Abstract

The western utopia has both classical and Judaeo-Christian roots. From the Greeks came the form of the ideal city, based on reason, from Jews and Christians the idea of deliverance through a messiah and the culmination of history in the millennium. The Greek conception placed utopia in an ideal space, the Christian conception in an ideal time. The modern utopia, dating from Thomas More's Utopia (1516), drew upon both these traditions but added something distinctive of its own. Following More, the modern utopia has developed as a literary form whose closest relative is the novel. This, I argue, is its great strength. Unlike the abstract utopias of social and political philosophy, such as Marxism or anarchism, the `concrete utopia' of writers such as Edward Bellamy, William Morris and H. G. Wells paints `pleasing pictures of daily life' which both impel us to desire the good society and give us the tools by which to assess it. It is in this respect that utopia - and its mirror-image, the anti-utopia - developed as a distinct literary genre, separating it from other forms of picturing the ideal society in both east and west