Their visions are often painted as competing, but it is Orwell who is often cited during our times as the prophet of his times. Happiness is never grand.' The Dystopias of George Orwell & Aldous HuxleyĪldous Huxley and George Orwell's dystopias are spectacularly laid out for us in 20th Century literature. And being contented has none of the glamour of a good fight against misfortune, none of the picturesqueness of a struggle with temptation, or a fatal over throw by passion or doubt. And, of course, stability isn't nearly so spectacular as instability. Actual happiness always looks pretty squalid in comparison with the over-compensation for misery. You're making flivvers out of the absolute minimum of steelworks of art out of practically nothing but pure sensation.' But that require the most enormous ingenuity. 'But he's right,' said Helmholtz gloomily. One of our most distinguished Emotional Engineers.' 'You're not being very polite to your friend, Mr. 'They mean themselves they mean a lot of agreeable sensations to the audience.' We have the feelies and the scent organ instead.' You've got to choose between happiness and what people used to call high art. 'But that's the price we have to pay for stability. 'Of course it is,' the Controller agreed. 'All the same,' he insisted obstinately, 'Othello's good, Othello's better than those feelies.' 'Expecting Deltas to know what liberty is! And now expecting them to understand Othello! My good boy!' Which you go and chuck out the window in the name of liberty, Mr. And if anything should go wrong, there's soma. They're well off they're safe they're never ill they're not afraid of death they're blissfully ignorant of passion and old age they're plagued with no mothers or fathers they've got no wives, or children, or lovers to feel strongly about they're so conditioned that they practically can't help behaving as they ought to behave. People are happy they get what they want, and they never want what they can't get. You can't make flivvers without steel-and you can't make tragedies without social instability. 'Because our world is not the same as Othello's world. Green with anxiety and apprehension, only Bernard remembered them the others ignored him. He too was forgetting the unpleasant realities of the situation. And if it were new, it couldn't possibly be like Othello.' 'Because, if it were really like Othello nobody could understand it, however new it might be. 'And it's what you never will write,' said the Controller. 'That's what we've all been wanting to write,' said Helmholtz, breaking a long silence. 'Well then,' he said, after a pause, 'something new that's like Othello, and that they could understand.' He remembered how Helmholtz had laughed at Romeo and Juliet.

'Why don't you let them see Othello instead?' 'Nice tame animals, anyhow,' the Controller murmured parenthetically. 'Goat and monkeys!' Only in Othello's words could he find an adequate vehicle for his contempt and hatred. Those plays where there's nothing but helicopters flying about and you feel the people kissing.' He made a grimace. 'But the new ones are so stupid and horrible. Beauty's attractive, and we don't want people to be attracted by old things. 'Because it's old that's the chief reason. In the excitement of meeting a man who had read Shakespeare he had momentarily forgotten everything else. “But why is it prohibited?' asked the Savage. Brave New World: The Controller and The Savage We begin with a visit to Huxley's Brave New World, where one of the world controllers, Mustapha Mond, is having a conversation with John The Savage and his two companions Bernard Marx and Helmholtz Watson.

Brave new world chapter 6 summary