A CLOCKWORK ORANGE POST 5

"Then they viddied themselves as real sophistoes, which was like pathetic, and started talking ing big-lady golosses about the Ritz and the Briston and the Hilton and Il Ristorante Granuturnco. But i stopped that with "Follow uncle", and i let them to the Pasta Parlour just round the corner and let them fill their innocent young litsos on spaghetti and sausages and cream-puffs and banana-splits and hot choc-sauce, till i near sicked with the sight of it, I , brothers, lunching but frugally off a cold ham-slice and a growling dollop of chilli. These two young ptitsas were much alike, though not sisters. They had the same ideas or lack of, and the same colour hair--a like dyed strawy. Well, they would grow up real today. Today i would make a day of it. No school this afterlunch but education certain, Alex as teacher."

This passage further characterizes Alex and his seemingly one-track mind. He meets these young women and spoils them with lavish amounts of food, which they indulge infront of him to a sickening degree. He eats lightly as he looks on to their gluttony; it disgusts him, but he has manipulated enough times and is aware of the inner workings of their shallow minds and naiivety enough to convince them to do what he wants. The diction used makes them seem extremely vulnerable. "Innocent young litsos" eating "cream-puffs" and "banana-splits" render the image of little girls being treated to ice cream and sweets. The dark twist is put on this situation when Alex reveals that he plans on assissting them in "growing up"-he is going to have relations with them. His disgust at their piggishness and point of view of them as innocent little girls shows that he has a superiority complex and considers himself more well-mannered and mature than them. When he notes that they look and think the same, although they are not sisters, and have seemingly artificial, dingy hair, it shows that his view of women is that of almost completely uniform pieces of meat, meant strictly for carnal utilization.

A CLOCKWORK ORANGE POST 3

Then, brothers, it came. OH, bliss, bliss and heaven. I lay all nagoy to the ceiling, my gulliver on my rookers aon the pillow, glazzies glosed, rot open in bliss, slooshying the sluice of lovely sounds. Oh, it was gorgeousness and gorgeosity made flesh. The trombones crunchd redgold under my bed, and behind my gulliver the trumpets three-wise silverflamed, and there by the door the timps rolling through my guts and out again crunched like candy thunder. Oh, it was wonder of wonders. And then, a bird of like rarest spun heavenmetal, or like silvery wine flowing in a spaceship, gravity all nonsense now, came the violin solo above all th other strings, and those strings were like a cage of silk round my bed. The flute and oboe bored, like worms of like platinum, into the thick thick toffee gold and silver. I was in such bliss, my brothers.

The author uses vibrant diction to create a visual representation of listening to moving symphonies. As Alex listens in "bliss", it reveals him as more of a human than the sort of apathetic monster he seems to be. He refers to the sensory organs using the made up slang "glazzies" (eyes) closed, "rot" (mouth) "open in bliss" as sounds reach his ears, showing that he is numbing these other senses to allow the music to enter him and overtake him. When refering to the instruments coming out of the stereo, he appeals to brassy, metallic colors with words like "redgold" referring to trombones and "thick thick toffee gold" and "worms of platinum" when speaking of the flute and the oboe. Along with "heavenmetal" and "silvery wine", these descriptions bring a visual element to the effects that the music is having in Alex's head. He calls "gravity all nonsense now", showing how the music is making him feel like he is floating

A CLOCKWORK ORANGE POST 3

"So we scattered out into the big winter nochy and walked down Marghanite Boulevard and then turned into Boothby Avenue, and there we found what we were pretty well looking for, a malenky jest to start off the evening with. There was a doddery starry schoolmaster type veck, glasses on and his rot open to the cold notchy air. He had books under his arm and a crappy umbrella and was coming round the corner from the Public Biblio., which not many lewdies used those days. You never really saw many of the older bourgeois type out after nightfall those days, what with theh shortage of police and we fine young malchickiwicks about, and this prof type chelloveck was the only one walking in the whole of the street. So we googlied up to him very polite, and I said: 'Pardon me, brother."

This scenario is reminiscent of a brawl between school bullies and a smaller, more studious boy. The author uses diction and imagery to describe the way the old book-bearing man looks. "schoolmaster" "glasses" and "rot open to the cold nochy air" renders an image of a nerdy-looking man lugging his books through the cold breathing awkwardly through his mouth. "Public Biblio" is made up slang to describe a public library, but "biblio" is recognizably derived from other languages (ex: biblioteca = library in italian) .Despite the fact that in the book the "schoolmaster type veck" is much older than Alex and his friends, they still knock the books from under him, assault him and take his money. Alex is first nice to him and tells him how it's nice to see someone reading-a genuine thought- but this respect does not inhibit him from assaulting the old man and ripping apart these valued books. This behavior is used to further characterize Alex, and can also be used as a metaphor for the devaluement of intelligence and literature by the new generation of youth, who find enjoyment not in books but in shamelessly hurting those who carry them and ripping them up