"Orgy-porgy," the dancers caught up the liturgical refrain, "Orgy-porgy, Ford and fun, kiss the girls…" And as they sang, the lights began slowly to fade—to fade and at the same time to grow warmer, richer, redder, until at last they were dancing in the crimson twilight of an Embryo Store. "Orgy-porgy…" In their blood-coloured and foetal darkness the dancers continued for a while to circulate, to beat and beat out the indefatigable rhythm. "Orgy-porgy…" Then the circle wavered, broke, fell in partial disintegration on the ring of couches which surrounded—circle enclosing circle—the table and its planetary chairs. "Orgy-porgy…" Tenderly the deep Voice crooned and cooed; in the red twilight it was as though some enormous n***o dove were hovering benevolently over the now prone or supine dancers. (5.2.31)
Here's that music/sex connection we were talking about. Red is an important color here—remember back to Chapter 1 when Foster declared that embryos, like photographic film, can only stand red light. It's no coincidence that these two scenes are related; the copulating adults are compared to little embryos inside their bottles. Why, you ask? Check out "Symbols, Imagery, Allegory" for more.
