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George Orwell’s Five Greatest Essays (as Selected by Pulitzer-Prize Winning Columnist Michael Hiltzik)

in English Language , Literature , Politics | November 12th, 2013 8 Comments

Every time I’ve taught George Orwell’s famous 1946 essay on misleading, smudgy writing, “ Politics and the English Language ,” to a group of undergraduates, we’ve delighted in pointing out the number of times Orwell violates his own rules—indulges some form of vague, “pretentious” diction, slips into unnecessary passive voice, etc. It’s a petty exercise, and Orwell himself provides an escape clause for his list of rules for writing clear English: “Break any of these rules sooner than say anything outright barbarous.” But it has made us all feel slightly better for having our writing crutches pushed out from under us.

Orwell’s essay, writes the L.A. Times ’ Pulitzer-Prize winning columnist Michael Hiltzik , “stands as the finest deconstruction of slovenly writing since Mark Twain’s “ Fenimore Cooper’s Literary Offenses .” Where Twain’s essay takes on a pretentious academic establishment that unthinkingly elevates bad writing, “Orwell makes the connection between degraded language and political deceit (at both ends of the political spectrum).” With this concise description, Hiltzik begins his list of Orwell’s five greatest essays, each one a bulwark against some form of empty political language, and the often brutal effects of its “pure wind.”

One specific example of the latter comes next on Hiltzak’s list (actually a series he has published over the month) in Orwell’s 1949 essay on Gandhi. The piece clearly names the abuses of the imperial British occupiers of India, even as it struggles against the canonization of Gandhi the man, concluding equivocally that “his character was extraordinarily a mixed one, but there was almost nothing in it that you can put your finger on and call bad.” Orwell is less ambivalent in Hiltzak’s third choice , the spiky 1946 defense of English comic writer P.G. Wodehouse , whose behavior after his capture during the Second World War understandably baffled and incensed the British public. The last two essays on the list, “ You and the Atomic Bomb ” from 1945 and the early “ A Hanging ,” published in 1931, round out Orwell’s pre- and post-war writing as a polemicist and clear-sighted political writer of conviction. Find all five essays free online at the links below. And find some of Orwell’s greatest works in our collection of Free eBooks .

1. “ Politics and the English Language ”

2. “ Reflections on Gandhi ”

3. “ In Defense of P.G. Wodehouse ”

4. “ You and the Atomic Bomb ”

5. “ A Hanging ”

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George Orwell’s 5 greatest essays: No. 5, “A Hanging”

George Orwell's essential humanity shone through his writing from the first.

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For anyone interested in the politics of left and right -- and in political journalism as it is practiced at the highest level, George Orwell’s works are indispensable. This week, in the year marking the 110th anniversary of his birth, we present a personal list of his five greatest essays.

“A Hanging” is one of Orwell’s earliest essays, but already a demonstration of his superb and subtle craftsmanship. The piece, published in 1931 in John Middleton Murry’s literary magazine the Adelphi under Orwell’s real name, Eric Blair, was drawn from his experiences as a member of the Imperial Police from 1922 to 1927; whether it reports an actual event is uncertain, for Orwell himself sometimes called it “just a story.”

At the outset of his writing career, Orwell’s work displays his essential humanity and his skill at the presentation of textured detail -- the impatience of the jailer to get the hanging done, the intrusion of a mongrel dog trying to lick the prisoner, the ludicrous image of the “puny” prisoner guarded by six towering armed warders. Neither the condemned man’s name nor his crime is specified.

The most famous moment in the essay is the prisoner’s sudden sidestep to avoid a puddle in the path. “It is curious,” Orwell wrote, “but till that moment I had never realized what it means to destroy a healthy, conscious man. When I saw the prisoner step aside to avoid the puddle, I saw the mystery, the unspeakable wrongness, of cutting a life short when it is in full tide. This man was not dying, he was alive just as we were alive. All the organs of his body were working ... and in two minutes, with a sudden snap, one of us would be gone -- one mind less, one world less.”

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Pulitzer Prize-winning journalist Michael Hiltzik has written for the Los Angeles Times for more than 40 years. His business column appears in print every Sunday and Wednesday, and occasionally on other days. Hiltzik and colleague Chuck Philips shared the 1999 Pulitzer Prize for articles exposing corruption in the entertainment industry. His seventh book, “Iron Empires: Robber Barons, Railroads, and the Making of Modern America,” was published in 2020. His forthcoming book, “The Golden State,” is a history of California. Follow him on Twitter at twitter.com/hiltzikm and on Facebook at facebook.com/hiltzik.

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Against imperialism

From the road to wigan pier to world war ii.

Animal Farm and Nineteen Eighty-four

Where was George Orwell educated?

Why was george orwell famous.

What does socialism mean?
Did socialism come from Marxism?
How does socialism differ from capitalism?

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George Orwell

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Table Of Contents

What did George Orwell write?

George Orwell wrote the political fable Animal Farm (1944), the anti-utopian novel Nineteen Eighty-four (1949), the unorthodox political treatise The Road to Wigan Pier (1937), and the autobiographical Down and Out in Paris and London (1933), which contains essays that recount actual events in a fictionalized form.

George Orwell won scholarships to two of England’s leading schools, Wellington and Eton colleges. He briefly attended the former before transferring to the latter, where Aldous Huxley was one of his teachers. Instead of going on to a university, Orwell entered the British Imperial service and worked as a colonial police officer.

What was George Orwell’s family like?

George Orwell was brought up in an atmosphere of impoverished snobbery, first in India and then in England. His father was a minor British official in the Indian civil service and his mother was the daughter of an unsuccessful teak merchant. Their attitudes were those of the “landless gentry.”

George Orwell wrote two hugely influential novels: Animal Farm (1944), a satire that allegorically depicted Joseph Stalin ’s betrayal of the Russian Revolution of 1917, and Nineteen Eighty-four (1949), a chilling warning against totalitarianism. The latter deeply impressed readers with ideas that entered mainstream culture in a way achieved by few books.

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George Orwell (born June 25, 1903, Motihari , Bengal, India—died January 21, 1950, London, England) was an English novelist, essayist, and critic famous for his novels Animal Farm (1945) and Nineteen Eighty-four (1949). The latter of these is a profound anti- utopian novel that examines the dangers of totalitarian rule.

Born Eric Arthur Blair, Orwell never entirely abandoned his original name, but his first book, Down and Out in Paris and London , appeared in 1933 as the work of George Orwell (the surname he derived from the beautiful River Orwell in East Anglia ). In time his nom de plume became so closely attached to him that few people but relatives knew his real name was Blair. The change in name corresponded to a profound shift in Orwell’s lifestyle, in which he changed from a pillar of the British imperial establishment into a literary and political rebel.

A brief look at the life of George Orwell

He was born in Bengal , India , into the class of sahibs. His father was a minor British official in the Indian civil service; his mother, of French extraction, was the daughter of an unsuccessful teak merchant in Burma ( Myanmar ). Their attitudes were those of the “landless gentry,” as Orwell later called lower-middle-class people whose pretensions to social status had little relation to their income. Orwell was thus brought up in an atmosphere of impoverished snobbery. After returning with his parents to England , he was sent in 1911 to a preparatory boarding school on the Sussex coast, where he was distinguished among the other boys by his poverty and his intellectual brilliance. He grew up a morose, withdrawn, eccentric boy, and he was later to tell of the miseries of those years in his posthumously published autobiographical essay , Such, Such Were the Joys (1953).

Orwell won scholarships to two of England’s leading schools, Wellington and Eton , and briefly attended the former before continuing his studies at the latter, where he stayed from 1917 to 1921. Aldous Huxley was one of his masters, and it was at Eton that Orwell published his first writing in college periodicals. Instead of matriculating at a university , Orwell decided to follow family tradition and, in 1922, went to Burma as assistant district superintendent in the Indian Imperial Police. He served in a number of country stations and at first appeared to be a model imperial servant. Yet from boyhood he had wanted to become a writer, and when he realized how much against their will the Burmese were ruled by the British, he felt increasingly ashamed of his role as a colonial police officer. Later he was to recount his experiences and his reactions to imperial rule in his novel Burmese Days and in two brilliant autobiographical sketches, “ Shooting an Elephant” and “ A Hanging,” classics of expository prose .

