The Time Machine
The Time Machine
It all starts when the Time Traveller argues that time travel is possible. The guests didn’t believe the Time Traveller, not even after he makes a model Time Machine disappear and then shows them the whole machine. The following week, the Time Traveller is a half hour late to his own dinner party. This is not only unacceptable from an manners perspective, but also pretty inexcusable if you have a Time Machine. The guests are amazed at his messy look, so he tells them his story.
At this point the Time Traveller has gone far into the future. He has gone to the year 802,701. He has no point of being there, leaving him to make guesses about what’s going on. And then his Time Machine gets stolen, so he has to stay and find it. He meets the lazy Eloi. His first theory is that the Eloi have machines that do their work for them so they can sit around and be lazy. He befriends one of the Eloi, a woman named Weena. In the movie they make it seem like the Time Traveller and Weena fell in love, but in the book it’s not like that. We don’t know what’s exactly happening with them though. Then the Time Traveller discovers that there are people who live underground. He goes underground and meets the Morlocks.
The Time Traveller’s second theory is that the Morlocks are the helpful workers who take care of the Eloi. The Eloi are descended from the upper class, while the Morlocks are descended from the working class. While everyone is happy, the Morlocks are disgusted. He finds out that the Morlocks do take care of the Eloi, but they also eat them because they taste like chicken. This is where the Time Traveller learns that the Morlocks are sensitive to light and afraid of fire. He inspects an old museum to find a weapon to use against them. He comes across a golf club, which works as well in the future as it would work now. But the Morlocks attack.
Then the Time Traveller sets a fire, which gets out of control. He loses Weena, but finds his Time Machine. He travels even farther into the future, when almost all life has gone out. It gets boring, so he goes home. And that’s his story. No one believes the Time Traveller, except the narrator. The narrator goes to talk to him the next day, and the Time Traveller says he’ll be back with proof. The Time Traveller goes into his lab and disappears. But he never comes back
The Analysis Of The Novel “The Time Machine” By H.G. Wells
“The Time Machine” by H.G. Wells is a novel published in 1895, it spawned multiple film adaptions including the 1960 version directed by George Pal. Although they are essentially the same story, the film adaptation took multiple liberties with certain plot points and characters as well. Some may think for the better and some may argue it retracted too far from the book and had more of a negative impact.For instance, right off the bat characters and their characteristics were largely changed in the film. The main character, George aka the Time Traveller, played by Rod Taylor, was never actually named in the novel. Other small character names were changed but the biggest character change, in my opinion, is those of the Eloi.
In the novel, they are described to be small almost childlike creatures with very little understanding of language knowing very few words or phrases. In the film adaptation, some of these characteristics are present but downplayed greatly. For example, the Eloi still appear very youthful but seem to be more like fully grown young adults rather than childlike. As for language, they are still a species of few words, but the language barrier described in the book seems to be less prevalent as they are more successful in understanding and communicating with The Time Traveller. I believe they did this for one major reason; for the audience. In the novel, Wells has much more freedom in what he is able to create and portray and what his audience would accept and understand. It seems as if the reasoning of the humanization of the Eloi was to appeal to the modern audience knowing that in order to sell tickets they would have to make something the audience could relate to and comprehend.
For similar reasons the relationship centered around the two main characters, George and Weena, was altered as well. In the novel, the two meet when George saved Weena from drowning as the rest of the Eloi stood around and watched. This remains true in the film, but as their relationship developed throughout the novel you can see that it resembles that of a child and parent or mentor and their protégé. However, when watching the film it is very clear that a romantic aspect was added to their relationship, changing the dynamic completely. Once again this was an attempt to please the audience knowing that they would much rather see a love story than try understanding the complexity of the relationship established in the novel.
As I mentioned earlier, the Eloi were these childlike creatures that George finds in the future. Eloi are only one of the species inhabiting earth at that time, the other being Morlocks. Morlocks are essentially the opposite of the Eloi, they are described as monstrous like creatures who stay secluded underground while remaining the smarter of the two groups being able to operate machinery and such. In the novel, The Time Traveller speculates the reason for this divide as something to do with social classes. The Eloi remaining above ground, free of work and any worries while the Morlocks stay secluded underground, working to support the Eloi. However, in the 1960 film adaption is becomes known that the reason for their divide was a war that poisoned the earth. The surviving bunch headed underground to fight and survive, some staying there and others going back to the surface, creating the Eloi and the Morlock.
Being that this movie was created post World War II, it is very likely that this would be inspired by the introduction of nuclear weapons during this time. This alternative would feel very real for the viewers at this time, once again giving a sense of relatability, similarly to the romantic relationship previously mentioned. It seems as if most of the changes in the film that derives from the novel are done to benefit the modern audience.Once The Time Traveller returns to his time and back into the future he takes 3 books with him, all of which unknown. Obviously, this was done to make the viewer/reader ponder to themselves what books he might have chosen. To personally answer that question, I would bring a bound copy of the U.S. Constitution, not to go by word for word but rather use it as a template or some sort of basis in creating and establishing a government system during their time. Additionally, I would bring Plato’s Republic for similar reasons, to bring ideas and propositions on how to establish the new world.
When it comes down to it you would be starting from scratch, so why not start as a Utopia. Although the Bible seems as if it would a good idea as well, I do not see the use in it considering the people of the future could have no existing comprehension or ability to comprehend the stories and origins in it, rather I would bring something that teaches of cultural practices such as farming, health, and things of that nature so the Eloi, and possibly the Morlocks, could have a basis on which they could begin creating a structured and effective life on a personal level, rather than government like mentioned previously.Cinematization seems to be the main reason for nearly all of the changes to the novels original storyline. Characters changed, scenes reworked, and storylines tweaked all done in order to connect to an audience that just simply would not understand and appreciate aspects that so many cherished in the novel.
The Time Machine: When Progress Becomes Destructive
In his early novel, The Time Machine, H. G. Wells is critiquing the Victorians’ fears of evolution. Charles Darwin’s theories were cutting-edge in Wells’ time, and they terrified many of the upper class. What if humans devolve to the point where the class roles become reversed? What if our eventual triumph over nature results in a dulling of human intelligence? And worst of all: what if humankind becomes extinct? These and other questions plagued the Victorians, providing H. G. Wells with material for his first novel.
