Mustapha Mond has also read and enjoyed Shakespeare, but believes that such beautiful, old literature is useless and even destructive for happy, stable citizens, so he suppresses it. He whispers impatiently to a nurse that he wants to see his mother. Hence, “brave new world,” a phrase taken from Shakespeare’s The Tempest, becomes John’s awestruck, albeit increasingly disillusioned, epithet for the World State as well as the title of Huxley’s novel. John hurries to the Park Lane Hospital for the Dying. The character who quotes Shakespeare most is John (the Savage), who is given a copy of Shakespeare’s plays while living on the Savage Reservation his speech and outlook are accordingly shaped by the language and emotional passion found in Shakespeare. Second, the powerful emotion, passion, love, and beauty on display in Shakespeare's plays stand for all the noble aspects of humanity that have been sacrificed by the World State in its effort to make sure its citizens are always happy and therefore productive. First, he symbolizes the art that has been rejected and destroyed by the World State in the interest of maintaining stability. John's guilt about his mother's death will re-emerge in later chapters, finally driving him to violence and isolation - an end that Huxley hints at in the conclusion of this chapter, when John pushes away a curious child roughly enough to force him to the floor.Ĭaffeine solution Huxley's phrase for a tea-like drink in the brave new world.In Brave New World, Shakespeare represents two things. To John, the look seems to reproach him in fact, he believes that he has killed her. Note Linda's last look, described in Huxley's phrase as "charged with terror" - the sudden realization of her mortality. Indeed, her last words are not "my son," or "I love you," but the broken-off hypnopaedic suggestion for recreational sex: "Every one belongs to every. To the end, Linda remains the well-conditioned Fordian rather than John's mother. With Linda's whisper, "Popé," however, John realizes that they are still apart, separated by soma and sexual dreaming. Although the setting distracts John and the children infuriate him, he still has hope of forging a union with his mother that will live beyond her death. Bothered by cheery nurses and curious Delta children, John tries to summon up his childhood memories of his mother, so as to rekindle his love for her and to experience the meaning of his loss. The ward in which Linda lies dying in a soma trance, then, is strictly conventional by dystopian standards.īut John brings a different consciousness to Linda's death, formed by life and death in Malpais, and Shakespeare's emotional death scenes. Death is characteristically antiseptic, cheery, and meaningless, underscoring the social belief that the end of any one individual matters very little. Everyone remains young-looking through chemical treatments, until at sixty death comes in the form of "galloping senility," a rapid deterioration of mental and then physical powers. In the early chapters, Henry Foster, the D.H.C., and Mustapha Mond present the facts of death in the dystopia as well as the social theories behind the practices. The chapter offers a detailed description of the conventional manner of dying in the dystopia, while dramatizing John's very different expectations at the deathbed of his mother, Linda. John leaves the hospital angry and distraught. At the moment of death, Linda's terrified eyes seem a reproach to her son. When Linda wakes from a soma dream and mistakes her son for Popé, John's misery turns to fury. The children annoy John, making it impossible for him to speak with his dying mother. Music, scents, telescreens, and an unending supply of soma fill the ward, while Delta children romp among the beds, learning to view death as pleasant and useful rather than something to be feared. In this chapter, John goes to the Park Lane Hospital for the Dying to be with Linda at her death.
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