Nobel prize-winning American author, Pearl S. Buck, at her home, Green Hills Farm, near Perkasie, Pennsylvania, 1962. (Pearl Buck)

In 1927 Orwell, on leave to England, decided not to return to Burma, and on January 1, 1928, he took the decisive step of resigning from the imperial police. Already in the autumn of 1927 he had started on a course of action that was to shape his character as a writer. Having felt guilty that the barriers of race and caste had prevented his mingling with the Burmese, he thought he could expiate some of his guilt by immersing himself in the life of the poor and outcast people of Europe . Donning ragged clothes, he went into the East End of London to live in cheap lodging houses among laborers and beggars; he spent a period in the impoverished sections of Paris and worked as a dishwasher in French hotels and restaurants; he tramped the roads of England with professional vagrants and joined the working-class people of London in their annual exodus to work in the hopfields of Kent .

Those experiences gave Orwell the material for Down and Out in Paris and London , in which actual incidents are rearranged into something like fiction. The book’s publication in 1933 earned him some initial literary recognition. Orwell’s first novel, Burmese Days (1934), established the pattern of his subsequent fiction in its portrayal of a sensitive, conscientious , and emotionally isolated individual who is at odds with an oppressive or dishonest social environment . The main character of Burmese Days is a minor administrator who seeks to escape from the dreary and narrow-minded chauvinism of his fellow British colonialists in Burma. His sympathies for the Burmese, however, end in an unforeseen personal tragedy. The protagonist of Orwell’s next novel, A Clergyman’s Daughter (1935), is an unhappy spinster who achieves a brief and accidental liberation in her experiences among some agricultural laborers. Keep the Aspidistra Flying (1936) is about a literarily inclined bookseller’s assistant who despises the empty commercialism and materialism of middle-class life but who in the end is reconciled to bourgeois prosperity by his forced marriage to the girl he loves.

Orwell’s revulsion against imperialism led not only to his personal rejection of the bourgeois lifestyle but to a political reorientation as well. Immediately after returning from Burma he called himself an anarchist and continued to do so for several years; during the 1930s, however, he began to consider himself a socialist , though he was too libertarian in his thinking ever to take the further step—so common in the period—of declaring himself a communist .

Orwell’s first socialist book was an original and unorthodox political treatise titled The Road to Wigan Pier (1937). It begins by describing his experiences when he went to live among the destitute and unemployed miners of northern England, sharing and observing their lives; it ends in a series of sharp criticisms of existing socialist movements. It combines mordant reporting with a tone of generous anger that was to characterize Orwell’s subsequent writing.

By the time The Road to Wigan Pier was in print, Orwell was in Spain ; he went to report on the Civil War there and stayed to join the Republican militia, serving on the Aragon and Teruel fronts and rising to the rank of second lieutenant. He was seriously wounded at Teruel, with damage to his throat permanently affecting his voice and endowing his speech with a strange, compelling quietness. Later, in May 1937, after having fought in Barcelona against communists who were trying to suppress their political opponents, he was forced to flee Spain in fear of his life. The experience left him with a lifelong dread of communism, first expressed in the vivid account of his Spanish experiences, Homage to Catalonia (1938), which many consider one of his best books.

Returning to England, Orwell showed a paradoxically conservative strain in writing Coming Up for Air (1939), in which he uses the nostalgic recollections of a middle-aged man to examine the decency of a past England and express his fears about a future threatened by war and fascism . When World War II did come, Orwell was rejected for military service , and instead he headed the Indian service of the British Broadcasting Corporation (BBC). He left the BBC in 1943 and became literary editor of the Tribune , a left-wing socialist paper associated with the British Labour leader Aneurin Bevan . At this period Orwell was a prolific journalist, writing many newspaper articles and reviews, together with serious criticism , like his classic essays on Charles Dickens and on boys’ weeklies and a number of books about England (notably The Lion and the Unicorn , 1941) that combined patriotic sentiment with the advocacy of a libertarian , decentralist socialism very much unlike that practiced by the British Labour Party .

George Orwell

George Orwell was an English novelist, essayist and critic most famous for his novels 'Animal Farm' (1945) and 'Nineteen Eighty-Four' (1949).

(1903-1950)

Who Was George Orwell?

George Orwell was a novelist, essayist and critic best known for his novels Animal Farm and Nineteen Eighty-Four . He was a man of strong opinions who addressed some of the major political movements of his times, including imperialism, fascism and communism.

Orwell was born Eric Arthur Blair in Motihari, India, on June 25, 1903. The son of a British civil servant, Orwell spent his first days in India, where his father was stationed. His mother brought him and his older sister, Marjorie, to England about a year after his birth and settled in Henley-on-Thames. His father stayed behind in India and rarely visited. (His younger sister, Avril, was born in 1908. Orwell didn't really know his father until he retired from the service in 1912. And even after that, the pair never formed a strong bond. He found his father to be dull and conservative.

According to one biography, Orwell's first word was "beastly." He was a sick child, often battling bronchitis and the flu.

Orwell took up writing at an early age, reportedly composing his first poem around age four. He later wrote, "I had the lonely child's habit of making up stories and holding conversations with imaginary persons, and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued." One of his first literary successes came at the age of 11 when he had a poem published in the local newspaper.

Like many other boys in England, Orwell was sent to boarding school. In 1911, he went to St. Cyprian's in the coastal town of Eastbourne, where he got his first taste of England's class system.

On a partial scholarship, Orwell noticed that the school treated the richer students better than the poorer ones. He wasn't popular with his peers, and in books, he found comfort from his difficult situation. He read works by Rudyard Kipling and H.G. Wells , among others.

What he lacked in personality, he made up for in smarts. Orwell won scholarships to Wellington College and Eton College to continue his studies.

After completing his schooling at Eton, Orwell found himself at a dead end. His family did not have the money to pay for a university education. Instead, he joined the India Imperial Police Force in 1922. After five years in Burma, Orwell resigned his post and returned to England. He was intent on making it as a writer.

Early Writing Career

After leaving the India Imperial Force, Orwell struggled to get his writing career off the ground and took all sorts of jobs to make ends meet, including being a dishwasher.

'Down and Out in Paris and London' (1933)

Orwell’s first major work explored his time eking out a living in these two cities. The book provided a brutal look at the lives of the working poor and of those living a transient existence. Not wishing to embarrass his family, the author published the book under the pseudonym George Orwell.

'Burmese Days' (1934)

Orwell next explored his overseas experiences in Burmese Days , which offered a dark look at British colonialism in Burma, then part of the country's Indian empire. Orwell's interest in political matters grew rapidly after this novel was published.

War Injury and Tuberculosis

In December 1936, Orwell traveled to Spain, where he joined one of the groups fighting against General Francisco Franco in the Spanish Civil War. Orwell was badly injured during his time with a militia, getting shot in the throat and arm. For several weeks, he was unable to speak. Orwell and his wife, Eileen, were indicted on treason charges in Spain. Fortunately, the charges were brought after the couple had left the country.

Other health problems plagued the talented writer not long after his return to England. For years, Orwell had periods of sickness, and he was officially diagnosed with tuberculosis in 1938. He spent several months at the Preston Hall Sanatorium trying to recover, but he would continue to battle with tuberculosis for the rest of his life. At the time he was initially diagnosed, there was no effective treatment for the disease.

Literary Critic and BBC Producer

To support himself, Orwell took on various writing assignments. He wrote numerous essays and reviews over the years, developing a reputation for producing well-crafted literary criticism.

In 1941, Orwell landed a job with the BBC as a producer. He developed news commentary and shows for audiences in the eastern part of the British Empire. Orwell drew such literary greats as T.S. Eliot and E.M. Forster to appear on his programs.

