Powerpoint

Edgar Allan Poe "A Dream"

In visions of the dark night
I have dreamed of joy departed-
But a waking dream of life and light
Hath left me broken-hearted.

Ah! what is not a dream by day
To him whose eyes are cast
On things around him with a ray
Turned back upon the past?

That holy dream- that holy dream,
While all the world were chiding,
Hath cheered me as a lovely beam
A lonely spirit guiding.

What though that light, thro' storm and night,
So trembled from afar-
What could there be more purely bright
In Truth's day-star?      

T.S. Eliot "The Hollow Men"

Mistah Kurtz -- he dead.


   
       
            A penny for the Old Guy
       
   

           
                I
           

We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats' feet over broken glass
In our dry cellar

Shape without form, shade without colour,
Paralysed force, gesture without motion;

Those who have crossed
With direct eyes, to death's other Kingdom
Remember us -- if at all -- not as lost
Violent souls, but only
As the hollow men
The stuffed men.

           
                II
           

Eyes I dare not meet in dreams
In death's dream kingdom
These do not appear:
There, the eyes are
Sunlight on a broken column
There, is a tree swinging
And voices are
In the wind's singing
More distant and more solemn
Than a fading star.

Let me be no nearer
In death's dream kingdom
Let me also wear
Such deliberate disguises
Rat's coat, crowskin, crossed staves
In a field
Behaving as the wind behaves
No nearer --

Not that final meeting
In the twilight kingdom

           
                III
           

This is the dead land
This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man's hand
Under the twinkle of a fading star.

Is it like this
In death's other kingdom
Waking alone
At the hour when we are
Trembling with tenderness
Lips that would kiss
Form prayers to broken stone.

           
                IV
           

The eyes are not here
There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms

In this last of meeting places
We grope together
And avoid speech
Gathered on this beach of the tumid river

Sightless, unless
The eyes reappear
As the perpetual star
Multifoliate rose
Of death's twilight kingdom
The hope only
Of empty men.

           
                V
           

Here we go round the prickly pear Prickly pear prickly pear Here we go round the prickly pear At five o'clock in the morning.

Between the idea
And the reality
Between the motion
And the act
Falls the Shadow

                    For Thine is the Kingdom

Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow


                    Life is very long

Between the desire
And the spasm
Between the potency
And the existence
Between the essence
And the descent
Falls the Shadow

                    For Thine is the Kingdom


For Thine is
Life is
For Thine is the

This is the way the world ends This is the way the world ends This is the way the world ends Not with a bang but a whimper.

Works Cited

Works Cited

            Beadle, Gordon B. (1978), George Orwell’s Literary Studies of Poverty in England. Twentieth Century Literature; Summer78, Vol. 24 Issue 2, p188. 24 January, 2013. http://web.ebscohost.com/ehost/detail?sid=9112f9bb-dcb1-4ff8-8a0f-8b2fb0ff9e1e%40sessionmgr4&vid=1&hid=9&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=aph&AN=6876046

"George Orwell Biography." Biography.com. A&E Networks Television, 2013. Web. 28 Jan. 2013. <http://www.biography.com/people/george-orwell-9429833?page=1>.

Ingle, Stephen. (2007), Lies, Damned Lies and Literature: George Orwell and ‘The Truth’. The British Journal of Politics & International Relations. Vol. 9, Pg. 730–746. 24 January, 2013. http://web.ebscohost.com/ehost/detail?sid=b590ea1d-77f7-492e-ba84-01e2db3acc37%40sessionmgr4&vid=1&hid=9&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=aph&AN=27013800

Kellner, Douglass. (1984), From 1984 to One-Dimensional Man: Critical Reflections on Orwell and Marcuse. American Political Science Association Convention. 24 January, 2013. http://pages.gseis.ucla.edu/faculty/kellner/Illumina%20Folder/kell13.htm

Schneider, Matthew. (2010), A Paean to Power: Resistance to GA and Orwell’s Nineteen Eighty-Four. Anthropoetics - The Journal of Generative Anthropology, Vol. 16, No. 1. 24 January, 2013. http://www.anthropoetics.ucla.edu/ap1601/1601Schneider.htm

Tyner, James A. (2004), Self and space, resistance and discipline: a Foucauldian reading of George Orwell’s 1984. Social & Cultural Geography, Vol. 5, No. 1. 24 January, 2013. http://web.ebscohost.com/ehost/detail?sid=2584aa23-0fd5-4362-b0b3-02e2fe4ec3b6%40sessionmgr4&vid=1&hid=9&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=aph&AN=13309895

 

 

Literary Criticism (Relationship to George Orwell)

The presence of politics and ideologies in the author’s works, including acts of domination, oppression, exclusion, and appropriation, as well as acts of subversion and resistance