Victorian scientists took Darwin’s theory of evolution, and created their own theory of devolution. The fear was that if evolution was possible, then humans must still be evolving. What could that mean for the future? Wells answered that question with his theory of degeneration following security. In his prediction of the future he shows us the Victorian upper class, continuing on their path of idleness, and devolving into small, weak, helpless creatures like the Eloi. “The too-perfect security of the Upper-worlders had led them to a slow movement of degeneration, and to a general dwindling in size, strength, and intelligence” (57). The lower class, after centuries of living in the dark and with an aptitude for hard work and machinery, became the nocturnal, ugly creatures represented by the Morlocks. “Even now, does not and East-end worker live in such artificial conditions as practically to be cut off from the natural surface of the earth?” (56), the Time Traveller expounds to his friends. As avid supporter of Karl Marx, Wells comes to the conclusion that if the exploitation of the Victorian lower class continued, they may eventually gain class consciousness. This in turn may cause a rebellion, and perhaps a reversal of power between the classes as the Eloi and Morlocks exhibit. However Wells takes it further: when the Morlocks’ food supply runs out, they have nothing left to eat except the Eloi themselves. This might be seen as the ultimate gesture of class rebellion: cannibalism. “These Eloi were mere fatted cattle, which the ant-like Morlocks preserved and preyed upon – probably saw to the breeding of” (72). The shocking part is that Wells wasn’t far off from his time. The Victorian lower class exceeded the upper class substantially in numbers, and if the exploitation continued, the upper class could have faced a revolution.
The Time Traveller’s theory is that in striving for modernity and accomplishment as the British were in the 19th century, humans may actually tame nature. “One triumph of a united humanity over Nature had followed another. Things that are now mere dreams had become projects deliberately put in hand and carried forward. And the harvest was what I saw” (35). The British, with all their advancement in technology, could have a cure for every illness, a triumph over every adversity, to the point where there was nothing left to plague them anymore. With this lack of adversity, upper class humans had begun to degenerate into the weak, stupid creatures that the Time Traveller now sees as the Eloi. “There is no intelligence where there is no change and no need of change” (91). All of the wondrous inventions and technology of the industrial revolution, all of the effort to create the best of all possible worlds had come to nothing in the future, cast aside for the easy life of the Eloi. That the once-great thinkers of the world had become mere cattle was almost too much for the Time Traveller to bear. “I grieved to think how brief the dream of the human intellect had been. It had committed suicide. It had set itself steadfastly towards comfort and ease… it had attained its hopes – to come to this at last” (90). Wells argues that the push towards the taming of nature that Britain was trying to accomplish was self-defeating. Modernity, therefore, is ultimately doomed, for it can only lead to a world of “languor and decay” (37).
The biggest fear that Darwin’s theories created for the Victorians was extinction. It was a logical scientific theory that humans could evolve to the point of extinction, that the earth could stop rotating, and the sun could eventually flare out. This is exactly what the Time Traveller sees as he travels farther into the future. “The sky was no longer blue. North-eastward it was inky black… and all the trace of life that I could see at first was the intensely green vegetation that covered every projecting point” (95). The only living things in this distant future appear to be giant crustaceans, some kind of black octopus, and several forms of lichen (96-9). As he travels even farther ahead, it becomes clear that humankind is extinct. “The darkness grew apace; a cold wind began to blow… the showering white flakes increased in number…. It would be hard to convey the stillness of it” (99). For the Victorians of Wells’s time, it was very hard to imagine that their race, the best and most advanced in the world, would become extinct. That would mean that the world would continue to exist long after their extinction, and humanity is only a blip in eternity. All the progress they had been working towards is therefore meaningless in the long run, and all their pride is for nought.
In conclusion, Wells foreshadowed a greater idea than he thought possible at the time he wrote The Time Machine. If the Victorian upper class continued on the path of idleness and exploitation, they would surely find themselves in the future Wells envisioned. Britain, in its struggle to conquer the world, would only end up defeating itself. And in this future world, all of our greatest inventions are worthless. These and other fears of evolution were the exact fears Wells was critiquing in his first novel.
Wells, H. G. The Time Machine. New York: Signet, 2002. Print.
Why Are We Afraid of the Unknown? H. G. Wells’s Time Machine
Whilst reading this interesting book chock-full of metaphors, allusions and hidden deeper meaning. There were many details that could not be left unnoticed. One thing I noticed throughout the book is that there were many hidden metaphors to how our society is run and it’s overall social structure. When the Time Traveler goes to the future and encounters the two different species that inhabit is he notices that one species is considerably unintelligent, relying on only basic gathering skills to survive. The Eloi are also lazy but kept well fed by the flourishing environment, due to the lack of “human” contact, and sheltered by seemingly already built structures that keep them safe from natural occurrences. However they are not safe from the Morlocks. The Morlocks are the other species that live in this future landscape. They do not depend on the environment for food and instead live underground in dark wells feeding on the flesh of the Eloi. This relationship may representation our society today in terms of the upper and lower classes. The rich are often seen as oblivious to the suffering of the lower class and have all the food and shelter that they need, maybe even an abundance of it. Whereas the poor lower class are stuck needing the assistance, protection and care of the rich which they may not get enough of.
The most interesting comment I made while reading the book is that the characters in the book are described by their mannerisms and level of knowledge, instead of the usual visual appearance you see in many other books. This may be used to increase the readers perception of them as intelligent figure, by focusing not on the physical being, and instead the mind. The titles of individuals also seem to change around quite a bit. The titles are a huge aspect in this story, I believe, and are constantly changing due to their hosts importance. In the introduction of this book all the scientists have names such as, “The Psychologist”, “The Inventor” and “The Very Young Man.” However there is one man who is constantly making obvious remarks to which the narrator (who i’m assuming is the Time traveler) says, “we’ll just call him Filby” leading me to believe that “Filby” may not even be his real name. Or if any of the characters actually have real names. To support this idea even more, at some point in the book The Inventor’s name switches to The Time Traveler. I believe that the title’s in this book correspond to the most important detail about the character they belong to. In the beginning of the book the Inventor has created the Time Machine, which is the most important thing he has done thus far giving him the title of The Inventor. Whereas once he uses the machine to actually time travel, him time traveling becomes the most important thing about him, making his name change to the Time Traveler. This can be seen as well in our society today because we are known for what we have most accomplished or what stands out the most about us. If you are known most for your talent in dance then to your peers you are known as “that dancer guy”, and if you are known for being really good at basketball you are seen as “that one kid that’s really good at basketball”. Titles help define these different characters just as they help us define ourselves in real life.