With World War II raging on, Orwell found himself acting as a propagandist to advance the country's national interest. He loathed this part of his job, describing the company's atmosphere in his diary as "something halfway between a girls’ school and a lunatic asylum, and all we are doing at present is useless, or slightly worse than useless.”

Orwell resigned in 1943, saying “I was wasting my own time and the public money on doing work that produces no result. I believe that in the present political situation the broadcasting of British propaganda to India is an almost hopeless task.” Around this time, Orwell became the literary editor for a socialist newspaper.

Famous Books

Sometimes called the conscience of a generation, Orwell is best known for two novels: Animal Farm and Nineteen Eighty-Four . Both books, published toward the end of Orwell’s life, have been turned into films and enjoyed tremendous popularity over the years.

‘Animal Farm’ (1945)

Animal Farm was an anti-Soviet satire in a pastoral setting featuring two pigs as its main protagonists. These pigs were said to represent Joseph Stalin and Leon Trotsky . The novel brought Orwell great acclaim and financial rewards.

‘Nineteen Eighty-Four’ (1949)

Orwell’s masterwork, Nineteen Eighty-Four (or 1984 in later editions), was published in the late stages of his battle with tuberculosis and soon before his death. This bleak vision of the world divided into three oppressive nations stirred up controversy among reviewers, who found this fictional future too despairing. In the novel, Orwell gave readers a glimpse into what would happen if the government controlled every detail of a person's life, down to their own private thoughts.

‘Politics and the English Language’

Published in April 1946 in the British literary magazine Horizon , this essay is considered one of Orwell’s most important works on style. Orwell believed that "ugly and inaccurate" English enabled oppressive ideology and that vague or meaningless language was meant to hide the truth. He argued that language should not naturally evolve over time but should be “an instrument which we shape for our own purposes.” To write well is to be able to think clearly and engage in political discourse, he wrote, as he rallied against cliches, dying metaphors and pretentious or meaningless language.

‘Shooting an Elephant’

This essay, published in the literary magazine New Writing in 1936, discusses Orwell’s time as a police officer in Burma (now known as Myanmar), which was still a British colony at the time. Orwell hated his job and thought imperialism was “an evil thing;” as a representative of imperialism, he was disliked by locals. One day, although he didn’t think it necessary, he killed a working elephant in front of a crowd of locals just “to avoid looking a fool.” The essay was later the title piece in a collection of Orwell’s essays, published in 1950, which included ‘My Country Right or Left,’ ‘How the Poor Die’ and ‘Such, Such were the Joys.’

Wives and Children

Orwell married Eileen O'Shaughnessy in June 1936, and Eileen supported and assisted Orwell in his career. The couple remained together until her death in 1945. According to several reports, they had an open marriage, and Orwell had a number of dalliances. In 1944 the couple adopted a son, whom they named Richard Horatio Blair, after one of Orwell's ancestors. Their son was largely raised by Orwell's sister Avril after Eileen's death.

Near the end of his life, Orwell proposed to editor Sonia Brownell. He married her in October 1949, only a short time before his death. Brownell inherited Orwell's estate and made a career out of managing his legacy.

Orwell died of tuberculosis in a London hospital on January 21, 1950. Although he was just 46 years old at the time of his death, his ideas and opinions have lived on through his work.

Despite Orwell’s disdain for the BBC during his life, a statue of the writer was commissioned by artist Martin Jennings and installed outside the BBC in London. An inscription reads, "If liberty means anything at all, it means the right to tell people what they do not want to hear." The eight-foot bronze statue, paid for by the George Orwell Memorial Fund, was unveiled in November 2017.

"Would he have approved of it? It's an interesting question. I think he would have been reserved, given that he was very self-effacing,” Orwell’s son Richard Blair told The Daily Telegraph . "In the end I think he would have been forced to accept it by his friends. He would have to recognise that he was a man of the moment.”

QUICK FACTS

Name: George Orwell
Birth Year: 1903
Birth date: June 25, 1903
Birth City: Motihari
Birth Country: India
Gender: Male
Best Known For: George Orwell was an English novelist, essayist and critic most famous for his novels 'Animal Farm' (1945) and 'Nineteen Eighty-Four' (1949).
Fiction and Poetry
Journalism and Nonfiction
Astrological Sign: Cancer
Interesting Facts
According to one biography, Orwell's first word as a child was "beastly."
Orwell fought in the Spanish Civil War and was badly injured. He and his wife were later indicted of treason in Spain.
Orwell was once a BBC producer and ended up loathing his job as he felt he was being used as a propaganda machine.
Death Year: 1950
Death date: January 21, 1950
Death City: London
Death Country: United Kingdom

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CITATION INFORMATION

Article Title: George Orwell Biography
Author: Biography.com Editors
Website Name: The Biography.com website
Url: https://www.biography.com/authors-writers/george-orwell
Access Date:
Publisher: A&E; Television Networks
Last Updated: May 3, 2021
Original Published Date: April 2, 2014
In our age there is no such thing as 'keeping out of politics.' All issues are political issues, and politics itself is a mass of lies, evasions, folly, hatred and schizophrenia.
Happiness can exist only in acceptance.
Power is not a means, it is an end. One does not establish a dictatorship in order to safeguard a revolution; one makes the revolution in order to establish the dictatorship.
Each generation imagines itself to be more intelligent than the one that went before it, and wiser than the one that comes after it.

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Politics and the English Language

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Most people who bother with the matter at all would admit that the English language is in a bad way, but it is generally assumed that we cannot by conscious action do anything about it. Our civilization is decadent and our language – so the argument runs – must inevitably share in the general collapse. It follows that any struggle against the abuse of language is a sentimental archaism, like preferring candles to electric light or hansom cabs to aeroplanes. Underneath this lies the half-conscious belief that language is a natural growth and not an instrument which we shape for our own purposes.

Now, it is clear that the decline of a language must ultimately have political and economic causes: it is not due simply to the bad influence of this or that individual writer. But an effect can become a cause, reinforcing the original cause and producing the same effect in an intensified form, and so on indefinitely. A man may take to drink because he feels himself to be a failure, and then fail all the more completely because he drinks. It is rather the same thing that is happening to the English language. It becomes ugly and inaccurate because our thoughts are foolish, but the slovenliness of our language makes it easier for us to have foolish thoughts. The point is that the process is reversible. Modern English, especially written English, is full of bad habits which spread by imitation and which can be avoided if one is willing to take the necessary trouble. If one gets rid of these habits one can think more clearly, and to think clearly is a necessary first step toward political regeneration: so that the fight against bad English is not frivolous and is not the exclusive concern of professional writers. I will come back to this presently, and I hope that by that time the meaning of what I have said here will have become clearer. Meanwhile, here are five specimens of the English language as it is now habitually written.

