Schexnayder 1

Lauren Schexnayder
AP Literature
Mrs. Morgan Sellers
01 Dec. 2015
The Crowne-ing Jewel of the Objectification of Women: Lenina in Brave New World
Many literary critics of Aldous Huxleys Brave New World condemn the novel for having
misogynistic undertones, as the only female characters in the novel are periphery and seem to be
little more than objects of sex and drug abuse. The most notable example is the character of
Lenina Crowne, a heavily conditioned, idealized World State citizen. Her conformity to World
State ideals is notable throughout the novel, her promiscuity an example of successful
conditioning. Huxley deliberately writes Lenina as a unfulfilled character by utilizing the
onomatopoeia of her zippers, physical imagery, and irony in Johns allusions towards her in
order to demonstrate the expectations placed by society to engage in promiscuous behavior to
ensure the happiness of others and stability of the World State.
Towards the beginning of the novel, Leninas wardrobe is distinguished by the amount of
zippers in her clothing. As she undresses in the Dressing Room, the reader is able to note such,
but the role of such zippers is much more profound in Chapter 13. As Lenina undresses, the
sounds of Zip, zip! (193) are repeated, symbolizing instant gratification in the World State
society. The onomatopoeia of her modern clothing contrasts with Johns chaste attitude, and
signifies the contrast between the two characters. The zip! of her clothing reminds the reader
of Leninas role as a sex object in a controlled society indulgence in sexual activity is all the
female character knows. However, she remains happy because she has been conditioned to want

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sex without love, thus contributing to the societys stability and encouraging promiscuity in
others.
Furthermore, the imagery used to describe Lenina also describes her conformity to World
State ideals. Henry Foster, when describing Lenina in Chapter 3, describes her as a splendid
girl. Wonderfully pneumatic (44). The word pneumatic takes on a bit of a double entendre in
the text though the technical definition of the word refers to a cavity full of air, the World State
society uses the term to describe women with curves. The most logical argument to this double
meaning is that Huxley utilizes the term to make a statement about the futuristic society as a
whole women that are desired typically are empty minded, conforming to their hypnopaedic
ideals with little resistance. Thus, by being considered pneumatic and fulfilling such a desired
trait, Lenina contributes to the conformity of society. Another oddity in the description of Lenina
lies in her wardrobe: though she is a Beta, Lenina wears green, a color widely associated with the
Gamma caste (one hypnopaedic message in Chapter 2 declares that Gammas are stupid. They
all wear green (27)). This is no solecism on Huxleys part; again, he uses subtle description
imagery to devalue Lenina as a dim-witted and objectified object. Lenina is described as
beautiful, but true her value to the World State society lies in her meek conformation and lack of
mental capability. She has been conditioned to think she is happy because of her free sexuality,
thus encourages such a trait in her partners.
Johns descriptions of Lenina mostly lie in allusions to Shakespeare. However, these
verses simply cast a divide between the characters, separating Leninas society from Johns
ideals. This is done initially through irony: when describing her lips, which John declares that
even in pure and vestal modesty, still blush, as thinking their own kisses sin (144). This
allusion to Shakespeares Romeo and Juliet is heavily ironic, as Lenina is far from the virginal

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idol that John sees her to be initially. The more John declares her beauty and modesty, the more it
is made evident that Lenina is only valued as a sexual object in her home society. When John
realizes the gap between his own ascetic chastity and Leninas unsatisfied sexual appetite, he
again alludes to Shakespeare and shakes her, yelling Whore! Impudent strumpet! (194). His
execration shows contrast between Leninas conditioning and Johns free will, as in the World
State society, sexuality is a means of reducing passion, almost oppressive in its lack of exhaust.
By establishing this partition between the two characters and Leninas lack of understanding,
Huxley shows the role of sexuality in conformity. Lenina does not understand Johns pertinacity
in remaining virginal, just as she did not understand Bernards regret over having sex on the first
date, because of her objectification in society. The allusions to Shakespeare show an
unbridgeable divide between Leninas views on society and Johns the former contributes to
her society by averring that every one belongs to every one else (41), but the latter cannot
comply like all other conditioned men.
Brave New World has few female characters, yet each one exemplifies the ideals of
promiscuity in society. Lenina is especially objectified as a sex object to make a statement about
sexuality to the reader the lack of restraint associated with activities such as taking soma or
having intercourse provides only a false sense of joviality in the World State society. By
reminding the reader of Leninas role as a sex object in such a world, Huxley demonstrates that
participating in free love leads to further conformity in such a false sense of happiness. Lenina
sleeps with many men, as most women are expected to in such a society, so that everyone will
think they are happy and secure, and will not challenge the Controllers power. However, by
using the contrast between sex and passion, conditioning and art, and Lenina and John, Huxley
demonstrates how complacency is not worth the right to choose ones own fate.