure, so delightful to the soul that…it makes up for all our other losses” (XVII, 206),
which is basically stating that people in life need God in order to make themselves feel better. We all need something that is bigger than us, something that creates a sense of hope so that we can turn to it when we are unsure of ourselves. God is a symbolic image in our minds that create hope in a pure aura that it could never do us any wrong.
The Controller goes on to talk about how no one ever philosophized about a future in which we become independent of God - where we have no need for a holy entity that we beg to for happiness and prosperity. Being youthful, never having to grow old, and prosperity means never having the need for God. In their society one does not need 'compensating for losses', thus no God is needed. Why go hunting for dreams and goals when you have whatever you want right at your fingertips all the time? John disagrees, as he should (being a moral man and all), but the Controller says he believes that there is quite possibly a God, but that in this time and age, he is an absence instead of being manifested into a being.One of the most important quotes in this chapter is one about the philosophy of life, "He [Bradley[ defined philosophy as the finding of bad reason for what one believes by instinct. As if one believed anything by instinct! One believes things because one has been conditioned to believe them" (XVII, 207), which is actually quite realistically true. How is it that we believe in God and other entities, or even anything in life? Are we not all conditioned to believe in it, is that not why we go to church or school? Or is it that we desire a greater being in our lives in order to maintain a certain equilibrium between chaos and stability, and therefore instinctively created needs? This is the one thing I pondered most about after reading this book. What if our lives were just large case of conditioning, just not as obvious? Everyone knows that the news always puts out the stories that are intriguing, and will warp it in order to do so, but what if everything else in our lives did that as well? Is that not conditioning, or is it an instinct to reveal only certain things (almost like a 'white lie') in order to maintain equilibrium and prevent mass hysteria?
It's hard to tell, but I know that I now feel as though I re-evaluate my life and what is real, and what is not. I would like to believe that we live in a world that is mostly instinctual, but at the same time I do believe we are slightly conditioned to be the way that we are. It's a little scary though - perhaps anyone can condition the world, if they tried hard enough.
Something highly interesting that we learn of John is that where ever he may go, he will never fit in. In the Reservation he had suffered and had been shut out due to the colour of his skin and the way Linda behaved. In the 'modern' society, he is suffering because he can never simply be alone. Ironic, isn't it? He was alone in Malpais more physically than emotionally - for he still had Linda and the old shaman. In the society, he is alone emotionally than physically. Everywhere he goes, there are women and men urging to see him and talk with him. However, he is out of place and seen as 'queer' because he is moral and has a sense of decency.
A highly important point that John makes about the society is how they always create situations that are easy so that one does not suffer. For example, the society rid themselves of mosquitoes so that they did not get bitten. They get rid of everything that is hard or seems difficult, instead of learning how to put up with it. This is quite possibly why the society and the people in it seem to be so childish. Maturity comes with experience of hardships; without any hardships, how can there be maturity? Everything seems just too easy in their life, it almost makes life ridiculously boring. Then again, anything that is not unstable seems boring.
John states that, "What you need is something with tears for a change. Nothing costs enough here" (XVII, 211), and he is completely correct. Living in a world with pain and the need for tears is true life. Anything else is just a fragment of a dreary yet perfect life.
It is also ironic how when John comments about how nothing costs enough in the society, Henry Foster told him that their new Conditioning Centre cost twelve and a half million dollars. Isn't that just so like the society? Emotionless! Everything means nothing to them, it is ridiculous and childish. John obviously had meant something deeper than just money, but people like Foster could never understand. Why? Why, due to conditioning of course. Who needs to philosophize when they could just do work?
At the very end of the chapter, there is one of the most important points that connects throughout the entire novel. The society wants to do things comfortably at all times; no pain, no emotion, no 'strings attached', no diseases, no ugliness or old age, no inconveniences. John wants inconveniences, because it is realistic, it is REAL; God, poetry, danger, freedom. Mustapha counters that he is basically wanting the right to be unhappy, to grow old and ugly, have cancer, be lousy, to live in constant apprehension of what may happen tomorrow, and even the right to be tortured by unspeakable pain. John decides that that is exactly what he wants, and it would be what I want as well. If life was easy and convenient than we would be rendered useless; for life is meant to be lived.
