Brave New World Essay

rhetorical Mode and PurposeIt is better that one should suffer than that many should be corrupted.? Existing under a socially oppressive g everywherenment, Bernard Marx constantly endures genial distress as a consequence of his unorthodox views. In braw New World by Adolf Huxley, the primary protagonist struggles to voice his resentment and disgruntled opinions, but the repressive World State tyrannize the society, and he in the long run loses his fight in becoming exiled. Narrated in the third person, Huxley inside information a technocratic government where signs of emotions atomic number 18 rendered treacherous and extreme consumerism forms the core of society. However, raze more revolting is the unconscionable replication of nature with plentifulness cloning, affirming the sacking of all(prenominal)thing fundamentally human. by Brave New World, Huxley warned past governments who sought-after(a) to increase effectiveness and stability, and moves to admonish the modern w orld, against increasing government intervention. Through narration, Huxley provides a panoramic scope of the direful enlarge and cases residing under the drop of a domineering government that asserts its omnipresence in all aspects of lifetime. departure 1 (114-116)I chose this personation for both analytical purposes and interest value. Its surfeit in syntax variations stood disclose as a highly good-hearted characterizationway to be analyzed, and the language effectively aro pulmonary tuberculosisd suspense out of me.As the world of the savages unravels before Lenina?s eyes, her disgust heightens with each event that recognizes place, furthering repelling her from the culture. The underlying chant of hyp nonic anticipation leads the audience through a series of events that build towards the climatical action of the passage. Through Sapphic syntax that propels the guesswork forward, dissonant expression and savage details, Huxley provides a lurid atmosphere as the l ead-in to the horrifying act of sacrifice.Immediately, cacophonous language begin to agitate the auditory senses. ?Harsh metallic? male voices say the ?shrill? cries of the women initiates a perturbed mood and foreshadows deplorable events. As the audience?s sense of hearing wears away, ?a ghastly troop of monsters hideously clothed or painted out of all semblance of humanity? enters to remit the visual senses. Nothing more than monsters completely devoid of human aspects. Monsters competent of executing actions that would appall Lenina?s society. Anticipation builds as the shrieks become ?louder and louder? their dances, ? bike and daily round? and ?round and round? again.Their actions echo in successions of hyp nonic movements that hush the ratifier into a trancelike state. ?More and more,? the leader flings black snakes ? chocolate-brown and mottled.? The periodic sentence strain this final action as a symbol of savagery and remnant of a primitive culture that last di sgusts Lenina. Dull diction much(prenominal) as ?brown and mottled? assembles a drab layer of atmosphere that looms over the tribal ritual. Adverbs and conjunctions advance toward additive events that further feed anticipation. ?And then the dance began?Then the leader gave a signal?Then the old man upraised his hand.? Syntax and diction continue to build suspense as it mounts toward a more or less horrific action event.Semicolons and commas function as the dominant driving force laughingstock the passage. Instead of inserting common periods, Huxley surrogates punctuations as a link betwixt tight related details that incrementally build towards the summit. Without paragraph breaks to take away from the anticipation, the events flow in a continuous stream while sentence lengths and punctuations determine the meter and pacing. The compound-complex sentences atomic number 18 brought to a sudden halt with the ceasing of the drums. ?The drums stopped beating, life seemed to for k over come to an end.? The device that signaled life halts suddenly and a series of mean(a) length sentences supercedes the long ones. Just as the storm the eye of the hurri bathe provides terminable respite, the momentary arrest of the beating only creates further anticipation, leaving the reader waiting for the other half of the hurricane. Rather than satiating expectations, syntax lurches the rhythm suddenly to induce greater anticipation and thirst so that when it resumes, the resulting effect exit be of greater impact.The scene shifts from the panoramic view to focus on the interaction between two specific characters, the old man and the boy. correspondent syntax structure directs attention to the progression of actions. ?The old man clapped his workforce?The old man made the sign?The boy moved on Succinct details are unaccompanied by imagery or flowery language that would detract from the crucial suspense-arousing events. ?The coyote-man raised his whip thither was a l ong moment of expectancy, then a swift movement, the let the cat out of the bag of the last and its loud flat-sounding impact on the flesh.? The actions of the savages tapestry the shroud of luridity that continue to repel Lenina while the clause between the semicolon and comma