The most resonant aspect of the book that I found was the scene where The Time Traveler goes underground to the Morlocks place of resonance and see’s them cooking one of the Eloi people for diner. This leads to a high speed chase as he tries to escape. “[The smell] of freshly shed blood was in the air. Some way down the central vista was a little table of white metal upon which a meal seemed to be spread…while I stood in the dark a hand touched mine; then some lank fingers came feeling over my face…I will confess I was horribly frightened…In a moment I was clutched again by several hands, and there was no mistake now that they were trying to draw me back.” I think this scene lingers in my mind the most due to it’s graphic details and the fear that the author portrays the Time Traveler of having. He does this by adding descriptions of events as well as feelings. It is also one of the first scenes with a lot of action which always happens to draw me in. A lot of people have been stuck in situations where they are not familiar with their surroundings or the people around them, and this leads to a uncomfortable feeling, making this scene easy to relate to for many. Maybe not in the specifics but in the general feeling of fear of the unknown.
Marxist Criticism of The Time Machine
The Time Machine is a 1960 science fiction film that was produced and directed by George Pal. Based on an 1895 novel of the same title by H.G. Wells, the film portrays an inventor’s journey into the distant future and his findings. As George, the inventor, leaves his Victorian English home in the year 1900 and arrives in the year AD 802,701, he finds that civilization as he knows it has been completely lost. Soon, he discovers that humankind has evolved into two separate species: the Eloi and the Morlocks. As Matthew Taunton notes in an article titled “Class in The Time Machine,” “H. G. Wells was a committed socialist and also a scientist with an active interest in evolution” (par. 1). Therefore, the film’s presentation of the disappearance of modern civilized standards in this future society and the presentation of the power divide between the Eloi and the Morlocks is best viewed through a lens of Marxist criticism to understand the political commentary being made.
The film opens with a scene which depicts a series of clock faces drifting through nothingness and ending with a shot of Big Ben, a notable English landmark. This opening scene symbolizes both the concept of time and modern civilization, and it helps introduce viewers to the subject of the film. The film begins in medias res, and viewers are introduced to the main character, George, as he stumbles into a dinner party in his own home. His appearance and demeanor are sharply contrasted with that of his friends and colleagues who are gathered around the dinner table. While his friends and colleagues appear to be the epitome of modern civilization, George enters the film with the dirty appearance and the frazzled demeanor of a wild man. The film then utilizes a flashback to show viewers how and why George ended up with his clothes in shreds and his knowledge too great to comprehend. Soon, viewers see George alone in his workshop preparing to make his journey into the future. As he sits inside of his time machine that has an appearance which is reminiscent of a sleigh, George watches the days, nights, weeks, months, and years pass him by through a window. He observes the change of time by the changing clothing styles of a mannequin in a storefront across the street. He makes a few brief stops in 1917, 1940, and 1966. Seemingly enthralled by the ability to traverse time and the changes that he witnesses in civilization, George continues on his journey into the future until his time machine reads the year AD 802,701.
When he stops his time machine, he begins adventuring around in his foreign surroundings, and he soon discovers a group of alarmingly passive men and women by a river. These men and women are all small in stature with tanned skin, blonde hair, and blue eyes, and they are sitting idly by as a woman drowns in the river. George rushes to rescue the woman, Weena, and he is amazed at the passivity of the people he has encountered. He cannot comprehend why they would sit indifferently as a women drowned before their eyes. This is the first interaction that George has with the Eloi, one of the two species of humanity in this future civilization.
The passivity of the Eloi, in accompaniment with their small stature and fair appearance, helps viewers understand the political symbolism in the film. The foundation of the political statement becomes even more secure when George discovers the second species of this future civilization, the monstrous, ground dwelling Morlocks. Based on the premise that there is an exploration of socialism and evolution in the subtext of H. G. Wells’s novel, the two species, the “surface dwelling Eloi and their subterranean counterparts, the Morlocks,” can be viewed as representations of the proletariat and the bourgeoisie (McLean 13). In the film, the Morlocks are depicted as blue-skinned monsters who feed on the submissive Eloi. This may be viewed as a symbol of the bourgeoisie benefitting from the proletariat workforce.
George also discovers that all of the accomplishments made and lessons learned by past civilizations have been lost. All of the books have turned to dust, and the Eloi have no memory of history. The Eloi are completely unconcerned with their past, present, or future, as is highlighted in their passivity towards Weena’s drowning. The Eloi seem merely to exist. They do not show any grand sense of humanity. The passivity of the Eloi may be viewed as a representation of the proletariat’s submissive position in society. The proletariats provide the bourgeoisie with the work force needed to thrive and gain power, but they never reap any of the benefits. Similarly, the Morlocks benefit from the passive nature and obliviousness of the Eloi in order to maintain their power.
The Time Machine is a film which lends itself to Marxist criticism because of its depictions of the power divide between the Morlocks and the Eloi. Based on the knowledge that H. G. Wells was interested in both socialism and evolution, the film’s setting of the distant future seems to purposely allow for commentary on both subjects. Patrick Parrinder, author of Shadows of the Future: H. G. Wells, Science Fiction, and Prophecy, notes that “the two scales, those of historical time measured by the rise and fall of cultures and civilizations, and of biological time measured by the evolution of devolution of the species, are superimposed upon another” (42). It is because of this futuristic setting that the film is able to depict the bourgeoisie and the proletariat in such a unique yet definitive manner.
Works CitedMcLean, Steven. The Early Fiction of HG Wells: Fantasies of Science. Springer, 2009. Parrinder, Patrick. Shadows of the Future: H.G. Wells, Science Fiction, and Prophecy. Syracuse University Press, 1995.
