V For Vendetta Change Essay
Change in “V for Vendetta” Juxtaposed With Change in “Ode on a Grecian Urn” Alan Moore published the first part of “V for Vendetta” in 1982 and the second part in 1983. The novel takes place in dystopian England in the year 1997. Many different plots and characters inhabit the tale’s world, but the two protagonists consist of V, an anarchist revolutionary with a strong vendetta against the current fascist government, and Evey Hammond, a sixteen-year-old girl that V takes under his wing and educated in the ways of freedom. Those who stand against them include Eric Finch, the head of the detective branch of the government, the “Nose”, and Adam Susan, the Leader and sole operator of the supercomputer “Fate”. An analysis of “V for Vendetta” reveals one overarching theme, change. This graphic novel is all about change and how each
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and every character handles it. Alan Moore lived in England while he wrote “V for Vendetta”. He states in his introduction that he found his country “cold” and “mean-spirited” and was considering moving out of the country with his family. “V for Vendetta” takes place in a similar England, and V personifies these feelings of Moore’s. He shows this through the way that he acts and the decisions that he makes. Moore wrote what he wanted to do, and “Vendetta” was the product. The story of “V for Vendetta” chronicles one country’s change from a fascist government to an anarchist one. On this pervasive theme Moore takes the stance that the freedom of voluntary order is superior to the oppression of the incumbent government, and that change itself affects everything. The cast of “V for Vendetta” has a varied past, yet this does not keep them from forming their own opinions about Norsefire. Some take action. Some stand aside. All contribute to the downfall of the government. John Keats wrote a poem that directly contributes to the theme of change in “V for Vendetta”. “Ode on a Grecian Urn” demonstrates the belief that timelessness takes precedence over change. Keats ponders over and urn that depicts representations of frenzy, beauty, and excitement. He hopes that the urn will never fade away so that it can change the life of someone else in the future. Both of these authors have opinions on change. Both opinions are applicable in different situations of “V for Vendetta”. Therefore, a blend of the two opinions pertains to V is an interesting character because he is the only one who truly doesn’t change throughout the entire story. He is the constant that every other character is compared to, however, as V himself points out, he’s only an idea (Moore 236). V’s past is brutal, and this is his reason for systematically decommissioning almost every government figurehead in control of England, both through direct and indirect means. He agrees with Moore’s stance on the theme of change and backs his view up quite forcefully through viciousness. His violence is matched against his pupil’s stark anti-violence approach. But as V himself says, “Thus destroyers topple empires; make a canvas of clean rubble where creators can then build a better world” (Moore 222). As this quote references, V is the destroyer who sets the stage for his successor, Evey Hammond. Evey Hammond is a creator. She begins the novel a desperate sixteen-year-old who turns to prostitution as a means to make money, and ends it as the new V. Her view on violence slightly varies from V’s way of doing things. After assisting in the takedown of the pedophilic Reverend Lilliman, Evey understands how dark V is. She is appalled at the thought of killing anyone else and makes it clear to V. “I’m sorry about that, but I won’t do any more killing, V, not even for you. Not ever again” (Moore 66). Though she refutes violence, Evey does take over for V when he is killed. She gives England the final push it needs to free itself from Norsefire; she destroys the Head and delivers the citizens an ultimatum. She tells them to shape up and govern themselves or go back to the chains of Fascism. Overall, Evey changes a great deal over the course of the story. Her biggest change is deciding to become the new V. Her outlook on Moore’s stance is the same as V’s. She believes that Norsefire is inferior compared to the freedom of Anarchy, and that change is essential to keep the cycle of V rotating. She proves this through her actions of taking over as the new V and finishing the old V’s plans. Adam Susan was a police chief constable who entered politics at just the right time to seize control of the confused atomic England. He believes in pure Fascism, in that only order can exist. No freedoms can be held by anyone for his government to work, nor can change occur, which disagrees with part of Moore’s position. He is the Leader, based in the Head, and he controls all parts of the government, consisting of the Head, the Mouth, the Nose, the Finger, the Eye, and the Ear. He has an odd mentality in the fact that he believes that only himself and God exist, but has something close to love for the supercomputer, Fate. However, V has a supercomputer directly linked to Fate, thereby staying one step ahead of Norsefire by getting every bit of information on the Vendetta Case while also molding the Leader’s mind into the correct state needed to demolish the government. Adam descends slowly into insanity throughout the novel, and obsesses about Fate more and more which leads to a complete mental breakdown when V’s symbol appears on the screen near the conclusion of the story. Adam Susan changes in two ways throughout “V for Vendetta”, both mentally. He goes insane because of V’s tampering with Fate, but through his insanity finally makes an attempt at communicating with his people. He lets Rose Almond walk up to his car during a parade because he wants to actually meet someone (Moore 234). He disagrees with Moore’s take on the novel’s theme by following the idea that Fascism is superior to Anarchy, however, his failure to believe in the existence of others leads to his own downfall when Rose Almond shoots him in a publicity parade. Rose Almond, widow to Derek Almond, head of the finger, loses everything over the course of “V for Vendetta”. V kills her husband, Derek Almond. The police kill her only financial provider. Her dignity is lost when she becomes a burlesque dancer. These losses motivate Rose to do something. She purchases a gun and shoots Adam Susan during a publicity parade. V is somewhat the cause of her tragic forfeitures; he kills Derek, which sets the rest of the events pertaining to Rose in motion. Rose’s biggest change in the novel comes when she becomes a dancer at the Kitty Kat Klub. This degradation symbolizes the ultimate disgrace for a woman. Rose agrees with Moore’s position on change in “V for Vendetta” to an extent. She comes to hate Norsefire and all that it stands for, but doesn’t actually come out and support V, either. Change is best manifested in Rose because of the magnitude of her personal change. She begins as a timid housewife to the assassin of the Leader. Eric Finch is the head of the Nose, the detective agency of Norsefire.
