Quote 1
"Oh!" He gave a gasp and was silent, gaping. He had seen, for the first time in his life, the face of a girl whose cheeks were not the colour of chocolate or dogskin, whose hair was auburn and permanently waved, and whose expression (amazing novelty!) was one of benevolent interest. Lenina was smiling at him; such a nice-looking boy, she was thinking, and a really beautiful body. The blood rushed up into the young man's face; he dropped his eyes, raised them again for a moment only to find her still smiling at him, and was so much overcome that he had to turn away and pretend to be looking very hard at something on the other side of the square. (7.46)
So here's some insight into the otherwise difficult question of why someone with John's depth and principles would ever want someone as vapid (dull or flat) as Lenina. In a world where he has been forever different, she is someone who looks like him—that is, white and blue-eyed. John's immediate thought is companionship (check out his "Character Analysis" for more).
Quote 2
A moment later he was inside the room. He opened the green suit-case; and all at once he was breathing Lenina's perfume, filling his lungs with her essential being. His heart beat wildly; for a moment he was almost faint. Then, bending over the precious box, he touched, he lifted into the light, he examined. The zippers on Lenina's spare pair of viscose velveteen shorts were at first a puzzle, then solved, a delight. Zip, and then zip; zip, and then zip; he was enchanted. Her green slippers were the most beautiful things he had ever seen. He unfolded a pair of zippicamiknicks, blushed, put them hastily away again; but kissed a perfumed acetate handkerchief and wound a scarf round his neck. Opening a box, he spilt a cloud of scented powder. His hands were floury with the stuff. He wiped them on his chest, on his shoulders, on his bare arms. Delicious perfume! He shut his eyes; he rubbed his cheek against his own powdered arm. Touch of smooth skin against his face, scent in his nostrils of musky dust—her real presence. "Lenina," he whispered. "Lenina!" (9.25)
Compare this passage to the one in Chapter 13, when John refuses to have sex with Lenina and she ends up locking herself in the bathroom. These zippers come up again, and we get the same repetition of the words "Zip! Zip!" It's just that, by then, John is disgusted rather than fascinated—much the way his reaction to the new world changes.
Quote 3
"It was base," he said indignantly, "it was ignoble." (11.105)
John's opinion on the feely is so confusing and painful for Lenina to hear because, in fact, it is a reflection of his opinion of her—or at least of her sexual escapades.
Quote 4
"It's like that in Shakespeare too. 'If thou cost break her virgin knot before all sanctimonious ceremonies may with full and holy rite…'" (13.63)
John gets his notions of chastity and honor both from the Native Americans on the Reservation and from Shakespeare.
Quote 5
"The murkiest den, the most opportune place" (the voice of conscience thundered poetically), "the strongest suggestion our worser genius can, shall never melt mine honour into lust. Never, never!" he resolved. (13.71)
John repeats his Shakespearean phases the same way Lenina, Fanny, and Henry recite their hypnopaedic teachings. Is this just another form of indoctrinated thought?
Quote 6
But her perfume still hung about him, his jacket was white with the powder that had scented her velvety body. "Impudent strumpet, impudent strumpet, impudent strumpet." The inexorable rhythm beat itself out. "Impudent…" (13.100)
Again we see the notions of rhythm and music tied up with violence and sex. This prepares us for the final orgy-porgy scene in which John repeats his saying in a rhythmic way while the people beat each other "in six-eight time."
Quote 7
"Strumpet! Strumpet!" he shouted at every blow as though it were Lenina (and how frantically, without knowing it, he wished it were), white, warm, scented, infamous Lenina that he was dogging thus. "Strumpet!" And then, in a voice of despair, "Oh, Linda, forgive me. Forgive me, God. I'm bad. I'm wicked. I'm… No, no, you strumpet, you strumpet!" (18.64)
Take a look at this: John wishes that it was Lenina he were striking. Because she's a "strumpet"? OK, yes, but also because striking her with a whip is the closest he'll let himself get to having sex with her. In a novel with a very, very fine line between sex and violence, there's little difference between them.
Quote 8
"Strumpet!" The Savage had rushed at her like a madman. "Fitchew!" Like a madman, he was slashing at her with his whip of small cords. (18.92)
Exactly.
Quote 9
Drawn by the fascination of the horror of pain and, from within, impelled by that habit of cooperation, that desire for unanimity and atonement, which their conditioning had so ineradicably implanted in them, they began to mime the frenzy of his gestures, striking at one another as the Savage struck at his own rebellious flesh, or at that plump incarnation of turpitude writhing in the heather at his feet.
