How does Huxley use satire to make his point in Brave New World? Choose either the scene describing the Solidarity Service that Bernard attends or John's visit to the Feelies as the focus.

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Satire uses humor or mockery to poke fun at flaws in people or social institutions. By describing the Solidarity Service Bernard Marx attends, Huxley satirizes the "religion" practiced in the World State.

Everything about the beginning of the episode cues the reader to expect a church service. The large, faux marble building, Bernard's concern that he won't find "atonement," and the beginnings of what seems to be a Christian-style communion liturgy seem to signal conventional religious practice.

But the "communion" almost immediately descends into parody. Instead of wine and wafer, the participants pass around a "loving cup" of soma-laced strawberry ice cream. It becomes clear that the communion these twelve will experience is not with God but the union of an orgy. As the "service" rises to a crescendo, people chant:

"Orgy-porgy . . . " Then the circle wavered, broke, fell in partial disintegration on the ring of couches which surrounded—circle enclosing circle—the table and its planetary chairs. "Orgy-porgy . . . "

This "religious" service shows the extent to which religion has been secularized and infantilized. We tend to associate strawberry ice cream with children's parties. Religion, which traditionally asks for sacrifice and the subordination of the physical to the spiritual, has been reduced in the World State to nothing more than inane sensual indulgence.

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Huxley uses satire in many ways throughout the novel to make his point. In the section addressing Bernard's Solidarity Service, they are almost too many to count. Start with the name: it is a solidarity service, joining with people, not a worship service, joining with God. The clock rings "Ford," counting off their assembly line prophet. They sing hymns, but to Ford, not God, and they evoke the "Flivver," a kind of car. All in all, the satire comes from substituting the human for the divine, the commercial and technological for the sublime.

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