The Time Machine and the Protocols of Science Fiction
The Time Machine by H.G. Wells features horrific creatures from beneath the earth that enslave helpless humans, yet it is rarely if ever described as a horror novel. The tale features an adventurous leading character who manages to find a little romance as he hurtles back and forth through time, but is rarely found sitting on the shelf next to other adventure novels of its era like Around the World in 80 Days or King Solomon’s Mines. The Time Machine could arguably fit with the conventions of genre logic that would qualify it as horror or adventure, but instead it is only ever referenced within the realm of science fiction and this universal agreement is due it precisely alignment of themes and motifs which James Gunn outlined his definition of the genre of science fiction: the existence of a fourth dimension, the evolution of mankind and the prominence of curiosity as an integral component of the human imagination.
The foundational component in Gunn’s definition of science fiction—the influence of which stretches across the breadth of his more expansive definition—is that it is a genre centered upon the idea of change and the possibility for the events of a character timeline to altered through apprehension of fourth dimension. The significance of the ability to manipulate time for the purpose of altering the past to change the future is so vital that Wells decided to confirm its implication in the very title of his book. From that title page through to the very last page, the time machine becomes an actual character; arguably an even more fascinating character than the Time Traveler himself. That sense of character is further deepened and made manifestly an aspect of Gunn’s denotative description of science fiction by virtue of the genuinely dimensional exploitation of time in which it is used. The titular technology of the novel is not merely used to hurtle the main character back or forward a few decades, but rather across entire epochs.
Through the use of his machine, the Traveler is afforded perhaps the rarest opportunity in the universe: to actually witness firsthand the effects of evolution on his own species. In this way, The Time Machine directly confronts another key element of Gunn’s definition of science fiction, positing the notion that the “universe is knowable (though it may never be known) and that people are adaptable” (Gunn, 2002).
One might well question whether The Time Machine presents a pleasant demonstration of Gunn’s assertion that science fiction is fundamentally Darwinian, but it is impossible to deny that it is truly is one of the most authentically Darwinian science fiction novels ever written. The book is not a warm and fuzzy vision of Darwinian progress toward perfecting the human species. Absent from the nightmarish future the book presents is any hint of the suggestion that “Darwin’s theory of evolution described human beings as being in a constant struggle for survival, but inventions such as electricity, the telephone, and subways promised to make the struggle easier and people’s lives more manageable” (Galens, 2003). What the future holds in store for humanity is the most overlooked aspect of the entire misapprehended concept of survival of the fittest. The Morlocks may have evolved to become as fit to survive as the Eloi are unfit, but between the two of them, neither seem to possess any capacity for making the evolutionary struggle easier or their lives more manageable. Implicit in the dimensional view of the future spanning epochal time periods that the Traveler witnesses is the reality that there must be something lacking in the genetic strain of humanity in order for evolution to take it to this future condition of living.
While one can fairly argue that some literary genres may be more imaginative than others, the aspect of human imagination that seems more at home in science fiction than any other genre is curiosity and in that respect The Time Machine fulfills its definition as an authentic example of science fiction. The Traveler becomes a prototype for the overly curious scientist of every science fiction novel to come whose adventures for good or evil are the result of wanting to know more about the unknown. Those future exercises in science fiction would also turn into a stereotype an essential figure in the construction of the significant of curiosity in science fiction: the doubters and skeptics who gather around and stand in stark contrast to visionary man of science. It is worth keeping in mind that science fiction is a literary genre that is by definition of paradoxical contradiction in terms. Real science is never a fiction and fiction is not a science. As Gunn postulates, “humanity’s romantic notions about how life ought to be have no influence on the inexorable facts (the cold equations) of the universe” (2002). Without the doubters and the skeptics there to remind scientists that such things as time travel is patently impossible, the truly visionary curiosity that lies at the center of all great science fiction is lost and with it goes much of the passion that is also a driving force.
Elements of a variety of literary genres can be located within the pages of The Time Machine that contribute to one’s enjoyment of the novel, but at heart it is undeniably a defining moment in the evolution of science fiction. While the story would certainly suffer with the loss of any its horror or adventure, romantic or fantasy components of the novel, none of its power would be diminished in the absence. That is because the real power of The Time Machine as literature is realized from a coherent and unified structure built upon the foundations outlined by Gunn that presents science fiction as a genre preoccupied with a curiosity about the dimensional awareness of the evolutionary struggle of mankind
“The Time Machine.” Novels for Students. Ed. David A. Galens. Vol. 17. Detroit: Gale, 2003. 247-258. Gale Virtual Reference Library. Web. 16 Sept. 2015.
Gunn, James. Road to Science Fiction From Gilgamesh to Wells. Scarecrow, 2002.
Wells, H. G. The Time Machine. S.l.: Floating, 2008.
The Rise or Fall of Humanity: Comparing ‘The Time Machine’ in Fiction and Film
In The Time Machine, H. G. Wells takes on the impossible task of imagining the future of our world. The story features the Time Traveler (George), the main character of the story, and his many adventures in the year 802,701 A.D. Later in 1960 Wells’ crazy prophecy was transformed into a film. However, when the time came to adapt the book into a movie many changes had to be made to the plot of the story so that the audience could understand the chain of events that take place. Some of the plot discrepancies took place in Weena’s river scene, the talking rings scene, Weena’s death, and the Eloi rescue mission from the Morlocks. Each change was made with clear intent, and the most crucial of these differences depart from Wells’s pessimistic tone while preserving the key themes of the original text.
First, we see differences in the plot between Weena’s near drowning experience at the river, featured in the book and the movie. At this time in the movie, George (the time traveler) had just arrived in the future and he came across the Eloi at the river. This was the first time in the movie that George had ever seen the Eloi whereas in the book George had met some of the Eloi at the sphinx statue when he first arrived. Also in the movie, George saves Weena on his first day in the future, while in the book the time traveler rescues Weena on his third day. In the book the time traveler observes, “Well, on the third day of my visit…to rescue the weakly crying little thing which was drowning… I caught the poor mite and drew her safe to land… found that her name was Weena” (Wells 43). This shows that the director chose to change the order of the events in the movie. He chose to change this because on the first few days of George’s visit to the future, he does a lot of thinking and inquiring to himself about the strange world that the Eloi live in and so to make the movie more interesting the director chose to skip some of the dialog that took place in the book. This was a good decision on the director’s part because it immediately drew the audience in and set up Weena as George’s love interest which came into play later in the film.
