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Beth Rachlin
Dr. James Arnett
UHON 3540
2 December 2016
Life Lacking Empathy and Compassion
Empathy and compassion are essential components of humanity. Throughout the course
of time, humanity is a concept that has garnered the attention of countless scholars, men, women,
and children alike. Human beings as a collective might not understand the many facets of
humanity, however they have the ability to determine which qualities distinguish a homosapien
from a human with humanity. The word humanity stems from the Latin humanitas which means
human nature, civilization, and kindness, and by extension empathy and compassion. Empathy
and compassion are often conflated, because they both address themes and characteristics central
to humanity. Empathy is understanding or feeling anothers feelings for oneself, and accordingly
is the gateway to compassion. Compassion is taking empathy a step further in that one not only
comprehends and feels the emotions of another human, but also acts upon that gained
knowledge. Empathy and compassion are integral characteristics of humanity, consequently
societies lacking such are forced to search for meaning in life in unhealthy alternatives, as
exemplified in Stanley Kubricks Clockwork Orange.
Because empathy is relevant to all of humanity, it can be viewed through many different
filters including scientific, nonscientific, and a merged version between the two. From a
neuroscience stance, empathy is the result of a developmental sequencedistress perceived in
the other is passed on to the observer and can elicit helping behavior, mainly driven by the urge
to relieve the aversive arousal caused by ones own distress (qtd. in Singer and Hein 159).

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Compassion differs slightly from empathy and is conceptualized by being composed of five
elements, recognizing suffering, understanding the universality of human suffering, feeling for
the person suffering, tolerating uncomfortable feelings, and motivation to act/acting to alleviate
suffering (Strauss et al 4). On the opposite end of the scientific/ nonscientific spectrum lies the
14th Dalai Lamas conceptualization of empathy. He explains, compassion (nying je) is
understood mainly in terms of empathy- our ability to enter into and, to some extent, share
others suffering. (Dalai Lama PAGE) In the Buddhist philosophical tradition, it is believed that
one can practice having nying je to a point of mastery where, not only does our compassion
arise without any effort, but it is unconditional, undifferentiated, and universal in scope
(PAGE). This perspective focuses on the inherent kindness in people and believes anyone can
develop to have nying je of this level. In The Healing Power of Spirituality: How Faith Helps
Humans, the author combines scientific and nonscientific aspects, defining empathy from a
psychologists perspective. He considers empathy to be, the subjects ability to predict how
another person will respond to items displaying certain psychological properties (Menon 178).
He goes onto to explain that empathy has both cognitive and emotional aspects. The emotional
aspect, involves being aware of and experiencing ones feelings, while the cognitive aspect
takes the perspective of the other (Menon 178). Agreeing unanimously on a single definition for
concepts like compassion and empathy proves to be a challenge due to their intangible,
philosophical nature. However, one thing is consistent, empathy and compassion are essential
components of humanity and the human experience.
Regardless of what combination of definitions one chooses to internalize as the definition
for empathy and compassion, it is apparent that both are lacking in the dystopian, on the brink of
totalitarian, world Alex lives in. Kubrick intentionally does this in order to construct a tale that

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forces the audience to examine not only human nature but also ones own inherent nature. In the
society of Clockwork Orange, humanity and control are caught in a battle. Free will and moral
choice are abolished and replaced with a stable, powerful State. The arguable logic behind this
government system is that without human characteristics like emotion, compassion, empathy,
and freedom of moral choice, the state would instantly transform to be completely effective.
Following this logic, the issue becomes defining effective. Yes, perhaps monetarily and
politically speaking the state might be more efficient, but only because constituents happiness
and well-being is shoved to the backburner, no longer being objects of prospect. What happens to
a society in which self-growth and freedom of personal choice are no longer valued, or even
accepted? Exactly what Alex experience in Clockwork Orange. Lacking the freedom to choose
between moral and immoral, Alex becomes an android because he is not freely deciding to make
principled decisions. In the beginning of the film, Alex and his droogs were wasting time at a
milkbar trying to conjure up plans for the evening. What to do with the evening? Alex repeats,
so as to foreground what is arguably the novels main theme: the human ability to choose
among different discourses of action, and the political, moral and theological implications of a
new medical procedure which takes some of this choice away (Kubrick 225). Without this
indispensable trait of humanity, even the most passionate people regress into clockwork
oranges.
This notion is addressed and supported by the title of the film referring to Alex after he
lost his freedom of moral choice, and by extension his humanity. Anthony Burgess, author of the
novel that inspired the film, explains the title saying it represents the, application of a
mechanistic mortality to a living organism oozing with juice and sweetness. (Burgess xiv) This
not only symbolizes the struggle Alex is faced with after undergoing the Ludovico Technique but