Thursday, May 20, 2010
Chapter XVI - Overall Analysis
Helmholtz, John, and Bernard have been arrested and are sent to the World Controller's, Mustapha Mond, office.
Helmholtz is comfortable and at ease with the entire situation, which we can tell because he sits in one of the more pneumatic and luxurious armchairs. He is basically excited that he is getting in trouble and does not see any foreseen damage or pain in his future. Bernard however, sits in one of the most uncomfortable chairs. He feels that by disciplining himself he might obtain a less wrathful punishment.
These can be seen as symbolism to Helmholtz and Bernard's characters. Helmholtz is comfortable and confident in himself and the way he does things. He knows he has a hidden, untapped power that wants to be released and with such power and great things in his life going for him, he is positively assured of himself.
Bernard is an awkward and cowardice character. Bernard always commits actions to keep himself away from trouble, especially since he is different. He is selfish - even though he chooses the most uncomfortable chair, it is for the wrong reasons. He merely is trying to make himself seem more honest to reduce the discipline that may be put upon him.
John, on the other hand, does not sit down at all. Rather, he paces around the room and riffles through the books on the shelves. This suggests that perhaps John is more active and smart about his actions. John chooses to read books rather than lazily sitting down in a chair, almost as if he wants to obtain knowledge rather than be kept in the dark. This just shows how incredibly different he is compared to Helmholtz and Bernard.
These characters can also represent the societies and worlds in which they live in. For example, Bernard and Helmholtz choose to sit in the armchairs. This suggests laziness and casualness. It also suggests an air of stability, especially since Helmholtz and Bernard sit in opposite chairs - one pneumatic and luxurious, the other uncomfortable and painful.
John paces around instead of sitting down. He chooses to take the 'bull by the horns', just as they would do in the Savage Reservation. He wants instability and maintains a sense of control by pacing around, instead of casually sitting down.
What is highly interesting in this chapter is the fact that we learn why the society is the way it is. Mustapha discusses with Helmholtz and John about why Shakespearean plays, such as Othello, are not allowed to be in the society,
"Because our world is not the same as Othello's world. ...you can't make tragedies without social instability. ...People are happy; they get what they want, and they never want what they can't get. ...they're so conditioned that they practically can't help behaving as they ought to behave" (XVI, 194), and this is really interesting to me. I cannot imagine living in a world in which I have everything I want, and never want something I cannot have. That is like living in a world without dreams, goals, and aspirations. Life would be dead without them, would they not? I think I would also not enjoy living a life that is purely conditioned. I would like to think my actions and thoughts are based on my own mind, not because I was conditioned to do or think so.
However, I suppose we are all conditioned in some way, but what is the line between being conditioned and just being taught?
Another important quote in this chapter is the talk about what is true happiness. Mustapha states, "Actual happiness always looks pretty squalid in comparison with the over-compensations for misery. ...Happiness is never grand" (XVI, 194-195) which is true. Once we obtain happiness, it is never as grand or perfect as we expect it to be. We only crave more of it so that we can 'truly' be happy, and yet that is impossible. There is no such thing as a time in which everything is perfect - so perfect that happiness is only emotion that you feel. It's just implausible and unrealistic, and yet the society in the novel states that they only serve true happiness. Lonely? That's what the pneumatic women and men are for. Sad? Take some soma and forget about your problems. These are not another word or synonym for happiness. These are mere fragments of the idea of happiness. True happiness is never as grand as we expect it to be.
One of my favourite quotes in this chapter is when Mustapha discusses how happiness is not free, and that we all have to give up something in order to obtain it, "One can't have something for nothing. Happiness has got to be paid for. You're paying for it, Mr. Watson - paying because you happen to be too much interested in beauty. I was too much interested in truth; I paid too" (XVI, 201). Society has given up instability and therefore majority of the emotions and humanistic characteristics in order to have 'happiness'. People in that society do not even know what happiness is in my opinion. All they do is run away from problems and commit whoreish activities all the time - is that truly what happiness is? Perhaps I'm not seeing it in the right light, but it just seems wrong to me.
