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Burgess essentially develops a new language called the
nadsat to use in the book. Nadsat is a mixture of Russian, German and English
used by the teens as slang in the book. Some of these include bezoomny,
chumble, gruppa and krovvy. These words maintain an interesting and intriguing
atmosphere for the reader throughout the book. Nadsat sheds light on the
author’s innovative literary ability. Additionally, the harrowing scenarios in
the novel keep the reader on the edge of their seats. The scenarios and events
that happen in the book are extremely horrific and gruesome and are described
in a very explicit manner. For example when Alex, the main character is in
prison, he is shown violent videos, and one of the videos shows Japanese
soldiers nailing war criminals to trees. In another scenario, Alex and his
droogs are fighting with another gang and Burgess describes the fight scene.
The passage reads, “And, my brothers, it was real satisfaction to me to
waltz–left two three, right two three–and carve left cheeky and right cheeky,
so that like two curtains of blood seemed to pour out at the same time, one on
either side of his fat filthy oily snout in the winter starlight. Down this
blood poured in like red curtains” The explicit descriptions and use of blood
invokes terror in the reader. Moreover, Alex, who is depicted as a sadist,
loves the violent acts he is committing and is satisfied by it which adds to
the horror. The author develops a very interesting and unique relationship
between the main character and the reader. The development of the main
character in this book is very unique. Usually the main characters from books
and movies are lovable and relatable. The reader sympathizes with them and
often wants them to succeed. However in this novel, the main character is
portrayed as extremely violent and evil. He enjoys raping 10 year olds and
killing old women. The characterization also contributes to the shock that
readers experience while reading the book He ruins people’s lives on a regular
basis just because it makes him feel good. The reader finds it almost
impossible to relate and sympathize with Alex. Furthermore, Alex never does
anything to try and rectify his situation or try to mend the damage. Alex even
defends his violent behavior and finds other aspects of life to blame. Burgess
also does a good job of showing the reader an inside view and what the main
character feels by having the book narrated by Alex in first person. Burgess
invokes further interest amongst the readers when he switches to an
introspective first person Alex. The self-analyzing nature of Alex’s character
gives depth to the book and keeps the readers intrigued. Moreover,
understanding of themes is also enhanced. Another interesting thing Burgess
does with characterization is that he introduces the idea of a clockwork orange
through F. Alexander, a character in the book who is a writer. It is the use of
a clever and suitable mouthpiece by Burgess. The book can be compared to
classics like 1984 and brave new world, because of the themes and ideas about government
control, diminishing critical thinking, and freedom of choice. So if you
enjoyed any of those novels, this will be a good fit.

 

 

Trailer

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Classical music by Beethoven is played in the background.
The music shows how Alex sees himself as doing an act of some sort. He does
violent, sexual, horrific, and taboo things while listening to classical music.
He listens to this art and think of himself as an artist at work. Burgess used
the classical music to further enhance the uniqueness of his book. Pop and rock
music was seen as the music of corrupted teens in the 1950s and 1960s, being
the time when the book was released. However Burgess plays classical music in
the background of violent torture, rape, and robbery and fight scenes.
Furthermore, classical music always invoked Alex’s violent tendencies. Hence
the use of background classical music by Beethoven in the trailer. There was a
specific pattern in terms of how the images in the trailer were played. It was
separated in three different parts, part 1, 2 , and 3. The pattern connects to
how the book separated itself as well. Burgess wrote the book in a way that
classical music operas are commonly written, again making references to
classical music in his work. So the way the pattern works is that part 1 and 3
(the first and last) are similar to each other while part 2 (the middle one) is
contrasting. As this pattern is used for operas, and used in the book, it was
also evident in my trailer. Images were repeating in the trailer because
Burgess repeated phrases to connect to operas once more; since operas have
common repetitive features. An example is Burgess repeating the word out in
dialogue and saying the phrase “What’s it going to be then, eh?”, at the
beginning of every chapter.

 

 

 

 

 

Works
Cited

Burgess, Anthony. A Clockwork Orange.
New York: Norton, 2001. Print.

Cooper,
Barry. “Beethoven: Symphony No. 9.” Music & Letters,
vol. 75, no. 3, 1994, p. 461+. GeneralOneFile, http://link.galegroup.com/apps/doc/A16078315/GPS?u=peel_dsb&sid=GPS&xid=a63bc481.
Accessed 9 Jan. 2018.

Green,
Dominic. “The most of Anthony Burgess.” New Criterion,
vol. 36, no. 2, 2017, p. 28+. General OneFile, http://link.galegroup.com/apps/doc/A510296175/GPS?u=peel_dsb&sid=GPS&xid=c8de52a0.
Accessed 10 Jan. 2018.

Horan,
Thomas. “Phillips, Paul. A Clockwork Counterpoint: The Music and
Literature of Anthony Burgess.” Studies in the Novel, vol. 43,
no. 4, 2011, p. 515+. General OneFile, http://link.galegroup.com/apps/doc/A278171220/GPS?u=peel_dsb&sid=GPS&xid=4a7dd8f7.
Accessed 10 Jan. 2018.

“Shock
of the new.” New Statesman, 2 Oct. 2015, p. 74+. General
OneFile, http://link.galegroup.com/apps/doc/A432024263/GPS?u=peel_dsb&sid=GPS&xid=6c49bb7e.
Accessed 11 Jan. 2018.

Pettingell,
Phoebe. “Burgess byrning.” The New Leader, 3 Nov. 1997,
p. 15+. General OneFile, http://link.galegroup.com/apps/doc/A20097003/GPS?u=peel_dsb&sid=GPS&xid=5506e836.
Accessed 11 Jan. 2018.

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