Themes are the fundamental and often universal ideas explored in a literary work.
Brave New World warns of the dangers of giving the state control over new and powerful technologies. One illustration of this theme is the rigid control of reproduction through technological and medical intervention, including the surgical removal of ovaries, the Bokanovsky Process, and hypnopaedic conditioning. Another is the creation of complicated entertainment machines that generate both harmless leisure and the high levels of consumption and production that are the basis of the World State’s stability. Soma is a third example of the kind of medical, biological, and psychological technologies that Brave New World criticizes most sharply.
It is important to recognize the distinction between science and technology. Whereas the State talks about progress and science, what it really means is the bettering of technology, not increased scientific exploration and experimentation. The state uses science as a means to build technology that can create a seamless, happy, superficial world through things such as the “feelies.” The state censors and limits science, however, since it sees the fundamental basis behind science, the search for truth, as threatening to the State’s control. The State’s focus on happiness and stability means that it uses the results of scientific research, inasmuch as they contribute to technologies of control, but does not support science itself.
It is important to understand that Brave New World is not simply a warning about what could happen to society if things go wrong, it is also a satire of the society in which Huxley existed, and which still exists today. While the attitudes and behaviors of World State citizens at first appear bizarre, cruel, or scandalous, many clues point to the conclusion that the World State is simply an extreme—but logically developed—version of our society’s economic values, in which individual happiness is defined as the ability to satisfy needs, and success as a society is equated with economic growth and prosperity.
Brave New World is full of characters who do everything they can to avoid facing the truth about their own situations. The almost universal use of the drug soma is probably the most pervasive example of such willful self-delusion. Soma clouds the realities of the present and replaces them with happy hallucinations, and is thus a tool for promoting social stability. But even Shakespeare can be used to avoid facing the truth, as John demonstrates by his insistence on viewing Lenina through the lens of Shakespeare’s world, first as a Juliet and later as an “impudent strumpet.” According to Mustapha Mond, the World State prioritizes happiness at the expense of truth by design: he believes that people are better off with happiness than with truth.
What are these two abstract entities that Mond juxtaposes? It seems clear enough from Mond’s argument that happiness refers to the immediate gratification of every citizen’s desire for food, sex, drugs, nice clothes, and other consumer items. It is less clear what Mond means by truth, or specifically what truths he sees the World State society as covering up. From Mond’s discussion with John, it is possible to identify two main types of truth that the World State seeks to eliminate. First, as Mond’s own past indicates, the World State controls and muffles all efforts by citizens to gain any sort of scientific, or empirical truth. Second, the government attempts to destroy all kinds of “human” truths, such as love, friendship, and personal connection. These two types of truth are quite different from each other: objective truth involves coming to a definitive conclusion of fact, while a “human” truth can only be explored, not defined. Yet both kinds of truth are united in the passion that an individual might feel for them. As a young man, Mustapha Mond became enraptured with the delight of making discoveries, just as John loves the language and intensity of Shakespeare. The search for truth then, also seems to involve a great deal of individual effort, of striving and fighting against odds. The very will to search for truth is an individual desire that the communal society of Brave New World, based as it is on anonymity and lack of thought, cannot allow to exist. Truth and individuality thus become entwined in the novel’s thematic structure.
Like George Orwell’s 1984, this novel depicts a dystopia in which an all-powerful state controls the behaviors and actions of its people in order to preserve its own stability and power. But a major difference between the two is that, whereas in 1984 control is maintained by constant government surveillance, secret police, and torture, power in Brave New World is maintained through technological interventions that start before birth and last until death, and that actually change what people want. The government of 1984 maintains power through force and intimidation. The government of Brave New World retains control by making its citizens so happy and superficially fulfilled that they don’t care about their personal freedom. In Brave New World the consequences of state control are a loss of dignity, morals, values, and emotions—in short, a loss of humanity.
Motifs are recurring structures, contrasts, and literary devices that can help to develop and inform the text’s major themes.
