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Impact of literature on society
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The Language of A Clockwork Orange
“Gooly into a world where by nochy prestoopniks rule and oobivat and by day all is well.” This is the nature of A Clockwork Orange, a novel by Anthony Burgess, where one enters the world of a fifteen-year-old named Alex who speaks a vernacular language and does what he likes. This molody nadsat, or young teen, leads a life where crime is real horrorshow as he dodges millicents, or policemen, in order to live a life he wants in the merzky, grazzy city where he resides. Alex and his shaika oobivat too many lewdies, though, and the millicents loveted him. He then becomes a plenny in the StaJa, away from his moloko, snoutie or beloved classical music. As a plenny, he undergoes tests by viddying sinnies, making him horn in pain at the messel of krovvy or guttiwuts. After the tests, Alex returns to the streets as a real horrorshow new malchick, unable to pony or prod crime. Eventually, he meets a ded whose zheena he oobivated before, and is tricked into almost ending his jeezny by thinking of the sinnies and being forced to gooly out of an okno and falling many raskazzes. Alex lives, though, and returns to a jeezny of crime and keeps the city spoogy of him.
The previous paragraph gives an example what much of A Clockwork Orange’s language is like throughout the progression of the novel and is partially the reason why it has developed such a cult following since its release in 1963. What Burgess has done is taken English as a base language, and through the use of slang from English, Russian, Arabic and Gypsy, formed a language all its own which actually manages to accurately depict both the mindset of Alex but also the brutality of the world in which he lives. Some of his wo...
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...restrictions in the forms of laws or minor regulations. So too does Alex express this interest. Although among today’s youth it is not common to be rioting or embarking on a homicide spree, Alex feels this is his way of living a carefree life. However, as a result of his liberty being “denied,” he attempts to vent his anger by committing suicide. Again, today’s teens do not generally veer towards those extremes. The parallel reaction in today’s youth to Alex’s reaction would be the excessive usage of innuendo, free use of the vernacular, indulgence in pleasure of any and all kinds, and the exhibition of mock violence to alleviate angst. It is interesting that there is such a shocking similarity between our world and that of the novel because the novel was written in 1963, at which time there were certainly many differences between teens’ views then and those of today.
There have been many books published solely on philosophy, and many more than that solely written about human nature, but very infrequently will a book be published that weaves these fields together as well as A Clockwork Orange, by Anthony Burgess. In this Book Burgess speculated on the fact “the significance of maturing by choice is to gain moral values and freedoms.” He achieved this task by pushing his angsty teenaged character, Alex, through situations that challenge the moral values of himself and his friends. In the novel, A Clockwork Orange, by Anthony Burgess, Alex himself, must choose good over evil in order to gain moral values which will allow him to mature into a “man” in the latter of his two transformations.
Ken Kesey incorporates figurative language into his novel, One Flew Over The Cuckoo’s Nest, to illustrate the struggle to overcome the comfort of inaction, that ultimately results in the great benefit of standing up for one’s self. When McMurphy decides to stand up to Nurse Ratched, there is “no fog” (130). Kesey’s metaphor of the fog represents the haze of inaction that hovers over the patients of the ward. With the oppressive Nurse Ratched in charge, the patients are not able to stand up for themselves and are forced to be “sly” to avoid her vicious punishments (166). When the patients avoid confrontation with the Nurse, they are guaranteed safety by hiding in the fog, complaisant with their standing. The fog obscures the patient’s view of the ward and the farther they slip into it, the farther away they drift from reality.
to read. A Clockwork Orange is an interesting book, to say the least, about a young teenager, named Alex, who has lost his way, so to speak, and commits several serious crimes. These crimes that Alex and his “droogs” commit include: murdering, raping, beat downs, robbery, etc.
Protected by a cocoon of naiveté, Holden Caulfield, the principal character in the novel, The Catcher in the Rye, therapeutically relates his lonely 24 hour stay in downtown New York city, experiencing the "phony" adult world while dealing with the death of his innocent younger brother. Through this well-developed teenage character, JD Salinger, uses simple language and dialogue to outline many of the complex underlying problems haunting adolescents. With a unique beginning and ending, and an original look at our new society, The Catcher in the Rye is understood and appreciated on multiple levels of comprehension. The book provides new insights and a fresh view of the world in which adolescents live.
Are we human if we don’t have a choice to choose between acting good or acting evil? A Clockwork Orange directed by Stanley Kubrick is a brutal film that entails many sociological meanings. Alex DeLarge and his “droogs” (gang) live in a derange society of “ultra-violence” and rape. Alex and his gang cause havoc around the town that leads to the “droogs” turning on Alex during a mischievous act on an innocent women and Alex getting arrested. While in prison he is chosen for “treatment” that is suppose to purify Alex and turn him into the “perfect citizen”. We’ve gone over many sociological concepts in class, but the three that I believe apply the most to this film are socialization, deviance, and resocialization.
The novel touches on ideas of sexual orientation and experiences, religion, and education some things that are not acceptable to a discussion in today's society. Furthermore, How will young adults learn about different aspects of their development if it is no longer taught? Another issue in education is the claim that the content taught in schools are not relative enough in today’s society and do not cater to the growth of adolescents. The band of the novel The Catcher in the Rye would be a violation of the right to free speech and should not just be applied to adults in the United States but to all citizens, regardless of age. Though the views of the use of profanity are controversial, the book has very essential moral lessons that the readers could benefit from.
