1984 Comparison Essay

Module Five

If Brave New World was Aldous Huxley's technocratic purgatory,
Orwell's Nineteen Eighty-four describes a hell beyond Huxley's worst fears.
Compare and contrast the two novels as visions of a future that has gone dramatically wrong.

Brave New World and 1984 were both written by men who had experienced war on the grand scale of the twentieth century. Disillusioned and alarmed by what they saw in society, each author produced a powerful satire and an alarming vision of future possibilities. Although the two books are very different, they address many of the same issues in their contrasting ways.

Huxley's novel sets out a world in which society is kept carefully balanced, with the means of reproduction just as closely controlled as the means of production. Human beings and the goods they make are tailored to one another: people are created in order to fulfil particular purposes, and are encouraged to consume so as to maintain the cycle.

The society presented in 1984 is less comfortably balanced. The population is kept content with a rather meagre lot because of the constant war, which, as is explicitly stated in the Book, is a convenient means of maintaining the status quo, and the Party keeps a very close watch on those members of society who are deemed capable of disrupting it.

Although set in Orwell's future, 1984 does not put great emphasis on technological advance—indeed, within the society of Oceania, there is effectively none any more, because the methods required for proper scientific enquiry are antithetical to the demands of the Party, and thus real science has been abolished. Orwell posits a certain level of technological advance—the two-way television screens and the ever-present surveillance equipment, the novel-writing machines,, but not much else. His purpose was not to imagine the details of such technologies, but to present the use to which they are put.

Huxley goes considerably further in imagining scientific advance. In his World State, humans are engendered and grown in artificial wombs. There are also such things as 'the feelies', an extrapolation of today's cinema (in Huxley's case, 'the talkies' were quite a novelty). However, the idea of automation seems to have passed him by, so that people are grown for the purposes of toiling in factories or operating elevators. Again, however, the author is not attempting to present a detailed picture of what life would be like in the far distant future; he is showing the effects of such things on human nature.

For both authors, a necessary action in their future societies is the abolition of the past. In Brave New World, the people have embraced Henry Ford's misquoted dictum that 'History is bunk', and have no interest in it. Anything from the past (with occasional exceptions like 'Our Ford') is perceived as unimportant. Thus the richness of human history is cast aside.

The rejection of history takes a more aggressive form in 1984, where it becomes impossible to understand the past, because the details of the past are constantly rewritten to conform with the requirements of the present. The concept of historical truth is irrelevant: truth, and history, becomes what the Party wants it to be. Winston Smith himself takes part in this, rewriting the news: he therefore knows that the details of the past have been tampered with, and is unable to discern or discover what the truth might be.

Just as history is effectively abolished in both societies, so is the family. Huxley extrapolates the trend for elective childbearing until it becomes grotesque: no-one bears children any more, and the concept of motherhood is obscene. In Orwell's world the family is not obsolete, but it has been subverted. Children are taught from their earliest years to give their loyalty to the Party and to Big Brother, and are encouraged to spy on and betray their own parents. Thus the family becomes one more means of surveillance, so that everyone is surrounded by people who cannot be trusted. The horribly inappropriate behaviour of the children in 1984 has a counterpart in Brave New World, where children are expected to indulge in 'erotic play'. The reader can only be thankful Huxley does not go into details.

Sigmund Freud's impact on the world shows up in both novels, which both put considerable emphasis on the importance of sexual behaviour to human beings, but in vastly different ways.

In Brave New World, sexual intercourse is completely separate from reproduction. The females who are not rendered sterile are obliged to wear 'Malthusian belts' and to maintain their contraception. Along with the family unit, exclusive partnerships have been abolished. 'Everybody belongs to everybody' is the slogan, and proper members of society are expected to couple with anyone. Lenina Crowne's behaviour in remaining faithful to one man at a time (and her aberrant interest in Bernard Marx) dismays her friend Fanny, who encourages her back towards a 'normal' promiscuity. Naturally, this sort of behaviour is incomprehensible to The Savage, who has been brought up on the edges of a quite different society—and in a close relationship with his mother, to boot.

The consequence of such absolute promiscuity is that sex becomes a mindless and meaningless act of no more significance than eating a bar of chocolate. In Oceania, sex is treated in a quite opposite manner. Sexual activity is discouraged, and divorced from pleasure. Winston's wife's attitude was to endure it for the sake of the Party, in order to reproduce. Winston considers sex to be a political act, an expression of freedom. Julia puts her finger on it, explaining to Winston that sex makes people happy and relaxed, while the Party prefers that their energies be channelled into other activities. Privation increases tension, and can be forced into such activities as 'Hate Week' and so forth.