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also the dire consequences stemming from prioritizing the state over individuals. By removing
the fundamental characteristics of humanity, Kubrick provides audiences with an all too close to
being real image of what the world would look like without moral choice.
The Ludovicos Technique is a form of aversion therapy in which Alex is subjected to
gruesome, macabre videos with the intention of conditioning him to be incapable of violence or
sex in any form. His eyes are forced open with specula while creepy doctors in crisp lab coats
drip drops onto his eyeballs. Beethovens Symphony No. 9 hums in the background all the while.
After enduring such atrocities for two weeks, the mere thought of anything sexual or violent
rendered Alex instantly ill. His intolerance indicates the treatment worked- Alex is cured and
released, but the cured life proves to be a low point in Alexs life. Technically he is free as he is
no longer incarcerated, but he becomes increasingly distraught as he realizes he cannot do as he
pleases. He begins to notice that no one is the least bit concerned about his emotional wellbeing.
He wishes others would acknowledge him as a person and show him empathy and compassion,
yet he does not show others compassion. His longing for others to show him humanity while
stubbornly refusing to adhere to common moral standards is a pivotal point because his free time
prior to his incarceration consisted primarily of reprehensible activities often involving inflicting
pain and wreaking havoc.
When he returns home, he attempts to reintegrate himself into life as he knew it, the life
he once had. However he finds his parents seemingly unconcerned about him, instead doting
over their replacement son. His droogs also replace him by trading their horror show disguises
and unabashedly aggressive ways with custodian helmets. To add insult to injury, they no longer
exhibit any sense of loyalty to him, and take revenge on him while in his defenseless state beat
him up in an empty field. The Ludovico Technique conditions Alex to become instantly

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sickeningly nauseous at the mere thought of anything sexual or violent, so when subjugated by
his old friends, he was not only emotionally hurting but was also in inexplicable pain. Because
the society they live in discourages humanity, specifically empathy and compassion, in hopes of
creating a more powerful state, a blind eye is brazenly turned to the unfair, illegal treatment Alex
receives.
As well as physically representing possible atrocities in inhumane societies, the
Ludovico Techniques name itself is also of importance, foreshadowing the significance of
classical music in the film. Ludovico is the Italian form of the German name Ludwig, which
forms a latent connection between aversion therapy and classical music. During his composing
career, Beethoven was burdened with early onset deafness yet remained resilient against his
adverse situation, continuing to compose eloquent music. (Drake). His perseverance despite his
disability parallels the determination of rebels to defy in spite of discouragement by controlling
governments. This government vs. renegade tension is omnipresent throughout the film and is
visually represented in the very clear difference in fashion choices of droogs and state supporters.
Droogs model intricately informal matching outfits, accompanied by a symbol of rebellion (i.e. a
cane doubling as a weapon). Conversely, those favoring the state, such as the prison guards, sport
more formal, black outfits. Alluding to Ludwig Van Beethoven, Kubrick strengthens the
emotional impact the Ludovico Technique has on both Alex and the audience.
When he had moral choice, Alex consciously decided to inflict pain on others as an
attempt to feel human emotion in an increasingly state power focused society. His desperate
clutches at sincere emotion evoke empathy in the audience because the viewer, although most
likely appalled and shocked by his vulgar appreciation of macabre aesthetics, is not only able to
identify with his quest for meaning of life but is also compelled to turn inward and choose a

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moral standing as Alex grapples with living in a society without empathy or compassion. The
states focus on power and efficiency would not be negated by humanity, rather heightened. The
14th Dalai Lama expands upon this notion, defending compassions integral role in a professional
sphere of society explaining:
I must acknowledge the existence of a perception- shared by many, it seems- that
compassion is, if not actually an impediment, at least irrelevant to professional life.
Personally, I would argue that it is not only relevant, but that when compassion is lacking,
our activities are in danger of becoming destructive. This is because when we ignore the
question of impact our actions have on others well-being, inevitably we end up hurting
them. The ethic of compassion helps provide the necessary foundation and motivation for
both restraint and the cultivation of virtueWhen for example, the temptation to deceive
others arises, our compassion for them will prevent us from entertaining the idea. And
when we realize that our work itself is in danger of being exploited to the detriment of
others, compassion will cause us to disengage from it. (Dalai Lama PAGE)
This argument is supported by Kubricks depiction of a world without compassion and empathy
because by providing a glimpse into the gloomy world without either, he is forcing the world to
consider life without such important facets of humanity. By exploring a subject so personal to
every person in such a bold manner, Kubrick attracts a wide audience and actively works against
societies lacking compassion and empathy.
Clockwork Orange examines the gut-wrenching concept of a world deprived of empathy
and compassion from many angles, including gender roles in such a society. The gender
intensification hypothesis theorizes, psychological and behavioral differences between males
and females become more pronounced in the transition from childhood to adolescence because

