Harrison Bergeron

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Heather Rasmussen Kathy Newport English 102 March 6, 2009 We Interrupt This Program To Bring You Anarchy Totalitarianism and government oppression eventually lead to anarchy. Societies cannot endure this type of government rule. In “Harrison Bergeron”, Kurt Vonnegut condemns a future totalitarian government through the use of external conflict, indirect characterization and symbolism. The external conflict in the story is twofold. George and Hazel are briefly conflicted regarding the idea of tampering with the weighted equalizing bags around George’s neck. That conflict is quickly concluded with the realization that the resulting fine and jail time aren’t worth the brief benefit of lightening George’s weights. Harrison’s obvious external conflict is personally, physically fighting against the government and its forced equality laws. From his tearing down the door to enter the television station to his brief televised celebratory dance with the ballerina, the entire scene depicts the way that Harrison has fought against the government. His death ends that conflict. In a way, he is the winner as he is no longer forced to live under a government that enacts such laws. Unfortunately, Harrison’s martyrdom is short-lived as even his own mother can’t recall watching his death on television.

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“I am the Emperor!” shouts Harrison Bergeron. In declaring this, Harrison is comparing himself to royalty. This comparison is symbolic because in the time when royalty ruled, they were the only “perfect” people. Harrison relates himself to royalty due to his extreme good looks, athleticism and intelligence, his physical and mental perfection. The chains worn by Harrison represent the oppressive government and the equality laws that are restricting people from performing at their full potential. The chains further represent the restrictions from celebrating individuality and personal achievement. When Harrison tears himself from the chains, it symbolizes his, albeit brief, freedom from the soul and bodycrushing equality laws imposed by the Handicapper General. The Handicapper General, Diana Moon Glampers, respresents authority in multiple forms. Not only does Diana Moon Glampers create, administer and enforce the equality laws, but she provides the punishment for noncompliance, as exhibited when she personally executes Harrison and the beautiful ballerina. The very deaths of Harrison and the ballerina signify the death of freedom from the suffering inflicted by the imposed equality laws. Harrison has finally torn himself and the ballerina free from the restrictive chains, weights, headphones, and other equalizing paraphenalia. This newfound lightness, this freedom, allows them to float freely near the ceiling of the

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television station. Their deaths bring a nationally viewed end to that freedom. Through indirect characterization, Vonnegut is able to depict Harrison’s parents’ acceptance of the equalizing laws. Due to her average intelligence, Hazel is perfectly content to live oppressed so that no one will be smarter than she. George seems grudgingly accepting of his greater burden, due to his higher level of intelligence, inflicted by the equalizing laws. Due to their government forced stupidity, this couple isn’t able to remember or respond emotionally or physically to their son’s arrest or his televised execution. Obviously, Harrison is at odds with the government’s oppression of its citizens. This may be due to his superior intellect and physical stature and his desire to be able to actually use these gifts to express his individuality, creativity, intelligence and skills. While Harrison succeeds in breaking the chains of government oppression, he dies for this failed cause. In “Harrison Bergeron,” Kurt Vonnegut creates a perfect example of the anarchy and civil disobedience that ensues from a totalitarian government. The citizens of this type of society will eventually fight back against their oppressors, and there will always be a martyr. Works Cited Vonnegut, Kurt . "Harrison Bergeron." West Valley College . 2005. 19 Apr. 2009 .

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