In Lord of the Flies (1954) and Brave New World (1932), William Gilding and Allots Huxley integrate moral lessons into their evolves by writing about innocence, the role of conformity in society, and brute Throughout both novels, the authors utilize the innocence of children to call Eng the reader’s view of morals specifically involving sexual encounters in and adulthood in rod of the Flies. Huxley novel primarily focuses on the role of sex in society and the tension and corruption it causes.
For example, in Brave New World, a group of adults observe n. ;vow children, a boy and a girl, engaging in a sexual game: ” In a little grassy bay between tall clumps of Mediterranean heather, two children, a little boy of about seven and a little girl who might have been a year older, were playing, very gravely and with all the focused attention of scientists intent of a labor of discovery, a rudimentary sexual game” (Huxley eye 44). The World State encourages and deems sexual games, like the one the little girl engages in, necessary to society.
This image of young children engaging in sexual interactions evokes d gusts in the Galvan 2 reader in order to shed light upon the magnitude of corruption in the desktop an society created by Huxley. In the novel’s dyspepsia society, ” People are genetically engineered to satisfy the jugulate needs of the government in regard to specific mental and physical s sizes and types. Sexual promiscuity is demanded by the state for the sake of pleasure, not pro creation… ” (Siva). The World State insists that everyone in the society constantly feel fully content NT and happy according to their standards.
The enforcement of concepts like castes and sex al intercourse helps the World State avoid conflict and possible uprisings. By using children t o challenge the reader’s opinions on the role sex plays in the novel, Huxley successfully teach sees moral lessons regarding innocence in Similar to the children’s lack of morality in , Gilding in his dyspepsia novel Lord of the Flies, emphasizes how once the boys arrive on the island, their innocence and morals gradually fade due to the lack of adulthood and guidance.
Like Huxley, Gilding uses children and a unique plot line that integrates survival in order to teach moral lessons regarding innocence. Upon arriving on the island, the boys almost immediately start area ping havoc: ‘Roger gathered a handful of stones and began to throw them. Yet there was a space round Henry, perhaps six yards in diameter, into which he dare not throw. Here, invisible ye strong, was the taboo of the old life. Round the squatting child was the protection of parents and school and policemen and the law ‘ (Gilding 62).
Roger throwing stones at Henry repress nuts the boys journey away from innocence and their old way of life, a concept that supple meets the reader’s ability to distinguish their digression into savagery. Also, this quote touches u pond the role of violence, a concept that plays a major role in the plot line and the savagery the at ensues. After finding that pigs inhabited the island, “(the] cruelty in the novel continues thro ugh the boys Galvan 3 desire to hunt.
This hunting begins innocently enough-?Jack, one of the older children, dubs the choirboys the hunters and himself their leader, intending to help provide off d for all of the boys. However, hunting soon becomes an obsession” (Neighbors). Throughout the novel, the boys’ obsession with hunting progresses rapidly causing the English school boys the at first arrived on the island to no longer exist. The epitome of savagery and the moment all inn sconce diminishes occurs when Jack and the rest Of the hunters stab Simon to death like a pig.
Is moon and Piggy, both close friends of Ralph, end up being murdered by the hunters. At the co collusion of the novel, “Ralph wept for the end of innocence, the darkness of man’s heart, and the fall through the air of a true, wise friend called Piggy’ (Gilding 202). The novel dramatically y concludes when adults rescue the remaining boys. Rally’s emotional breakdown exempt lefties the need for adult guidance in children’s lives and the toll a society without morals, like the dyspepsia one created by Gilding, takes on humans.
By writing about the transgression of the e boys from innocent school boys to murderous savages, Gilding shows the need for moor al innocence. Although lack of moral innocence in both novels propels the dyspepsia societies s into perdition, the violence caused by inner turmoil and the need to conform ultimo tell leads to many pernicious acts by the protagonists and dramatic plot twists. In both novels, d historian societies dictate many aspects of the character’s lives and challenge their morals to thou SE of the majority of society.
Throughout , John struggles with the conflicting morals and values of Mammals and the New World which leads to lashing out and internal turmoil . After trying to conform to the new society the John ends up killing Lenin: The Savage rushed at her like a madman… Like a madman, he was slashing at ere with a whip of small cords. Terrified, she had turned to flee, had tripped and Galvan 4 fallen in the heather … With a whoop of delighted excitement the line broke; t here was a convergent stampede towards that magnetic center of attraction. Pain was a fascinating horror… “Oh the flesh! The Savage ground his teeth. This time It a s upon his shoulders that the whip descended. “Kill it, kill it! ” (Huxley 258259) John, the only character who ends up killing someone because Of his inner turn moil, openly struggles with the transition to life in the New World, driving him to become e notionally unstable and reach insanity. Bernard, another social outcast, rejects the socio toy’s morals too: “He is discontented with society and does not completely accept its values hate s the casual attitude towards sex, dislikes sports, and prefers to be alone” (Carline 58).