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of intensified socialization pressures to conform to culturally prescribed gender roles (qtd. in
Arnett 131). This hypothesis predicts what each gender role will entail, claiming that on average
girls will, become notably more self-conscious than boysbecause looking physically
attractive becomes an especially important part of the female gender role (131). Kubrick flips
this stereotype by painting Alex and his droogs as being exceedingly concerned with their
appearance. Alex and his droogs dress similarly, sporting all white with suspenders and black
derby hats. Their matching clothing provides a source of tangible group identity. Their look is
completed with a sporting cup worn on the outside of the pants, drawing the eye towards their
innate masculine feature. This suggests they are overcompensating in hopes of not appearing
self-consciousness about their appearance. The gender intensification theory presents many
potential sources of distress to those who do not feel they fit comfortably in the presupposed
categories society created for them. This evokes empathy in the audience by giving their
characters more depth and humanistic qualities while simultaneously reminding viewers of the
self-consciousness most endure during their younger years.
Being a male adolescent in a dystopian society hinders the journey of transitioning from
boy to man. As a fifteen year-old, Alex is classified as an adolescent. Anthony Rotundo, a
renowned historian, extensively studied this passage from boyhood into manhood. He recognized
the transition to permeate all societies and classified the responsibilities, expectations and
societal associations with manhood into three stages: communal manhood, self-made manhood,
and passionate manhood. During the 17th and 18th centuries, male adolescents experienced
communal manhood as a form of rite of passage. Communal manhood is common amongst
group focused communities which stress the importance of family and the community as a whole

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over economic or individual success. (qtd. in Arnett 130). This is exemplified in Clockwork
Orange by the constant prioritization of the society as a whole over the individual.
Self-made manhood made its appearance at the turn of the 18th century and values
independence over interdependence between family members. Rotundo elaborates, decision of
character became a popular term to describe a young mans passage from high-spirited but
undisciplined youth to a manhood characterized by self-control and a strong will for carrying out
independent decisions (qtd. in Arnett 130). Alexs droogs embody this type of transformation
when they acquiesce the state and become policemen. However, they did not complete the
transition from boy to man because even as policemen they run rampant.
Lastly, passionate manhood became prominent along the rise of individualism during the
20th century. Now, passionate emotions such as anger and sexual desire became regarded more
favorably as part of the manhood ideal. Self-expression and self-enjoyment replaces self-control
and self-denial as the paramount virtues young males should learn in the course of becoming a
man (qtd. in Arnett 130). Alex and his gang of droogs exemplify these characteristics in the
extreme, donning phallic-inspired horror show disguises as a form of self-expression while
raping women, trespassing, and ransacking properties. The ideal masculine characteristics male
adolescents strive for in Clockwork Orange incorporate points from all three manhoods.
According to psychologists, aggressiveness is used as a way of establishing social
hierarchies among adolescent boys (qtd. in Arnett 135). Alexs overly aggressive behavior is in
part due to his frustration at the states influence coupled with how the society he was born into
defines masculinity. Alex asserts his dominance and strives for masculinity through aggressive
acts, but if the society he was living in encouraged humanity he would have healthier ways to
feel empowered. Kubrick creates a society in which the state is held on a pedestal above

