A literary analysis of a brave new world

It has stood the test of time. In addition, it's a fascinating take on what might happen to our society in the not too distant future.

A literary analysis of a brave new world

Share via Email British writer Aldous Huxley - sits with a newspaper on his lap, s. One was George Orwell's novel Nineteen Eighty-Four, with its horrific vision of a brutal, mind-controlling totalitarian state - a book that gave us Big Brother and thoughtcrime and newspeak and the memory hole and the torture palace called the Ministry of Love and the discouraging spectacle of a boot grinding into the human face forever.

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The other was Aldous Huxley's Brave New Worldwhich proposed a different and softer form of totalitarianism - one of conformity achieved through engineered, bottle-grown babies and hypnotic persuasion rather than through brutality, of boundless consumption that keeps the wheels of production turning and of officially enforced promiscuity that does away with sexual frustration, of a pre-ordained caste system ranging from a highly intelligent managerial class to a subgroup of dim-witted serfs programmed to love their menial work, and of soma, a drug that confers instant bliss with no side effects.

Which template would win, we wondered. During the cold war, Nineteen Eighty-Four seemed to have the edge. But when the Berlin Wall fell inpundits proclaimed the end of history, shopping reigned triumphant, and there was already lots of quasi-soma percolating through society.

True, promiscuity had taken a hit from Aids, but on balance we seemed to be in for a trivial, giggly, drug-enhanced spend-o-rama: Brave New World was winning the race.

That picture changed, too, with the attack on New York's twin towers in Thoughtcrime and the boot grinding into the human face could not be got rid of so easily, after all. The Ministry of Love is back with us, it appears, though it's no longer limited to the lands behind the former iron curtain: On the other hand, Brave New World hasn't gone away.

Shopping malls stretch as far as the bulldozer can see. On the wilder fringes of the genetic engineering community, there are true believers prattling of the gene-rich and the gene-poor - Huxley's alphas and epsilons - and busily engaging in schemes for genetic enhancement and - to go one better than Brave New World - for immortality.

Would it be possible for both of these futures - the hard and the soft - to exist at the same time, in the same place?

And what would that be like? Surely it's time to look again at Brave New World and to examine its arguments for and against the totally planned society it describes, in which "everybody is happy now". What sort of happiness is on offer, and what is the price we might pay to achieve it?

I first read Brave New World in the early s, when I was It made a deep impression on me, though I didn't fully understand some of what I was reading. It's a tribute to Huxley's writing skills that although I didn't know what knickers were, or camisoles - nor did I know that zippers, when they first appeared, had been denounced from pulpits as lures of the devil because they made clothes so easy to take off - I none the less had a vivid picture of "zippicamiknicks", that female undergarment with a single zipper down the front that could be shucked so easily: The rounded pinkness fell apart like a neatly divided apple.

A wriggle of the arms, a lifting first of the right foot, then the left: The girl shedding the zippicamiknicks is Lenina Crowne, a blue-eyed beauty both strangely innocent and alluringly voluptuous - or "pneumatic", as her many male admirers call her.

Lenina doesn't see why she shouldn't have sex with anyone she likes whenever the occasion offers, as to do so is merely polite behaviour and not to do so is selfish. Never were two sets of desiring genitalia so thoroughly at odds.

And thereon hangs Huxley's tale.

A literary analysis of a brave new world

Brave New World is either a perfect-world utopia or its nasty opposite, a dystopia, depending on your point of view: Sir Thomas More, in his own 16th-century Utopia, may have been punning: As a literary construct, Brave New World thus has a long list of literary ancestors.

Plato's Republic and the Bible's book of Revelations and the myth of Atlantis are the great-great-grandparents of the form; nearer in time are More's Utopia, and the land of the talking-horse, totally rational Houyhnhnms in Jonathan Swift's Gulliver's Travels, and HG Wells's The Time Machine, in which the brainless, pretty "upper classes" play in the sunshine during the day, and the ugly "lower classes" run the underground machinery and emerge at night to eat the social butterflies.

In the 19th century - when improvements in sewage systems, medicine, communication technologies and transportation were opening new doors - many earnest utopias were thrown up by the prevailing mood of optimism, with William Morris's News from Nowhere and Edward Bellamy's Looking Backward foremost among them.

Insofar as they are critical of society as it presently exists, but nevertheless take a dim view of the prospects of the human race, utopias may verge on satire, as do Swift's and More's and Wells's; but insofar as they endorse the view that humanity is perfectible, or can at least be vastly improved, they will resemble idealising romances, as do Bellamy's and Morris's.

The first world war marked the end of the romantic-idealistic utopian dream in literature, just as several real-life utopian plans were about to be launched with disastrous effects. The Communist regime in Russia and the Nazi takeover of Germany both began as utopian visions.

But as had already been discovered in literary utopias, perfectibility breaks on the rock of dissent. What do you do with people who don't endorse your views or fit in with your plans? Nathaniel Hawthorne, a disillusioned graduate of the real-life Brooke Farm utopian scheme, pointed out that the Puritan founders of New England - who intended to build the New Jerusalem - began with a prison and a gibbet.

Forced re-education, exile and execution are the usual choices on offer in utopias for any who oppose the powers that be. Brave New World has its own gentler punishments: Utopias and dystopias from Plato's Republic on have had to cover the same basic ground that real societies do.Plot analysis In telling the story of a civilization where suffering and pain have been eradicated at the price of personal autonomy, Brave New World explores the dehumanizing effects of technology, and implies that pain is necessary for life to have meaning.

As this thesis statement for Brave New World by Aldous Huxley states, just as the state has destroyed the meaning and value of the individual in Brave New World so too has it altered the individual’s understanding of the natural world. This seems only just considering that this is a culture driven by the forces of science and technology, but the conditioning against the love of nature has.

A look into Brave New World Many times there is an underlying topic to a novel and what it truly means. For Brave New World, there are many underlying ideas as to the makeup of Aldous Huxley’s novel.

In the novel “Brave New World” by Aldous Huxley the setting is a utopia. In this world people are constantly happy, babies are cloned, and, ‘everyone belongs to everyone else.’ The criticism which I chose was written by Margaret Cheney Dawson, on February 7th, The Literary Analysis chapter of this Brave New World Study Guide course is the most efficient way to study the analysis of this novel.

This chapter uses simple and fun videos that are about five. Brave New World Analysis Literary Devices in Brave New World. Symbolism, Imagery, Allegory. Animal imagery is rampant in Brave New World. Just look at the first chapter. There's the repetition of "straight from the horse's mouth," Foster's implicit claim that "any cow" could merely hatch.

Brave New World: Theme Analysis | Novelguide