These five passages have not been picked out because they are especially bad – I could have quoted far worse if I had chosen – but because they illustrate various of the mental vices from which we now suffer. They are a little below the average, but are fairly representative examples. I number them so that I can refer back to them when necessary:

1. I am not, indeed, sure whether it is not true to say that the Milton who once seemed not unlike a seventeenth-century Shelley had not become, out of an experience ever more bitter in each year, more alien ( sic ) to the founder of that Jesuit sect which nothing could induce him to tolerate. Professor Harold Laski ( Essay in Freedom of Expression ). 2. Above all, we cannot play ducks and drakes with a native battery of idioms which prescribes egregious collocations of vocables as the Basic put up with for tolerate , or put at a loss for bewilder . Professor Lancelot Hogben ( Interglossia ). 3. On the one side we have the free personality: by definition it is not neurotic, for it has neither conflict nor dream. Its desires, such as they are, are transparent, for they are just what institutional approval keeps in the forefront of consciousness; another institutional pattern would alter their number and intensity; there is little in them that is natural, irreducible, or culturally dangerous. But on the other side, the social bond itself is nothing but the mutual reflection of these self-secure integrities. Recall the definition of love. Is not this the very picture of a small academic? Where is there a place in this hall of mirrors for either personality or fraternity? Essay on psychology in Politics (New York). 4. All the ‘best people’ from the gentlemen’s clubs, and all the frantic Fascist captains, united in common hatred of Socialism and bestial horror at the rising tide of the mass revolutionary movement, have turned to acts of provocation, to foul incendiarism, to medieval legends of poisoned wells, to legalize their own destruction of proletarian organizations, and rouse the agitated petty-bourgeoise to chauvinistic fervor on behalf of the fight against the revolutionary way out of the crisis. Communist pamphlet. 5. If a new spirit is to be infused into this old country, there is one thorny and contentious reform which must be tackled, and that is the humanization and galvanization of the B.B.C. Timidity here will bespeak canker and atrophy of the soul. The heart of Britain may be sound and of strong beat, for instance, but the British lion’s roar at present is like that of Bottom in Shakespeare’s A Midsummer Night’s Dream – as gentle as any sucking dove. A virile new Britain cannot continue indefinitely to be traduced in the eyes or rather ears, of the world by the effete languors of Langham Place, brazenly masquerading as ‘standard English’. When the Voice of Britain is heard at nine o’clock, better far and infinitely less ludicrous to hear aitches honestly dropped than the present priggish, inflated, inhibited, school-ma’amish arch braying of blameless bashful mewing maidens! Letter in Tribune .

Each of these passages has faults of its own, but, quite apart from avoidable ugliness, two qualities are common to all of them. The first is staleness of imagery; the other is lack of precision. The writer either has a meaning and cannot express it, or he inadvertently says something else, or he is almost indifferent as to whether his words mean anything or not. This mixture of vagueness and sheer incompetence is the most marked characteristic of modern English prose, and especially of any kind of political writing. As soon as certain topics are raised, the concrete melts into the abstract and no one seems able to think of turns of speech that are not hackneyed: prose consists less and less of words chosen for the sake of their meaning, and more and more of phrases tacked together like the sections of a prefabricated hen-house. I list below, with notes and examples, various of the tricks by means of which the work of prose-construction is habitually dodged.

Dying metaphors . A newly invented metaphor assists thought by evoking a visual image, while on the other hand a metaphor which is technically ‘dead’ (e. g. iron resolution ) has in effect reverted to being an ordinary word and can generally be used without loss of vividness. But in between these two classes there is a huge dump of worn-out metaphors which have lost all evocative power and are merely used because they save people the trouble of inventing phrases for themselves. Examples are: Ring the changes on , take up the cudgels for , toe the line , ride roughshod over , stand shoulder to shoulder with , play into the hands of , no axe to grind , grist to the mill , fishing in troubled waters , on the order of the day , Achilles’ heel , swan song , hotbed . Many of these are used without knowledge of their meaning (what is a ‘rift’, for instance?), and incompatible metaphors are frequently mixed, a sure sign that the writer is not interested in what he is saying. Some metaphors now current have been twisted out of their original meaning without those who use them even being aware of the fact. For example, toe the line is sometimes written as tow the line . Another example is the hammer and the anvil , now always used with the implication that the anvil gets the worst of it. In real life it is always the anvil that breaks the hammer, never the other way about: a writer who stopped to think what he was saying would avoid perverting the original phrase.

Operators, or verbal false limbs . These save the trouble of picking out appropriate verbs and nouns, and at the same time pad each sentence with extra syllables which give it an appearance of symmetry. Characteristic phrases are: render inoperative , militate against , prove unacceptable , make contact with , be subject to , give rise to , give grounds for , have the effect of , play a leading part ( role ) in , make itself felt , take effect , exhibit a tendency to , serve the purpose of , etc. etc. The keynote is the elimination of simple verbs. Instead of being a single word, such as break , stop , spoil , mend , kill , a verb becomes a phrase , made up of a noun or adjective tacked on to some general-purposes verb such as prove , serve , form , play , render . In addition, the passive voice is wherever possible used in preference to the active, and noun constructions are used instead of gerunds ( by examination of instead of by examining ). The range of verbs is further cut down by means of the -ize and de- formations, and banal statements are given an appearance of profundity by means of the not un- formation. Simple conjunctions and prepositions are replaced by such phrases as with respect to , having regard to , the fact that , by dint of , in view of , in the interests of , on the hypothesis that ; and the ends of sentences are saved from anticlimax by such resounding commonplaces as greatly to be desired , cannot be left out of account , a development to be expected in the near future , deserving of serious consideration , brought to a satisfactory conclusion , and so on and so forth.

Pretentious diction . Words like phenomenon , element , individual (as noun), objective , categorical , effective , virtual , basic , primary , promote , constitute , exhibit , exploit , utilize , eliminate , liquidate , are used to dress up simple statements and give an air of scientific impartiality to biassed judgements. Adjectives like epoch-making , epic , historic , unforgettable , triumphant , age-old , inevitable , inexorable , veritable , are used to dignify the sordid processes of international politics, while writing that aims at glorifying war usually takes on an archaic colour, its characteristic words being: realm , throne , chariot , mailed fist , trident , sword , shield , buckler , banner , jackboot , clarion . Foreign words and expressions such as cul de sac , ancien régime , deus ex machina , mutatis mutandis , status quo , Gleichschaltung , Weltanschauung , are used to give an air of culture and elegance. Except for the useful abbreviations i.e ., e.g. , and etc. , there is no real need for any of the hundreds of foreign phrases now current in English. Bad writers, and especially scientific, political and sociological writers, are nearly always haunted by the notion that Latin or Greek words are grander than Saxon ones, and unnecessary words like expedite , ameliorate , predict , extraneous , deracinated , clandestine , sub-aqueous and hundreds of others constantly gain ground from their Anglo-Saxon opposite numbers[1]. The jargon peculiar to Marxist writing ( hyena , hangman , cannibal , petty bourgeois , these gentry , lackey , flunkey , mad dog , White Guard , etc.) consists largely of words translated from Russian, German, or French; but the normal way of coining a new word is to use a Latin or Greek root with the appropriate affix and, where necessary, the -ize formation. It is often easier to make up words of this kind ( deregionalize , impermissible , extramarital , non-fragmentatory and so forth) than to think up the English words that will cover one’s meaning. The result, in general, is an increase in slovenliness and vagueness.

Meaningless words . In certain kinds of writing, particularly in art criticism and literary criticism, it is normal to come across long passages which are almost completely lacking in meaning[2]. Words like romantic , plastic , values , human , dead , sentimental , natural , vitality , as used in art criticism, are strictly meaningless, in the sense that they not only do not point to any discoverable object, but are hardly even expected to do so by the reader. When one critic writes, ‘The outstanding feature of Mr. X’s work is its living quality’, while another writes, ‘The immediately striking thing about Mr. X’s work is its peculiar deadness’, the reader accepts this as a simple difference of opinion. If words like black and white were involved, instead of the jargon words dead and living , he would see at once that language was being used in an improper way. Many political words are similarly abused. The word Fascism has now no meaning except in so far as it signifies ‘something not desirable’. The words democracy , socialism , freedom , patriotic , realistic , justice , have each of them several different meanings which cannot be reconciled with one another. In the case of a word like democracy , not only is there no agreed definition, but the attempt to make one is resisted from all sides. It is almost universally felt that when we call a country democratic we are praising it: consequently the defenders of every kind of régime claim that it is a democracy, and fear that they might have to stop using that word if it were tied down to any one meaning. Words of this kind are often used in a consciously dishonest way. That is, the person who uses them has his own private definition, but allows his hearer to think he means something quite different. Statements like Marshal Pétain was a true patriot , The Soviet press is the freest in the world , The Catholic Church is opposed to persecution , are almost always made with intent to deceive. Other words used in variable meanings, in most cases more or less dishonestly, are: class , totalitarian , science , progressive , reactionary , bourgeois , equality .

