About these developments George Orwell, in , was quite wrong. He described a new kind of state and police tyranny, under which the freedom of speech has become a deadly danger, science and its applications have regressed, horses are again plowing untilled fields, food and even sex have become scarce and forbidden commodities: a new kind of totalitarian puritanism, in short. But the very opposite has been happening. The fields are plowed not by horses but by monstrous machines, and made artificially fertile through sometimes poisonous chemicals; supermarkets are awash with luxuries, oranges, chocolates; travel is hardly restricted while mass tourism desecrates and destroys more and more of the world; free speech is not at all endangered but means less and less.
In a way, the world-view of the Party imposed itself most successfully on people incapable of understanding it. They could be made to accept the most flagrant violations of reality, because they never fully grasped the enormity of what was demanded of them, and were not sufficiently interested in public events to notice what was happening. . They simply swallowed everything, and what they swallowed did them no harm, because it left no residue behind, just as a grain of corn will pass undigested through the body of a bird.
A is a slave, and a wasted slave, doing stupid and largely unnecessary work. He is kept at work, ultimately, because of a vague feeling that he would be dangerous if he had leisure. And educated people, who should be on his side, acquiesce in the process, because they know nothing about him and consequently are afraid of him.
In the past the need for a hierarchal form of society has been the doctrine specifically of the High. It had been preached by kings and aristocrats and the preists, lawyers and the like who were paracitical upon them, and it had generally been softened by promises of an imaginary world beyond the grave George Orwell 1984
I want to give just a slight indication of the influence the book has had. I knew that , in his second novel, , published in 1935, had borrowed from for his nighttime scene in Trafalgar Square, where Deafie and Charlie and Snouter and Mr. Tallboys and The Kike and Mrs. Bendigo and the rest of the bums and losers keep up a barrage of song snatches, fractured prayers, curses, and crackpot reminiscences. But only on my most recent reading of did I discover, in the middle of the long and intricate mock-Shakespeare scene at the National Library, the line 'Go to! You spent most of it in Georgina Johnson's bed, clergyman's daughter.' So now I think Orwell quarried his title from there, too.
Aesthetic enthusiasm. Perception of beauty in the external world, or, on the other hand, in words and their right arrangement. Pleasure in the impact of one sound on another, in the firmness of good prose or the rhythm of a good story. Desire to share an experience which one feels is valuable and ought not to be missed. The aesthetic motive is very feeble in a lot of writers, but even a pamphleteer or writer of textbooks will have pet words and phrases which appeal to him for non-utilitarian reasons; or he may feel strongly about typography, width of margins, etc. Above the level of a railway guide, no book is quite free from aesthetic considerations.