With familial and sexual relationships either gone or terribly distorted, it is not surprising that both worlds also trivialise death. In Brave New World, individuals barely exist in the first place: their lives are so banal and interchangeable that it is not surprising death is made meaningless. The members of the World State do not grow and mature, and they never really come to terms with death. Grotesquely, young children are 'conditioned' by visiting wards of the dying and being fed chocolate eclairs afterwards.

In 1984, people merely cease to exist. One day, Winston comes to work to find that all traces of an erstwhile colleague have been removed—Symes has ceased to exist. he may well not be physically dead as yet, but he has gone—and no-one ever dares to mention that he had existed. Yet Winston does retain a normal human dread of actual death: incarcerated, and hoping to be delivered a razor blade, he nonetheless wonders whether he would be able to use it to commit suicide—it is a natural human impulse to keep on living.

Essentially, the Party manages to persuade its members that mere feelings are of no account. Each person is kept in a state of persecuted fear, and distrust of those around him—who ought to be the 'nearest and dearest' but may well turn out to be betrayers. In Huxley's World State, human interaction is simply reduced to the shallowest possible level, so that feelings become unimportant because they are trivial.

To both authors, this lack of decent human feeling means the death of art. Mustapha Mond says:

"...you can't make tragedies without social instability"

when he is explaining to John why the World State has sacrificed high art. Winston's thoughts take much the same direction:

"Tragedy, he perceived, belonged to the ancient time, to a time when there was still privacy, love and friendship, and when the members of a family stood by one another without needing to know the reason."

In 1984, novels are written to formula by machines; in Brave New World, the 'feelies' aim at the audience's immediate sensual gratification, not at their minds or their emotions.

As a result of the insistent reduction of human feelings to the least possible level, the people in both societies treat other people as objects and do not experience decent emotions with regard to them. The Savage attempts to create a world for himself (taking his own problems into it, of course, but escaping as far as he is able from the society into which he cannot fit), but his privacy is invaded and a 'feelie' is made of his life. Then a crowd of sightseers come to see him, and treat him as though he were an exhibit at the zoo, chanting at him to use the whip, and turning his frenzied behaviour with Lenina into an orgy.

Winston himself shows this kind of insensitivity when he writes about the war film he watched, refugees being bombed in a lifeboat. He presents the callous laughter of the audience as perfectly normal, and does not recognise his own lack of humanity either.

Essentially, Winston has been conditioned to behave with craven selfishness. Every aspect of his life is regulated, and he can hardly call his thoughts his own, since the concept of Thoughtcrime makes it plain to him that his rebellious thoughts are forbidden, and the existence of the Thought Police makes him certain that he will be caught and horribly punished. The conditioning in 1984 is less explicit than that of Brave New World, but again there are similarities—the 'Two Minutes Hate' and the 'Solidarity Service' both encourage frenzied, animalistic emotions from the participants, and enhance their obedience to the state's imposed lifestyle. In Brave New World, of course, the conditioning is done openly and for the acknowledged purpose of fitting different people to their different roles in life. The scene in which lower-caste babies are conditioned by terror and pain into a loathing of books and flowers demonstrates that under the smooth surface, this society can be as ruthless as the Party.

There is an interesting difference in the way in which these novels treat the 'proles'. Both authors seem to make the uncomfortable point that the masses are easily contented. Huxley's lower castes, the Gammas, Deltas and Epsilons, are easily content—work of a non-challenging nature, followed by relaxation, drugs and sex, are all they require (although the existence of police capable of dealing with a rioting mob suggests that there can sometimes be trouble). They are so unimportant that they are not even individuals at all, but are bred in batches called Bokanovsky Groups, dozens of identical specimens at a time. The lower castes do not really have any influence in Huxley's book, and are simply the background to the doings of the upper-caste characters.