"Kill it, kill it, kill it…" The Savage went on shouting.
Then suddenly somebody started singing "Orgy-porgy" and, in a moment, they had all caught up the refrain and, singing, had begun to dance. Orgy-porgy, round and round and round, beating one another in six-eight time. Orgy-porgy… (18.98-100)
Notice that John says to kill "it," not "her." Huxley himself calls Lenina "that plump incarnation of turpitude." While John is beating her up, he's really trying to beat up all the dirtiness and promiscuity of the new world.
Quote 10
It was after midnight when the last of the helicopters took its flight. Stupefied by soma, and exhausted by a long-drawn frenzy of sensuality, the Savage lay sleeping in the heather. The sun was already high when he awoke. He lay for a moment, blinking in owlish incomprehension at the light; then suddenly remembered— everything.
"Oh, my God, my God!" He covered his eyes with his hand. (18.101-2)
The little dash before "everything" leads us to believe that John did after all have sex with Lenina. It's possible he's just remembering the flogging, but as we said, in a book where sex and violence are so closely tied together, it's unlikely that the climax of violence could occur without the climax of sex. Also, it was an orgy—everyone else was doing it. And the line about him covering his eyes is important (think famous Greek tragedies). Read John's "Character Analysis" for more.
Quote 11
"Once," he went on, "I did something that none of the others did: I stood against a rock in the middle of the day, in summer, with my arms out, like Jesus on the Cross."
"What on earth for?"
"I wanted to know what it was like being crucified. Hanging there in the sun…"
"But why?"
"Why? Well…" He hesitated. "Because I felt I ought to. If Jesus could stand it. And then, if one has done something wrong… Besides, I was unhappy; that was another reason."
"It seems a funny way of curing your unhappiness," said Bernard. But on second thoughts he decided that there was, after all, some sense in it. Better than taking soma… (8.69-74)
John's explanation that "I felt I ought to" lends weight to the theory that his self-mutilation is a product of his upbringing and stands without logic or reason. On the other hand, his added claim that he was trying to cure himself of unhappiness suggests that there's something else going on here: John has thought more deeply about what it means to suffer.
Quote 12
A click; the room was darkened; and suddenly, on the screen above the Master's head, there were the Penitentes of Acoma prostrating themselves before Our Lady, and wailing as John had heard them wail, confessing their sins before Jesus on the Cross, before the eagle image of Pookong. The young Etonians fairly shouted with laughter. Still wailing, the Penitentes rose to their feet, stripped off their upper garments and, with knotted whips, began to beat themselves, blow after blow. Redoubled, the laughter drowned even the amplified record of their groans.
"But why do they laugh?" asked the Savage in a pained bewilderment.
"Why?" The Provost turned towards him a still broadly grinning face. "Why? But because it's so extraordinarily funny." (11.54-6)
Because they have been desensitized to human suffering, the citizens of the World State find it funny—even entertaining. This short passage prepares us for the end of the novel, where we delightfully ask, "Who's laughing NOW?"
Quote 13
Sitting beside her, the Savage tried hard to recapture his mood of a few minutes before. "A, B, C, vitamin D," he repeated to himself, as though the words were a spell that would restore the dead past to life. But the spell was ineffective. Obstinately the beautiful memories refused to rise; there was only a hateful resurrection of jealousies and uglinesses and miseries. Popé with the blood trickling down from his cut shoulder; and Linda hideously asleep, and the flies buzzing round the spilt mescal on the floor beside the bed; and the boys calling those names as she passed.… Ah, no, no! He shut his eyes, he shook his head in strenuous denial of these memories. "A, B, C, vitamin D…" He tried to think of those times when he sat on her knees and she put her arms about him and sang, over and over again, rocking him, rocking him to sleep. "A, B, C, vitamin D, vitamin D, vitamin D…" (14.33)
By forcing himself to think about his fond memories of Linda, John is actually trying to make himself suffer. He wants to feel sad at her death because it's the only way he knows to give it meaning.
Quote 14
"True," he added, "they might ask for shorter hours. And of course we could give them shorter hours. Technically, it would be perfectly simple to reduce all lower-caste working hours to three or four a day. But would they be any the happier for that? No, they wouldn't. The experiment was tried, more than a century and a half ago. The whole of Ireland was put on to the four-hour day. What was the result? Unrest and a large increase in the consumption of soma; that was all. Those three and a half hours of extra leisure were so far from being a source of happiness, that people felt constrained to take a holiday from them. The Inventions Office is stuffed with plans for labour-saving processes. Thousands of them." Mustapha Mond made a lavish gesture. "And why don't we put them into execution? For the sake of the labourers; it would be sheer cruelty to afflict them with excessive leisure." (16.51)
Suffering in the "civilized" world means something very different from that of John's world (or ours). No wonder the citizens of the World State can see no benefit in forcing oneself to undergo pain.