He is tasked with the job of finding and stopping V. Throughout the entirety of the story Eric tries to recreate V’s mindset so that preventative measures can be taken to end V’s terrorism. Eric had a black wife who was taken away and killed at a concentration camp after Norsefire took over. He joined with Adam Susan because he thought that order would fill the void in his life, but eventually discovers that Norsefire’s order did nothing to mask the pain. Eric shoots and mortally wounds V, however, when questioned about the whereabouts of the Shadow Gallery, Finch remains quiet. He notices that V could have easily killed him but instead let himself be shot. Eric’s major change in “V for Vendetta” is his understanding of V’s mind. After visiting Larkhill while on LSD, Eric discovers the Shadow Gallery and kills V. Eric Finch agrees with Moore’s stance to the same extent as Rose; he want’s Norsefire gone, but he also does not support V. Finch leaves town for the open road in the last panels of the comic, signifying that he needs to more change than a mere political
one. The cast of the vicious cabaret that is “V for Vendetta” holds multiple degrees of agreement and disagreement in regards to Moore’s view on the theme that is change. While all of the characters add to the collapse of Norsefire, not all wanted it that way. V stays a constant, an idea, until his death. Every other character changes in some way that influences his or her actions and views regarding the Fascist government. While Moore believes that change affects everything, other authors disagree. In fact, John Keats writes the exact opposite in “Ode on a Grecian Urn”. The urn is revered by Keats as the “unravish’d bride of quietness” (Black 442) and proceeds to describe the inscribed scenes with awe. Keats believes that change does not affect the beauty and mystery of the Grecian urn. He marvels over multiple scenes frozen on the urn and wonders about the subjects portrayed throughout the pictures. His concepts on the subject are clear; Keats deems change superfluous to such ideals as magnificence and frenzy. The first scene on the urn is one of men chasing women. Keats wonders who these characters are, “What men or gods are these? What maidens loth?” (Black 442) The figures seem frantic, “What mad pursuit? What struggle to escape?” (Black 442) Keats asks these questions of an urn, knowing that it cannot answer, but yearning for one anyways. This one sided conversation is reminiscent of V’s soliloquy with Madam Justice, in that both discussions are held by one person questioning an object. However, in the spirit of change, V blows up Madam justice, while Keats just moves on to the next picture. This defines the fundamental differences between Moore’s view on change and Keats’ stance on uniformity. The second depiction displays two young lovers under a glade of trees. The man is playing his pipe for the lady, but because the scene is frozen in time no one can hear the tones. Keats points this out that because the piper’s melody cannot be heard by the physical ear, the song is one of the spirit, making it more beautiful than any actual music, “Heard melodies are sweet, but those unheard/Are sweeter still” (Black 442). Evey Hammond demonstrates the same awareness when she chooses not to unmask V, “If I take off that mask, something will go away forever, be diminished because who ever you are isn’t as big as the idea of you . . .” (Moore 250) Evey recognizes that V as an idea is more powerful than V as a person, just as Keats realizes that the youth’s song is more beautiful unknown than actually heard. In this, both Evey and Keats agree that some things are better left unknown. Keats continues to linger on the picture of the lovers and explains to the boy that the beauty of the lady will remain ethereal forever, “She cannot fade, though thou hast not thy bliss, /For ever wilt though love, and she be fair” (Black 442) Keats points out that the youths’ love is more pure and happy than those of mortals, because the lovers are forever frozen at the height of passion and do not suffer from the “parching tongue” of those after “breathing human passion”. Adam Susan feels similarly about Fate, “I have a love that is far deeper than the empty gasps and convulsions of brutish coupling” (Moore 38). Both Keats and Susan agree that change is not needed to have beauty. They believe that through uniformity