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"
Yes
,
why
not
?
"
Helmholtz
repeated
.
He
too
was
forgetting
the
unpleasant
realities
of
the
situation
.
Green
with
anxiety
and
apprehension
,
only
Bernard
remembered
them
;
the
others
ignored
him
.
"
Why
not
?
"
"
Because
our
world
is
not
the
same
as
Othello
’
s
world
.
You
can
’
t
make
flivvers
without
steel
–
and
you
can
’
t
make
tragedies
without
social
instability
.
The
world
’
s
stable
now
.
People
are
happy
;
they
get
what
they
want
,
and
they
never
want
what
they
can
’
t
get
.
They
’
re
well
off
;
they
’
re
safe
;
they
’
re
never
ill
;
they
’
re
not
afraid
of
death
;
they
’
re
blissfully
ignorant
of
passion
and
old
age
;
they
’
re
plagued
with
no
mothers
or
fathers
;
they
’
ve
got
no
wives
,
or
children
,
or
lovers
to
feel
strongly
about
;
they
’
re
so
conditioned
that
they
practically
can
’
t
help
behaving
as
they
ought
to
behave
.
And
if
anything
should
go
wrong
,
there
’
s
soma
.
Which
you
go
and
chuck
out
of
the
window
in
the
name
of
liberty
,
Mr
.
Savage
.
Liberty
!
"
He
laughed
.
"
Expecting
Deltas
to
know
what
liberty
is
!
And
now
expecting
them
to
understand
Othello
!
My
good
boy
!
"
The
Savage
was
silent
for
a
little
.
"
All
the
same
,
"
he
insisted
obstinately
,
"
Othello
’
s
good
,
Othello
’
s
better
than
those
feelies
.
"
"
Of
course
it
is
,
"
the
Controller
agreed
.
"
But
that
’
s
the
price
we
have
to
pay
for
stability
.
You
’
ve
got
to
choose
between
happiness
and
what
people
used
to
call
high
art
.
We
’
ve
sacrificed
the
high
art
.
We
have
the
feelies
and
the
scent
organ
instead
.
"
"
But
they
don
’
t
mean
anything
.
"
"
They
mean
themselves
;
they
mean
a
lot
of
agreeable
sensations
to
the
audience
.
"
"
But
they
’
re
.
.
.
they
’
re
told
by
an
idiot
.
"
The
Controller
laughed
.
"
You
’
re
not
being
very
polite
to
your
friend
,
Mr
.
Watson
.
One
of
our
most
distinguished
Emotional
Engineers
.
.
.
"
"
But
he
’
s
right
,
"
said
Helmholtz
gloomily
.
"
Because
it
is
idiotic
.
Writing
when
there
’
s
nothing
to
say
.
.
.
"