A Clockwork Orange abandons normal 'language' (which Modernists believed couldn't always convey meaning anyway) and is written in 'Nadsat' (which means teenager). It is a slang that is spoken by the teenagers at the time. Burgess uses approximately two-hundred and fifty 'nadsat' words (most of which have Russian roots) to convey his story. This gives the reader a sense of intimacy with Alex and his 'droogs' (friends) due to the fact that the adults in the novel can't understand what they are govoreeting (saying). There is also a disruption of the linear flow of narrative aside from this private language; Alex ('Our Humble Narrator') tells the story in a remembering type sequence, but often interjects with thoughts or questions posed directly at the reader.
The infamous King Claudius is essentially connected to almost every malicious instance in William Shakespeare’s renowned play, Hamlet. His actions are consistently fueled by his overpowering greed and hunger for power. Consequently, Claudius truly establishes the meaning of the play through the multitude of his abhorrent actions.
Amidst a population composed of perfectly conditioned automatons, is a picture of a society that is slowly rotting from within. Alex, the Faustian protagonist of A Clockwork Orange, and a sadistic and depraved gang leader, preys on the weak and the innocent. Although perhaps misguided, his conscientiousness of his evil nature indicates his capacity to understand morality and deny its practice. When society attempts to force goodness upon Alex, he becomes the victim. Through his innovative style, manifested by both the use of original language and satirical structure, British author Anthony Burgess presents in his novella A Clockwork Orange, the moral triumph of free will within the controlling hands of a totalitarian society.
Right at the outset of the drama, there is irony exhibited in the manner in which Shakespeare characterizes King Claudius – he is simply the perfect ruler – and yet, shortly hereafter when the ghost appears, he is revealed as a truly evil sort. George Lyman Kittredge, in his book, Five Plays of Shakespeare, describes the Bard’s excellent characterization of Claudius:
Freedom and liberalism are catchwords that appear frequently in both philosophical and political rhetoric. A free man is able to choose his actions and his value system, to express his views and to develop his most authentic character. What this kind of idealistic liberalism seems to forget, however, is that liberty does not mean a better society, better life or humanistic values such as equality and justice. In his novel A Clockwork Orange (1962), Anthony Burgess portrays an ultimately free individual and shows how a society cannot cope with the freedom which it in rhetoric so eagerly seeks to promote.
A Clockwork Orange opens with Alex and his buddies outside the Korova Milkbar deciding what they were going to do for the evening. Alex acts on his impulses to do evil. He is driven by cause and effect relationships. When Alex wants something, he simply goes out and gets it. If he needs money, he steals it; if he wants to let out his aggression, he beats people up; if he wants sex, he rapes; if his ‘droogs’ do not listen to him, he teaches them a lesson. He feels no remorse when stealing, raping or murdering innocent victims. Man possesses potential for both good and evil. Alex’s decision cannot be blamed on any outside factor, it is simply something from within that drives him to lea...
It is easy to overlook some of Claudius' villainy. He may not rant and rave, nor pluck out eyes on stage or hands, or tongues, nor does he conspire with crafty rationality like Edmund or Iago in Othello, nor bake little children in a pie. But as the murderer, usurper, and incestuous step-father, Claudius is one of Shakespeare's greatest villains. His distinguishing features are hypocrisy and subterfuge. He is clever in a worldly sense, a flattering strategist, good at manipulating his courtiers, at double-speak. His fawning address to Hamlet in I.2 ('Tis sweet and commendable in your nature, Hamlet ...') shows him to be a master of persuasiveness. He encourages Polonius to practise subterfuge; his favourite weapon is poison. This recourse to poison, initially against his own brother, nauseously poured into the ear of the sleeping king, is repugnant; and in the final act, poison is used both on Laertes' sword and in the cup of wine that is to be offered to Hamlet. But from the start, his very words are like a drug, aimed at deflecting Hamlet away from his grief. In a wider sense, the state itself is 'poisoned' by Claudius. He uses Gertrude, Polonius, Ophelia, Rosencrantz and Guildenstern as his tools; he employs spies and underhand methods. He tries to make Hamlet 'disappear' by sending him to England (where his madness is less likely to attract attention!) in the company of Rosencrantz and Guildenstern rather than by any process of law or a direct challenge. Polonius is a good example of the usurper's pernicious influence: a 'faithful retainer' of the old sort, much given to spouting words of wisdom ('to thine own self be true ..': I.3.78), yet stooping to all manner of intrigue against his own son (II.1), his daughter and Hamlet.
He exhibits the theme appearance versus reality regularly throughout the play. Claudius operates like he is upset and blameless towards Hamlet for the death of King Hamlet, but actually he is afraid Hamlet know’s about the incident. He attempts to give Hamlet advice about not carrying his dad’s death on his back for so long because it can be harmful and unhealthy. He tries to convince Hamlet in a way by saying that one day he may be the new king of Denmark. After Hamlet explains his reasoning behind being grief, Claudius speaks out to him saying, “Tis sweet and commendable in your nature, Hamlet, / To give these mourning duties to your father. / But you must know your father lost a father, / … Of impious stubbornness (1.2.87-94). Claudius, the so called honourable king, makes it difficult for Hamlet to reveal the truth behind his fathers death. He does not want Hamlet to know the truth behind all of this which uncovers his genuine appearance. Claudius still acts as if he is devastated for the loss of Hamlet's father but actually is stressing because he still panics Hamlet may know he is to blame. When Claudius sends Hamlet and the twins, Rosencrantz and Guildenstern, off to England to collect money that they owed Denmark, in reality Hamlet is sent off because he knows too much of the incident and shall be killed. After Hamlet leaves the room from a heated argument with
As with all the supporting characters in Hamlet, Claudius is not developed to his possible potential. His primary role in the play is to cause Hamlet's confusion and anger, and his ensuing search for truth and life's meaning. Claudius is not a static character. While his qualities are not as thoroughly explored as Hamlet's, Shakespeare crafts a whole human being out of the treacherous, usurping King of Denmark.