Shakespeare's works prove to be masterpieces centuries after their debut, influencing generations of writers including 20th-century author Aldous Huxley. Huxley's 1932 novel Brave New World stands as a distinct reincarnation of Shakespeare's The Tempest, blending the disturbing reality of a dystopian future with key aspects of a classic Shakespearean piece. Ira Grushow highlights the similarities of these two pieces to determine Huxley's question between innovation and emotion. Grushow reveals striking evidence linking Huxley's Brave New World to Shakespeare's The Tempest, recognizing characteristics of Shakespeare's work and how they overlap with Huxley's critique of society and human values. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Huxley's novel, in its essence, presents itself as a reincarnation of The Tempest. Grushow lays this out by making comparisons between the characters in both pieces. The article details how Bernardo compares himself to Caliban as a “deformed monster and reluctant slave of Prospero” (Grushow 43). Huxley intentionally made Bernard “eight centimeters below the standard Alpha height” and continually points this out as a deformity (Huxley 64). Furthermore, Huxley shows Mustapha Mond as “a father…to…all under his care” (Grushow 44). A direct link to Prospero, the father and controller of Shakespeare's work, Huxley demonstrates a deeper insight into the traits of Shakespeare's Prospero through Mond. Mond meets a different end than Prospero which allows Huxley to explore a new perspective while keeping the main character traits constant. The character's actions also mirror the play as towards the end Bernard “jumped up, ran across the room, and stood gesturing before the Controller” (Huxley 226). By surrendering to Mond, as a slave would to a master, Bernard proves himself to be a recreation of Caliban. The comparison between the two works illuminates new perspectives on old characters. Grushow's article outlines Huxley's critique of society through Huxley's use of Shakespeare. Shakespeare's work symbolizes classical literature and art in our society, it remains relevant because it resonates with the reader. In Huxley's world, connection and art mean nothing, everything that Shakespeare's work embodies translates into misery in the World State. Huxley writes: “To make ninety-six human beings grow where before only one grew. Progress” (Huxley 6). Straightforward and effective, it glorifies progress and happiness while Shakespeare idealized passion. This shows “the full extent of the difference between Shakespeare's vision of an ideal world and Huxley's” (Grushow 43). The “ideal world” that Huxley portrays is nevertheless convincing. Innovation and progress bring the promise of happiness in contrast to the tragedies encountered by many of Shakespeare's heroes. Huxley argues that society might be better off abandoning the arts, which “community, identity, stability” and progress defend as key aspects of an ideal world (Huxley 3). Even with the underlying darkness and horror shown in Brave New World, Huxley's rhetoric manages to portray a perfect world and defame the values ​​Shakespeare represented. Huxley's intentional comparisons to The Tempest help readers understand the disparity between passion and happiness and how both cannot coexist. At the end of the novel Huxley leaves his readers with a dilemma with the things we value, including art, emotion, and purpose. He argues that our morals and ideals conflict with our nature as human beings. As Grushow puts it, “its code/359)