Author | H. G. Wells |
---|---|
Language | English |
Genre | Science fiction, Scientific romance |
Published | 1901 [1] |
Publisher | George Newnes (UK) Bowen-Merrill (US) |
Publication place | United Kingdom |
Media type | Print (hardcover) |
Pages | 342 |
OCLC | 655463 |
Text | The First Men in the Moon at Wikisource |
The First Men in the Moon by the English author H. G. Wells is a scientific romance, originally serialised in The Strand Magazine and The Cosmopolitan from November 1900 to June 1901 and published in hardcover in 1901. [2] Wells called it one of his "fantastic stories". [3] The novel recounts a journey to the Moon by the two protagonists: a businessman narrator, Mr. Bedford; and an eccentric scientist, Mr. Cavor. Bedford and Cavor discover that the Moon is inhabited by a sophisticated extraterrestrial civilisation of insect-like creatures they call "Selenites". The inspiration seems to come from the famous 1865 book by Jules Verne, From the Earth to the Moon , and the opera by Jacques Offenbach from 1875. Verne's novel also uses the word "Selenites" to describe inhabitants of the Moon. [4]
Comparable to Aldous Huxley's Brave New World , the book appears to be an introspective reductio of Wells' own eugenic and especially socialist ideals in favor of more nuanced versions. [5]
The narrator is a London businessman named Bedford who withdraws to the countryside to write a play, by which he hopes to alleviate his financial problems. Bedford rents a small countryside house in Lympne, in Kent, where he wants to work in peace. He is bothered every afternoon, however, at precisely the same time, by a passer-by making odd noises. After two weeks Bedford accosts the man, who proves to be a reclusive physicist named Mr. Cavor. Bedford befriends Cavor when he learns he is developing a new material, cavorite, which can negate the force of gravity.
When a sheet of cavorite is prematurely processed, it makes the air above it weightless and shoots off into space. Bedford sees in the commercial production of cavorite a possible source of "wealth enough to work any sort of social revolution we fancied; we might own and order the whole world". [6] Cavor hits upon the idea of a spherical spaceship made of "steel, lined with glass", and with sliding "windows or blinds" made of cavorite by which it can be steered, and persuades a reluctant Bedford to undertake a voyage to the Moon; Cavor is certain there is no life there. [7] On the way to the Moon, they experience weightlessness, which Bedford finds "exceedingly restful". [8] On the surface of the Moon the two men discover a desolate landscape, but as the Sun rises, the thin, frozen atmosphere vaporises and strange plants begin to grow with extraordinary rapidity. Bedford and Cavor leave the capsule, but in romping about get lost in the rapidly growing jungle. They hear for the first time a mysterious booming coming from beneath their feet. They encounter "great beasts", "monsters of mere fatness", that they dub "mooncalves", and five-foot-high "Selenites" tending them. At first they hide and crawl about, but growing hungry partake of some "monstrous coralline growths" of fungus that inebriate them. They wander drunkenly until they encounter a party of six extraterrestrials, who capture them. [9] The insectoid lunar natives (referred to as "Selenites", after Selene, the Greek moon goddess) are part of a complex and technologically sophisticated society that lives underground, but this is revealed only in radio communications received from Cavor after Bedford's return to Earth.
Bedford and Cavor break out of captivity beneath the surface of the Moon and flee, killing several Selenites. In their flight they discover that gold is common on the Moon. In their attempt to find their way back to the surface and to their sphere, they come upon some Selenites carving up mooncalves but fight their way past. Back on the surface, they split up to search for their spaceship. Bedford finds it but returns to Earth without Cavor, who injured himself in a fall and was recaptured by the Selenites, as Bedford learns from a hastily scribbled note he left behind.
Chapter 20, "Mr. Bedford in Infinite Space", plays no role in the plot but is a remarkable set piece in which the narrator describes experiencing a quasi-mystical "pervading doubt of my own identity. . . the doubts within me could still argue: 'It is not you that is reading, it is Bedford—but you are not Bedford, you know. That's just where the mistake comes in.' 'Counfound it!' I cried, 'and if I am not Bedford, what am I? But in that direction no light was forthcoming, though the strangest fancies came drifting into my brain, queer remote suspicions like shadow seem from far away... Do you know I had an idea that really I was something quite outside not only the world, but all worlds, and out of space and time, and that this poor Bedford was just a peephole through which I looked at life..." [10]
By good fortune, the narrator lands in the sea off the coast of Britain, near the seaside town of Littlestone, not far from his point of departure. His fortune is made by some gold he brings back, but he loses the sphere when a curious boy named Tommy Simmons climbs into the unattended sphere and shoots off into space. Bedford writes and publishes his story in The Strand Magazine, then learns that "Mr. Julius Wendigee, a Dutch electrician, who has been experimenting with certain apparatus akin to the apparatus used by Mr. Tesla in America", has picked up fragments of wireless telegraphy from Cavor sent from inside the Moon. During a period of relative freedom Cavor has taught two Selenites English and learned much about lunar society.