Helmholtz is comfortable and at ease with the entire situation, which we can tell because he sits in one of the more pneumatic and luxurious armchairs. He is basically excited that he is getting in trouble and does not see any foreseen damage or pain in his future. Bernard however, sits in one of the most uncomfortable chairs. He feels that by disciplining himself he might obtain a less wrathful punishment.
These can be seen as symbolism to Helmholtz and Bernard's characters. Helmholtz is comfortable and confident in himself and the way he does things. He knows he has a hidden, untapped power that wants to be released and with such power and great things in his life going for him, he is positively assured of himself.
Bernard is an awkward and cowardice character. Bernard always commits actions to keep himself away from trouble, especially since he is different. He is selfish - even though he chooses the most uncomfortable chair, it is for the wrong reasons. He merely is trying to make himself seem more honest to reduce the discipline that may be put upon him.
John, on the other hand, does not sit down at all. Rather, he paces around the room and riffles through the books on the shelves. This suggests that perhaps John is more active and smart about his actions. John chooses to read books rather than lazily sitting down in a chair, almost as if he wants to obtain knowledge rather than be kept in the dark. This just shows how incredibly different he is compared to Helmholtz and Bernard.
These characters can also represent the societies and worlds in which they live in. For example, Bernard and Helmholtz choose to sit in the armchairs. This suggests laziness and casualness. It also suggests an air of stability, especially since Helmholtz and Bernard sit in opposite chairs - one pneumatic and luxurious, the other uncomfortable and painful.
John paces around instead of sitting down. He chooses to take the 'bull by the horns', just as they would do in the Savage Reservation. He wants instability and maintains a sense of control by pacing around, instead of casually sitting down.
What is highly interesting in this chapter is the fact that we learn why the society is the way it is. Mustapha discusses with Helmholtz and John about why Shakespearean plays, such as Othello, are not allowed to be in the society,
"Because our world is not the same as Othello's world. ...you can't make tragedies without social instability. ...People are happy; they get what they want, and they never want what they can't get. ...they're so conditioned that they practically can't help behaving as they ought to behave" (XVI, 194), and this is really interesting to me. I cannot imagine living in a world in which I have everything I want, and never want something I cannot have. That is like living in a world without dreams, goals, and aspirations. Life would be dead without them, would they not? I think I would also not enjoy living a life that is purely conditioned. I would like to think my actions and thoughts are based on my own mind, not because I was conditioned to do or think so.
However, I suppose we are all conditioned in some way, but what is the line between being conditioned and just being taught?
Another important quote in this chapter is the talk about what is true happiness. Mustapha states, "Actual happiness always looks pretty squalid in comparison with the over-compensations for misery. ...Happiness is never grand" (XVI, 194-195) which is true. Once we obtain happiness, it is never as grand or perfect as we expect it to be. We only crave more of it so that we can 'truly' be happy, and yet that is impossible. There is no such thing as a time in which everything is perfect - so perfect that happiness is only emotion that you feel. It's just implausible and unrealistic, and yet the society in the novel states that they only serve true happiness. Lonely? That's what the pneumatic women and men are for. Sad? Take some soma and forget about your problems. These are not another word or synonym for happiness. These are mere fragments of the idea of happiness. True happiness is never as grand as we expect it to be.
One of my favourite quotes in this chapter is when Mustapha discusses how happiness is not free, and that we all have to give up something in order to obtain it, "One can't have something for nothing. Happiness has got to be paid for. You're paying for it, Mr. Watson - paying because you happen to be too much interested in beauty. I was too much interested in truth; I paid too" (XVI, 201). Society has given up instability and therefore majority of the emotions and humanistic characteristics in order to have 'happiness'. People in that society do not even know what happiness is in my opinion. All they do is run away from problems and commit whoreish activities all the time - is that truly what happiness is? Perhaps I'm not seeing it in the right light, but it just seems wrong to me.