Next, another plot discrepancy between the book and the movie is the talking rings scene. In the book George cannot understand the language of the Eloi so as a result he has to figure out how the Eloi’s society is constructed, by himself. In the book George asserts, “I determined to make a resolute attempt to learn the speech of these new men of mine” (Wells 27). However, in the film the Eloi speak English so George is free to ask them questions about their lives and social structure. Still, the Eloi are uneducated so they don’t understand why they don’t have to work and why there are no older people. As a result, the director added the talking ring scene, in which George and Weena visit what appears to be a museum and listen to rings that talk when you spin them. The rings act as a historian. Weena doesn’t understand this, but George does. The rings make it so George doesn’t have to figure out the Eloi’s society on his own, because the rings give him all the answers. The rings verify, “I am the last who remembers how each of us, man and woman made his own decision. Some chose to take refuge in the great caverns, and find a new way of life far below the earth’s surface. The rest of us decided to take our chances in the sunlight” (The Time Machine). This allows George to learn of the relationship between the Eloi and the Morlocks and how the future world was divided. The director added this scene because it effectively cut a significant amount of time out of the plot of the book where George was trying to figure this out, and allowed the audience to understand the relationship between the Eloi and the Morlocks clearly, but in a short amount of time.
Weena’s death was another difference that was made clear when comparing the book, to the movie. In the book, Weena and George are wandering through the forest in the dark when Morlocks come across them. George escapes the Morlocks, but Weena dies in the process. The Time Traveler declares, “I felt the intensest wretchedness for the horrible death of little Weena” (Wells 78). This shows how much George cared for Weena, because she was his only friend in the future. It also gives George an air of loneliness which is not seen in the movie. This is largely because the director of the film chose to have Weena live in the movie. This drastically changed George’s motive and with it, the plot of the movie. Had Weena not lived, George would not have been so motivated to return to the future and rebuild the Eloi’s society, as he is in the movie. Filby (one of George’s friends) implores, “I think I understand. You see the imprint? This is where the time machine originally stood. The Morlocks moved it. They dragged it across the lawn… right into the sphinx. Right there. Weena was standing here when he last saw her” (The Time Machine). This proves that part of the reason George wished to return was because of Weena, whereas in the book it appears that George wishes to return because he was further curious about what the future held. Again the director chose wisely when he had Weena remain alive because as a result of this the movie’s tone turns into one of change, reviving humanity and rebuilding the future society.
Finally, we are able to see further discrepancies of the book and movie through the Eloi rescue mission from the Morlocks which is carried out in the movie version of The Time Machine. In the movie an alarm sounds and all the Eloi converge to the sphinx where some are taken inside to become food for the Morlocks. Weena is one of the Eloi taken, so George goes in after her where he fights the Morlocks and in the end, defeats them while restoring the Eloi to the surface. None of this took place in the book. In H. G. Wells’ rendition the Time Traveler endorses, “As I approached the pedestal of the sphinx I found the bronze valves were open… I stepped through the bronze frame and up to the Time Machine” (Wells 80-81). This tells us that the Time Traveler simply planned on leaving the future. He planned to leave the Eloi to fend for themselves and to let the Morlocks continue on with their cannibalism. He believed that humanity was past saving. This is very different from the movie because in the movie, George is looking to save the Eloi and exterminate the Morlocks, then to help the Eloi start fresh afterwards. Filby corroborates, “…so he could appear outside the sphinx again… and help the Eloi build a new world” (The Time Machine). The director chose to change the dismal and hopeless mood of H. G. Wells’ book into a positive, optimistic, better-times-in-the-future mood. He succeeded in doing this and with it he created a magnificent film that encourages viewers not to give up on humanity.
It’s almost impossible to recreate a book into a movie and not have some alterations. In the case of H. G. Wells’ The Time Machine, many changes were made to the plot which affected the order of the events and overall mood of the film. However, many times changes are made to help the audience easily understand the plot and to do so in a short amount of time. Often, these changes take away from the original story of the book leaving those viewers who read the book disappointed. In the case of The Time Machine, it may differ enormously from its original, but in the end these changes were not made in error.
The significance of scientific investigation within the works of H.G. Wells’ The Time Machine and Mary Shelley’s Frankenstein
Scientific investigation as a motif in Victorian literature served as both a source of inquisitiveness and terror in its youth as an ideological school of thought. Both Mary Shelley and H. G. Wells take time to scientifically dissect these facets of horror and experimentation through literature, by questioning the validity of science and its subsequent effect upon society in their contemporary environment and also those in the ages to come. They each provoke the questions of whether science is something to be feared or admired – or even perhaps both – and ultimately ask the question: how far can we really go until science has gone too far?
The subject of logic in science and the supposed incontrovertibility of scientific investigation very much presents itself in both Shelley and Wells’ works and serves as a warning of the limits of human knowledge and the differentiation between theory and practical action. Of course, the time traveller is able to practically construct and operate his time machine, however, at no point is the reader presented with any evidence that a significant amount of planning or predetermination went into the journey to the future at all. The reader is not shown a concisely and meticulously conducted experiment, but more a haphazard adventure similar to that of Jonathan Swift’s novel Gulliver’s Travels as a fantastical tale of a man from our human society journeying to alien lands of extraordinary creatures. Should we then, if paralleling these two works, take the time traveller seriously in any of his claims to scientific brilliance? Wells, in his electing to overtly fictionalize the futuristic universe the time traveller finds himself in perhaps intends to poke and prod at science and the scientific methodology as being too fantastical and convoluted to be considered concrete fact. Wells himself called the Victorian era an age of confusion (Claeys, 107) and so it may instead be that his adoption of a highly fantastical world with a rather slapdash protagonist serves to fundamentally comment on the generation’s naivety in the realms of scientific discovery, given that even the term scientist had only been coined in 1833, which is only sixty years prior to the novella. We can see elements of the fantastical being used to possibly warn readers off of the fanciful darkness of elements of the scientific practice again in Shelley’s novel Frankenstein with the mythological referencing of the tale of Prometheus. Hustis claims that ‘Shelley’s decision to entitle her novel Frankenstein; or, The Modern Prometheus suggests a far more complex literary operation than simple appropriation or modified replication of an ancient Greek myth’ (Hustis, 845) thus recognizing a direct parallel to mythology and what some may call horrific fantasy. It may be read that Shelley and Wells both adopt this fantastical genre for the same reason – to ward their readerships away from science completely and dismissing it as fantasy – or to the more thoughtful reader, to serve as a reminder of the true capabilities of man and our ability to perhaps create the fantastical with scientific investigation.