            Stephen Ingle’s literary criticism, “Lies, Damned Lies and Literature: George Orwell and ‘The Truth,’” demonstrates the value of 1984 as a tool of political analysis. Ingle specifically intends to investigate the nature of truth, which is infinitely altered by the Party for its own purposes. Through the control of language, Ingle claims, the state is merely able to subvert ordinary language, thereby destroying the trust between Oceania and its citizens. He discusses the importance of truth, the fabrication of reality, common sense, language and the limits of autonomy in terms of its political significance. Ingle argues that “Orwell’s harrowingly imaginative novel forces us [. . .] to confront a range of dimensions concerning the nature of public truth and lying” (Ingle 743). By utilizing a multitude of external sources, Ingle effectively and successfully illustrates his own message. Through the modification of everyday language, amalgamated with the overwhelming power of the Party, the totalitarian regime purges every aspect of representation from society.

            James A. Tyner’s literary criticism, “Self and space, resistance and discipline: a Foucauldian reading of George Orwell’s 1984,” illustrates how through the act of writing, resistance may arise in controlled spaces. Tyner particularly explores the theoretical implications of space, resistance and discipline, explaining that by the act of writing, people can fabricate pockets of resistance in a totalitarian society. Tyner asserts that George Orwell successfully fabricated his own “imaginary world into a reality” (Tyner 144). He investigates the “broader concepts of self and space, resistance and discipline” because he believes that Orwell was more concerned with the loss of individuality than the political element of the novel (Tyner 145). Through the Party’s manipulation of individual thoughts, it is able to retain control over even the most defiant people. Although a varied perspective is presented in this certain literary criticism, Tyner continuously ties space, resistance and discipline back into Oceania’s political structure. Oceania is a totalitarian government; Tyner uncovers the mystery behind space and how it can contribute to rebellion or further disciplinary actions.

            Gordon B. Beadle’s literary criticism, “George Orwell’s Literary Studies of Poverty in England,” elucidates the effect of poverty in 1984 and Animal Farm. Beadle especially focuses on George Orwell’s “social and psychological origins” to portray the role that poverty has in his novels. He discusses Orwell’s hope for enlisting “broad public support for social change by appealing through literature to the moral conscience of the nation” (Beadle 199). Because the subject of poverty became such a major influence on George Orwell, he crafted his own opinion on it in both novels. Through the employment of a struggling lower class in his works of literature, Orwell unveils the underlying resistance that exists in the Proletariat, as well as the conflict between social classes. Once the social classes are established, Beadle argues, the government is able to assert its dominance over every component of society. Thus, totalitarian command can be reinstituted as the normal structure of government for society.

Matthew Schneider’s literary criticism, “A Paean to Power: Resistance to GA and Orwell’s Nineteen Eighty-Four,” studies the “accretion of power through linguistic diminishment” in 1984 (Schneider 4). Schneider predominantly focuses on Newspeak, and the infinite amount of power that the Party holds over its citizens because of it. The simplicity of the language, he explains, permits the Party to control even the thoughts and actions of the people in Oceania. Newspeak is known for its simplicity and lack of thought, while Winston Smith is known for his complexity and creativity. Through the differences in language, Orwell conveys the entirety of the power that the Party and Big Brother has over its citizens. Repression of individuals furthers the success of the state through a mutual feeling of trust and blind loyalty.

Douglass Kellner’s literary criticism, “From 1984 to One-Dimensional Man:
Critical Reflections on Orwell and Marcuse,” explores the complex relationship between Orwell’s and Marcuse’s commentary on totalitarian systems of government in their respective works of literature. The Party’s perpetually manipulates its citizens with propaganda to establish loyalty, technology for surveillance, torture for submission and power for control of the lives of citizens. Kellner explores the degradation of thought, language and politics in Winston Smith as he no longer retains his hatred towards the Party. He argues that Orwell was attempting to get people on the same level as himself; people would resist the totalitarian governments in favor of a democratic social system instead. Through the utilization of Newspeak, Kellner states, Orwell portrays the increasing amount of influence that government will have on our lives.