The 'proles' in 1984 resemble the lower castes in their lack of aspiration and their capacity to be content with what little they can get. They are also unimportant in the eyes of the controlling Party—although there must be some surveillance of them, as we are told that any potentially subversive proles (ie those who demonstrate an ability to think for themselves) are 'eliminated'. These ordinary people do conform to low expectations—they enjoy the banal songs which are manufactured for them, and the most excitement that Winston sees generated among them is in a fight for some tin saucepans. However, the proles —not as heavily controlled and conditioned as Party members—have not lost their humanity. Winston recognises this, contrasting his own callousness with their willingness to care even when the caring will make no actual difference. He also dreams of the proles breaking free and overthrowing the Party, which they vastly outnumber. He is logically correct in realising that they could do so, but at the same time it is clear that the proles are extremely unlikely to take such action. The Party does not bother to control them because, in fact, it is unnecessary to do so. The proles are very much like those Gammas, Deltas and Epsilons, and are content with the easy comforts of life. They do not strive. There seems to be a similarity of attitude between Orwell and Huxley which incorporates a kind of contempt for 'ordinary people', who do not have high aspirations or deep perception, though Orwell at least grants them potential.

Huxley's dystopia is, all the same, a less terrible place than Orwell's. Although it is the 'World State', there are tiny pockets of escape. There are the Reservations, where primitives live and practise a quite different lifestyle; there are also islands, to which awkward members of society can be sent if necessary. Mustapha Mond points out that Bernard Marx is in fact privileged to be sent to such a place, although the prospect terrifies him. And although the effect of such a society is to dehumanise human beings, removing their need to strive, and keeping them emotionally immature all their lives, it is at least (apparently) done for a benign purpose. The difficulties of twentieth-century life have been smoothed over in order to keep the members of society happy—and by and large, they do seem to be happy, at least in a trivial sense.

The arresting image from 1984, however, is that of a boot grinding into a human face. There is no benign intent behind The Party, only the desire for Power, absolute and unceasing. The power is not to be used to improve the world, but is simply to be maintained, and it is because this power must be complete that the Party goes to such lengths to 'convert' Winston to its preferred way of thinking. Most societies are content to determine what people do, but in this one, every thought must be controlled. Moreover, there are no islands to which nonconformists can be sent—it is clear that the two balancing powers of Eurasia and Eastasia are identical in their repressiveness to Oceania. The remainder of the world is a permanent war zone—but in any case, Winston has no means to escape thither even if he considered doing so.

The style and presentation of these novels varies quite considerably. 1984 is very much the experience of the central character, Winston Smith. His thoughts and feelings and his fate are the story of the novel, although there is also the long (and very dull) section of The Book which explains how the world functions, and the extensive appendix on 'Newspeak'. Brave New World presents a less taut, less tense story, and the story-line moves from one focus character to another: initially it seems as though the Director may be the main character, then the story moves on to Lenina and to Bernard, and eventually to John, the Savage. There are some didactic passages here, too, most pointedly when Mustapha Mond explains how the World State functions, but this is more carefully integrated into the storyline than is The Book. However, neither novel really makes a point of presenting realistic characters—or even particularly likeable ones. Winston's many flaws are ruthlessly exposed as he writes in his 'diary' or moves through life without doing much to make us like or admire him. Bernard Marx is an outsider and in a situation which ought to evoke our sympathy—he is not a 'proper' Alpha, and acutely conscious of his shortcomings—but he is too selfish and whining to be very attractive. The Savage is in a far more pitiable situation, but even he is not really an endearing character, and Huxley makes sure that we are distanced from him by the elements of humour and the grotesque which are used to convey his story. There are, interestingly, some moments of close correspondence between the books. O'Brien and Mustapha Mond have some similarity of role and character. Bernard, at the 'religious' ceremony, is unable to feel the ecstasy along with the others and has to fake it—just as Winston cannot entirely enter into the spirit of the 'Two Minutes Hate', even though other people are screaming abuse at the figure of Goldstein. In addition, there is the resonance of the presence of death. Brave New World is full of death imagery, from the grisly description of the Hatchery right through to John's suicide. And Winston Smith regards himself as 'already dead', right from the beginning.

Both novels also present the importance of language to human thought. In Brave New World, language has been changed in many ways. 'Mother' is an obscene term. Behaviour is trained into people and reinforced with banal slogans like "I take a gramme and only am". The Savage is unable to understand the emotions he feels towards his mother's lover, until he reads the works of Shakespeare and learns the words with which to express himself. His understanding is far from complete, as he has no context for most of what he reads, but the words do give him the chance to understand and express himself.