Chapter XV - Overall Analysis
John grows more and more weary of the society. Not that I blame him; the society is disturbed to a whole new level. He has a deep hatred for the Bokovansky twins that inhabit the society, quite possibly because they are so robotic and inhuman. As he moves through a crowd of them, he feels disgust, horror, and pain, "...with a sinking sense of horror and disgust, for the recurrent delirium of his days and nights, the nightmare of swarming indistinguishable sameness. Twins, twins..." (XV, 184) and he is right to feel such pained feelings. They had swarmed over his mother as she lay dying, with no respect to her decaying mind/body.
As they continued to swarm around him, for they were switching shifts, John's 'magical words' began to change from a sing-song tone to a hideous mocking tone with fiendish laughing, "How beauteous mankind is! O brave new world..." (XV, 184), however in that Shakespearean quote, Miranda is proclaiming how lovely the new world must be, which is ironic because in this situation, there is nothing even remotely lovely about the 'new world'.
There is a bit of foreshadowing in this chapter. John talks about the 'brave new world' quote and analyzes it that there is hope of changing a nightmare, such as this, into something better. Thus making me believe that perhaps he is planning on changing the society, transforming the nightmare, into a society of emotions, something that is fine and noble.
While John ponders this, he has an epiphany of some sort and, "it was as though a shutter had been opened, a curtain drawn back" (XV, 185); he decides that he must save these people from the soma. The soma, that is so alluring and perfect and yet so poisonous to the mind and body. Suddenly, all of his pain and grief vanished and he felt indignation as he began to chastise the twins as they tried to obtain their soma distribution. He asks them if they want freedom and true manhood. They were just standing there, with blank faces and eyes of resentment. Such descriptions of them makes them seem dead, like walking zombies. They are indeed the children of the damned from the so-called perfect society - so hollow and dead and yet living.
Bernard and Helmholtz show up to his horrific scene of John beating back the riotous twins, and Helmholtz rushes to help John. Bernard however, being the selfish person he is, stands in agony as he is torn between helping them and risking himself, or watching them and saving himself.
One of the most interesting parts in this chapter is 'The Voice of Reason'. As the twins start their violent riot, the 'Voice of Reason' comes on and "straight from the depths of a non-existent heart" (XV, 189), begins to plea with the people to stop their violent rage in an almost pathetic and tender voice. The Voice worked, along with the soma-vapour; they had rendered the violent twins into blubbering, kissing babies. They had even produced an effect on Helmholtz and John, as they grew close to tears.
How interesting that the society has different 'Voices' that call upon them whenever there is pain or unpleasant behaviours. We will learn further on that there is no need for a God in their society, but isn't this just like a God in a way? They worship and render themselves useless to a Voice from a Synthetic Music Box, a voice that is angelic and beautiful. Don't people believe that God talks to them in such a way as well? Is this not pretty much the same thing?
As they continued to swarm around him, for they were switching shifts, John's 'magical words' began to change from a sing-song tone to a hideous mocking tone with fiendish laughing, "How beauteous mankind is! O brave new world..." (XV, 184), however in that Shakespearean quote, Miranda is proclaiming how lovely the new world must be, which is ironic because in this situation, there is nothing even remotely lovely about the 'new world'.
There is a bit of foreshadowing in this chapter. John talks about the 'brave new world' quote and analyzes it that there is hope of changing a nightmare, such as this, into something better. Thus making me believe that perhaps he is planning on changing the society, transforming the nightmare, into a society of emotions, something that is fine and noble.
While John ponders this, he has an epiphany of some sort and, "it was as though a shutter had been opened, a curtain drawn back" (XV, 185); he decides that he must save these people from the soma. The soma, that is so alluring and perfect and yet so poisonous to the mind and body. Suddenly, all of his pain and grief vanished and he felt indignation as he began to chastise the twins as they tried to obtain their soma distribution. He asks them if they want freedom and true manhood. They were just standing there, with blank faces and eyes of resentment. Such descriptions of them makes them seem dead, like walking zombies. They are indeed the children of the damned from the so-called perfect society - so hollow and dead and yet living.