Cavor's account explains that Selenites exist in thousands of forms and find fulfilment in carrying out the specific social function for which they have been brought up: specialisation is the essence of Selenite society. "With knowledge the Selenites grew and changed; mankind stored their knowledge about them and remained brutes—equipped," remarks the Grand Lunar, when he finally meets Cavor and hears about life on Earth. [11] Unfortunately, Cavor reveals humanity's propensity for war; the lunar leader and those listening to the interview are "stricken with amazement". Bedford infers that it is for this reason that Cavor has been prevented from further broadcasting to Earth. Cavor's transmissions are cut off as he is trying to describe how to make cavorite. His final fate is unknown, but Bedford is sure that "we shall never… receive another message from the moon". [12]
C. S. Lewis explicitly stated that his science fiction books were both inspired by and written as an antithesis to those of H. G. Wells. Specifically, he acknowledged The First Men in The Moon to be "the best of the sort [of science fiction] I have read...." (from a letter to Roger Lancelyn Green).
The influence of Wells's book is especially visible in Out of the Silent Planet , the first book of Lewis's Space Trilogy . There, too, a central role in the story line is played by a partnership between a worldly businessman interested in the material gains from space travel (and specifically, in importing extraterrestrial gold to Earth) and a scientist with wider cosmic theories.
Also in Lewis's book, the two quietly build themselves a spaceship in the seclusion of an English country house, and take off into space without being noticed by the rest of the world. (It may be noted that both Wells and Lewis, like virtually all science fiction writers until the 1950s, grossly underestimated the resources needed for even the smallest jaunt outside Earth's gravitational field.) Like Wells's book, Lewis's reaches its climax with the Earth scientist speaking to the wise ruler of an alien world (in this case Oyarsa, the ruler of Malacandra/Mars) and blurting out the warlike and predatory nature of humanity.
However, in Lewis's book the businessman-scientist pair are the villains of the piece. Moreover, his scientist, Professor Weston, has a philosophy diametrically opposite to Cavor's, being an outspoken proponent of human colonisation of other planets, up to and including extermination of "primitive natives". [13]
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Brian Stableford argues this is the first alien dystopia. [14] The book could also be considered to have launched the science fiction subgenre depicting intelligent social insects, in some cases a non-human species such as the space-traveling Shaara "bees" in the future universe of A. Bertram Chandler, in others (such as Frank Herbert's Hellstrom's Hive ) humans who evolved or consciously engineered their society in this direction. Nigel Kneale co-adapted the screenplay (with Jan Read) for the 1964 film version; it is reasonable to assume that Kneale's familiarity with the work may have inspired the idea of the Martian hives which feature so significantly in Quatermass and the Pit , one of Kneale's most-admired creations.[ original research? ]
The First Men in the Moon has been adapted to film four times, and once prior to that as a mash-up Verne-Wells film:
Soon after the publication of The First Men in the Moon, Wells was accused by the Irish writer Robert Cromie of having stolen from his novel A Plunge into Space (1890), which used an antigravity device similar to that in Chrysostom Trueman's The History of a Voyage to the Moon (1864). [20] Both novels had certain elements in common, such as a globular spaceship built in secret after inventing a way to overcome Earth's gravity. Wells simply replied: "I have never heard of Mr Cromie nor of the book he attempts to advertise by insinuations of plagiarism on my part." [21]
Jules Verne was publicly hostile to Wells's novel, mainly due to Wells having his characters go to the Moon via a totally fictional creation of an anti-gravitational material rather than the actual use of technology. [22]
Scientific romance is an archaic, mainly British term for the genre of fiction now commonly known as science fiction. The term originated in the 1850s to describe both fiction and elements of scientific writing, but it has since come to refer to the science fiction of the late nineteenth and early twentieth centuries, primarily that of Jules Verne, H. G. Wells and Arthur Conan Doyle. In recent years the term has come to be applied to science fiction written in a deliberately anachronistic style as a homage to or pastiche of the original scientific romances.
From the Earth to the Moon: A Direct Route in 97 Hours, 20 Minutes is an 1865 novel by Jules Verne. It tells the story of the Baltimore Gun Club, a post-American Civil War society of weapons enthusiasts, and their attempts to build an enormous Columbiad space gun and launch three people – the Gun Club's president, his Philadelphian armor-making rival, and a French poet – in a projectile with the goal of a Moon landing. Five years later, Verne wrote a sequel called Around the Moon.
First Men in the Moon is a 1964 British science fiction film, produced by Charles H. Schneer, directed by Nathan Juran, and starring Edward Judd, Martha Hyer and Lionel Jeffries. The film, distributed by Columbia Pictures, is an adaptation by screenwriter Nigel Kneale of H. G. Wells' 1901 novel The First Men in the Moon.
The Moon has appeared in fiction as a setting since at least classical antiquity. Throughout most of literary history, a significant portion of works depicting lunar voyages has been satirical in nature. From the late 1800s onwards, science fiction has successively focused largely on the themes of life on the Moon, first Moon landings, and lunar colonization.