mirror the hush up before the strike of the whip.At last, the ?whistle? signifies the anticipated action that syntax, details and diction have all along foreshadowed. ?Twice, thrice, four multiplication round he went?.Five times round, six times round? Seven times round.? Lone words that constitute sentences and telegraphic phrases cut by commas glisten the sound of the lashes. Enumeration of each lash as if a scene from a movie being played in slow motion, grants tantamount(predicate) emphasize of the pain from each blow. ?A few drops fell, and suddenly the drums broke out again into a panic of hurrying notes there was a great shout.? The anticipation is finally satiated confirmed by the incisive burst of drums.PASSAGE 2 (142 144)The details and diction in this passage was striking in conveying posterior?s fascination with Lenina. It right away evoked in my mind a scene from Sleeping strike where the Prince stumbles upon the bewitched Princess.Lenina?s introduction to privy at this point of the saucy likens to a scientific experiment where a new and foreign life form is presented in a previously pedestrian environment. gutter, engrossed with every aspect about Lenina, adopts a humble position and invests her with rapt wonderment. Upon conclusion her possessions, he takes immediate fascination to his discovery and indulges himself in her relics. John?s actions reflect that of a worshipper. Thus, Huxley employs a notion of reverent infatuation to evident John?s idolization of Lenina.Dominated by alluring details, the passage aims to manifest John?s unqualified adoration for Lenina. Without delay, olfactory entreaty works to captivate John by providing a sense of familiari ty, an attribute of Lenina?s presence. In ?breathing Lenina?s perfume? and discovering ?a mottle of scented powder?, he conveys his fanatic infatuation, and then continues to ?fill his lungs with her ingrained being.? A meager waft proves inadequate to satiate John?s desires. Instead, he relishes in bliss, the effusive outpouring of her presence, breathes in her scents like a drug, and allows it to pervade all of his internal organs. In addition, he imagines the ?touch of her gleam skin against his face, while other tactile details confirm his nostalgic longing for her. As if in the presence of a goddess, he executes his actions with the most scrupulous care. Bending over the precious encase, he touched, he lifted into the light, he examined.Polysyndetons and parallel structures emphasizes each action as distinct entities with resembling importance. Commas retard the march so as to display not careless haste, but fastidious devotion not coarseness, but refinement and not br ashness, but the delicacy of a worshipper in tending to a higher life form. Abstract diction continue to manifest John?s obsessive attachment to Lenina. Huxley attributes her possessions with desirous diction, labeling her perfume as delicious, her box as precious, her puzzle, a delight. John becomes entranced by her divine possessions, and muses over Lenina reverently.Delving further into the passage, comparative details attributed to Lenina and syntax portraying John as a stalker reveal the extent of his infatuation. Metaphors ascribe enigmatic aspects to Lenina, which intrigues John and plunges him into enchantment. Infatuated, he derives pleasure from unriddling her bewitched apparels. A simple pair of velveteen underdrawers likens at ?first a to a puzzle, then solved, a delight.? Lenina, furnisher of magically exotic appeal, jolts excitement into his previously mundane life of savagery. Huxley portrays her through John?s eyes as analogous to a mystery to be demystified, entwi ne to be unlocked, cipher to be deciphered ? all of which fascinates John and builds on his infatuation. However, his conspicuous adoration becomes suppressed into a concealed form when exhilaration forms over the possibility of being discovered.Covert syntax anddiction shew John as an infatuated stalker. ?He heard something ? something like a sigh, something like the creak of a board.? Huxley purposefully employs ambiguous diction such as ?something? as opposed to concrete observable details. Disclosing her hiding position, Lenina?s appearance gradually comes into scope. John replies with stealthy obsession and strategically plan actions, reflected by extra inserts of commas that mirror his wary movement. ?He tiptoed to the door and, carefully opening it, found himself looking on to a broad landing.? With entrancing metaphors and furtive syntax, literary devices continue to manifest John?s infatuation.Upon stretchability the climatical action of John finally disclosing Lenina? s position, the tone ultimately assumes one of consummate reverence. Descriptive details of Lenina fast asleep enhances her sheer qualities. ?So beautiful in the midst of her curls, so touchingly childish with her pink toes?so trustful in the helplessness of her fetter hands and melted limbs, that the tears came to his eyes.? Excessive use of the adverb ?so? heightens the degree of her qualities, implying an rarefied life-form inspiring awe. The child-like characteristics solicits sacred protection from John. Huxley?s delineation of her as ?limp? and ?melted? with a ?grave? sleeping face suggests death and control condition into heaven. John, captivated, reveres her as one would of a goddess.Complex-compound sentences embroiders her purity and innocence while allusions to Shakespeare?s Romeo and Juliet continues to attribute divinity. ?On the white wonder of dead Juliet?s hand, may size/ And steal immortal blessing from her lips.? Comparison to Juliet further implies the feeli ng of her resemblance to a goddess possessing immortality and an ethereal aura. In a humble manner, John ?very slowly, with the hesitating gesture? reach out to affirm the heavenly presence. However, his hands ?hung trembling? as he ruminates on the sacrilegious. Dare he ?profane? with his ?unworthiest? hand? Awe-inspiring details and sacredly connotated diction profess the tone of infatuated reverence.PASSAGE 3 (232 233)The tone of this passage was not presented by the narration or characters in the novel, but rather created by a passage from a book being read by one ofthe characters. I thought it was interesting to analyze a tone inside a passage of a passage.The abstract and metaphysical take aim of Brave New World reaches its apex when Mustapha Mond proceeds to read a passage from Maine de Biran?s book that justifies man?s eventual compliancy to God. While Biran holds the creed that individuals ultimately lose control of their lives and inevitably surrender to the overwhelm ing siren call of God, Mond challenges that with the World State, one never experiences loss and thus will never seek counsel of religion. Huxley employs a tone of forensic instructiveness to allow both sides to present their cases effectively.Persuasive syntax utilise in Biran?s excerpt efficaciously compels the audience to assume his position. Immediately, the passage adopts the structure of a formal personal line of credit with Biran?s proposal of his thesis. ?We are not our own any more than what we possess is our own. We did not contain ourselves, we cannot be supreme over ourselves. We are not our own masters. We are God?s property.? Simultaneous use of the pronoun ?we?, and three consecutive negatives carves away at the monolith of individual confidence. The anaphora build logical progression toward the thesis, whose transiency and sole affirmative adverb grants emphasis on unity with god.Also, rhetoric use of first person point of view lends itself to the notion that thi s pertains to all. Biran?s cause develops into a tone of instructiveness so as to provide support, illustrated by the transition, ?take this for example.? Repetitions in diction function to acknowledge the opposition. to have to think of slide fastener out of sight, to be without the irksomeness of continual acknowledgements, continual prayer, continual reference.? Syntactical compendium of Biran?s introduction reveal a tone of forensic instructiveness.Upon mise en scene up the premise, Biran now proceeds to counter the opposition by providing keen-witted support. The extensive length and complexity of the sentences that follow, broken down logically by semicolons and commas, carries the reader through a step by step process of rationally reaching a valid deduction. Diction, as well as syntax, justify man?s ultimatesubmission to religion. With transitions such as ?feeling thus? and ?from which,? the progression towards the conclusions likens to a mathematical proof rife with d erivations. Anaphoric use of ?as the? and ?less? exhibits an inverse relationship between aging and the sentiments that prevented dependence on religion.Thus, with aging, ?God emerges as from behind a cloud? of with omnipotence, indicated by a series of fate-associated diction. ?Naturally,? one turns to God when he loses control of his world, and will ?inevitably? submit under his ?absolute? and ? lasting? power. With spiritual and abstract diction, Biran?s concepts appeal spiritually and offer cleansing. ?So pure so delightful to the soul.? The elongated sentence ultimately reaches its objective, its emphasis granted by a single dash. ? ? a reality, an absolute and deathless truth.? Enhanced by mathematical instructiveness and persuasive diction, Biran effectively presents his case.After introducing Biran?s position, Mond assumes the tone of forensic instructiveness. He promptly proposes a qualified argument ?You can only be independent of God while you?ve got youth and prosperit y.? Mond builds his case upon the assertion that so long as one attains modern desires and lives without the fear of death from old age, religion holds no significance in their life. Transitions prove to be the driving force of Mond?s counter-argument. ?Well, we?ve now got youth, what follows? Evidently, that we can be independent of God.? His argument, comparable to Biran?s, progresses logically and employs first person pronouns as well. ?And why should we go hunting for a substitute for youthful desires when desires never fail He summarizes his position with comparative rhetorical questions that juxtaposes both sides of the argument. The inquires detract rationale from Biran?s assertions while promoting his alternate solutions. Through forensic instructiveness, Mond?s counter-argument proves to be efficacious as well.