Bernard and Helmholtz show up to his horrific scene of John beating back the riotous twins, and Helmholtz rushes to help John. Bernard however, being the selfish person he is, stands in agony as he is torn between helping them and risking himself, or watching them and saving himself.
One of the most interesting parts in this chapter is 'The Voice of Reason'. As the twins start their violent riot, the 'Voice of Reason' comes on and "straight from the depths of a non-existent heart" (XV, 189), begins to plea with the people to stop their violent rage in an almost pathetic and tender voice. The Voice worked, along with the soma-vapour; they had rendered the violent twins into blubbering, kissing babies. They had even produced an effect on Helmholtz and John, as they grew close to tears.
How interesting that the society has different 'Voices' that call upon them whenever there is pain or unpleasant behaviours. We will learn further on that there is no need for a God in their society, but isn't this just like a God in a way? They worship and render themselves useless to a Voice from a Synthetic Music Box, a voice that is angelic and beautiful. Don't people believe that God talks to them in such a way as well? Is this not pretty much the same thing?
Wednesday, May 19, 2010
Chapter XIV - Overall Analysis
There is a very interesting quote spoken while Linda is slowly dying from the constant soma-holiday she so badly needed, "Linda was dying in company - in company with all the modern conveniences" (XIV, 174) thus meaning that since the taps and televisions are left on, she will never feel alone while she dies. It's almost sickening that the society feels that even through slow death, no one should be alone. What if their final wish was to be left alone? Besides, who would want the constant running of taps and television as they died? The society creates this fake atmosphere of happiness even as people lay dying, which is odd in itself as they are not old or wrinkled. They have smooth faces just as a young adult would have even though they're dying and have blank faces and no expression on their faces. It's almost satirically ironic - they are young and yet dying, they are youthful and yet they hold no expression.
What is highly disturbing is the fact the 'nightmare of Bokovansky twins' undergo 'death conditioning'. It's creepy that they would allow the children to go in and see one of the members of society dying and on the day that the person dies, they get a donut or some other treat. How morbid is that? John is right to see the twins as nightmares, "Their faces, their repeated face - for there was only one between the lot of them - puggishly stares, all nostrils and pale goggling eyes' (XIV, 177) which is an interesting description of the twins. I could see them being as hideous as John describes them. The fact they swarm around Linda as she lies dying is terrifying and sounds like something out of a horror movie. Perhaps Huxley wanted the twins to seem as terrifying as John describes them to further show how disturbed and messed up the society truly is. Perfection is a monster.
What is highly disturbing is the fact the 'nightmare of Bokovansky twins' undergo 'death conditioning'. It's creepy that they would allow the children to go in and see one of the members of society dying and on the day that the person dies, they get a donut or some other treat. How morbid is that? John is right to see the twins as nightmares, "Their faces, their repeated face - for there was only one between the lot of them - puggishly stares, all nostrils and pale goggling eyes' (XIV, 177) which is an interesting description of the twins. I could see them being as hideous as John describes them. The fact they swarm around Linda as she lies dying is terrifying and sounds like something out of a horror movie. Perhaps Huxley wanted the twins to seem as terrifying as John describes them to further show how disturbed and messed up the society truly is. Perfection is a monster.
Chapter XIII - Overall Analysis
In this chapter, Lenina decides that, with the help of soma, she will try to make John 'hers', but John, being extremely moral, lashes against her as she undresses and tries to make a move.
Lenina is depressed, as she feels that John does not like her at all. She takes soma and tries to have other men but finds herself feeling depressed afterwards still. It is interesting that someone from the society is having depressive thoughts and feelings - especially about another man. I believe that Lenina is in love with John, but does not understand 'love' and what it means. Also, for some reason, she must have a fetish for 'odd' things, since she confesses to Fanny that John is the only man she wants, even though he is so queer. She also made this comment about Bernard at the beginning of the novel. Perhaps she feels the need to have something odd in her life; something that would create drama and instability in her perfect pneumatic life.