Language Analysis Charts

George Orwell Nineteen Eighty-Four	1. Linguistic	2. Semantic	3. Structural	4. Cultural
Specific textual examples of what you’ve observed when reading at this level—cited in MLA format. (You may use numbers or bullets here to take notes)	·         “It was as when Winston had gazed into the heart of the paperweight, with the feeling that it would be possible to get inside that glassy world, and that once inside it time could be arrested” (174). ·         “Or Katharine would die, and by subtle manoeuvrings Winston and Julia would succeed in getting married. Or they would commit suicide together. Or they would disappear, alter themselves out in a factory and live out their lives undetected in a back-street” (174-175). ·         “But she refused to believe that widespread, organized opposition existed or could exist” (175).	·         “But there were also times when they had the illusion not only of safety but of permanence. So long as they were actually in this room, they both felt, no harm could come to them. Getting there was difficult and dangerous, but the room itself was sanctuary” (174). ·         “Their luck would hold indefinitely, and they would carry on their intrigue, just like this, for the remainder of their natural lives” (175). ·         “It was all nonsense, as they both knew. In reality there was no escape. Even the one plan that was practicable, suicide, they had no intention of carrying out” (175).	·         “There were times when the fact of impending death seemed as palpable as the bed they lay on, and they would cling together with a sort of despairing sensuality, like a damned soul grasping at his last morsel of pleasure when the clock is within five minutes of striking” (174). ·         “To hang on from day to day and from week to week, spinning out a present that had no future, seemed an unconquerable instinct, just as one’s lungs will always draw the next breath so long as there is air available” (175).	·         “Sometimes, too, they talked of engaging in active rebellion against the Party, but with no notion of how to take the first step. Even if the fabulous Brotherhood was a reality, there still remained the difficulty of finding one’s way into it” (175). ·         “Both of them knew – in a way, it was never out of their minds – that what was now happening could not last long” (174). ·         “Moreover she took it for granted that everyone, or nearly everyone secretly hated the party and would break the rules if he thought it safe to do so” (175).
Demonstrate the complexity of thought at each level by writing a descriptive response to what you’ve written in the row above (Analyze your thought patterns when observing the examples you’ve listed above).	·         George Orwell utilizes formal diction, as well as a varied syntactical structure, in order to convey the complexity of Winston’s thoughts, as opposed to the limited vocabulary of the Party and Big Brother. He portrays the futility of resistance against a higher power.	·         George Orwell employs a tone of disillusionment and incredulity as Winston struggles to cope with a society keen on controlling every aspect of humanity.  His words are organized in the most efficient and effective way to draw out emotion in the reader.	·         George Orwell chronologically organizes Winston’s thought to depict his inner-intellectual being. The relationships between words are symbiotic; they work together to enhance the meaning of 1984. The overall text is extremely precise, formal and proper.	·         George Orwell desired to warn the Western world of Communism, and how it should be displayed to the general public. It illustrates the effects of a totalitarianism regime that has drastically taken hold of society. He illustrates that, though rebellion may exist, authority retains control.
George Orwell Animal Farm	1. Linguistic	2. Semantic	3. Structural	4. Cultural
Specific textual examples of what you’ve observes when reading at this level—cited in MLA format. (You may use numbers or bullets here to take notes)	·         “Years passed. The seasons came and went, the short animal lives fled by. A time came when there was no one who remembered the old days before the Rebellion, except Clover, Benjamin, Moses the raven, and a number of the pigs” (92). ·         “The windmill, however, had not after all been used for generating electrical power. It was used for milling corn, and brought in a handsome money profit” (93).	·         “The farm possessed three horses now besides Clover. They were fine upstanding beasts, willing workers and good comrades, but very stupid. None of them proved able to learn the alphabet beyond the letter B” (93). ·         “Clover was an old stout mare now, stiff in the joints and with a tendency to rheumy eyes” (92). ·         “They accepted everything that they were told about the Rebellion [. . .]” (93).	·         “The farm was more prosperous now, and better organized; it had even been enlarged by two fields which had been bought from Mr. Pilkington. The windmill had been successfully completed at last, and the farm possessed a threshing machine and a hay elevator of its own, and various new buildings had been added to it” (93). ·         “The windmill . . . had not after all been used for generating electrical power” (93).	·         “Only old Benjamin was much the same as ever, except for being a little greyer about the muzzle, and, since Boxer’s death, more morose and taciturn than ever” (92). ·         “Muriel was dead, Bluebell, Jessie and Pincher were dead.  Jones too was dead – he had died in an inebriates’ home in another part of the county. Snowball was forgotten. Boxer was forgotten, except by the few who had known him” (92).
Demonstrate the complexity of thought at each level by writing a descriptive response to what you’ve written in the row above (Analyze your thought patterns when observing the examples you’ve listed above).	·         George Orwell alters his syntactical structure and primarily employs colloquial diction in order to demonstrate the history of a rebellion that doesn’t go as planned. It specifically displays his unique abilities and talents as a novelist to effectively play on words and various historical figureheads to get his message across to the intended audience. Sarcasm and irony are prevalent.	·         George Orwell uses a tone of discontent and overall dissatisfaction, primarily to increase amount of intensity felt by the animals, as well as the humans, in Animal Farm. Words are intentionally placed in specific locations to show the progression of the rebellion, and the toll that it has taken on modern society, paralleling with Russia’s turmoil and inner-conflict at this particular instant in time.	·         George Orwell shapes his novel by placing events in chronological order, but with the most emphasis on important events. These events aid in depicting the animals conflict with establishing a new life for themselves, as well as a better life for themselves. His words stress the most key incidents in Animal Farm. The sarcasm put forth in the novel essentially gives away Orwell’s discontent with communism.	·         George Orwell masterfully crafts his novel through a cunning array of historical information, while presenting it in a colorful way. The historical element of this literary piece is overwhelmingly present throughout the entirety of the novel. It is deemed by many as the most important work of fictional and political satire in 20th-century Britain. Many parallels are drawn with Russian culture at the time.