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individuality coupled with Alexs unparalleled intense emotions of anger and sexual desire and
by doing so, creates a timeless portrayal of the intricate relationship between societys
expectations and manhood.
Alex riots against the state by partaking in grisly activities with his adolescent band of
droogs. This is seen when, the whole gang rapes an innocent woman while forcing her husband
to watch while Beethovens Symphony No. 9 plays eerily in the background. Although their
actions are degenerate, immoral, and incomprehensible, their motivation for such drastic actions
stems from a pure place- a yearning to feel like a man. The audience and Alex alike are
overwhelmed with emotion during scenes depicting gruesome incidents. His struggle to simply
feel alive in an alienating society is something the audience regards with empathy. Paradoxically,
only those who commit inhumane crimes feel human emotion. This is seen when Alex feels bliss,
appreciating the blood and gore he creates with a sense of awed appreciation.
By pairing his violent crimes with classical music he creates a twisted form of art.
Classical music represents the respect and dignity associated with the refined corner of society of
which classical music inhabits- in short the tunes represent everything ideal to Alex. A
characteristic of humanity is the ability to create and appreciate art. Art is symbiotic to empathy
because through art, one is able to present another with a material representation of ones
perception of reality. After turning into a clockwork orange, Alex is rendered unable to listen to
classical music without instantly vomiting. His inability to find solace in the single thing that was
a source of instantaneous joy for him before Ludovicos Technique, symbolizes the consequences
possible if the delicate nature of humanity is tinkered with.
Another form of art that is of importance to Alex is Nadsat, the language he and his
droogs integrate into their English diction. This language is crucial to Clockwork Orange

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because it has several significant functions in the film. First, it symbolizes and creates a divide
between droogs and society, between the audience and Alex, and between the audience and those
unfamiliar with Clockwork Orange. The alienating feeling produced gives the audience a
glimpse into the isolation Alex constantly experiences, generating empathy. Secondly, inspired
by Russian and Cockney English, Nadsat serves as a political message. Around the time the book
was being written, Russias government was dramatically totalitarian. Burgess allusions to real
world totalitarian countries suggests Clockwork Orange is not simply a dystopian tale, but
perhaps a piece of dire advice to cling tightly to humanity, empathy, and compassion. The third
function Nadsat serves is creating rapport with the audience. At first, phrases such as,
baboochka, forella, gloopy, and kroovy serve as a challenge to grasp, but as the film
progresses they blur the line between audience and character by establishing a common ground.
The Nadsat in Clockwork Orange provides alienation and empathy on many levels while
concurrently commenting on politics.
Alex befriends the prison chaplain who advises him against acting as a subject for the
treatment saying, it may not be nice to be goodit may be horrible I realize how selfcontradictory that sounds. He continues, explaining the religious qualms he has with the
concept of losing freedom of choice, does God want goodness or the choice of goodness? Is a
man who chooses the bad perhaps in some ways better than a man who has the good imposed
upon him? These questions are explored as the film progresses. Alexs humanity is ripped from
him because the basis of humanity is understanding what is right and wrong, not automatically
being forced to make the right decision. For this reason, when Alex returns home cured his
parents express no desire for him to move back in, having rented his room out to a wellmannered replacement Alex. If he had independently chosen to revise his morals to include

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empathy and compassion and consciously remove violence and sex from his life, perhaps his
parents would have found humanity in his humanity and treated him empathetically.
The film A Clockwork Orange is based off Anthony Burgess novel, A Clockwork
Orange. In the filmography, Stanley Kubrick New Perspectives, the relationship between novel
and film is explored. One of the more prominent differences between the two is how violent
scenes are approached. Burgess version leaves less to the imagination, offering detailed
descriptions of Alexs hobbies. For instance, Mrs. Alexanders rape is recounted as, plunging
(which here refers to penetration) I could slooshy (hear) cries of agony Then after me it was
right old Dim should have his turn, which he did in a beasty snorty howly sort of way (Kramer
231). The film, in contrast, excuses audiences from witnessing such an unfiltered scene, instead
simply cutting the scene prematurely, leaving the resolution up to the viewer. The film rarely
shows the destructive impact of violence on the human body nor does it foreground screams of
pain (or pleasure) (Kramer 231), and it is in this way that Kubrick creatively challenges societal
taboos and norms while carefully not overstepping. Kubricks caution for the audiences mental
sanity respects the very argument of the work, both novel and film, itself- empathy and
compassion are essential to humanity. Kubrick displays empathy and compassion while
employing Clockwork Orange as a means of social commentary by understanding the potential
impact traumatic images can have on audiences, then acting on this realization.
In addition to empathetically cutting some of the more explicitly graphic scenes from the
film, Kubrick also expands upon the implications of the works by concluding the film with an
equivocal ending in contrast to the concrete conclusions presented in both the American and
British editions of the novel. The American edition ends with Alexs inappropriately euphoric
response to the Ninth Symphony; he imagines carving the whole listo of the creehing world