true beauty exists. Keats moves on to a scene of townspeople excitedly taking a cow to an unknown place of sacrifice. He contemplates the destination of the villagers, “To what green altar, O mysterious priest, / Lead’st though that heifer lowing at the skies” (Black 443). He comments on the fact that, because the people are frozen away from their home, their town will be forever empty. This scene evokes a comparable feeling to the scene of Eric Finch leaving London. Both are melancholy, but there is one crucial difference. Eric Finch leaves London because he needs change. The village people are not capable of change, but are frozen in a state of excitement. Keats and Eric disagree about change. Eric needs it so much that he leaves his home to find it. Keats’ urn does not need change, only the emotions immobile in time. Keats closes with another address to the urn itself; he believes that the urn will remain after his time to teach others its lesson; “Beauty is truth, truth beauty” (Black 443). This lesson is very similar to Norsefire’s creed, “Strength through Purity, Purity through Faith” (Moore 148). Both parties that hold these truths dear refuse to accept change. Norsefire holds its power through the force of unity. The Grecian urn holds its power through the force of time. “V for Vendetta” is about change. Every character deals with their respective adjustments differently, but the entire cast supports either Norsefire or revolution. Variation permeates every panel of the comic. Moore believes that change is integral to the view that voluntary order is superior to uniformity and lasting power. Keats’ “Ode on a Grecian Urn” is a different story that disagrees with Moore’s stance. Keats credits sameness for the beauty of the urn and hopes that it will never change in the belief that it will teach others the same lesson. Despite their distinctions, both stories have a large amount of similarities. Portions of the cast of “V for Vendetta” agree with Keats to an extent, and many lines of “Ode on a Grecian Urn” are almost paraphrased exactly in “Vendetta”. The people of Moore’s tale experience love, loss, and change, while the pictures on Keats’ “Urn” symbolize beauty, frenzy, and excitement, yet all can be likened to the symbol of ideas. Though change is important when discussing ideas, V himself puts it best when he says, “Ideas are bulletproof” (Moore 236) Ideas may change but are never destroyed, leaving them to stay for and teach a new generation, which embodies both Moore’s and Keats’ outlook on change.
and every character handles it. Alan Moore lived in England while he wrote “V for Vendetta”. He states in his introduction that he found his country “cold” and “mean-spirited” and was considering moving out of the country with his family. “V for Vendetta” takes place in a similar England, and V personifies these feelings of Moore’s. He shows this through the way that he acts and the decisions that he makes. Moore wrote what he wanted to do, and “Vendetta” was the product. The story of “V for Vendetta” chronicles one country’s change from a fascist government to an anarchist one. On this pervasive theme Moore takes the stance that the freedom of voluntary order is superior to the oppression of the incumbent government, and that change itself affects everything. The cast of “V for Vendetta” has a varied past, yet this does not keep them from forming their own opinions about Norsefire. Some take action. Some stand aside. All contribute to the downfall of the government. John Keats wrote a poem that directly contributes to the theme of change in “V for Vendetta”. “Ode on a Grecian Urn” demonstrates the belief that timelessness takes precedence over change. Keats ponders over and urn that depicts representations of frenzy, beauty, and excitement. He hopes that the urn will never fade away so that it can change the life of someone else in the future. Both of these authors have opinions on change. Both opinions are applicable in different situations of “V for Vendetta”. Therefore, a blend of the two opinions pertains to V is an interesting character because he is the only one who truly doesn’t change throughout the entire story. He is the constant that every other character is compared to, however, as V himself points out, he’s only an idea (Moore 236). V’s past is brutal, and this is his reason for systematically decommissioning almost every