Orwell takes the importance of language theme much further, with the invention of 'Newspeak'. This is a conscious and determined attempt by the Party to make it impossible for people to think 'Thoughtcrime', because the words to formulate such things will no longer be available. Newspeak seeks to reduce language to the functional minimum, to eliminate nuance and eradicate style. In the tenth dictionary of Newspeak, we are told, certain words have been made obsolete—the opposite of what naturally happens to a language, for words become obsolete because they have ceased to be used, rather than because they have been erased. Of course, by this invention Orwell has actually augmented our own language, for 'Newspeak' and 'doublethink' are very handy words.

These novels were not written as prophecies, but as warnings. Nevertheless, they do both contain predictive elements (which were not necessarily intended as such!). 1984 bears a strong resemblance to the state of Soviet Russia, as far as I understand it, although the Party is even more ruthless than Stalin. Surveillance to the level described is actually more possible, technically, these days than it was when Orwell was writing—we do have interactive televisions, and spy satellites, and are told of various government schemes to keep an eye on our email transactions. However, the book does tend to give an impression of being out-of-date, because now that communism has fallen in Eastern Europe, the most obviously Orwellian state is over and done with. Though perhaps we do not know enough about other societies to know whether they are perpetuating this kind of environment.

Brave New World, being set much further into the future, has not been overtaken by events in the same way. In fact, advances in reproductive science and cloning technologies have made it appear all the more prescient. In social terms, too, Huxley seems to have emphasised many elements which have become quite normal today—sexual freedom is not quite on the 'Everybody belongs to everybody' level, and family life is not obsolete, but there has been a good deal of movement in these directions. Even the 'feelies' seem that much closer than Huxley could have expected, with the improvements in 'virtual reality'.

In essence, there are a great many points of comparison between these two novels. They address many of the same issues—language, control, production, sex, and so forth—and simply treat them in quite different ways. Of the two, I find Brave New World the more enjoyable read, mostly because it is not completely devoid of hope. 1984 is relentlessly determined to portray a world in which there is no hope.


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Mark Hines
June 4th, 2004

Comparison Essay
1984 and Lord Of The Flies</i>

The Lord Of The Flies and 1984 are two stories created in the period of self-examination that followed the Second World War, more specifically the introduction of the nuclear bomb and its atrocities committed on Hiroshima and Nagasaki.  The novel 1984, written by George Orwell, acts as a satirical warning of totalitarianism and the danger of political corruption of reality (known today as spin). While the novel Lord Of The Flies, written by William Golding, is an allegory for humanity’s inherent darkness shown using a microcosm of primitive civilization.  The two novels’ main themes may contrast each other but both novels deal with the flaws of humanity in respect to society. An important part of 1984 and Lord Of The Flies was the mood and tone that constantly pushed the plots along and maintained an active interest. Golding uses Lord Of The Flies to communicate his belief that all people have the hidden inclination to destroy and hurt others without rational cause. On the other hand, Orwell tells of a world that will come about where loyalty, love, hatred, and fear can be corrupted in order to drive a perpetually oppressed society, if we are not careful.

The central themes in Lord Of The Flies and 1984 varied on the absence and presence of civilized government, while both novels had irresponsible leadership resulting from the corrupting influence of power. In 1984, Orwell envisions an invasive, oppressing government, emerging from the wreckage of nuclear war, having the capabilities to perpetually stay in power by only operating in a way that benefits its survival. In Lord Of The Flies, Jack seizes power from Ralph by using everyone’s fear of the unknown and instituting a mob mentality. Therefore, Golding is saying that in a primitive civilization, those that strive for power will use cruel, sometimes unthinkable, means to gain power. While Orwell sees a future where a select few can effectively control the information, using technology, so that they need only benefit themselves and not have to raise their following up in comfort. The similarity between what the two authors are saying is worth noting because there is flawed humanity in both respects. The need to keep others down and rule over them could be the inherent darkness of which Golding writes so pessimistically. The main theme of Lord Of The Flies is humanity’s inherent darkness; this can be seen in the title, which is a direct analogy to Beelzebub, which has become synonymous with Satan/evil.  While 1984’s main theme is the speculation that eventually the government will become so corrupt it will be able to erase the past and therefore become omniscient which would make it possible to control opinions and get away with no longer serving its people. The protagonist in Nineteen Eighty-Four is reduced to a sniveling shell of his former self and left alive as a warning to other dissenters, this acted as a far better resolution than Lord Of The Flies ‘out of the frying pan and into the fire’ resolution with the naval officer in wartime discovering them. The themes are irreconcilably connected through the frailty of humanity in the face of corrupting power, although Golding’s resolution was less effective than Orwell’s.

