‘These grahzny sodding veshches that come out of my gulliver and my plot,’ I said, ‘that’s what it is.’
‘Quaint,’ said Dr Brodsky, like smiling, ‘the dialect of the tribe.’
-Anthony Burgess, A Clockwork Orange, p. 91.
Burgess’s A Clockwork Orange is narrated by protagonist Alex and is written in Nadsat, a new language created by Burgess. This language is used by Alex to demonstrate how he dominates the streets but then attempts to retain this control when he becomes subject to a government experiment that aims to modify his violent behaviour. Nadsat acts a buffer to the graphic violence Alex and his ‘droogs’ commit. When they break into a woman’s house, and attack her, Nadsat blurs the violence to the reader. He ‘upped with the little malenky like silver statue and cracked her a fine fair tolchock on the gulliver and that shut her up real horrorshow and lovely’ 1. The language limits associations the reader would normally have if Alex spoke in ‘proper’ English due to the confusing and new words. Burgess’s use of alliteration in ‘fine fair tolchock’ creates a playful and poetic image and, as he said himself, the use of Nadsat does ‘not sound as bad as booting a man in the guts.’2 The lack of complete understanding invites empathy and sympathy from the readers towards Alex in a situation where scenes of rape and violence would normally create horror and disgust. Blake Morrison discusses the effect of the language and suggests that ‘much of the excitement […] comes not from what Alex says, but how he says it: from his slovos.’3 Morrison recognises the reader’s reaction to Alex as he becomes the anti-hero in the novel that readers sympathise with and root for. Alex also plays on the reader’s empathy by referring to himself as ‘your little droog Alex’ (ACO, p. 61), and ‘Your Humble and Suffering Narrator’ (p. 97). The use of the word ‘your’ includes the reader in Alex’s journey, even when his ‘droogs’ leave him to be arrested and he is alone. It creates a relationship between the reader and Alex. As the novel progresses, he even shortens the reference to ‘Y.H.N’ (p. 126), implying that the relationship evolves as Alex becomes more isolated. Morrison suggests that ‘Alex insinuates and allies himself so intimately with his readers (‘O my brothers’) that we end up sharing every laugh (‘haw haw haw’) and cry (‘boohoohoo’).’4 Although readers know that Alex’s actions are wrong, the combination of the confusing Nadsat language and the pronoun ‘your’ creates a relationship that blurs the reader’s moral compass thus demonstrating how language can be used to manipulate and control the reader.
Whilst Nadsat can be used for Alex to control his narrative, it is also a way to gain control in a world where he finds himself being manipulated and controlled. When Alex talks to adults in the text, he mostly uses standard English to charm them but sometimes uses Nadsat. When he is partaking in the Ludovico technique, he has a conversation about what will happen when he leaves:
‘Oh I shall go home. Back to my pee and em.’ ‘Your -?’ He didn’t get Nadsat-talk at all, so I said: ‘To my parents in the dear old flatblock.’ ‘I see,’ he said.’
(ACO, p. 87)
Here, Alex is attempting to gain some control in a situation where he is being monitored and forced to watch videos against his will. The reader’s lack of understanding leads them to believe Alex has a superior knowledge. However, in the text those in authority treat him in a patronising way. Alex uses Nadsat even more so when in distress:
‘These grahzny sodding veshches that come out of my gulliver and my plot,’ I said, ‘that’s what it is.’ ‘Quaint,’ said Dr Brodsky, like smiling, ‘the dialect of the tribe.’
(ACO, p. 91)
When he becomes aware of the aim and process of the experiment, he uses Nadsat aggressively by including more words of the language in his speech. He attempts to use an alternative language to gain back the control he has lost. Dr Brodsky’s reaction of ‘quaint’ is patronising and dismissive, highlighting how ultimately the government are in control, no matter how hard Alex tries. Keith Booker comments on Nadsat and suggests that it ‘shows the imaginative superiority of Alex and his fellows.’5 The attempt to gain control highlights that Alex believes he has superiority with a different language but whilst he may have an advantage over the readers, the adults and those in power take no notice of Nadsat. Alex uses Nadsat to try and gain back some control when victim to their manipulation.
References
Featured Image: Cover Image created by David Pelham for Penguin’s 1972 edition of the novel. See Anthony Burgess, A Clockwork Orange (London: Penguin Group, 1972).
(1) Anthony Burgess, A Clockwork Orange (London: Penguin Group, 1996)
(2) Christian Bugge, ‘The Clockwork Controversy’, The Kubrick Site [n.d.] <http://www.visual-memory.co.uk/amk/doc/0012.html> [accessed 20th April 2018]. The rest of the quote follows as ‘But in a film little can be implied; everything has to be shown. Language ceases to be an opaque protection against being appalled and takes a very secondary place.’ Burgess has often showed distaste towards Kubrick’s film version as the violence is seen visually which takes away the element of cloaking that Nadsat achieves in the novel.
(3) Blake Morrison, ‘Introduction’ in Anthony Burgess, A Clockwork Orange (London: Penguin Books, 1996), pp. vii-xxiv (p. ix).
(4) Ibid., p. xii.
(5) Keith Booker, Dystopian Literature: A Theory and Research Guide (Westport: Greenwood Press, 1994), p. 96.
Written by Sophie Shepherd
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