John is torn in this part of the book. He is obsessed and completely in love with Lenina, but his morals stop him from doing anything, especially since he believes he is unworthy of her love. When Lenina shows up randomly at Bernard's place, John breaks down and confesses that he is madly in love with Lenina who is, "...so perfect, so perfect and so peerless are created of every creature's best" (XIII, 166) or so he describes her. Such emotionally stirring passion creates irritation and confusion for Lenina. She wants to just 'have him' and he is rambling on and on about how he must make himself worthy enough to her love.
Two worlds collide - the perfect society and the radical savage. It is almost as if the relationship is meant to be doomed before it even starts. John is so in love with Lenina that he feels agony when he confesses love for her, because in his mind he must get married first and prove worthiness. Lenina, however, feels the need to just get undressed and get on with it - with no strings attached. That's why I find it hard to believe that she 'loves' him... I could see her being more obsessed with the idea of him than actually being in love with him.
John is horrified as Lenina begins to undress herself. He wants to be with her, but not like this - not when she is throwing away her morality and self-virtue. I loved that his conscience began to thunder Shakespearean words inside of his head. He describes them being silkily and soft, but as they are alluring they are also dangerous, 'Soft, soft, but how piercing! boring and drilling into reason, tunnelling through resolution' (XIII, 169) which is interesting because his conscience is warning him of danger and morality, but at the same time in a smooth magical way.
When Lenina presses herself against him, John's morality explodes into inexplicable fury. He called her a whore and impudent strumpet and slapped her on the back. His love for Lenina is powerless to the hold religion and morality has upon him - quite possibly due to Linda and her constant 'having' of men, such as Popé. As Lenina bolts to the bathroom, John begins to storm around the room in a beat of marching to drums and the 'magical words' (Shakespeare's words). It is odd - the magical words bring John joy and yet can easily create an atmosphere for hatred and pain. It is amazing how the power of words can create such powerful emotions. However, perhaps the pain and hatred John can exude, due to the words, are because Shakespeare wrote tragedies with a world of pain and broken love, never about happiness and the 'good guys' winning, which John subconsciously applies to his life.
Lenina is depressed, as she feels that John does not like her at all. She takes soma and tries to have other men but finds herself feeling depressed afterwards still. It is interesting that someone from the society is having depressive thoughts and feelings - especially about another man. I believe that Lenina is in love with John, but does not understand 'love' and what it means. Also, for some reason, she must have a fetish for 'odd' things, since she confesses to Fanny that John is the only man she wants, even though he is so queer. She also made this comment about Bernard at the beginning of the novel. Perhaps she feels the need to have something odd in her life; something that would create drama and instability in her perfect pneumatic life.
John is torn in this part of the book. He is obsessed and completely in love with Lenina, but his morals stop him from doing anything, especially since he believes he is unworthy of her love. When Lenina shows up randomly at Bernard's place, John breaks down and confesses that he is madly in love with Lenina who is, "...so perfect, so perfect and so peerless are created of every creature's best" (XIII, 166) or so he describes her. Such emotionally stirring passion creates irritation and confusion for Lenina. She wants to just 'have him' and he is rambling on and on about how he must make himself worthy enough to her love.
Two worlds collide - the perfect society and the radical savage. It is almost as if the relationship is meant to be doomed before it even starts. John is so in love with Lenina that he feels agony when he confesses love for her, because in his mind he must get married first and prove worthiness. Lenina, however, feels the need to just get undressed and get on with it - with no strings attached. That's why I find it hard to believe that she 'loves' him... I could see her being more obsessed with the idea of him than actually being in love with him.
John is horrified as Lenina begins to undress herself. He wants to be with her, but not like this - not when she is throwing away her morality and self-virtue. I loved that his conscience began to thunder Shakespearean words inside of his head. He describes them being silkily and soft, but as they are alluring they are also dangerous, 'Soft, soft, but how piercing! boring and drilling into reason, tunnelling through resolution' (XIII, 169) which is interesting because his conscience is warning him of danger and morality, but at the same time in a smooth magical way.
