Uniformity In Brave New World

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Brave New World and Equus and are both texts portraying societies that do not tolerate the individual; they demand spiritual uniformity. Similarly, T.S Eliot's poetry depicts spiritual desolation: of a Europe projected into turmoil after WWI. People could not reconcile their thoughts to a benign God that would allow mass slaughter. Brave New World is set in a dystopian future at approximately 2542 A.D. After a cataclysmic war, the society created is devoid of suffering to the extent that it has become a 'sin'. However, Huxley believed that beauty is the product of pain. He thought that religion's decline and science's advancement were 'working synergistically' to undermine spirituality and promote materialism. Therefore, in Ideals and Machine…show more content…
Furthermore, this decent into abnormality is also shown by the disintegration of blank verse into lines of irregular length and metre: 'the glitter of her jewels rose to meet it […] Jug Jug to dirty ears'. In Brave New World, Huxley satirises the extreme extent to which society controls 'normal' spiritual belief by inverting ideals of Christianity with the comedic principles of the World State: A.F and B.F are used to denote time periods and the phrase 'Our Lord' is reverted to 'Our Ford'. The messianic role of Ford in Brave New World not only adds hilarity but would also have been considered provocative by 1931 contemporaries. The misappropriation of religion also occurs in the 'Westminster Abby Cabaret', whereby the church that symbolises religious authority is debased by promiscuity and profligacy. In Equus, Alan also creates a parody of the Bible when he unwittingly inverts Agnus Dei into 'Equus Dei qui tollis peccata mundi, miserere nobis!' (Take my sins. Eat them for my sake… He always does). Shaffer thus is…show more content…
Alan identifies the enemies of Equus as the forces of commercialisation: 'The Hosts of Hoover. The Hosts of Philco. The Hosts of Pifco. The House of Remington and all its tribe! The Hosts of Jodhpur'. He realises that materialism opposes individuality and eradicates sense of self. Ironically, Alan uses commercials, the medium for social indoctrination, as a weapon to guard his individuality, repeating jingles like: 'Double your pleasure/ Double your fun/ With Doublemint Doublemint/ Doublemint gum' to avoid revealing his secret cult of worship to Dysart. Repetition of socially engineered phrases is also common in Brave New World: Lenina repeats haenopaedic phrases: 'when the individual feels, the community reels'. The chiasmus and internal rhyme create a cadence of lyrical seductiveness, emphasising the ease of enunciation. Instead of religious doctrine, Freud's pleasure principle and the ideals of consumption are followed because, as Mond states, 'God isn't compatible with machinery and scientific medicine and universal happiness'. The use of polysyndeton highlights his vehement condemnation of spirituality. The World State is governed by a technocracy suppressing any element of individuality, substituting religion for soma and sex in 'Solidarity Services' and controlling, by proxy, the concept of God. The controllers pervert the ideals of Christianity:

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