Now that I have made this catalogue of swindles and perversions, let me give another example of the kind of writing that they lead to. This time it must of its nature be an imaginary one. I am going to translate a passage of good English into modern English of the worst sort. Here is a well-known verse from Ecclesiastes :

I returned and saw under the sun, that the race is not to the swift, nor the battle to the strong, neither yet bread to the wise, nor yet riches to men of understanding, nor yet favour to men of skill; but time and chance happeneth to them all.

Here it is in modern English:

Objective consideration of contemporary phenomena compels the conclusion that success or failure in competitive activities exhibits no tendency to be commensurate with innate capacity, but that a considerable element of the unpredictable must invariably be taken into account.

This is a parody, but not a very gross one. Exhibit 3 above, for instance, contains several patches of the same kind of English. It will be seen that I have not made a full translation. The beginning and ending of the sentence follow the original meaning fairly closely, but in the middle the concrete illustrations – race, battle, bread – dissolve into the vague phrase ‘success or failure in competitive activities’. This had to be so, because no modern writer of the kind I am discussing – no one capable of using phrases like ‘objective’ consideration of contemporary phenomena’ – would ever tabulate his thoughts in that precise and detailed way. The whole tendency of modern prose is away from concreteness. Now analyse these two sentences a little more closely. The first contains 49 words but only 60 syllables, and all its words are those of everyday life. The second contains 38 words of 90 syllables: 18 of its words are from Latin roots, and one from Greek. The first sentence contains six vivid images, and only one phrase (‘time and chance’) that could be called vague. The second contains not a single fresh, arresting phrase, and in spite of its 90 syllables it gives only a shortened version of the meaning contained in the first. Yet without a doubt it is the second kind of sentence that is gaining ground in modern English. I do not want to exaggerate. This kind of writing is not yet universal, and outcrops of simplicity will occur here and there in the worst-written page. Still if you or I were told to write a few lines on the uncertainty of human fortunes, we should probably come much nearer to my imaginary sentence than to the one from Ecclesiastes .

As I have tried to show, modern writing at its worst does not consist in picking out words for the sake of their meaning and inventing images in order to make the meaning clearer. It consists in gumming together long strips of words which have already been set in order by someone else, and making the results presentable by sheer humbug. The attraction of this way of writing is that it is easy. It is easier – even quicker, once you have the habit – to say In my opinion it is not an unjustifiable assumption that than to say I think . If you use ready-made phrases, you not only don’t have to hunt about for the words; you also don’t have to bother with the rhythms of your sentences, since these phrases are generally so arranged as to be more or less euphonious. When you are composing in a hurry – when you are dictating to a stenographer, for instance, or making a public speech – it is natural to fall into a pretentious, latinized style. Tags like a consideration which we should do well to bear in mind or a conclusion to which all of us would readily assent will save many a sentence from coming down with a bump. By using stale metaphors, similes and idioms, you save much mental effort, at the cost of leaving your meaning vague, not only for your reader but for yourself. This is the significance of mixed metaphors. The sole aim of a metaphor is to call up a visual image. When these images clash – as in The Fascist octopus has sung its swan song , the jackboot is thrown into the melting pot – it can be taken as certain that the writer is not seeing a mental image of the objects he is naming; in other words he is not really thinking. Look again at the examples I gave at the beginning of this essay. Professor Laski (1) uses five negatives in 53 words. One of these is superfluous, making nonsense of the whole passage, and in addition there is the slip alien for akin, making further nonsense, and several avoidable pieces of clumsiness which increase the general vagueness. Professor Hogben (2) plays ducks and drakes with a battery which is able to write prescriptions, and, while disapproving of the everyday phrase put up with , is unwilling to look egregious up in the dictionary and see what it means. (3), if one takes an uncharitable attitude towards it, is simply meaningless: probably one could work out its intended meaning by reading the whole of the article in which it occurs. In (4) the writer knows more or less what he wants to say, but an accumulation of stale phrases chokes him like tea-leaves blocking a sink. In (5) words and meaning have almost parted company. People who write in this manner usually have a general emotional meaning – they dislike one thing and want to express solidarity with another – but they are not interested in the detail of what they are saying. A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus: What am I trying to say? What words will express it? What image or idiom will make it clearer? Is this image fresh enough to have an effect? And he will probably ask himself two more: Could I put it more shortly? Have I said anything that is avoidably ugly? But you are not obliged to go to all this trouble. You can shirk it by simply throwing your mind open and letting the ready-made phrases come crowding in. They will construct your sentences for you – even think your thoughts for you, to a certain extent – and at need they will perform the important service of partially concealing your meaning even from yourself. It is at this point that the special connection between politics and the debasement of language becomes clear.

In our time it is broadly true that political writing is bad writing. Where it is not true, it will generally be found that the writer is some kind of rebel, expressing his private opinions, and not a ‘party line’. Orthodoxy, of whatever colour, seems to demand a lifeless, imitative style. The political dialects to be found in pamphlets, leading articles, manifestos, White Papers and the speeches of Under-Secretaries do, of course, vary from party to party, but they are all alike in that one almost never finds in them a fresh, vivid, home-made turn of speech. When one watches some tired hack on the platform mechanically repeating the familiar phrases – bestial atrocities , iron heel , blood-stained tyranny , free peoples of the world , stand shoulder to shoulder – one often has a curious feeling that one is not watching a live human being but some kind of dummy: a feeling which suddenly becomes stronger at moments when the light catches the speaker’s spectacles and turns them into blank discs which seem to have no eyes behind them. And this is not altogether fanciful. A speaker who uses that kind of phraseology has gone some distance toward turning himself into a machine. The appropriate noises are coming out of his larynx, but his brain is not involved as it would be if he were choosing his words for himself. If the speech he is making is one that he is accustomed to make over and over again, he may be almost unconscious of what he is saying, as one is when one utters the responses in church. And this reduced state of consciousness, if not indispensable, is at any rate favourable to political conformity.

In our time, political speech and writing are largely the defence of the indefensible. Things like the continuance of British rule in India, the Russian purges and deportations, the dropping of the atom bombs on Japan, can indeed be defended, but only by arguments which are too brutal for most people to face, and which do not square with the professed aims of political parties. Thus political language has to consist largely of euphemism, question-begging and sheer cloudy vagueness. Defenceless villages are bombarded from the air, the inhabitants driven out into the countryside, the cattle machine-gunned, the huts set on fire with incendiary bullets: this is called pacification . Millions of peasants are robbed of their farms and sent trudging along the roads with no more than they can carry: this is called transfer of population or rectification of frontiers . People are imprisoned for years without trial, or shot in the back of the neck or sent to die of scurvy in Arctic lumber camps: this is called elimination of unreliable elements . Such phraseology is needed if one wants to name things without calling up mental pictures of them. Consider for instance some comfortable English professor defending Russian totalitarianism. He cannot say outright, ‘I believe in killing off your opponents when you can get good results by doing so’. Probably, therefore, he will say something like this:

While freely conceding that the Soviet régime exhibits certain features which the humanitarian may be inclined to deplore, we must, I think, agree that a certain curtailment of the right to political opposition is an unavoidable concomitant of transitional periods, and that the rigours which the Russian people have been called upon to undergo have been amply justified in the sphere of concrete achievement.

The inflated style is itself a kind of euphemism. A mass of Latin words falls upon the facts like soft snow, blurring the outlines and covering up all the details. The great enemy of clear language is insincerity. When there is a gap between one’s real and one’s declared aims, one turns as it were instinctively to long words and exhausted idioms, like a cuttlefish spurting out ink. In our age there is no such thing as ‘keeping out of politics’. All issues are political issues, and politics itself is a mass of lies, evasions, folly, hatred and schizophrenia. When the general atmosphere is bad, language must suffer. I should expect to find – this is a guess which I have not sufficient knowledge to verify – that the German, Russian and Italian languages have all deteriorated in the last ten or fifteen years, as a result of dictatorship.