Now, this capability to create the fantastical ostensibly holds positive connotations in its primary form, however, in Wells’ novel there is an allusion that the level of intellectual creativity surrounding scientific investigation was up for questioning in the early years of this new methodology. The time traveller in the novella is described as being ‘one of those men who are too clever to be believed’ (Wells, 12) and when read in context of Victorian society, it seems that the same can be said for modern science. Manlove discusses the criticism of industrialization and scientific advancement in the Victorian era, citing that critics appeal to the idea of the machine as a brutaliser of the human sensibility, the agent of a repressive society that,while it goes forward materially, is the enemy of the individual human spirit’ (Manlove, 215). To these critics, scientific investigation was to be feared, perhaps because it explains the before unexplainable and reaches into capabilities that humanity didn’t even know it had.
This is where Shelley’s presentation of science in the gothic and horror genre comes into play as the commentator of the gothic and horror of anthropological scientific investigation in its extremity and the fabrication of life through science. Taylor discusses the notion that the laboratory settings of much of the gothic fiction of the Victorian era mirrors the preoccupation of the period’s with horror and the unknown facets of this new wave of science (Taylor, 17). Shelley seems to advocate the idea that science and an unquenchable thirst for knowledge are intrinsically linked as Victor Frankenstein himself claims ‘my father was not scientific and I was left to struggle with a child’s blindness, added to a student’s thirst for knowledge’ (Shelley, 28). Noting the paternal blame placed by Frankenstein may reveal fundamental motive behind the sudden rush of scientific investigation in the Victorian period if we are to consider the fathers and ancestor societies to be scientifically ignorant in comparison to the illuminations of modern science. Shelley may perhaps be alluding to the dangers of the arrogance and castigating ideology of new wave individuals of any given subject that they are more intellectual and innovative than any others that have come before them.
Robert Philmus’ presupposition that ‘Wells designs the fiction to be precisely what its title says it is – a time machine’ and that the novella itself acts as a vessel for transporting its contemporary and also modern day readers outside the realms of their environmental thought. This is followed with the hypothesis that there are concrete rules that humanity ‘accept unthinkingly’ and remain in our unconscious (Philmus, 430), thus while the mode of scientific investigation undertaken in the plot of Wells’ novella may be more than questionable in method, this is besides the fundamentally point of what is being communicated to the readership. We as modern readers, along with our Victorian counterparts in Wells’ own time are asked to look forward and to examine both the pragmatics and morality of our present societal structures. If Wells is to be read as the voice of the time traveller, there are instances of direct reflection on his part on the linear aspect of society’s ritualistic facets. The time traveller quips that the elois’ adoption of a kind of gender fluidity and lack of gender specialization in their society is something that ‘we see some beginnings of this even in our own time, and in this future age it was complete’ (Wells, 30). This statement of the time traveller further cements Philmus’ allusion to Wells’ manipulation of the motif of scientific investigation, in that it is perhaps necessary to consider the long term effect of the structures in place for future generations and thus he holds it in good standing. It is important to note, however, that the time traveller completely disregards this finding in immediately claiming that ‘later I was to appreciate how far it fell short of the reality’, which in turn does shift concentration onto scientific investigation as being extremely susceptible to the subjectivity of human error. This opens up a stark juxtaposition in ideology on the part of Wells and thus creates a qualm over the reliability and promise of scientific investigation as an idea is put forward and promptly dismissed even within the spaces of a few lines in the pages of the novella.
While Shelley and Wells both point out and dissect the dangers and human accountability in scientific investigation, overall the argument can be summarized through appealing to Wells’ own novella and his own ideas surrounding the reliability of science and its methodology. Wells presents us with the time traveller in darkness with the Morlocks and as he scrabbles around to light a match by which to see he comments that ‘the view I had of it [his surroundings] was as much as one could see in the burning of a match’ (Wells, 54). This concentration upon the small light given off by the match amongst the abyss of darkness perhaps alludes to the idea that no matter how much one finds out through investigation, there will always be more to discover in the darkness. Now, whether Wells means to communicate this as a positive or negative message is inconceivable, however both eventualities result in an illuminating notion about the construct of the human psyche; whilst always wanting to know more, we are also afraid of what this more is made up of and what it will mean for us.
Claeys, Gregory. “The Origins of Dystopia: Wells, Huxley and Orwell”. The Cambridge Companion to Utopian Literature. Cambridge University Press, 2010. pp. 107-132. Cambridge Companions Online. Web.
Hustis, Harriet. “Responsible Creativity and the ‘Modernity’ of Mary Shelley’s Prometheus”. Studies in English Literature, 1500-1900. Vol. 43. No. 4. Rice University. 2003. 845-858. Web. JSTOR.
Manlove, Colin. “Charles Kingsley, H.G. Wells, and the Machine in Victorian Fiction”. Nineteenth Century Literature, Vol. 48, No. 2. University of California Press, 1993, pp. 212-239. JSTOR. Web.
Philmus, Robert. “H.G. Wells’s Revisi(tati)ons of The Time Machine”. English Literature in Transition, 1880-1920. 41.4 (1998): 427-452. Project Muse. Web.
Shelley, Mary. with J. Paul Hunter. Frankenstein (1818). New York: W. W. Norton & Company, inc. 2012. Print.
Taylor, Jenny Bourne. ‘Psychology at the Fin de Siècle’. The Cambridge Companion to the Fin de Siècle. Ed. Gail Marshall. Cambridge: Cambridge University Press, 2007. 13-30.
Wells, H.G. with Patrick Parrinder, Marina Warner, Steven McLean. The Time Machine (1895). London: The Penguin Group. 2005. Print.
