Speaking in Shakespeare's poetry, looking upon her with awe and longing, John seems a character in a fairy tale - a figure in an ideal landscape. John's approach to the bed where Lenina lies continues the mood of wonder and enchantment. The mood here is a child-like wonder as John explores Lenina's clothes and cosmetics and is ecstatically bathed in her scent.

John's visit to the sleeping, soma-tized Lenina contrasts with Bernard's scene in tone. Here Huxley hints that Bernard - with power already gone to his head - will become an unbearable phony, destined ultimately for a great fall. His patronizing tone and his expectations of deference contrast sharply with his usual hesitancy. by bringing Linda and their son back to London, Bernard positively beams with triumph, making his arrangements with masterly briskness and efficiency. Looking forward to revenging himself on the D.H.C. Predictably, Bernard proves himself to be a shameless opportunist, while John reveals the complex, mixed feelings of his idealism. The quick view of each character affords the reader an opportunity to compare the men in similar circumstances. In this very short chapter, Huxley presents two of his principal characters - Bernard and John - in unexpected, exciting situations of power. John retreats when he hears the humming of Bernard's returning helicopter. He reaches out to touch her - perhaps even to unzip her zippypajamas with a single pull - but stops himself, thinking: 'Detestable thought!' When John finds Lenina fast asleep, he thinks of Shakespeare's Juliet. Inside, John discovers Lenina's suitcase and looks through her clothes - including her zippicamiknicks. He flies to Sante Fe where he telephones Mustapha Mond for permission and then meets with the Warden.ĭuring Bernard's trip, John breaks into the Rest House, thinking that Bernard and Lenina have left for London without him. While Lenina takes a soma-holiday, Bernard makes the necessary arrangements to bring John and Linda back to London.

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