But if thought corrupts language, language can also corrupt thought. A bad usage can spread by tradition and imitation, even among people who should and do know better. The debased language that I have been discussing is in some ways very convenient. Phrases like a not unjustifiable assumption , leaves much to be desired , would serve no good purpose , a consideration which we should do well to bear in mind , are a continuous temptation, a packet of aspirins always at one’s elbow. Look back through this essay, and for certain you will find that I have again and again committed the very faults I am protesting against. By this morning’s post I have received a pamphlet dealing with conditions in Germany. The author tells me that he ‘felt impelled’ to write it. I open it at random, and here is almost the first sentence that I see: ‘(The Allies) have an opportunity not only of achieving a radical transformation of Germany’s social and political structure in such a way as to avoid a nationalistic reaction in Germany itself, but at the same time of laying the foundations of a co-operative and unified Europe.’ You see, he ‘feels impelled’ to write – feels, presumably, that he has something new to say – and yet his words, like cavalry horses answering the bugle, group themselves automatically into the familiar dreary pattern. This invasion of one’s mind by ready-made phrases ( lay the foundations , achieve a radical transformation ) can only be prevented if one is constantly on guard against them, and every such phrase anaesthetizes a portion of one’s brain.

I said earlier that the decadence of our language is probably curable. Those who deny this would argue, if they produced an argument at all, that language merely reflects existing social conditions, and that we cannot influence its development by any direct tinkering with words and constructions. So far as the general tone or spirit of a language goes, this may be true, but it is not true in detail. Silly words and expressions have often disappeared, not through any evolutionary process but owing to the conscious action of a minority. Two recent examples were explore every avenue and leave no stone unturned , which were killed by the jeers of a few journalists. There is a long list of fly-blown metaphors which could similarly be got rid of if enough people would interest themselves in the job; and it should also be possible to laugh the not un- formation out of existence[3], to reduce the amount of Latin and Greek in the average sentence, to drive out foreign phrases and strayed scientific words, and, in general, to make pretentiousness unfashionable. But all these are minor points. The defence of the English language implies more than this, and perhaps it is best to start by saying what it does not imply.

To begin with it has nothing to do with archaism, with the salvaging of obsolete words and turns of speech, or with the setting up of a ‘standard English’ which must never be departed from. On the contrary, it is especially concerned with the scrapping of every word or idiom which has outworn its usefulness. It has nothing to do with correct grammar and syntax, which are of no importance so long as one makes one’s meaning clear or with the avoidance of Americanisms, or with having what is called a ‘good prose style’. On the other hand it is not concerned with fake simplicity and the attempt to make written English colloquial. Nor does it even imply in every case preferring the Saxon word to the Latin one, though it does imply using the fewest and shortest words that will cover one’s meaning. What is above all needed is to let the meaning choose the word, and not the other way about. In prose, the worst thing one can do with words is to surrender to them. When you think of a concrete object, you think wordlessly, and then, if you want to describe the thing you have been visualising, you probably hunt about till you find the exact words that seem to fit it. When you think of something abstract you are more inclined to use words from the start, and unless you make a conscious effort to prevent it, the existing dialect will come rushing in and do the job for you, at the expense of blurring or even changing your meaning. Probably it is better to put off using words as long as possible and get one’s meanings as clear as one can through pictures and sensations. Afterward one can choose – not simply accept – the phrases that will best cover the meaning, and then switch round and decide what impression one’s words are likely to make on another person. This last effort of the mind cuts out all stale or mixed images, all prefabricated phrases, needless repetitions, and humbug and vagueness generally. But one can often be in doubt about the effect of a word or a phrase, and one needs rules that one can rely on when instinct fails. I think the following rules will cover most cases:

i. Never use a metaphor, simile or other figure of speech which you are used to seeing in print. ii. Never use a long word where a short one will do. iii. If it is possible to cut a word out, always cut it out. iv. Never use the passive where you can use the active. v. Never use a foreign phrase, a scientific word or a jargon word if you can think of an everyday English equivalent. vi. Break any of these rules sooner than say anything outright barbarous.

These rules sound elementary, and so they are, but they demand a deep change of attitude in anyone who has grown used to writing in the style now fashionable. One could keep all of them and still write bad English, but one could not write the kind of stuff that I quoted in those five specimens at the beginning of this article.

I have not here been considering the literary use of language, but merely language as an instrument for expressing and not for concealing or preventing thought. Stuart Chase and others have come near to claiming that all abstract words are meaningless, and have used this as a pretext for advocating a kind of political quietism. Since you don’t know what Fascism is, how can you struggle against Fascism? One need not swallow such absurdities as this, but one ought to recognize that the present political chaos is connected with the decay of language, and that one can probably bring about some improvement by starting at the verbal end. If you simplify your English, you are freed from the worst follies of orthodoxy. You cannot speak any of the necessary dialects, and when you make a stupid remark its stupidity will be obvious, even to yourself. Political language – and with variations this is true of all political parties, from Conservatives to Anarchists – is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind. One cannot change this all in a moment, but one can at least change one’s own habits, and from time to time one can even, if one jeers loudly enough, send some worn-out and useless phrase – some jackboot , Achilles’ heel , hotbed , melting pot , acid test , veritable inferno or other lump of verbal refuse – into the dustbin where it belongs.

Horizon, April 1946

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20 of the Best George Orwell Quotations

Eric Arthur Blair (1903-50), who is better-known to the world as George Orwell, was one of the leading English essayists of the first half of the twentieth century, writing about everything from the Spanish Civil War to the ideal pub to how to make a perfect cup of tea .

Of course, George Orwell is also known for his last two novels, the short fable Animal Farm (1946) and the dystopian novel Nineteen Eighty-Four (1949). The latter of these led to the adjective ‘Orwellian’ entering the English language.

Below, we select and introduce some of Orwell’s best, and best-known, quotations from both his non-fiction and his novels.

‘Every line of serious work that I have written since 1936 has been written, directly or indirectly, against totalitarianism and for democratic Socialism, as I understand it.’

This famous declaration is from the 1946 piece ‘ Why I Write ’, a sort of memoir in which Orwell describes his early years and how he developed as a writer, from harbouring ambitions to write self-consciously literary works to developing, in the 1930s, into the author of sharp political commentary in both fiction and non-fiction.

One of the key insights in ‘Why I Write’ is the link Orwell makes between his own efforts to become a successful writer and the broader political scene in Europe (and beyond) at the time. The Spanish Civil War, and the rise of Nazism, fascism, and Stalinism, all gave him a clear sense of what he should write about.

‘Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness.’

Also from ‘Why I Write’, this quotation will strike a chord with anyone who has tried to write a novel, or any other kind of longer work.

‘If liberty means anything at all, it means the right to tell people what they do not want to hear.’

This is from Orwell’s original preface to Animal Farm .

‘The real division is not between conservatives and revolutionaries but between authoritarians and libertarians.’

This quotation comes from a letter Orwell wrote to Malcolm Muggeridge on 4 December 1948. In many ways, it has become more true in the last seventy-odd years, with political divides in many countries being clearly drawn between those who privilege individual liberty over other things and those who prioritise authority and restrictions on liberty.

‘As I write, highly civilized human beings are flying overhead, trying to kill me.’

‘England is perhaps the only great country whose intellectuals are ashamed of their own nationality.’

Another famous line from ‘England Your England’, and one which remains as relevant now as it was when Orwell wrote it over eighty years ago.

‘But if thought corrupts language, language can also corrupt thought. A bad usage can spread by tradition and imitation even among people who should and do know better.’

This is from one of Orwell’s most popular and widely read essays, the 1946 piece ‘ Politics and the English Language ’, in which he identifies a link between the (degraded) English language of his time and the degraded political situation.

‘Political language – and with variations this is true of all political parties, from Conservatives to Anarchists – is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind.’

Also from ‘Politics and the English Language’, this quotation is a further reminder that modern discourse (especially political discourse) is used to excuse away heinous crimes and to make the insubstantial and even the meaningless sound significant.