Voyage: Inspired by Jules Verne is a point-and-click adventure game with pre-rendered graphics, developed by Kheops Studio and published by The Adventure Company for the PC in 2005. The game's story focuses on a French adventurer's journey to the Moon in the 19th century, and the ancient lunar civilization he subsequently finds.
Science fiction opera is a subgenre of science fiction. It refers to operas whose subject-matter fits in the science fiction genre. Like science-fiction literature, science-fiction operas may be set in the future and involve spaceflight or alien invasion. Other science-fiction operas focus on a dystopian view of the future. Like Lorin Maazel's opera 1984, they may be based on a previously written science fiction book.
The First Men in the Moon is a 1919 black-and-white silent film, directed by Bruce Gordon and J. L. V. Leigh. The film was based on H. G. Wells' 1901 science fiction novel The First Men in the Moon.
Around the Moon, also translated as Circling the Moon and All Around the Moon, is the sequel to Jules Verne's 1865 novel, From the Earth to the Moon. It is a science fiction tale which continues the trip to the Moon that was only begun in the first novel. Later English editions sometimes combined the two under the title From the Earth to the Moon and Around It.
Jules Verne's Rocket to the Moon is a 1967 British science fiction comedy film directed by Don Sharp and starring Burl Ives, Troy Donahue, Gert Fröbe and Terry-Thomas.
The Hollow Moon and the closely related Spaceship Moon are pseudoscientific hypotheses that propose that Earth's Moon is either wholly hollow or otherwise contains a substantial interior space. No scientific evidence exists to support the idea; seismic observations and other data collected since spacecraft began to orbit or land on the Moon indicate that it has a solid, differentiated interior, with a thin crust, extensive mantle, and a dense core which is significantly smaller than Earth's.
From the Earth to the Moon is a 1958 American Technicolor science fiction film, produced by Benedict Bogeaus, directed by Byron Haskin, that stars Joseph Cotten, George Sanders, and Debra Paget. Production of the film originated at RKO Pictures, but when RKO went into bankruptcy, the film was acquired and released by Warner Brothers.
The First Men in the Moon, also promoted as H. G. Wells' The First Men in the Moon, is a 2010 television drama written by Mark Gatiss, directed by Damon Thomas, that stars Gatiss as Cavor and Rory Kinnear as Bedford, with Alex Riddell, Peter Forbes, Katherine Jakeways, Lee Ingleby and Julia Deakin. The First Men on the Moon was first broadcast on 19 October 2010 on BBC Four. It is an adaptation of H. G. Wells' 1901 science fiction novel of the same name. This is the third collaboration between Thomas and Gatiss, and the first film to be produced by their production company Can Do Productions.
French science fiction is a substantial genre of French literature. It remains an active and productive genre which has evolved in conjunction with anglophone science fiction and other French and international literature.
The War of the Worlds is a science fiction novel by English author H. G. Wells. It was written between 1895 and 1897, and serialised in Pearson's Magazine in the UK and Cosmopolitan magazine in the US in 1897. The full novel was first published in hardcover in 1898 by William Heinemann. The War of the Worlds is one of the earliest stories to detail a conflict between humankind and an extraterrestrial race. The novel is the first-person narrative of an unnamed protagonist in Surrey and his younger brother who escapes to Tillingham in Essex as London and Southern England are invaded by Martians. It is one of the most commented-on works in the science fiction canon.
The Lunar Trilogy or The Moon Trilogy is a trilogy of science fiction novels by the Polish writer Jerzy Żuławski, written between 1901 and 1911. It has been translated into Russian, Czech, German, English and Hungarian, and has been reprinted several times in Poland. They are his best-known works.
Jules Verne (1828–1905), the French writer best known for his Voyages extraordinaires series, has had a wide influence in both scientific and literary fields.
Space travel, or space flight is a science fiction theme that has captivated the public and is almost archetypal for science fiction. Space travel, interplanetary or interstellar, is usually performed in space ships, and spacecraft propulsion in various works ranges from the scientifically plausible to the totally fictitious.
A Plunge into Space is an 1890 science fiction novel by Irish author Robert Cromie. It describes a voyage to Mars, where Earthlings find a utopia that is so perfect as to be boring. It received mostly positive reviews upon release and likely sold well. The second edition was published in 1891 with a preface attributed to the French science fiction author Jules Verne; modern scholars have concluded that it was likely written by somebody else. Cromie later accused fellow writer H. G. Wells of plagiarising key plot elements from the book for his 1900–1901 serial The First Men in the Moon; Wells denied ever having heard of Cromie or the book.
Cavorite is a fictional material first depicted by H. G. Wells in The First Men in the Moon, a 1901 scientific romance. Developed by Cavor, a reclusive physicist, it has the ability to negate the force of gravity, enabling him and a businessman named Bedford to travel to the Moon using a spherical spacecraft propelled by Cavorite blinds. The material was later referenced in numerous works of science fiction media, and its theoretical implications have been discussed by critics.
Not to mention that this show has its own 'magic substance', Cavorite, that powers a lot of the machinery and spy equipment and allows for some of the kickass sequences like Ange's literally being able to fly for short periods.