government figurehead in control of England, both through direct and indirect means. He agrees with Moore’s stance on the theme of change and backs his view up quite forcefully through viciousness. His violence is matched against his pupil’s stark anti-violence approach. But as V himself says, “Thus destroyers topple empires; make a canvas of clean rubble where creators can then build a better world” (Moore 222). As this quote references, V is the destroyer who sets the stage for his successor, Evey Hammond. Evey Hammond is a creator. She begins the novel a desperate sixteen-year-old who turns to prostitution as a means to make money, and ends it as the new V. Her view on violence slightly varies from V’s way of doing things. After assisting in the takedown of the pedophilic Reverend Lilliman, Evey understands how dark V is. She is appalled at the thought of killing anyone else and makes it clear to V. “I’m sorry about that, but I won’t do any more killing, V, not even for you. Not ever again” (Moore 66). Though she refutes violence, Evey does take over for V when he is killed. She gives England the final push it needs to free itself from Norsefire; she destroys the Head and delivers the citizens an ultimatum. She tells them to shape up and govern themselves or go back to the chains of Fascism. Overall, Evey changes a great deal over the course of the story. Her biggest change is deciding to become the new V. Her outlook on Moore’s stance is the same as V’s. She believes that Norsefire is inferior compared to the freedom of Anarchy, and that change is essential to keep the cycle of V rotating. She proves this through her actions of taking over as the new V and finishing the old V’s plans. Adam Susan was a police chief constable who entered politics at just the right time to seize control of the confused atomic England. He believes in pure Fascism, in that only order can exist. No freedoms can be held by anyone for his government to work, nor can change occur, which disagrees with part of Moore’s position. He is the Leader, based in the Head, and he controls all parts of the government, consisting of the Head, the Mouth, the Nose, the Finger, the Eye, and the Ear. He has an odd mentality in the fact that he believes that only himself and God exist, but has something close to love for the supercomputer, Fate. However, V has a supercomputer directly linked to Fate, thereby staying one step ahead of Norsefire by getting every bit of information on the Vendetta Case while also molding the Leader’s mind into the correct state needed to demolish the government. Adam descends slowly into insanity throughout the novel, and obsesses about Fate more and more which leads to a complete mental breakdown when V’s symbol appears on the screen near the conclusion of the story. Adam Susan changes in two ways throughout “V for Vendetta”, both mentally. He goes insane because of V’s tampering with Fate, but through his insanity finally makes an attempt at communicating with his people. He lets Rose Almond walk up to his car during a parade because he wants to actually meet someone (Moore 234). He disagrees with Moore’s take on the novel’s theme by following the idea that Fascism is superior to Anarchy, however, his failure to believe in the existence of others leads to his own downfall when Rose Almond shoots him in a publicity parade. Rose Almond, widow to Derek Almond, head of the finger, loses everything over the course of “V for Vendetta”. V kills her husband, Derek Almond. The police kill her only financial provider. Her dignity is lost when she becomes a burlesque dancer. These losses motivate Rose to do something. She purchases a gun and shoots Adam Susan during a publicity parade. V is somewhat the cause of her tragic forfeitures; he kills Derek, which sets the rest of the events pertaining to Rose in motion. Rose’s biggest change in the novel comes when she becomes a dancer at the Kitty Kat Klub. This degradation symbolizes the ultimate disgrace for a woman. Rose agrees with Moore’s position on change in “V for Vendetta” to an extent. She comes to hate Norsefire and all that it stands for, but doesn’t actually come out and support V, either. Change is best manifested in Rose because of the magnitude of her personal change. She begins as a timid housewife to the assassin of the Leader. Eric Finch is the head of the Nose, the detective agency of Norsefire.