‘Never use a metaphor, simile, or other figure of speech which you are used to seeing in print. Never use a long word where a short one will do.’

Part of the common-sense advice Orwell proffers in ‘Politics and the English Language’, similar to his advice elsewhere that good prose should be as clear as a windowpane.

‘Saints should always be judged guilty until they are proved innocent.’

From one of Orwell’s last essays, the 1949 piece ‘Reflections on Gandhi’, written in the wake of Gandhi’s death the year before.

‘At 50, everyone has the face he deserves.’

An oft-repeated line from Orwell’s ‘Extracts from a Manuscript Notebook’ (1949).

‘Man is the only animal that consumes without producing.’

This quotation, and the next three quotations on this list, are all from Orwell’s 1946 novella Animal Farm , his well-known fable and satire about the Russian Revolution and the Soviet Union.

In this quotation, Old Major (representing Vladimir Lenin) makes a speech to the other animals of Manor Farm, arguing that they should rise up against Mr Jones, the farmer, and take control of things.

‘ Four legs good, two legs bad .’

This is the slogan which the animals of Animal Farm devise after taking control of the farm. The pigs draw up seven commandments which all animals should abide by, including the lines ‘Whatever goes upon two legs is an enemy’ and ‘Whatever goes upon four legs, or has wings, is a friend.’

Appended to these commandments is the mantra or slogan ‘four legs good, two legs bad’, a political slogan – and indeed, a revolutionary slogan.

‘ All animals are equal, but some animals are more equal than others .’

One of the original commandments drawn up by the pigs of Animal Farm was ‘All animals are equal’, echoing the idea that, under Communism, all men are equal. But as the pigs begin to abuse their position and keep the other animals in a state of misery and squalor, it becomes apparent that not all of the animals on the farm are equal.

This nonsensical (and wittily satirical) revised slogan is the result.

‘The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which.’

The closing words of Animal Farm have become almost as famous as the opening words of Nineteen Eighty-Four (for which, see below). The sentence appears just after the animals have looked through the window to see the pigs, led by Napoleon, dressing and walking about like men. The revolution has gone full-circle: the very thing the animas overthrew from the farm (man) has returned, but this time it’s the pigs who are the overlords!

‘ It was a bright cold day in April, and the clocks were striking thirteen .’

The famous opening line of Orwell’s best-known novel, Nineteen Eighty-Four , completed in 1948 and published the following year.

In his sequel to Orwell’s novel, 1985 , Anthony Burgess claimed to have read an Italian translation of Nineteen Eighty-Four in which Orwell’s ‘thirteen’ became ‘uno’ (i.e., ‘one’), presumably because the Italian translator thought Orwell couldn’t tell the time.

Thirteen-hundred hours is, of course, one in the afternoon on the 24-hour clock, but church bells do not operate on that basis, and so clocks ‘striking thirteen’ is Orwell’s way of defamiliarising the world he is presenting us with, right from the off.

‘Big Brother is Watching You.’

This is the famous slogan on the poster depicting a moustachioed gentleman, who bears a more than passing resemblance to the Soviet leader Josef Stalin. That gentleman is, of course, Big Brother, the dictator figure who rules over the totalitarian state in Orwell’s Nineteen Eighty-Four .

‘ War is peace. Freedom is slavery. Ignorance is strength .’

One of the most famous aspects of Nineteen Eighty-Four is Newspeak, the new version of English which has been devised in Orwell’s dystopian future vision of Britain. Orwell understood that totalitarianism begins with making people believe absurdities – that up is down, black is white, and that two plus two equals five, rather than four (as O’Brien, the villain of the novel, tells its protagonist, Winston).

‘Who controls the past controls the future. Who controls the present controls the past.’

This is one of Winston’s realisations in Nineteen Eighty-Four : that if a society can rewrite history, it can control what happens in the future. This is why the rewriting of the historical records (something which Winston, who writes for the ironically named Ministry of Truth, does as part of his job) is so sinister.

‘ If you want a picture of the future, imagine a boot stamping on a human face – for ever .’

Let’s conclude this pick of the best George Orwell quotations with one of his most famous lines, also from Nineteen Eighty-Four . The words are spoken by O’Brien, the grand inquisitor of the totalitarian regime in Orwell’s novel.

The quotation in question, then, is a picture of undistilled power, control, and oppression: the key themes of Nineteen Eighty-Four and much of the work Orwell wrote following his involvement in the Spanish Civil War.

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The Best Books By George...

5 Essential George Orwell Books You Should Read

George Orwell was a British author and journalist who fought against social injustice and totalitarianism. He is regarded as one of the most influential authors of the 20th century, and is the second best British author since 1945 according to The Times . Orwell wrote literary critiques, poetry and novels. He is also famous for his essays on issues of politics, literature, language and culture and has critically influenced our contemporary conception of reality.

Down and out in paris and london (1933).

In 1928 the young author of this book was not called “George Orwell” yet (literary pseydonum), but Eric Blair . He wrote this book many years before the Animal Farm and 1984 became famous on a global scale, with a unique aura of literary talent, humor and remarkably realistic descriptions of his experiences in the metropoleis of Europe, Paris and London. The author faces hunger, cruel conditions, neglect and indifference on the streets and in the dorms of the homeless. This book is a loud denouncement of the social injustice that sees people die of lack of food and shelter. Down and Out in Paris and London may not belong to his masterpieces, but is of equal importance. It may not be a fascinating conception of the unbelievable Orwellian imagination, but it actually constitutes an accurate depiction of an unbelievably cruel everyday reality, giving us all a powerful punch in the gut.

Keep the Aspidistra Flying (1936)

Gordon Cosmstock, the hero of this Orwellian novel published in 1936, struggles against the capitalist structure of British society during the Interwar Period. Gordon quits his job in an advertising company, rejects the beliefs of his society and concentrates on writing a book. He lives on the margins of society, not accepting the value of money and the organization of the society. This is one of many Orwellian works where the central character is damaged after his conflict with the dominant system. Orwell uses the character of Gordon Comstock as a means of depicting his own ideas and thoughts on the power of money, the separation of social classes and the economic exploitation of the weaker groups of society. The rest of the book’s characters fit the backdrop of a typical middle-class environment, completely expropriated by the system’s mechanisms. Gordon rejects their lifestyle, decides not to become a part of the system, a decision however that paradoxically makes him unfree. On the margins of society he cannot write, cannot travel, cannot make love, cannot live. In the end he has to compromise, go back to his job, get married and become completely intergrated in the society he hated. A thrilling journey through a tortured personality, not that far from many people’s existential issues and moral questions.

Homage to Catalonia (1938)

Orwell’s involvement in the Spanish Civil War in 1936, writing reports for British newspapers, did not happen exclusively within the framework of the journalist’s identity, but evolved into a real, active participation, where he took up arms and stood at the front line in support of his own ideals and the common struggle of the Spanish people against Franco’s fascism. The book Homage to Catalonia is the description of the author’s experiences in this battle for freedom and the quest of a better world.

Animal Farm (1945)

Animal Farm is a unique Orwellian allegory of Stalinism and any totalitarian system. George Orwell was a fervent supporter of socialism, namely anarcho-syndicalism, as well as Trotskyism. Orwell believed that the Soviet Union was far from a true socialist country, but just another form of a totalitarian state. Some years after Homage to Catalonia , he decided to write down his experience and ideas on this subject in a more eloquent, symbolically appealing and all-encompassing way. In said animal farm, two pigs, Snowball and Napoleon, motivated by the revolutionary ideas of a recently deceased pig, Old Major, lead a revolution supported by all animals. Their bosses, the humans, are forced to leave the farm and the pigs start organizing a regime of complete equity. However, Napoleon’s thirst for power soon results in Snowball’s exile and the creation of a totalitarian regime with the motto: ‘All animals are equal, but some animals are more equal than others’.