The word pneumatic is used with remarkable frequency to describe two things: Lenina’s body and chairs. Pneumatic is an adjective that usually means that something has air pockets or works by means of compressed air. In the case of the chairs (in the feely theater and in Mond’s office), it probably means that the chairs’ cushions are inflated with air. In Lenina’s case, the word is used by both Henry Foster and Benito Hoover to describe what she’s like to have sex with. She herself remarks that her lovers usually find her “pneumatic,” patting her legs as she does so. In reference to Lenina it means well-rounded, balloon-like, or bouncy, in reference to her flesh, and in particular her bosom. Huxley is not the only writer to use the word pneumatic in this sense, although it is an unusual usage. The use of this odd word to describe the physical characteristics of both a woman and a piece of furniture underscores the novel’s theme that human sexuality has been degraded to the level of a commodity.
Throughout Brave New World, the citizens of the World State substitute the name of Henry Ford, the early twentieth-century industrialist and founder of the Ford Motor Company, wherever people in our own world would say Lord” (i.e., Christ). This demonstrates that even at the level of casual conversation and habit, religion has been replaced by reverence for technology—specifically the efficient, mechanized factory production of goods that Henry Ford pioneered.
The motif of alienation provides a counterpoint to the motif of total conformity that pervades the World State. Bernard Marx, Helmholtz Watson, and John are alienated from the World State, each for his own reasons. Bernard is alienated because he is a misfit, too small and powerless for the position he has been conditioned to enjoy. Helmholtz is alienated for the opposite reason: he is too intelligent even to play the role of an Alpha Plus. John is alienated on multiple levels and at multiple sites: not only does the Indian community reject him, but he is both unwilling and unable to become part of the World State. The motif of alienation is one of the driving forces of the narrative: it provides the main characters with their primary motivations.
Brave New World abounds with references to sex. At the heart of the World State’s control of its population is its rigid control over sexual mores and reproductive rights. Reproductive rights are controlled through an authoritarian system that sterilizes about two-thirds of women, requires the rest to use contraceptives, and surgically removes ovaries when it needs to produce new humans. The act of sex is controlled by a system of social rewards for promiscuity and lack of commitment. John, an outsider, is tortured by his desire for Lenina and her inability to return his love as such. The conflict between John’s desire for love and Lenina’s desire for sex illustrates the profound difference in values between the World State and the humanity represented by Shakespeare’s works.
Shakespeare provides the language through which John understands the world. Through John’s use of Shakespeare, the novel makes contact with the rich themes explored in plays like The Tempest. It also creates a stark contrast between the utilitarian simplicity and inane babble of the World State’s propaganda and the nuanced, elegant verse of a time “before Ford.” Shakespeare’s plays provide many examples of precisely the kind of human relations—passionate, intense, and often tragic—that the World State is committed to eliminating.
Symbols are objects, characters, figures, and colors used to represent abstract ideas or concepts.
The drug soma is a symbol of the use of instant gratification to control the World State’s populace. It is also a symbol of the powerful influence of science and technology on society. As a kind of “sacrament,” it also represents the use of religion to control society.
Replacing the concept of a belief-based, non-verifiable being with Ford, a man who existed, eliminates all the wonder and mystery related to traditional religions.
Also eliminating all other belief systems with a single, inarguable "godhead" rids the World State citizens of anxiety and conflicts based on religious beliefs and orthodoxies.
139 out of 190 people found this helpful
Czytałem to w trakcie studiów, absolutnie fantastyczna, choć bardzo przerażająca powieść. Kocham za trzeźwość spojrzenia i wizje, które mam nadzieję, że nie spełnią się. Piękna całość. Bardzo przyjemnie się czyta, wciąga. Polecam.
3 out of 5 people found this helpful
One might say that the novels Animal Farm and Brave New
World could give useful lessons on democracy to younger teenagers. Give your
opinion on the matter. Support your opinion with evidence from the two novels.
1 out of 6 people found this helpful
Take a Study Break!