A Clockwork Orange Research Paper

Freedom is appealing because it defends choice. In choosing, one grows to the beat of her own individuality. In the novel, A Clockwork Orange, Anthony Burgess creates a character, Alex, who chooses evil over goodness, until he is arrested and stripped of his free will. Within prison, he is chosen to be the first participant of the Ludovico Technique, an approach that is suggested to rapidly yield promising results, by which he becomes forced to be sickened by violence and by the music of Beethoven, both in which he found joy. His delightful music was caught in the middle of the plan to rid him of his violent actions, and, thus, it became apparent that this sacrifice was inhumane. This paper will prove the importance of free will in the
choice of good versus evil in A Clockwork Orange. The anti hero, Alex and his droogs find pleasure in evil as they live their day to day lives through sick pastimes. Their endless joy from evoking violence stems from the temptation of destruction and the thrill of “original sin” (Burgess). Alex is completely honest in his description of his story, presenting himself with no hint of self disappointment (Semansky). He tells the readers the simple truth regarding his disturbing reasoning for his violent ways, “But what I do I do because I like to do” (Burgess 45). In his nurturing, Alex “never [was] taught ‘goodness’” (Morris), his family was frightened of him and chose to stay out of his way. The choice of the prisoners to sin of is evident in how they “‘enjoy their so-called punishment,’” as their “‘Punishment means nothing to them’” (Burgess 102). The prison chaplain expresses to Alex that “‘It may not be nice to be good, little 6655321,’” and that “‘It may be horrible to be good,’” considering that Alex is going to be forced into a good behavior (Burgess 106). The chaplain brings up one of the most controversial aspects of Ludovico’s Technique, as he inquires whether “‘God want[s] goodness or the choice of goodness’” (Burgess 106). Robert Morris, a critic, ponders whether Alex’s crimes are worse or if the state’s stripping Alex of his free will is the greater sin; therefore, he points out that in order to create the “‘good’” “automaton” Alex, that which is already “the good” manifested inside of him must be gotten rid of.
Humanity is incomplete without free will. It is entirely inhuman for a man or a woman to stay stuck in his or her ways, lacking the presence of both good and evil. These limited characteristics are programmed by either a demonic or an angelic figure, as they hide behind the facade of a colourful and balanced individual: a “clockwork orange.” In the novel, the prison chaplain shares his doubts toward the Ludovico Technique’s effectiveness, elaborating that “‘Goodness is . . . chosen. When a man cannot choose he ceases to be a man’” (Burgess 93). Choice in morality is imperative for a character to be representative of a living individual. Life cannot exist without conflict in each course of action and weight behind every alternative decision. People naturally seek balance in the actions and qualities of others (Burgess). In a saint, humans look for impurities, while in a sociopath, humans search for humanity. Burgess utilizes first-person narration to manipulate the reader into sympathizing with Alex, a sociopathic individual, by harnessing the effectiveness of an intimate inner dialogue and comedic undertones, which often prompts the reader to subconsciously look towards his love of music and the arts as a sign of his humanity (Semansky). This love for creation, that has manifested itself in Alex and is vastly admired about his character, is one of the most prominent motivators for him to seek out and commit the despicable violent acts that should spark a disgusted awe from the reader; however, an individual typically overlooks this violence. This irony uncovers a new side of mankind, as the “worst self” of each individual is being reveled in (Tilton). The slang, nadsat, which Burgess created specifically for this timeless tale, is the tool that “immerses” the reader into the violence through its “onomatopoetic quality [that] invites readers to respond to its sound” (Tilton). Ultimately, John Tilton, a critic, explains that Burgess aims to share his “struggle to maintain [a] grasp” on human nature and its tendency for evil. In the third section mainly, compulsory actions seem to take over Alex’s life; therefore, “he is a slave to [it] rather than choice” (Morris). With the conditioning, he is no longer filled with the juice of an orange, or human nature, all the way through, and, instead, is now clockwork. Alex is a clockwork orange from the conditioning, as "’They have turned [him] into something other than a human being .
. . [with] no power of choice any longer[,] . . . [as he is] committed to socially acceptable acts, a little machine capable only of good’" (Burgess 174). Morris describes those of a zombie like society as “Each [person] . . . is a little clockwork orange making up the whole of one great clockwork orange.” Explained in “A Clockwork Orange Resucked,” the saying “clockwork orange” is known to older Londoners, as the phrase is used to refer to someone who is “queer to the limit of queerness” (Burgess). Tilton observes that the nature of man is the clockwork of an orange, or man, as a “Man’s clockwork is the steady, rhythmic heartbeat of his psychic life, the tick and the tock of his good and evil urges.” In the interfering of “Alex’s natural clockwork,” the balance and overall functioning of both the good and evil that manifests itself inside of him is left damaged (Tilton). There are parts inside of every individual that have the potential to be virtuous or corrupt, as “good and evil are of the self” (Tilton), while there are alternative paths that may be taken throughout life, one cannot control how things happen
(Kennard). Without the twenty first chapter, A Clockwork Orange loses its initial message, as Burgess’ acknowledgement of the capability of change in humans is completely erased, leaving his novel deprived of “genuine fiction” (Burgess). Alex is portrayed as more of a static character in the altered, American edition, which suggests that he is evil all the way through his core (Burgess). The twentieth chapter demonstrates that his true self can overpower his conditioning, as he frees himself of the imposed sickness that plagues his originally evil tendencies; however, in the next chapter, he flips his moral switch completely. In this last chapter, the twenty first chapter, Alex realizes that he must grow up from his violent ways, and, therefore, makes the choice to be good. He grows up in the original, British edition because his humanity is highlighted in his choice. He acknowledges his past and moves on from it, choosing goodness from the recognition of his maturity; however, he fails to understand that he will never rid himself of immorality. Ironically, despite the recurring “theme that adult man is a creature of violence,” Alex specifically points to his youthfulness as the reason for his devious ways (Tilton). Although Alex made the decision to leave his horrible practices behind him, he is still not safe from the darkness that lie within himself, as some things cannot be stopped, as they lie just out of reach and out of control.
Importance encompasses every decision and action. Alex can choose the course of his own life, for choices echo throughout people’s lives, shaping their path and molding who they are. The choices that are made by man, inherently define him; therefore, the question is posed if a known scoundrel could be accepted as a trustworthy figure. The forces of good and evil are at constant war with each other; therefore, there is always going to be a part of each individual that is capable of harm and harmony, and this only adds to the complicated state of life.