The Development Of Dystopian Novel Using We By Zamyatin And Nineteen Eighty-Four By Orwell - Assignment Example

We by Zamyatin and Nineteen Eighty Four by Orwell Introduction Thesis: The paper illustrates the development of dystopian novel using We by Zamyatin and Nineteen Eighty- Four by Orwell. Dystopia: its Dimensions Advent of Dystopia: Dystopian Tendency of Modern Society Dystopia in We Dystopia in Nineteen Eighty- Four Trends in dystopian literatures: Journey from 1920’s to 1950’s Future of Dystopia Conclusion Dystopia, as a sub- genre of science fiction, is gaining popularity day by day. It was first seen during the first half of the twentieth century. Dystopia refers to a state of affairs which causes negative effects on our imagination. A dystopia narrative inflicts lot of pain and suffering in the minds of the readers by describing events and situations of nightmarish and hellish experience. This research paper explores the use of this devise though works of Zamyatin and Orwell. Both these authors mastered on this genre- their works stand as milestones in the history of dystopia- based literature (Gottlieb, 27). Dystopian state, society and situation come as something anti to the popular concepts of utopia. Unlike utopia, dystopia does not end with a happy note. Rather it leaves some promises and hope for a new beginning. It has become the subject of modern literature exploring the socio- political and economic exploitations by the state in modern society (Perez, 2000, p 10). Dystopia indifferent forms have drawn more attention of the authors. This is the reason why more and more authors are taking up dystopia as the subject matter of their novels. A dystopian narrative depicts the horrors of future- a future society of a future state inhabited by strange citizens. Their normal life schedules seem grueling to us and the horrors of inhuman conditions haunt our mind. This way of drawing pleasure from pains popularized dystopia among the twentieth century authors. The paper illustrates the development of dystopian novel using We by Zamyatin and Nineteen Eighty- Four by Orwell. Dystopia: its Dimensions Dystopia is a budding for of fiction that is widely used in present times. Presently it is used more for science fictions – to show how our future could look like. Every dystopian state in dystopian novels follows their own set of rules and regulations. It creates a fantasy world where the inhabitants are made to abide by the rules made by the state. Often they are subjected to superhuman “setting, plot or situation”. Presently, the concept of dystopia is used to compose science fictions where individuals’ lives are controlled by scientific and technological advances (DeMarr, 28). A dystopia is always set in future. This is because; it aims at presenting the horrible consequences of the sinful deeds of the present. Therefore, the dystopian future needs are based on collective anxieties. However, dystopia is considered as a total failure, both in economical and environmental terms. History, too, resents dystopian practices of a society (Claeys, 108). The concept of dystopia gained popularity during the twentieth century. It aimed at creating an ‘ideal’ society where human beings were “dramatically superior” than the present times. In such a society trivial aspects of human behavior were targeted and restricted. This gives an allusion of admirable superiority on a superficial basis. Underneath one resents the totalitarian approach and that people’s emotions are being curbed. But then it has to be remembered that ideals of one might not be the same to the other. That is to say what is utopia might be dystopia for the other. In this regard, only a fine line of distinction exists as these two as dystopian societies can contain utopian symptoms and vice versa (Claeys, 108). The chief purpose served by a dystopian novel is warning its readers about some imminent danger that human race has to face in near future. A dystopian novel is profoundly focused more on the present than it is at future- through thee picture of future it mocks the present times. The deterrent feelings aroused in the reader serves the authors’ purpose. But there is also a ray of hope laying underneath- the problems of present times is still curable and that if proper actions are taken immediately, men can evade the hellish experiences of a dystopian rule (Gottlieb, 27). Advent of Dystopia: What introduced dystopia in our world. One can find its traces in the works of H.G. Wells. During the Victorian age, people aspired for perfections. They dreamt of a perfect society. They views were hopeful; their lifestyles were to a large extent disciplined and full of social