Quote 15
"What about self-denial, then? If you had a God, you'd have a reason for self-denial."
"But industrial civilization is only possible when there's no self-denial. Self-indulgence up to the very limits imposed by hygiene and economics. Otherwise the wheels stop turning." (17.42-3)
"Self-denial" is the process of forcing suffering on yourself—denying yourself what you want and need. When John says that God is a reason for self-denial, we can go back to his explanation in Chapter 7, where he says he wants to get hit with the whip "to please Pookong and Jesus." Religion makes suffering necessary because it's built on the notion of an afterlife. Indulgence in this life means suffering later, whereas piety and self-denial means a happy time later. Christianity in particular encourages man to strive to be like Jesus. Since Jesus suffered, man has to as well. (John pretty much says this—see Chapter 8.)
Quote 16
"But the tears are necessary. Don't you remember what Othello said? 'If after every tempest came such calms, may the winds blow till they have wakened death.' There's a story one of the old Indians used to tell us, about the Girl of Mátaski. The young men who wanted to marry her had to do a morning's hoeing in her garden. It seemed easy; but there were flies and mosquitoes, magic ones. Most of the young men simply couldn't stand the biting and stinging. But the one that could—he got the girl."
"Charming! But in civilized countries," said the Controller, "you can have girls without hoeing for them, and there aren't any flies or mosquitoes to sting you. We got rid of them all centuries ago." (17.48-9)
John makes another apt point with his quote from Othello: we suffer not only for the sake of suffering, but also for the rewards that come after. Mustapha misses the point in his reply; he says you can have the reward without suffering. But the idea behind John's philosophy is that sweet isn't as sweet without the bitter.
Quote 17
The Savage nodded, frowning. "You got rid of them. Yes, that's just like you. Getting rid of everything unpleasant instead of learning to put up with it. Whether 'tis better in the mind to suffer the slings and arrows of outrageous fortune, or to take arms against a sea of troubles and by opposing end them… But you don't do either. Neither suffer nor oppose. You just abolish the slings and arrows. It's too easy." (17.50)
John recognizes that he's operating in a very different world than the one in which he was raised. This realization is what ultimately drives him to leave the World State and live in solitude. It is at this moment that he realizes a man like himself cannot function in a world like this—a world without slings or arrows.
Quote 18
"What you need," the Savage went on, "is something with tears for a change. Nothing costs enough here."
("Twelve and a half million dollars," Henry Foster had protested when the Savage told him that. "Twelve and a half million—that's what the new Conditioning Centre cost. Not a cent less.") (17.52-3)
Again there is the problem of failed communication. The closest Henry Foster can come to understanding John's notion of cost (sacrifice) is through a sterile, dehumanized commodity (money).
Quote 19
His first night in the hermitage was, deliberately, a sleepless one. He spent the hours on his knees praying, now to that Heaven from which the guilty Claudius had begged forgiveness, now in Zuñi to Awonawilona, now to Jesus and Pookong, now to his own guardian animal, the eagle. From time to time he stretched out his arms as though he were on the Cross, and held them thus through long minutes of an ache that gradually increased till it became a tremulous and excruciating agony; held them, in voluntary crucifixion, while he repeated, through clenched teeth (the sweat, meanwhile, pouring down his face), "Oh, forgive me! Oh, make me pure! Oh, help me to be good!" again and again, till he was on the point of fainting from the pain. (18.31)
Passages like this one make it clear that John's need to punish himself stems from both his religious sentiments and from his investment in the Shakespeare texts of his childhood. Both extol the virtue of suffering, which helps to explain why John confuses the two in his mind.
Quote 20
"Do they read Shakespeare?" asked the Savage as they walked, on their way to the Bio-chemical Laboratories, past the School Library.
"Certainly not," said the Head Mistress, blushing.
"Our library," said Dr. Gaffney, "contains only books of reference. If our young people need distraction, they can get it at the feelies. We don't encourage them to indulge in any solitary amusements." (11.65-7)
Shakespeare is outlawed in this society for the same reasons that make John likes it so much (in this case, the fact that interacting with a text is a solitary activity).