George Orwell and William Golding are both saying human beings flawed. George Orwell is saying they are corrupted by power into becoming bad but William Golding is making his case that people are innately flawed and bad. George Orwell’s satirically brilliant 1984 depicts a grotesquely totalitarian super-state with its government too overwhelming for it to be overthrown. Power corrupts its officials and policy-makers to create The Party, which acts only to ensure its continued hold over society. Power corrupts people. However, Orwell says you are born with a destructive undercurrent within you, without regulations they become shockingly apparent, with laws and order there are still wars between nations. Ergo, people are already corrupt. Because there is evidence today in what Orwell has predicted for his book, he makes the more realistic point. The argument of nature versus nurture cannot be rectified based on comparing these two novels. Both are well-written arguments with 1984 having the more relevant message.

The Lord Of The Flies begins in an undefined, alien setting and devolves into a cycle of cyclic disorganization. Contrastingly, in 1984 the problems of a monotonous oppressed existence are highlighted with control being a prevalent force throughout most of the novel. The disorganization in Lord Of The Flies is important to present the immaturity of the children and dualistically the shortcomings of the average person’s ability to think and act in a responsible manner without having boundaries. An example of their inclination for confusion occurs early in Lord Of The Flies, “The space under the palm trees was full of noise and movement. Ralph was on his feet too, shouting for quiet, but no one heard him. All at once the crowd swayed toward the island and was gone – following Jack.” (P.38) The confusion that is evident throughout Golding’s book helps to hide his intricate planning and reoccurring symbolism. However, 1984’s sense of paranoia and suspicion is far more elaborate and enveloping. Attention to the atmosphere of constant fear of being revealed is apparent surrounding all of Winston’s actions. The foreboding tone effectively portrays the seriousness of Big Brother, the Thought Police, and the other mechanisms of control. The paranoia is evident in the opening page with, “On each landing, opposite the lift shaft, the poster with the enormous face gazed from the wall. It was one of those pictures which are so contrived that the eyes follow you about when you move. BIG BROTHER IS WATCHING YOU, the caption beneath it ran.”(P. 3) The overwhelming sense of caution created in this story acts as a mouthpiece for the author’s argument against unmitigated surveillance into the private lives of civilians. The unsettling invasion of one’s personal life by a corrupt government waiting to persecute anyone appearing to be against The Party is an important element in 1984, it is carried out very well by using the convention of ‘telescreens’ (a two-way television sets that cannot be shut off). An example of their effectiveness in portraying the mood is, “The telescreen received and transmitted simultaneously. Any sound that Winston made, above the level of a very low whisper, would be picked up by it; moreover, so long as he remained within the field of vision which the metal plaque commanded, he could be seen as well as heard… …You had to live…in the assumption that every sound you made was overheard, and, except in darkness, every movement scrutinized.” (P.5) Contrasting the ultra-order presented in 1984 is the chaotic mood evident in every high-point of action for Lord Of The Flies is, “At once the crowd surged after [the beast/Simon], poured down the rock, leapt on to the beast, screamed, struck, bit, tore. There were no words, and no movements but the tearing of teeth and claws.”(P.153) While Lord Of The Flies’ mood is effective in displaying the barbarism it is significantly less fleshed out. William Golding’s Lord Of The Flies is less encompassing than George Orwell’s Nineteen Eighty-Four due to Nineteen Eighty-Four’s superb and consistent tone.

George Orwell’s 1984 and William Golding’s Lord Of The Flies are great pieces of literature for numerous reasons, Orwell’s book does has the more useful message making it the better of the two. The paranoid mood in 1984 outshines Lord Of The Flies and its mood. The social commentary offered up by both of the novels questioned nature over nurture while looking at darkness in an individual, 1984 made a better case as it resolved itself much more effectively. The corrupting nature of power was a more worthwhile theme than Lord Of The Flies’ theme of civilization reverts to barbarism when it is outside the confines of law. Both books are worth reading and they both present interesting perspectives into the human condition, George Orwell’s Nineteen Eighty-Four is the better novel due to its relevance and entertainment value. It is a relevance that should have been seen as bizarre, but the victor has always written history, so as technology progresses the writing becomes more sweeping and less and less noticeable.

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