1984 (1948)

When 1984 was first published, it was regarded as the imaginary description of a dystopian society of the future. Now many people believe that this society belongs to the past, claiming that our current situation is even worse. No matter what one’s personal beliefs may be on the subject, this novel is undoubtedly one of the greatest of the previous century. Within the framework of the totalitarian regime of the Big Brother, everyone and everything is being watched and recorded at all times via countless interactive televisions. Everything has to be adjusted according to the one and only truth, the one propagated by the Party and its only true representative mechanism, the Big Brother, who has complete control over everyone’s actions and consciousness. The ultimate crime is the crime of thought – freedom, language and feelings have to disappear, anyone who resists is sentenced to death. This political manifesto against any and all totalitarian systems has been translated into 65 languages and has sold millions of copies. ‘Big Brother’, the ‘ Newspeak ‘ and ‘Doublethink’ are unique conceptions of a wonderful mind that history will remember.

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The Best George Orwell Essays Everyone Should Read
The English language is 'in a bad way', Orwell argues in this famous essay from 1946. As its title suggests, Orwell identifies a link between the (degraded) English language of his time and the degraded political situation: Orwell sees modern political discourse as being less a matter of words chosen for their clear meanings than a series of stock phrases slung together.
George Orwell's Five Greatest Essays (as Selected by Pulitzer-Prize
Every time I've taught George Orwell's famous 1946 essay on misleading, smudgy writing, "Politics and the English Language,' to a group of undergraduates, we've delighted in pointing out the number of times Orwell violates his own rules—indulges some form of vague, "pretentious" diction, slips into unnecessary passive voice, etc. It's a petty ...
10 of the Best Works by George Orwell
By Dr Oliver Tearle (Loughborough University) George Orwell (1903-50), born Eric Arthur Blair, is one of the most important writers of the first half of the twentieth century, and his essays and novels have continued to influence many journalists and writers since his death. The term 'Orwellian' has entered the dictionary, and many terms he…
Essays and other works
Reviews by Orwell. Anonymous Review of Burmese Interlude by C. V. Warren (The Listener, 1938) Anonymous Review of Trials in Burma by Maurice Collis (The Listener, 1938) Review of The Pub and the People by Mass-Observation (The Listener, 1943) Letters and other material. BBC Archive: George Orwell; Free will (a one act drama, written 1920)
A Summary and Analysis of George Orwell's 'Politics and the English
By Dr Oliver Tearle (Loughborough University) 'Politics and the English Language' (1946) is one of the best-known essays by George Orwell (1903-50). As its title suggests, Orwell identifies a link between the (degraded) English language of his time and the degraded political situation: Orwell sees modern discourse (especially political discourse) as being less a matter…
George Orwell's Best Essays
George Orwell wrote hundreds of essays, reviews, articles, and letters throughout his life. He covers topics that range from the Spanish Civil War and totalitarianism to the atomic bomb and Gandhi ...
George Orwell's 5 greatest essays: No. 5, "A Hanging"
The most famous moment in the essay is the prisoner's sudden sidestep to avoid a puddle in the path. "It is curious," Orwell wrote, "but till that moment I had never realized what it means ...
Essays by George Orwell
This is an enormous doorstop of a book, with over 1,300 pages of George Orwell's essays. Of course that doesn't cover everything he wrote, but it's an awful lot. While best known for his novels Animal Farm and Nineteen Eighty-Four, Orwell was probably a better essayist than a novelist. This volume contains Orwell's best and most famous ...
Essays
George Orwell's Essays illuminate the life and work of one of the greatest writers of this century - a man who elevated political writing to an art This outstanding collection brings together Orwell's longer, major essays and a fine selection of shorter pieces that includes 'My Country Right or Left', 'Decline of the English Murder', 'Shooting an Elephant' and 'A Hanging'.
Orwell, George
George Orwell (1903—1950) Eric Arthur Blair, better known by his pen name George Orwell, was a British essayist, journalist, and novelist. Orwell is most famous for his dystopian works of fiction, Animal Farm and Nineteen Eighty-Four, but many of his essays and other books have remained popular as well.His body of work provides one of the twentieth century's most trenchant and widely ...
1984 Essays and Criticism
George Orwell's dystopian (a fictional place where people lead dehumanized and fearful lives) vision of the year 1984, as depicted in what many consider to be his greatest novel, has entered the ...
George Orwell
Eric Arthur Blair (25 June 1903 - 21 January 1950) was a British novelist, poet, essayist, journalist, and critic who wrote under the pen name of George Orwell, a name inspired by his favourite place River Orwell. [2] His work is characterised by lucid prose, social criticism, opposition to all totalitarianism (i.e. to both left-wing authoritarian communism and to right-wing fascism), and ...
A Summary and Analysis of George Orwell's 'The Prevention of Literature'
By Dr Oliver Tearle (Loughborough University) 'The Prevention of Literature' is perhaps George Orwell's most famous essay defending freedom of expression. Published in January 1946 in Polemic, the essay sees Orwell calling upon intellectuals of all backgrounds and disciplines to stand up against literary censorship of various kinds. You can read 'The Prevention of Literature'…
A collection of essays : Orwell, George, 1903-1950 : Free Download
316 pages ; 19 cm George Orwell's collected nonfiction, written in the clear-eyed and uncompromising style that earned him a critical following One of the most thought-provoking and vivid essayists of the twentieth century, George Orwell fought the injustices of his time with singular vigor through pen and paper.
The Moon Under Water
The Moon Under Water. Review of The Pub and the People by Mass-Observation (The Listener, 1943); This material remains under copyright in some jurisdictions, including the US, and is reproduced here with the kind permission of the Orwell Estate.The Orwell Foundation is an independent charity - please consider making a donation or becoming a Friend of the Foundation to help us maintain these ...
George Orwell
Recent News. George Orwell (born June 25, 1903, Motihari, Bengal, India—died January 21, 1950, London, England) was an English novelist, essayist, and critic famous for his novels Animal Farm (1945) and Nineteen Eighty-four (1949). The latter of these is a profound anti- utopian novel that examines the dangers of totalitarian rule.
George Orwell bibliography
The bibliography of George Orwell includes journalism, essays, novels, and non-fiction books written by the British writer Eric Blair (1903-1950), either under his own name or, more usually, under his pen name George Orwell.Orwell was a prolific writer on topics related to contemporary English society and literary criticism, who has been declared "perhaps the 20th century's best chronicler ...
A Collection of Essays by George Orwell
George Orwell. 4.30. 7,891 ratings544 reviews. George Orwell's collected nonfiction, written in the clear-eyed and uncompromising style that earned him a critical following. One of the most thought-provoking and vivid essayists of the twentieth century, George Orwell fought the injustices of his time with singular vigor through pen and paper.
George Orwell
George Orwell was an English novelist, essayist and critic most famous for his novels 'Animal Farm' (1945) and 'Nineteen Eighty-Four' (1949). Updated: May 03, 2021 2:24 PM EDT Getty Images
Politics and the English Language
Politics and the English Language. This material remains under copyright in some jurisdictions, including the US, and is reproduced here with the permission of the Orwell Estate.If you value these resources, please consider making a donation or joining us as a Friend to help maintain them for readers everywhere.. Most people who bother with the matter at all would admit that the English ...
20 of the Best George Orwell Quotations
Freedom is slavery. Ignorance is strength.'. One of the most famous aspects of Nineteen Eighty-Four is Newspeak, the new version of English which has been devised in Orwell's dystopian future vision of Britain. Orwell understood that totalitarianism begins with making people believe absurdities - that up is down, black is white, and that ...
5 Essential George Orwell Books You Should Read
In 1928 the young author of this book was not called "George Orwell" yet (literary pseydonum), but Eric Blair.He wrote this book many years before the Animal Farm and 1984 became famous on a global scale, with a unique aura of literary talent, humor and remarkably realistic descriptions of his experiences in the metropoleis of Europe, Paris and London.

George Orwell’s Five Greatest Essays (as Selected by Pulitzer-Prize Winning Columnist Michael Hiltzik)

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