 

Animal Farm (Passage & Analysis)

“Years passed. The seasons came and went, the short animal lives fled by. A time came when there was no one who remembered the old days before the Rebellion, except Clover, Benjamin, Moses the raven, and a number of the pigs. Muriel was dead, Bluebell, Jessie and Pincher were dead.  Jones too was dead – he had died in an inebriates’ home in another part of the county. Snowball was forgotten. Boxer was forgotten, except by the few who had known him. Clover was an old stout mare now, stiff in the joints and with a tendency to rheumy eyes. She was two years past the retiring age, but in fact no animal had every actually retired. The talk of setting aside a corner of the pasture for superannuated animals had long since been dropped. Napoleon was now a mature boar of twenty-four stone. Squealer was so fat that he could with difficulty see out of his eyes. Only old Benjamin was much the same as ever, except for being a little greyer about the muzzle, and, since Boxer’s death, more morose and taciturn than ever. There were many more creatures on the farm now, though the increase was not so great as had been expected in earlier years. Many animals had been born to whom the Rebellion was only a dim tradition, passed on by word of mouth, and others had been bought who had never heard mention of such a thing before their arrival. The farm possessed three horses now besides Clover. They were fine upstanding beasts, willing workers and good comrades, but very stupid. None of them proved able to learn the alphabet beyond the letter B. They accepted everything that they were told about the Rebellion and the principles of Animalism, especially from Clover, for whom they had an almost filial respect; but it was doubtful whether they understood very much of it. The farm was more prosperous now, and better organized; it had even been enlarged by two fields which had been bought from Mr. Pilkington. The windmill had been successfully completed at last, and the farm possessed a threshing machine and a hay elevator of its own, and various new buildings had been added to it. Whymper had bought himself a dogcart. The windmill, however, had not after all been used for generating electrical power. It was used for milling corn, and brought in a handsome money profit” (Orwell 92-93).
 

George Orwell alters his syntactical structure and primarily employs colloquial diction in order to demonstrate the history of a rebellion that doesn’t go as planned. It specifically displays his unique abilities and talents as a novelist to effectively play on words and various historical figureheads to get his message across to the intended audience. Sarcasm and irony are prevalent. The author uses a tone of discontent and overall dissatisfaction, primarily to increase amount of intensity felt by the animals, as well as the humans, in Animal Farm. Words are intentionally placed in specific locations to show the progression of the rebellion, and the toll that it has taken on modern society, paralleling with Russia’s turmoil and inner-conflict at this particular instant in time. The novelist shapes his novel by placing events in chronological order, but with the most emphasis on important events. These events aid in depicting the animals conflict with establishing a new life for themselves, as well as a better life for themselves. His words stress the most key incidents in Animal Farm. The sarcasm put forth in the novel essentially gives away Orwell’s discontent with communism. George Orwell masterfully crafts his novel through a cunning array of historical information, while presenting it in a colorful way. The historical element of this literary piece is overwhelmingly present throughout the entirety of the novel. It is deemed by many as the most important work of fictional and political satire in 20th-century Britain. Many parallels are drawn with Russian culture at the time, such as the struggle for power between Lenin and Stalin (Napoleon and Snowball) and the Bolshevik Revolution (The Animal Farm Revolution). It is vital to note the overall clarity of Orwell in expressing the outcome of the war; he does not attempt to sidestep the truth, but he rather embraces it with an intellectual approach. As this society as crumbled in upon itself, it has partially rebuilt due to the new era of government being put in place. Capitalization of key concepts reinforces the main ideas instilled by figureheads of the Revolution.

 

 

1984 (Passage & Analysis)