By include Eng Bernard in the plot, Huxley enforces the idea that challenging the injustices of society must o occur in order to maintain a stable dynamic. However, the downfall of their outcast life and nun queue views make them, “… Unable to participate in the life of their communities. One is too shore t, the other is too white. Both are troubles by women. Each is critical of the presiding ideology o f his respective society and, as a result, is viewed with contempt by those around him” (Baker 107108). This isolation leads John into the frenzy that ends up killing Lenin and also results in him committing suicide.
Huxley artfully crafts the plot around characters like John and Bernard, who feel disdain towards the morals of their dyspepsia society, in order to properly y set the moral standard for the reader. Like Huxley, Gilding crafts the plot in rod of the Flies around Piggy who wishes to return to the ways of their ‘old’ society that protects him and possesses stall e morals. The choir boys refuse to accept Piggy because of his physical incapability’s and longing f or adult supervision, “[yet] it is he who has the most of the best ideas… T makes sense that he tries to Galvan 5 recreate civilization in the wilderness, because he must know, at some level, t hat in civilization lies his best protection. Civilization protects the weak and different; the wilder news does not” (Olsen 6). Piggy acknowledges the need for parental guidance in order to pres river innocence and order on the island. Time and time again, the rest of the boys disregard Piggy s views due to his position as a social outcast. However, Piggy vocalizes his view of their new Soc itty on the island: “We’re all drifting and things are going rotten. At home there was law yes a grownup.
Please, sir; please miss; and then you got an answer. How wish! ‘” (Gilding 9 4). Piggy is the only boy who is vigilant of the island’s problems and fears danger within the g roof when violence becomes prominent. Gilding purposely enriches Piggy’s role as the I bevel head in order to enforce the purpose of writing the novel: [Gilding] himself has said that the writing of was an attempt to trace the defects of society back to the defects of human nature. Gilding sets p a group of children, who should supposedly be closest to a state of innocence a lone on an island without supervision.
In this fashion, he can test whether the defend acts of society lie in the form of society or the individuals who create it. (Henning led 182) Gilding uses Piggy as the basis to teach the role society plays in the upbringing g of children and how their morals waiver once guidance fades. Piggy, like Bernard and John fro m Brave New World , refuses to bring himself to fully conform with the rest of the dyspepsia society y and therefore the boys persecute him for his moral disagreements, a timeless MO al lesson on conformity.
Galvan 6 Alongside conformity and innocence, both authors thoroughly express brutal TTY in both through the dynamics of the main characters and the plot lines. In Gilding mainly stresses brutality through Jack’s obsession with hunting and the grow Eng tension between the boys on the island. The choirboys turned hunting savages, led by Jack, De monstrance how human nature and the need to survive alter an individual or group of individual alls morals: In the initial encounter with the pig, Jack is unable to overcome his trained aversion to violence to even strike a blow at the animal.
Soon, however, he an his choirboysturnedhunters make their first kill. They rationalize that they mum SST kill the animal for meat. The next step back from civilization occurs and the m eat pretext is dropped; the real objective is to work their will on other living thing s. (Winnfield 190) This obsession with hunting ultimately leads to the downfall of all morality on the island because it increases the boys’ drive to act violent: ‘The cruelty in the novel continues t wrought the boys’ choirboys the hunters and hemstitched leader, intending to help provide off However, hunting soon becomes an obsession” (Neighbors).
Once the need to hunt gets out of hand and at the point of no return, Jack and the choirboys turn their focus away ay from pigs and Onto the outcasts, Simon and Piggy. Both boys end up being murdered by the cruel and violent savages. Gilding exemplifies the need for order and restraint against using BRB utility excessively in the dramatic conclusion of the novel that leads to the death of two young b sys. Similar to how Gilding uses Jack and hunting to exemplify violence in Huxley uses John, the main character in , to symbolize the role of brutality in Galvan 7 the New World, reinforcing the importance of morality.
Once exiled to the light outhouse, John inflicts wounds on himself to try and cleanse the guilt that burdens him due t o inner turmoil over morality: “When journalists observe John whipping himself-?he tries to cleans e himself of the World State-?the ensuing stream of tourists drives John into a frenzy. When Lenin appears at the lighthouse, he is so outside of himself that he attacks and beats her. Ash med and guillotined, he hangs himself that night” (Brown).
Huxley vividly uses John’s be dating of Lenin and his suicide to ensure the reader understands the brutality that follows the e disregard of personal morals. By disregarding his morals, John feels severe remorse and g lilt up until his death. Not only does the crowd witnessing John beating Lenin enjoy the scene e, but John himself knows the severity of his actions and fails to stop: ” John becomes the victim of curiosity seekers. He desires sex, but he is repelled by the promiscuity that is a normal aspect o f this world.
John’s characteristic response to stress is violence, and his disruptions bring him beef ore Mustache Mood, the Controller (Acidosis) . Through the last couple days of John’s existence, Huxley forcefully illustrates the brutality that results from moral discord within human s through John’s beating of Lenin. By using John and Lenin as a warning Huxley hopes to pr each the consequences of brutality in society and the need for enforcement of morals.