manners. The scientific discoveries, too, were inclined to serve the purpose of man. Then naturally the question arises that what went wrong. It was the nightmarish experiences of the First World War that changed people’s notions and made acclaimed writers like H.G. Wells, Orwell and others anticipate the torment and tribulation that twentieth century had in store (Claeys, 107). The idea of dystopia did not have any identity till then- dystopia was more of a concept which highlighted the fallacies of the utopian world, an “anti- utopia”, or “negative utopia”. It was chiefly used as satires directed to depict how utopian dreams were shattered. Dystopian Tendency of Modern Society Modern man is conditioned by a wide variety of forces. The forces have already transformed man into products which suits different functions. A despotic novel only portrays man as products with unpredictable natures. The competing spirits in modern lifestyles have literally tuned human beings into machines. Moreover, despotic ambitions have blurred the aspects of “freedom”, “responsibility”, “agency”, “ethics”, “ideology” and “politics” (Perez, 10-11). They serve prioritize their material requirements first. Also, the interests of the state are served first. For instance, today every man is running after his own interest and monetary gains. The state has set some regulations on the ways that he can adopt. Thus, man is bound by this own aspirations as well as by the state. Dystopia in We In We, Zamyatin has attempted to create a science fiction keeping in mind the scientific and technological advances that were taking place during his time. He was thoroughly influenced by the aesthetical movements and political movements. His writings were also influenced by the contemporary movements in the field of art. All these had made his work “dynamic and dialectical”. On the whole the fantasy world of We is a paradox to the expectation of a more perfect social state of welfare- a dream dreamt before the beginning of World Wars (Hutchings, 82). The novel is a first person narrative “I”, at no point it the protagonist’s real The conflict within dystopia rule beautifully portrayed by D- 503’s loyalty to One State and this inner poetic self which craves for freedom of self (Boldt et al, 143). We first appeared in the literary scenario in the year 1924, New York (Hutchings, 81). One finds ample instances if dystopian theme, setting and plot. In We, we can find extra terrestrial affairs and time travelling. Zamyatin’s protagonist D- 503 records his daily experiences in a journal. He saves it with a purpose that someday, it will be read by beings from some faraway planet. He himself lives in a planet where without rockets one cannot reach (Hutchings, 85). Other activities that are described in length, too appears alien to the readers. They could not relate themselves with it. Dystopia in Nineteen Eighty- Four Nineteen Eighty- Four was published in 1949. In this novel, Orwell has brilliantly criticized the totalitarian rule through Winston Smith, its protagonist. He stands as a protesting figure by retaining his “sense of humanity” and his natural emotion, rational judgment. He makes efforts to understand the policies and restrictions that Big Brother has imposed on every citizen. He voices for his rights. There are numerous instances where impractical rules are imposed on the citizens of fantasy land- Oceania. One such rule is that every citizen of Oceania has to genuinely love the Big Brother (Perez, 15). The dystopian society in this novel explores the “nationalist and collectivist ideology”. Orwell, in his imagination materialized the threats which were generated by the predictions of Burnham. The evolved species in the book, imperially takes control of production by bringing an end to one’s freedom and free will (Sander, 174). By these, all Orwell wants to show is the domination of “ideology over self”. Here Orwell has infused the concept of ideology with dystopia. Nineteen Eighty- Four presents an ideology which revels in standard which the citizens set for themselves. Whether willingly or unwillingly they are made to believe in those pre- fixed notions and must comply with them. In this regard, dystopia becomes identical with idealism as the citizens are completed to live within the constraints set by them (Perez, 16- 17). Trends in dystopian literatures: Journey from 1920’s to 1950’s From the very outset, all dystopian novel presented “logical extension” of major social and scientific events. The authors chose the darker side of those events and inventions like human cloning, consumerism, etc. The authors combined those with their own imagination, and the result was