“Both of them knew – in a way, it was never out of their minds – that what was now happening could not last long. There were times when the fact of impending death seemed as palpable as the bed they lay on, and they would cling together with a sort of despairing sensuality, like a damned soul grasping at his last morsel of pleasure when the clock is within five minutes of striking. But there were also times when they had the illusion not only of safety but of permanence. So long as they were actually in this room, they both felt, no harm could come to them. Getting there was difficult and dangerous, but the room itself was sanctuary. It was as when Winston had gazed into the heart of the paperweight, with the feeling that it would be possible to get inside that glassy world, and that once inside it time could be arrested. Often they gave themselves up to day-dreams of escape. Their luck would hold indefinitely, and they would carry on their intrigue, just like this, for the remainder of their natural lives. Or Katharine would die, and by subtle manoeuvrings Winston and Julia would succeed in getting married. Or they would commit suicide together. Or they would disappear, alter themselves out in a factory and live out their lives undetected in a back-street. It was all nonsense, as they both knew. In reality there was no escape. Even the one plan that was practicable, suicide, they had no intention of carrying out. To hang on from day to day and from week to week, spinning out a present that had no future, seemed an unconquerable instinct, just as one’s lungs will always draw the next breath so long as there is air available. Sometimes, too, they talked of engaging in active rebellion against the Party, but with no notion of how to take the first step. Even if the fabulous Brotherhood was a reality, there still remained the difficulty of finding one’s way into it [. . .] Moreover she took it for granted that everyone, or nearly everyone secretly hated the party and would break the rules if he thought it safe to do so [. . .] But she refused to believe that widespread, organized opposition existed or could exist” (Orwell 174-175).

George Orwell utilizes formal diction, as well as a varied syntactical structure, in order to convey the complexity of Winston’s thoughts, as opposed to the limited vocabulary of the Party and Big Brother. He portrays the futility of resistance against a higher power. This particular author employs a tone of disillusionment and incredulity as Winston struggles to cope with a society keen on controlling every aspect of humanity.  His words are organized in the most efficient and effective way to draw out emotion in the reader. The novelist chronologically organizes Winston’s thought to depict his inner-intellectual being. The relationships between words are symbiotic; they work together to enhance the meaning of 1984. The overall text is extremely precise, formal and proper. George Orwell desired to warn the Western world of Communism, and how it should be displayed to the general public. It illustrates the effects of a totalitarianism regime that has drastically taken hold of society. He illustrates that, though rebellion may exist, authority retains control. By choosing to eliminate any excess or filler words, he is able to show his properness and efficiency as a writer to constantly put forth only the best words into his writing. The short fragments exhibits Winston’s thoughts and feelings, but also takes into account the mortality and impermanence of life for himself, as well as Julia. Every breath he takes is an assault to the honor of the Brotherhood and the Party because of the heinous crimes he has planned to commit with Julia. Orwell’s ability to bring every thought back to Winston’s own mortality conveys the futility of resistance in the eyes of a totalitarian government. Orwell draws out every word to lengthen the survival of Winston and Julia, though they know the end is soon to come. The characters are lost in a seemingly endless battle to destroy every last fragment of society. Taking everything at face value, Winston and Julia realize the complete uselessness of their actions. They are among the dead; Orwell shows this through the paperweight. The paperweight stands the test of time and remains forever still, while Julia and Winston are put through a living nightmare each and every day of their miserable lives.

Research Paper (Final)

Resistance, Rats, Relapse, Readjustment: Stages of Submission

Since his humble beginnings in Bengal, India in 1903, Eric Arthur Blair was an extremely outspoken man. As an isolated and undervalued child, Blair decided to seek refuge in literature. Not wishing to humiliate his family with his style of writing, he adopted the pseudonym George Orwell. Orwell’s literature consists of clarity, intelligence, and sarcasm, which coincide with the major underlying themes of social injustice, totalitarianism and democratic socialism. He continuously addressed the controversial political movements of his time in order to illustrate the shortcomings of totalitarianism, as well as the benefits of democratic socialism in his writing. The overwhelming power of the state against the Proletariat is a subject referred to in his two most successful novels, 1984 and Animal Farm.

            George Orwell’s sensational and satirical novels, 1984 and Animal Farm, explore the effects that a potent totalitarian regime has on the feeble working class. Though pockets of opposition exist in a totalitarian system of government, ultimately, no one endures the immense challenge of overthrowing the establishment, especially with the supreme authority of the government. Throughout history, totalitarian governments have sought after the subordination of all aspects of their citizens’ lives. Once the principles of the absolute, oppressive establishment are initiated, rebellion becomes futile. After all, “WAR IS PEACE. FREEDOM IS SLAVERY. IGNORANCE IS STRENGTH” (Orwell 6). Orwell recognizes the looming dangers of totalitarianism and desires to warn the Western World of its relentless and sadistic nature. Government officials in these two novels utilize psychological manipulation, torture, technological surveillance and the control of language to coerce citizens into utter submission. Orwell demonstrates that the efforts of the lower societal class to modify the principles and ethics of a totalitarian authority are in vain. Through the employment of satire, irony and allegory in 1984 and Animal Farm, Orwell represses language, illustrating the continuously crushed will of the individual, in spite of attempts of rebellion.