The Eloi Paradise Versus the Morlock Underworld: Imagery and Symbolism in The Time Machine
In The Time Machine by H.G. Wells, the Time Traveler travels from the late 19th century to the future–802,701–to find both heavenly and hellish, both beautiful and sickening environments. The earth at that time is inhabited by the Eloi, above-ground, loving, dimwitted humanoids, and ridden with Morlocks, underground, flesh-eating nocturnals who show themselves only in the dark to feed. Wells uses religious symbolism through description and color, and skillful word choice to inflict positive emotions when describing the Eloi, and negative emotions when describing the Morlocks.
As the narration indicates, “The whole earth had become a garden” (38) by the year 802,701. The Time Traveler saw “beautiful bushes and flowers, a long-neglected yet weedless garden” (32) across the landscape of the earth. If a garden were to be “long-neglected,” it would inevitably grow weeds, unless divine intervention were to take place, as it did in the Garden of Eden. The Time Traveler refers to the planet as a garden on several occasions, relating it to the Biblical garden, giving readers a sense of positivity. When he met the Eloi, he concluded they were “on the intellectual level of [a] five-year-old [child]” (31). “A flow of disappointment” came over him, the way it did with God when Adam and Eve disobeyed him, eating the forbidden fruit, showing their lack of intellect. Any person possessing an enormous power like the ability to manipulate time the way the Time Traveler did can be considered god-like. Connections are therefore drawn between his disappointment and God’s, between the Eloi and Adam and Eve. After meeting the slow-minded Eloi, he follows them to a “great hall” (32), adorned with “richly carved” (32) “big doorway[s]” (32), stained-glass windows, “polished stone” (33) tables, topped with “heaps of fruit” (33), all of which convey positivity. Their hall is described similar to a church, perhaps with social commentary, as the Time Traveler makes a point to say there is an “absence of ceremony” (33). Does Wells believe religion will not last until 802,701? Nevertheless, he goes as far as to call the period a “social paradise” (40); calling anything a paradise is a strong belief in perfection. When the Time Traveler ventures into the “Under-world” (68), however, strong hellish description gives readers a sense of how morbid the Morlocks’ world truly is.
His “descent” (67) into the underworld was made through a well, “metallic bars projecting from the sides… being adapted to the needs of a creature much smaller and lighter than [himself] (67). The well shows not only danger in the bars jutting from the sides–if a person were to fall, they could be impaled–but danger in using them as well–they barely held the Time Traveler, bending under his weight. He was “almost swung… off into the blackness beneath” (67), referencing death and hell, clear negativity. Upon entering the Morlocks’ underground tunnel-system, he saw “grotesque black shadows” (69), proving his disdain, his uneasiness. The Time Traveler “stood in the dark, a hand touched [his], lank fingers came over [his] face” (70). This description is horrifyingly demonic; unknown hands reaching, almost petting would likely result in fear. Their environment was “oppressive” (69), “very hot and close” (OED). Hell is believed oppressive, eternally punishing the damned, filled with sadness, darkness. A hot environment full of oppression, darkness, hands reaching, petting, can be paralleled to hell with ease, and therefore pure negativity, hatred, disgust. Wells not only does this with his description of the underworld, but his color pallette too.
The “metallic bars” jutting from the inside of the well offer copious symbolism. While the bars are dangerous in themselves, their color–in this case material–is metallic–metal. Metal is hard, harsh, unsettling. Being surrounded by metal bars implies a sense of being trapped, imprisoned. The “blackness beneath” (67) symbolizes mystery, death, as do the “grotesque black shadows” (69) in the tunnel-system. While the Morlocks are white, they are not symbols of purity, as their description proves. The word “spectral” (69) shows their ghostly appearance, as opposed to innocence; it tells readers to be afraid of them. They are surrounded by darkness, while the Eloi are surrounded by brightness.
The Eloi are “brightly clad people,” living among “white flowers,” wearing “bright, soft-colored robes,” possessing “shining white limbs,” walking upon “white metal” floors (32). “Bright” is not a color, but it describes color; when that color is “soft” and “bright,” one can infer the color is white. The copious whiteness of their environment shows their innocence, their happiness. In the second of two interruptions of the entire narrative, the Time Traveler shows his friends two of the white flowers that Weena placed in his pocket. Interruptions of his narrative are truly important, as they are a rarity in the book; they show readers when attention is most needed. This places more emphasis on the flowers he shows, and their whiteness is therefore more important. The color of these flowers are not only more important than the others because of the interruption, but also because Weena gave them to him. The flowers themselves are significant because “the earth had become a garden” (38); it shows that these are not just a gift from Weena, but a memento of 802,701. Weena’s and other Eloi’s softness is shown not only in their actions; Wells’ language and word choice offer more positive emotions toward them as well.
The Eloi are a soft group of creatures which Wells proves with his word choice. The mere name “Eloi” flows; it does not contain hard syllables. When readers are first introduced to them, words like “prettiness,” “soft cooing notes,” “smiling,” and “faintest” (30) pepper the page, causing readers to subconsciously feel the Eloi’s softness, their innocence. Their “whole earth [is] a garden” (38). There are, however, deeper interpretations of the Eloi’s softness; one being their name. To eloin means “to remove to a distance” (OED). The Eloi are removed from their ancestors, whose knowledge is far beyond ours; they are the product of human laziness, lack of care; they are unable to read or write, unable to hold attention for more than seconds. Still, however, there is more to this. The Eloi are far removed from the Morlocks, so much so that they sleep together in large groups, inside their halls to stay away from the frightening ape-like creatures. Their name is a word to describe one of their main features, their lack of connection to the world and the past. Similar thought went into the words “Eloi” and “Morlock,” with the latter possessing as much meaning as the former.
While “Eloi” is soft, flowing, “Morlock” is rough, consisting of harder syllables–fitting for a group of underworld, flesh-eating apes. It shares a prefix with “morbid,” and its suffix, “lock,” possess meaning alone. If a door is locked, what’s behind it is forbidden, hidden from the open world; if more locks are placed upon that door, it becomes harder to open, harder to find what it hides. “Warlock,” a homophone of Morlock, is “a wicked person… a damned soul in hell” (OED), proving evil, especially according to early Christians. The parallels drawn between hell and the Morlocks’ underworld reinforce this comparison. On page 69, words like “dimness,” “grotesque black shadow,” “spectral,” “oppressive,” “blood,” and “obscene” are used strategically, again, giving readers subconscious feelings, this time, however, of fear and disgust.
