By H. G. Wells
Whereas jogging within the Swiss Alps, English visitors fall right into a space-warp, and all of sudden locate themselves in one other international. in lots of methods almost like our personal - even all the way down to the characters that inhabit it - this new planet remains to be in some way noticeably diverse, for the 2 walkers at the moment are upon a Utopian Earth managed via a unmarried global executive. the following, as they quickly study, all proportion a standard language, there's sexual, monetary and racial equality, and society is governed by way of socialist beliefs enforced via an austere, voluntary elite: the 'Samurai'. yet what's going to the Utopians make of those new viewers from a much less ideal global?
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Extra resources for A Modern Utopia (Penguin Classics)
And throughout the story, the Time Traveller glides above and through the material world, untouched by it as his machine surges through its numerous contingent manifestations, a classic image of mind’s dominance of the material—if here to the point possibly of absorbing the material. The point is put in the Traveller’s own late reﬂection, “an animal perfectly in harmony with its environment is a perfect mechanism” (pp. 81–82). 31 But the crux is the overcoming of duality. The Time Traveller has no environment: he simply travels.
29 Nothing is certain: reality is plastic and elusive, shimmering and mutating as the time machine passes through it, changing form and habit as the beasts are made to do in The Island of Dr. Kingsley, Wells, and the Machine in Victorian Fiction 23 Moreau (1896). The very fact that Wells writes science ﬁction, creating a universe of possibilities alternative to our own, and that he writes not one but many of these tales, is a literary mode of this relativism. And of course relativism is precisely one of the purposes of Wells’s invented machines: he wants to throw ironic light on our own technological pride by imagining inﬁnitely superior technology, and equally to highlight our temporal provincialism against the perspectives revealed by a machine that may enact for the future the same Olympian view that was to be applied to the far past in his Short History of the World (1922).
In English, size is a metaphor used to indicate that which is valuable, good, desirable. 6 In the two paragraphs that encompass the narrator’s ﬁrst language lesson and his response to it, we ﬁnd the word “little” used eight times. Attached in his mind to the littleness of the Eloi is their “chatter,” their tiring easily, their being “indolent” and “easily fatigued,” and their “lack of interest” (p. 35). Littleness and its associated debilities are so grotesquely prominent that one cannot help note this obsession with the inferiority attaching to bodies of small size.