In 1984, George Orwell’s direct approach and simplicity in his writing style contributes to his overall success as a writer. Many of the fundamental themes and concepts of this novel are utilized by the government to suppress infidelity against it. Several examples include: doublethink, which refers to the acceptance or promulgation of contradictory facts or values; Big Brother, which can be described as an exceedingly-controlling leader; and Newspeak, which exists as a deliberately impoverished language employed into mainstream society via the state. By utilizing a basic form of the English language, as well as by applying seemingly contradictory ideas to common culture, the Party, the ruling class of Oceania, asserts its dominance over its inhabitants. The loss of an individual voice and communication between different social classes foreshadows the very end of individuality for the working class in 1984; the totalitarian regime retains power and all hope is lost for making any significant modifications to the government

Since the dawn of time, humanity has persisted in confronting “a range of dimensions concerning the nature of public truth and lying” (Ingle 743). When reality and fantasy intermingle, however, people cannot uncover the truth because it is wholeheartedly manipulated to fit the standards of the aristocracy. The theme of truth is especially relevant in the novel 1984. As a satirical novel, 1984 allows Orwell to present his political beliefs to the general public, without being chastised for his principles. Winston Smith, the protagonist and main character of 1984, commences his journey with a strong sense of reality, a resilient rebellious nature and an appreciation of formality in the English language. Although the Party imposes lies upon its society, Winston admits that “if all others [accept] the lie which the Party [imposes] – if all records [tell] the same tale – then the lie [passes] into history and [becomes] truth” (Orwell 31). This statement by Winston refers to the malleability of facts and current beliefs, which is paradoxical in nature. How could the Party make two plus two equal five, a clearly deceitful dogma, when modern mathematics had taught us that it equaled four? Torture. The Party persistently inflicts pain onto its unruly citizens to bring them to a breaking point. Because of this, the Party keeps its power over individual spirits by implementing policies and ideologies that exposes insurgents and preserves order in Oceania. Winston’s job at the Ministry of Truth, the government agency which creates propaganda, predominantly functions as a place to rewrite history to match the Party’s perspective. Minitru (the Ministry of Truth), Miniluv (the Ministry of Love), Miniplenty (the Ministry of Plenty) and Minipax (the Ministry of Peace) are misnomers, and actually represent the opposite of their alleged names; these are several examples of verbal irony. As Winston rigorously works to revise the past, he loses sight of reality because of the government’s power. Threats from the government foster unity through fear as memories become lost to the distant past, truth becomes irrelevant and the aristocracy fabricates the foundation of mainstream societal beliefs. Oceania, the super-state acting as the primary setting of 1984, purges all thoughts of resistance from its societal structure through seemingly endless cycles of torture. The reason behind a totalitarian government’s success is its “brutal—as opposed to elegant—simplicity” because although language represents “power at a distance, totalitarian language [exists] as brute force” (Schneider 7-8). The sheer simplicity of all elements of society renders discussion of rebellion as a useless measure. Language is a powerful tool; once it is controlled, nothing is able to stop the influence of totalitarianism ideals. Even if rising poverty levels lead to crime, “the effect of which has been to arouse the antagonism of the general public against the poor,” the power of a totalitarian government cannot be undermined because of its vindictive disposition (Beadle 199). Individual opinions become meaningless as alternative thinking is eradicated from society via Newspeak, the impoverished language promoted by Oceanian society.

As the language of Oceania, Newspeak is primarily employed by the Party to express a clear-cut meaning for every word. This method of developing a common language does not allow for ambiguity to exist, rather, individual thoughts are diminished through this process. As Newspeak progresses into its final form, the spirit of humanity is suppressed on account of repetitive limitations placed on it by the government. The slogan of the Party, “WAR IS PEACE. FREEDOM IS SLAVERY. IGNORANCE IS TRUTH” exists as an oxymoron; it seems to contradict itself, but in fact has elements of truth in it (Orwell 6). As long as Oceania is at war, it drives its citizens into states of patriotism and nationalism, thus directing frustration from the masses toward another, supposedly inferior, super-state. The Inner Party maintains its own freedom if they enslave the commoners. If everyone continues to be ignorant to the truth, the strength of the Party does not fluctuate and the Party endures as the unequivocal leaders of Oceania. Winston’s sense of individuality is crushed under the tyrannical totalitarian regime; he is coerced into submission by the government.  Upon the conclusion of his rehabilitation, Winston is completely reintegrated into mainstream society as an avid supporter of the Party due to its oppressive nature. He even denounces his own feelings for Julia, his one and only true love, as he declares his “love [for] Big Brother” (Orwell 342). Winston’s spirit is overwhelmed and defeated by the vast amount of power and influence retained by the Party because of its ability to control individual thought with constant surveillance, relentless rounds of torture and the usage of propaganda. As Winston watches the telescreen at the Chesnut Tree, a depressing café in Oceania, he traces “with his finger in the dust on the table: 2+2=5” (Orwell 336). Although Winston understood that thought criminals spent a great amount of time here, it is ironic to note his negligence in acknowledging his own defeat at the hands of the Party. Winston’s love for Julia has been transferred to Big Brother, which is ironic due to Winston’s inability to hold true to his convictions.