He is tasked with the job of finding and stopping V. Throughout the entirety of the story Eric tries to recreate V’s mindset so that preventative measures can be taken to end V’s terrorism. Eric had a black wife who was taken away and killed at a concentration camp after Norsefire took over. He joined with Adam Susan because he thought that order would fill the void in his life, but eventually discovers that Norsefire’s order did nothing to mask the pain. Eric shoots and mortally wounds V, however, when questioned about the whereabouts of the Shadow Gallery, Finch remains quiet. He notices that V could have easily killed him but instead let himself be shot. Eric’s major change in “V for Vendetta” is his understanding of V’s mind. After visiting Larkhill while on LSD, Eric discovers the Shadow Gallery and kills V. Eric Finch agrees with Moore’s stance to the same extent as Rose; he want’s Norsefire gone, but he also does not support V. Finch leaves town for the open road in the last panels of the comic, signifying that he needs to more change than a mere political
one. The cast of the vicious cabaret that is “V for Vendetta” holds multiple degrees of agreement and disagreement in regards to Moore’s view on the theme that is change. While all of the characters add to the collapse of Norsefire, not all wanted it that way. V stays a constant, an idea, until his death. Every other character changes in some way that influences his or her actions and views regarding the Fascist government. While Moore believes that change affects everything, other authors disagree. In fact, John Keats writes the exact opposite in “Ode on a Grecian Urn”. The urn is revered by Keats as the “unravish’d bride of quietness” (Black 442) and proceeds to describe the inscribed scenes with awe. Keats believes that change does not affect the beauty and mystery of the Grecian urn. He marvels over multiple scenes frozen on the urn and wonders about the subjects portrayed throughout the pictures. His concepts on the subject are clear; Keats deems change superfluous to such ideals as magnificence and frenzy. The first scene on the urn is one of men chasing women. Keats wonders who these characters are, “What men or gods are these? What maidens loth?” (Black 442) The figures seem frantic, “What mad pursuit? What struggle to escape?” (Black 442) Keats asks these questions of an urn, knowing that it cannot answer, but yearning for one anyways. This one sided conversation is reminiscent of V’s soliloquy with Madam Justice, in that both discussions are held by one person questioning an object. However, in the spirit of change, V blows up Madam justice, while Keats just moves on to the next picture. This defines the fundamental differences between Moore’s view on change and Keats’ stance on uniformity. The second depiction displays two young lovers under a glade of trees. The man is playing his pipe for the lady, but because the scene is frozen in time no one can hear the tones. Keats points this out that because the piper’s melody cannot be heard by the physical ear, the song is one of the spirit, making it more beautiful than any actual music, “Heard melodies are sweet, but those unheard/Are sweeter still” (Black 442). Evey Hammond demonstrates the same awareness when she chooses not to unmask V, “If I take off that mask, something will go away forever, be diminished because who ever you are isn’t as big as the idea of you . . .” (Moore 250) Evey recognizes that V as an idea is more powerful than V as a person, just as Keats realizes that the youth’s song is more beautiful unknown than actually heard. In this, both Evey and Keats agree that some things are better left unknown. Keats continues to linger on the picture of the lovers and explains to the boy that the beauty of the lady will remain ethereal forever, “She cannot fade, though thou hast not thy bliss, /For ever wilt though love, and she be fair” (Black 442) Keats points out that the youths’ love is more pure and happy than those of mortals, because the lovers are forever frozen at the height of passion and do not suffer from the “parching tongue” of those after “breathing human passion”. Adam Susan feels similarly about Fate, “I have a love that is far deeper than the empty gasps and convulsions of brutish coupling” (Moore 38). Both Keats and Susan agree that change is not needed to have beauty. They believe that through uniformity true beauty exists. Keats moves on to a scene of townspeople excitedly taking a cow to an unknown place of sacrifice. He contemplates the destination of the villagers, “To what green altar, O mysterious priest, / Lead’st though that heifer lowing at the skies” (Black 443). He comments on the fact that, because the people are frozen away from their home, their town will be forever empty. This scene evokes a comparable feeling to the scene of Eric Finch leaving London. Both are melancholy, but there is one crucial difference. Eric Finch leaves London because he needs change. The village people are not capable of change, but are frozen in a state of excitement. Keats and Eric disagree about change. Eric needs it so much that he leaves his home to find it. Keats’ urn does not need change, only the emotions immobile in time. Keats closes with another address to the urn itself; he believes that the urn will remain after his time to teach others its lesson; “Beauty is truth, truth beauty” (Black 443). This lesson is very similar to Norsefire’s creed, “Strength through Purity, Purity through Faith” (Moore 148). Both parties that hold these truths dear refuse to accept change. Norsefire holds its power through the force of unity. The Grecian urn holds its power through the force of time. “V for Vendetta” is about change. Every character deals with their respective adjustments differently, but the entire cast supports either Norsefire or revolution. Variation permeates every panel of the comic. Moore believes that change is integral to the view that voluntary order is superior to uniformity and lasting power. Keats’ “Ode on a Grecian Urn” is a different story that disagrees with Moore’s stance. Keats credits sameness for the beauty of the urn and hopes that it will never change in the belief that it will teach others the same lesson. Despite their distinctions, both stories have a large amount of similarities. Portions of the cast of “V for Vendetta” agree with Keats to an extent, and many lines of “Ode on a Grecian Urn” are almost paraphrased exactly in “Vendetta”. The people of Moore’s tale experience love, loss, and change, while the pictures on Keats’ “Urn” symbolize beauty, frenzy, and excitement, yet all can be likened to the symbol of ideas. Though change is important when discussing ideas, V himself puts it best when he says, “Ideas are bulletproof” (Moore 236) Ideas may change but are never destroyed, leaving them to stay for and teach a new generation, which embodies both Moore’s and Keats’ outlook on change.