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with my cut-throat britva I was cured alrightconfirming Alexs return to his violent ways
(Kramer 234). The conclusion of the British version is the reverse, with an additional chapter
depicting his change of heart. As expounded upon in his filmography, many of Kubricks
omissions and other changes served to make the conclusion of the story more ambiguous than it
is in (both versions of) the novel he wanted to leave the implications of that conclusion open
(234). The films intentionally open ending engages the viewer in an interesting way, forcing the
audience to decide whether or not Alex reverted to his maniacal ways. This encourages active
participation, steering the audience away from the groupthink mindset that accompanies a
totalitarian state, instead leading viewers towards independent thinking. Another result stemming
from the audiences speculation of Alexs outcome is the thought process involved in the
decision. By challenging the audience to essentially fate Alex, Kubrick evokes empathy because
hopefully one would challenge oneself to understand the motives and reasoning behind such
gruesome actions before jumping to conclusions.
Kubricks Clockwork Orange serves not only as a social commentary on the intrinsic
value of compassion and empathy, but also as a warning of what society could become if state
power is prioritized over humanity and the individual. In these societies, citizens turn to
unhealthy alternatives (violence and power) as a means of searching for meaning in life.
Empathy and compassion, regardless of how one chooses to define them, are integral
components of humanity and essential to society as a whole. So also is moral choice, which is
stripped from Alex when he is subjected to the Ludovico Technique. The technique conditions
him to be ill at the thought of anything sexual or violent, as it serves as a tangible illustration of
how societies can turn a blind eye to inhumaneness when the focus is on efficiency or social
stability. Gender is explored through a masculine prism in a society with skewed priorities and

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expectations. Because the male adolescents have no freedom of choice, they grasp for lifes
significance by defining their manhood through anger, violence, and sexual assault. Alex
channels his frustrations at the state into art, music, and language, merging creation with violence
and destruction. By creating a story of a society in which the fundamental aspects of humanity
are absent and the main character has trying experiences in an unhealthy pursuit of finding the
meaning in life, Kubrick arouses empathy in the audience as he illustrates the cruelty ingrained
in a world without moral choice, empathy, or compassion.
__________________________________
Kubricks Clockwork Orange serves not only as a social commentary on the intrinsic
value of compassion and empathy, but also as a warning of what society could look like if state
power is prioritized over humanity and the individual. In these societies, citizens turn to
unhealthy alternatives as a means of searching for meaning in life. Empathy and compassion can
be defined from various stances. However, regardless of how one chooses to define them, they
are both integral components of humanity and essential to society as a whole. Moral choice is
another key aspect of humanity, which is stripped from Alex when he is subjected to the
Ludovico Technique. The Ludovicos Technique not only conditions Alex to be ill at the thought
of anything sexual or violent, but also serves as a tangible illustration of how societies can turn a
blind eye to inhumaneness. After enduring therapy, Alex is challenged to reintegrate himself
into society because others show him the same level of humanity he showed them- none. States
that value power to an unhealthy extent excuse unfair, inhumane situations in efforts to gain
more control as seen when the Ludovico Technique is societally accepted. By interweaving
moral choice and characteristics of humanity into the film, Kubrick actively promotes societies
that view empathy and compassion as essential. Not only are elements of humanity examined in

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this film, but also gender roles. The inclusion of challenging societal pressures on adolescents to
conform to assumed gender roles arouses empathy in the audience by addressing subjects
pertaining to everyone as well as adding depth to characters. Gender is also explored through a
masculine prism. Male adolescents in the film strive for a definition of manhood that not only
accepts, but encourages emotions such as anger and sexual desire as a result of society
emphasizes society over individuals. By creating a society with such skewed priorities, Kubrick
portrays the tangled relationship between societal expectations and manhood. Alex channels his
frustrations at the state into art, merging creation with violence and destruction. He pairs
classical music with his art, but after the Ludovico Technique even classical music is sickening
to him. This shift symbolizes the potential consequences resulting from attempting to improve
society by focusing on power. Not only is Alexs art symbolic, but also the Nadsat language he
and his droogs speak. The language, incomprehensible to outsiders, provides a glimpse of the
isolation and alienation felt by Alex, members of society, and the audience. The complexities of
morals are addressed as well, with the question being posed, does God want goodness or the
choice of goodness? (Burgess) By being forced into goodness, Alex experiences rejection. Had
he decided to act morally without being conditioned, perhaps he would have been treated more
humanely. Alexs trying experiences illustrate the unhealthy alternatives pursued in hopes of
finding meaning in life in a world without empathy and compassion. By creating a society in
which the fundamental characteristics of humanity are absent, Kubrick illustrates the cruelness
engrained in a world without moral choice, empathy, and compassion.

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