As he conforms to the standards of Oceania’s society, Winston loses his ability to effectively utilize language in order to defy the oppressive establishment. Although he pledges to “commit acts of sabotage which may cause the death of hundreds of innocent people” at a particular instance in the novel, Winston fails to hold onto his own convictions (Orwell 199). At this point, he is unable to differentiate between truth or lies, reality or imagination, morality or immorality. Winston has become another mere pawn of the government, illustrating that the state has supremacy over the actions of each individual person. Through its own contradictions, the Party is able to reestablish itself at the helm of Oceania’s totalitarian government. Even though “individual relationships and a completely helpless gesture [. . .] could have value in itself,” even miniscule areas of resistance and charity could not undermine the oppressive nature of the authority figure (Orwell 146). Winston’s meaningful love affair with Julia merely serves as a catalyst to his downfall and loss of individuality. Their actions are in vain; the lovers predict their inevitable demise. Because Big Brother and the Party could alter information to fit fluctuating standards, the past did not just change, “but changed continuously” (Orwell 70). The Party comprehends the importance of the private domain because Oceania would cease to exist; personal trust frequently overshadows trust given to the state. As a result of this, the Party programs its citizens, from an early age, that the act of sex is disgraceful and should only be performed as a duty to Big Brother. The Party recognizes the power of language; if it controls all aspects of modern language, theoretically speaking, there would never be a possibility of an uprising. As explained by Stephen Ingle in his literary criticism entitled Lies, Damned Lies and Literature: George Orwell and ‘The Truth’, “the destruction of Oceanian civil society brought about by the erosion of its cultural base, especially its language provides a picture of the threat posed by all modern governments [. . .]” which conveys the immense presence that government has in everyday life. In a totalitarian system, all aspects of common culture must be regulated by the government to promote loyalty, and to establish a feeling of dependency towards the state. The censuring of information in Oceania, combined with consistent surveillance and the threat of torture, ultimately erases Winston’s rebellious nature. The Party reasserts its dominance with contradictory statements that are forced upon the revolutionaries in Oceanian society. The concept of regulation and loyalty is extremely prevalent in Animal Farm, which explicitly points out the flaws of Russian government from the Russian Revolution into the Stalin era.

Orwell was able to explore his imagination in his allegorical novella Animal Farm, which addresses the corruption of Russian leaders, as well as the effects of apathy, ignorance and voracity. Through his usage of an allegory in Animal Farm, Orwell displays his distaste of totalitarian systems of government. Because “Orwell is always deeply concerned with the motives that actuate human behavior, particularly in the area of social and political action,” he tends to explore the effects that government had on its citizens, while simultaneously expressing his own preference for democratic socialism (Beadle 197). The novella begins with the animals starting a revolution against their wretched owner in search of a better life; according to the entire population of the farm animals, “Man serves the interests of no creature except himself” (Orwell 5). By adopting Seven Commandments, which were created in order to make every animal equal, the farm prospers and ascends into an era of tranquility. As conflict escalates, due to the increasingly heated arguments taking place over how to run the farm, the leaders of the farm alter the Seven Commandments to demonstrate their changing attitudes toward humankind. Although Mr. Jones was overthrown in order to create equality between the animals, the pigs seize the opportunity to establish themselves as the ruling class of Manor Farm. In doing so, the tenets of the original, “perfect” Manor Farm are completely obliterated as the now unquestioned leaders of Manor Farm begin to convey human qualities. As these commandments are altered, Orwell portrays that any political doctrine can be adjusted to become an effective piece of propaganda. The pigs, symbolic of the nobility and aristocracy on the farm, progressively exhibit human characteristics as they lose sight of reality by not holding true to their original intention—making all animals equal. By the completion of the novel, the other animals, representative of the working class, realize that their “miserable, laborious, and short” lives exist primarily to serve the desires of their tyrannical figureheads (Orwell 3). The farm’s reign over its “citizens” is not merely short-lived, because its effects subsist even after its collapse. As the pigs neglect their own identities as animals, they continue to pursue knowledge to quench their thirst for dominance; in doing so, they enlarge the gap between social classes. This gap is also representative of the differences in intellect of the various animals on Manor Farm. Once the pigs began to cooperate with the humans, the other creatures on the farm “[look] from pig to man, and from man to pig, and from pig to man again; but already it [is] impossible to say which [is] which” (Orwell 118). The inability to tell pigs apart from humans illustrates the lack of moral decency that is present at the end of the novel. As opinions dissipate, attributable to the tyrannical nature of Manor Farm, language is monitored by the pigs to clear themselves of accusations of wrongdoings. Through the technique of repressing individual thoughts, combined with the presence of persuasive propaganda and an overpowering governmental influence, a totalitarian regime brings its opposition into a state of obedience. Although government may be an institution based on trust, the subversion of language by a totalitarian establishment obliterates any element of trust between the general public and the administration.