creation of a myriad world. As in case of Mary Pearson, “Adoration of Jenna Fox”, dystopia is created after technological advances went wrong. Irrespective of the cause, another aspect that these narratives shared was a bleak vision, devoid of hope (Cart, 103) Since its emergence in the works of H. G. Wells, page 1. , dystopia has appeared in the works of E. M. Forster, “The Machine Stops”, Yuvgeny Zamyatin, “We”, Aldous Huxley, “Brave New World”, and George Orwell, “Nineteen Eighty- Four”. After these works gained popularity, more diffused form of dystopia emerged, especially in the works of Franz Kafka, “The Metamorphosis”, Ayn Rand, “Anthem”, C. S. Lewis, “That Hideous Strength”, Vladimir Nabokov, “Bend Sinister”, Evelyn Waugh, “Love among the Ruins” and Don De Lillo, “Underworld”. All these great works started a trend of showing “new maps of hell”. It all started with showcasing the horrors of war but gradually shifted in exploring the evils of society and state. In present times, authors like Judith Merrill, John Brunner, Frederik Pohl, etc. are enriching this genre by probing deep into its creative (Moylan and Baccolini, 1). Future of Dystopia Though a promising genre, dystopia does not hold much promise for the future. Of course some derive pleasure from sadistic approach, but ultimately it is not what one wants. Dystopian novels provide the authors with opportunity to fuel their readers’ imagination with speculation and innovation. Dystopia, being more directed towards the social trends and practices, continues to prove as powerful instrument for redirecting social satires, urging to explore ones’ reason and rationality. Practicality in dystopia is the wisdom and “trans- personal awareness”. Authors of dystopian novels try to capture this deteriorating awareness. The awe serves as an indicator that awareness must be implemented, thereby making “future- saving” more important than sustaining the present (Slaughter, 30). Conclusion By reviewing the novels We and Nineteen Eighty- Four we understand that dystopia is definitely not the thing we want. Human beings are bohemian by nature and suffocate when they are tied down by law or rules. At present, especially in post- war literature it is observed that dystopia is not limited to a physical dimension- dystopia also represents psychological constraints added to the restrictions of the mind and the soul. However, it has to be remembered that not all of these are inflicted by external force; man himself brings down those upon himself. Present day dystopian narratives seek to achieve a structure which has both “formal flexibility and “political maneuvering” (Moylan and Baccolini, 3-5). A noteworthy feature of these novels is that they begin amidst a dystopian setting. Both We and Nineteen Eighty- Four, from the very beginning, expose a world which is not only distant from the visitor’s own society but also different. Nothing matches with the readers’ world, leaving the readers shuddered by the thought that what will happen of them if similar constrains are forced on them. However, it is this horror element that popularized dystopian science fictions like We and Nineteen Eighty- Four. Whether or not the cautions or advise are accepted by the society is a different aspect, but We and Nineteen Eighty- Four clearly convey the message of unity, trust, love, rationality and above all, humanity. References Claeys, Gregory, “The Origins of dystopia: Wells Huxley and Orwell”. The Cambridge Companion of Utopian Literature. Ed. Gregory Claeys. Cambridge University Press: 2010. 105- 133. Print. Boldt, Leslie A. Corrado, Federici and Ernesto Virgulti. Disguise, Deception, Trompe-loeil: Interdisciplinary Perspectives. Switzerland: Peter Lang, 2009. Print. Cart, Michael, Young Adult Literature: From Romance To Realism. Chicago: American Library Association, 2010. Print. DeMarr, Mary, Colleen McCullough: a critical companion. US: Greenwood Publishing Group, n.d. Print. Gottlieb, Erika, Dystopian fiction east and west [electronic resource]: universe of terror and trial. Canada: McGill-Queens Press, 2001. Print. Hutchings, Williams, “Structure and Design in a Soviet Dystopia: H. G. Wells, Constructivism and Yevgeny Zamyatin’s We”. Birmingham: University of Albama, Web. 1 December. 2004. Moylan, Tom and Raffaella Baccolini, Dark horizons: science fiction and the dystopian imagination. UK: Routledge, 2003. Print. Perez, Christina D. “Dystopia and the Modern Subject”, McMaster University. 2000. Print. Slaughter, Richard, Features Beyond Dystopia: Creating Social Foresight. UK: Routledge, 2004. Print. Sander, Steven, The Philosophy of Science Fiction Film. Kentucky: University Press, 2007. Print. Read More