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