George Orwell’s satirical novels, 1984 and Animal Farm, use their imaginative nature to analyze various political systems. Through the control of the English language, totalitarian institutions can recreate the truth in their own image, while also triumphing over individual spirit. As common culture is relinquished by the citizens of the state, a totalitarian government takes control of all aspects of mainstream society to recreate it in its own image. Orwell’s warning of communism to the Western World is successful because of his ability to craft a dystopian and an allegorical novel (1984 and Animal Farm, respectively), both of which display the ruthlessness of totalitarianism. Through use of a pessimistic tone, blended with the devastation of the main characters and the general public in both novels, Orwell successfully identifies how totalitarianism could affect society if it is left unimpeded by attempts to go against it. As individuality and innocence are lost, Orwell depicts the futile struggle of the masses to rise above a higher power to achieve its goals.

Orwell, being a staunch advocate of democratic socialism, understood that “BIG BROTHER IS WATCHING YOU” (Orwell 3). As principles and morals of typical citizens are thrown to the wayside, a new system of beliefs arises to take their place. Without room for interpretation, the very essence of words—meanings—disappear from civilization forever, thus promoting the same totalitarian society that no one wants in the first place. “The object of persecution is persecution. The object of torture is torture. The object of power is power” (Orwell 258). Language is power. Without it, resistance is futile.

AP Multiple Choice Questions

QUESTIONS ONLY

1. You can make an inference that Winston Smith’s application of formal language, contrasting with the limited vocabulary of Newspeak, depicts

a) Winston's intellectual nature, which enables him to rebel against the party

b) The Party's limited influence on mainstream society

c) Orwell's stellar abilities as a writer to contrast two drastically different languages

d) A and C

e) None of the above

2. By investigating the impact of a repressive totalitarian system on society, George Orwell is able to convey which of the following?

a) The Dangers of totalitarianism

b) Submission of individuals, due to psychological manipulation

c) Physical control of subjects through constant surveillance

d) Technology, which also increases censorship

e) All of the above

3. “It was all nonsense, as they both knew. In reality, there was no escape. Even the one plan that was practicable, suicide, they had no intention of carrying out” (Orwell 175). Which of the following tones best communicates the message of the above quote from 1984?

a) Pessimistic

b) Incredulity

c) Bitter

d) Caustic

e) Melancholy

 

4. “There were times when the fact of impending death seemed as palpable as the bed they lay on, and they would cling together with a sort of despairing sensuality, like a damned soul grasping at his last morsel of pleasure when the clock is within five minutes of striking” (Orwell 174). Which of the following literary devices is demonstrated by the above quotation?

a) Zeugma

b) Anaphora

c) Simile

d)  Metaphor

e) Polyptoton

5. By acknowledging the futility of his own actions, Winston progressively realizes that the Party will retain control of society infinitely. Winston has finally reached a point of self-actualization, where he comprehends his own ____________________.

a) Mortality

b) Existence

c) Ability to alter the future

d) Beliefs of the Party and Big Brother

e) Relationship with Julia

6. Asserting that “We are the hollow men” and that “we are the stuffed men,” T.S. Eliot attempts to portray which of the following (Eliot 1-2)?

i) The overall meaningless of life, as well as the bleak nature of Earth

ii) The lack of morality of individuals who are left behind on Earth

iii) The Hell that exists on Earth

a) i only

b) ii only

c) iii only

d) i and ii only

e) i, ii and iii

7. Referencing “a fading star,” T.S. Eliot attempts to illustrate a(n) _____________________ tone (Eliot 29).

a) Apathetic

b) Pessimistic

c) Gloomy

d) Obsequious

e) Reflective

8. T.S. Eliot’s “The Hollow Men,” begins with the lines “Mistah Kurtz—he dead. A penny for the old guy” (Eliot 1-2). Which of the following literary or rhetorical device is illustrated by the quotation above?

a) Allusion

b) Litotes

c) Synecdoche

d) Anadiplosis

e) Metonymy

9. Which of the following words best exhibits the overall theme of T.S. Eliot’s “The Hollow Men?”

a) Futility

b) Alienation

c) Loss

d) Escape

e) Fortune

10. Which of the following phrases does T.S. Eliot use to BEST illustrate the notion of a worthless existence for individuals on Earth?

a) “Under the twinkle of a fading star” (Eliot 44)

b) “Eyes I dare not meet in dreams/In death’s dream kingdom” (Eliot 18-19)

c) “Shape without form, shade without colour/Paralysed force, gesture without motion” (Eliot 10-11)

d) “Sunlight on a broken column” (Eliot 22)

e) “At the hour when we are/Trembling with tenderness/Lips that that would kiss” (Eliot 48-50)