When Lenina presses herself against him, John's morality explodes into inexplicable fury. He called her a whore and impudent strumpet and slapped her on the back. His love for Lenina is powerless to the hold religion and morality has upon him - quite possibly due to Linda and her constant 'having' of men, such as Popé. As Lenina bolts to the bathroom, John begins to storm around the room in a beat of marching to drums and the 'magical words' (Shakespeare's words). It is odd - the magical words bring John joy and yet can easily create an atmosphere for hatred and pain. It is amazing how the power of words can create such powerful emotions. However, perhaps the pain and hatred John can exude, due to the words, are because Shakespeare wrote tragedies with a world of pain and broken love, never about happiness and the 'good guys' winning, which John subconsciously applies to his life.
Tuesday, May 18, 2010
Chapter XII - Overall Analysis
When John the Savage refuses to show himself at one of Bernard's nightly parties, so the people of society can meet and greet the Savage, true feelings emerge.
The people of society show their true colours and how they never truly liked Bernard, that they only tolerated him. The women he had been felt they had been tricked by Bernard and the men felt they had their reputations dirtied by Bernard's unsavory reputation for tolerating him and being polite. Thus, Bernard never truly belonged in the society after being a 'hero'. He was just seen as a pawn in order to get closer to the Savage - a very annoying and unorthodox pawn (who must have had alcohol definitely put into his blood surrogate as a foetus, claims Fanny, just as she did at the beginning of the novel).
Lenina is completely devastated. She had convinced herself that she would confess her feelings for John, but when he doesn't show up, feels that it is because she is there (hello, conceited much?). She is convinced that he doesn't like her at all, which is ironic because John feels that Lenina does not like him and that he is unworthy for her.
The most interesting part of this however is that Lenina likes him so much that as soon as she heard that John was not showing up to the party, "a sense of dreadful emptiness, a breathless apprehension, a nausea. Her heart seemed to stop beating" (XII, 152). How emotionally stirring this quote is! It is obvious that Lenina is obsessed with John and wishes that she could be with him. However, would she be willing to spend forever with him, as he wants, or would she rather just spend the night with him? It's a little too early to tell what her true intentions are. I was just over-joyed that she had such a strong emotional reaction!
Quite randomly but decently important, we turn back to the World Controller Mustapha Mond who is reading a stimulating book about a new theory about biology. He feels it is an amazing book that is ingenious, but would be incredibly dangerous and subversive to the social order and stability in society. Mustapha claims it would easily recondition the unsettled minds of the higher society ranks which would make them lose their faith in the society and the happiness it so proclaims to bring them, mostly because it would teach them that the purpose of life is not to maintain well-being, but to refine consciousness and obtain immense knowledge. He writes 'Not to be published' in dark underlined letters and states, "What fun it would be if one didn't have to think about happiness!" (XII, 155), or basically think of the possibilities that could occur if the happiness of the society wasn't a huge factor. But, ignorance is bliss.
We learn more about how truly egotistical Bernard is in this chapter as well. Bernard refers to John and Helmholtz as his 'victim-friends'. Bernard liked John but at the same time felt a secret grievance against him and would ponder about a series of small revenges to thrust upon John, mostly just because Bernard feels superiority over John and likes it. With Helmholtz, Bernard likes that he is able to return to Helmholtz even after their huge fight, but he also feels humiliated that he is not half the man that Helmholtz is. Bernard states that, "One of the principal functions of a friend is to suffer (in a milder and symbolic form) the punishments that we should like, but are unable, to inflict upon our enemies" (XII, 156), which I think is terrible. I am sure that there are those who do this, but I cannot imagine doing such a thing to my friends. I believe Bernard does this because he is insecure about himself and thus feels the need to make himself feel superior in some way, even if it means he has to hurt the ones he calls 'friends'.
One of the more important quotes from this chapter is when Helmholtz laughs at John's reading of "Romeo and Juliet" and states, "We need some other kind of madness and violence" (XII, 162). Helmholtz wishes that there would be chaos in the society and that the entire system would be turned upside down and become unstable. Those that are unstable are more interesting than stable.
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