H.G. Wells associates the Eloi with whiteness, happiness, innocence, and the Morlocks with darkness, disgust, evil; Wells inflicts these ideas upon readers both on surface level and deeper through religious symbolism within description and color, and exquisitely thought-out word choice to further readers’ understanding of the Eloi and Morlocks. The eternal conflict of good and evil is underscored throughout the story, masterfully contrasted by Wells.
The Disadvantages of Capitalism
In H.G. Wells’ The Time Machine, the unnamed narrator, commonly referred to as the Time Traveler, creates a device that is capable of time travel, and proceeds to meet two humanoid species of the far distant future. The Time Traveler’s adventure is commonly accepted by readers as that of a Victorian era man who experiences thousands of millennia through the boundless exploration of time. This initial interpretation fails to incorporate Wells’ underlying themes of evolution of humanity, class division, and the effects of capitalism to the Time Traveler’s current culture. If this key aspect of the Time Traveler’s account goes unnoticed, readers will be ill-equipped to fully comprehend Wells’ ultimate analogy, the struggle between the capitalist and laborer. The relationship between the Eloi and Morlocks, the two divergent species of the author’s future, is a representation of the characteristics and future projections of the 19th century Victorian era, presented through an early rendition of science-fiction. In this essay, I will analyze the analogy of the Eloi and Morlocks, displaying Wells’ latent argument about what will happen to mankind if capitalism persists to take advantage of workers for the benefit and welfare of the privileged.
As the Time Traveler observes the relationship between the Eloi and Morlocks, and studies the two species’ behavior and physical traits, he develops several theories as to why humankind has veered off into a completely different breed from one another. He discovers that humanity has evolved into two different species because of the “gradual widening of the present merely temporary and social difference between the Capitalist and the Laborer” (40). The Time Traveler is not merely claiming that humanity had evolved and changed from what he knows it as, but it changed because of the broadening social inequalities between the upper and lower classes during the Victorian era. This theme is crucial to comprehend the purpose of the book, which revolves around this general idea of class suppression and societal clashing. To understand this representative class struggle between the Eloi and Morlocks, one must understand the beginnings of their respective races. The Eloi are descendants ultimately of the elite because they inhabit and control “considerable portions of the surface of the land” (40). The Morlocks, or the lower class, “lost its birthright in the sky” (40) and had to take residence underground, while maintaining production of commodities. Thus, according to the Time Traveler’s social Darwinist perspective, humanity devolved into separate branches of contrasting species, which are also a physical embodiment of upper class-lower class differences, because of their gradual change in location, but fundamentally because of their class contrasts. The fact that the Eloi don’t produce and work for their own goods furthers the idea that they are elitist and comparable to the upper class of 1890s England. The Eloi displayed “no machinery, or no appliances of any kind, yet they were clothed in pleasant fabrics” (34). The only logical reason for where the Eloi acquire their goods from would be the Morlocks, with their use of “big industrial machines” (44). Therefore, the Morlocks are socially dominated by the elitist Eloi.
Most critics agree that the Morlocks are socially subordinate to the Eloi because they have their goods constructed by the Morlocks. The bourgeoisie, or those with a higher social status, control the surface areas of the land, which maintains their power. This interpretation ignores the possibility that the Morlocks could, in fact, be the dominant species. “The Morlocks at any rate were carnivorous” (44), and given that “horses, cattle, sheep, dogs, had followed the Ichthyosaurus into extinction” (23), the only other food source based from flesh would be the Eloi. This inference signifies that the Morlocks rely on the Eloi for food. The Eloi might have once been the descendants of the selected gentry, but have now become the means of sustenance. If this understanding of the relationship between the two humanoid species is continually overlooked, the audience would skirt Wells’ message of the dangerous effects of capitalism and how it would negatively shape human progression. Proponents of this argument would likely claim that the Morlocks are, indeed, above the Eloi because they support them, only for a source of food.
Up to this point, I have established the social relationship between the Morlocks and Eloi, and noted this relationship’s similarities to a class struggle. To continue, I will relate this class struggle to Victorian England’s society and Wells’ predictions for the future. Wells’ novel suggests that it is only a matter of time before the lower working class becomes differentiated, stating that “Even now, does not an East-end worker live in such artificial conditions as practically to be cut off from the natural surface of earth?” (40). This quote invokes the 1890s England familiar to the Time Traveler, referencing towards the East-End, known to consist of slums and to house London’s poorest. This theory, that society in the future is only a continuation of the Time Traveler’s culture, is furthered by the Time Traveler in his description of the degradation of the Eloi’s familial unit, articulating that “we see some beginnings of this even in our own time, and in this future age it was complete” (25). This is not the only type of comparison that the novel draws between the societies of the 1890s and of the future era. The Time Traveler acknowledges how the past has affected the future in that “Ages ago, thousands of generations ago, man had thrust his brother man out of the ease and the sunshine. And now that brother was coming back – changed.” (47). The main character’s claim highlights the similarities of the two respective time periods, making not just connections of two societies, but of three separate species. Again, Wells is creating connections between the two time periods in order to present his ideology, through a work of fiction. The Time Traveler does not leave his comparisons without interpretation; he argues that “the Upper-world man had drifted towards his feeble prettiness, and the Under-world to mere mechanical industry” (62). This scenario exhibits Wells’ ultimate message; the negative characteristics of capitalism have completely destroyed society as he knew it. Humanity lost what made it human, and in turn, devolved into devoid creatures of little intellect or culture.
The identification of a class struggle between the Morlocks and Eloi, and the comparisons that the Time Traveler draws between his society and of the future’s highlights the idea that capitalism, the current societal norm of Victorian England, will lead to the decline of humanity on such a scale that creates two inferior species to the original. How would H. G. Wells react to modern society, with its increasing inequality of wealth? If he acted accordingly to his ideologies presented in The Time Traveler, he would most likely continue his same reasoning and discussion. The issues that H.G. Wells discussed roughly 100 years ago are still pertinent today. The Time Machine is focused on social disparity and impartiality, problems that are still troubling society. Although it is improbable that this disparity will result in two divergent species, Wells’ story highlights the problem of class differences in attempt to mend the growing rift between the upper and lower classes in order to prevent this figurative catastrophe.