229- ] English Literature - George Bernard Shaw

229- ] English Literature

George Bernard Shaw 

Irish dramatist and critic

Quick Facts

Born: July 26, 1856, Dublin, Ireland

Died: November 2, 1950, Ayot St. Lawrence, Hertfordshire, England (aged 94)

Awards And Honors: Academy Award (1939) Nobel Prize (1925)

Notable Works: “Androcles and the Lion” “Arms and the Man” “Back to Methuselah” “Caesar and Cleopatra” “Candida” “Captain Brassbound’s Conversion” “Heartbreak House” “John Bull’s Other Island” “Major Barbara” “Man and Superman” “Mrs. Warren’s Profession” “Plays, Pleasant and Unpleasant” “Pygmalion” “Saint Joan” “The Apple Cart” “The Devil’s Disciple” “The Doctor’s Dilemma” “Three Plays for Puritans” “Too True to Be Good” “Widowers’ Houses”

Role In: Fabianism

George Bernard Shaw (born July 26, 1856, Dublin, Ireland—died November 2, 1950, Ayot St. Lawrence, Hertfordshire, England) was an Irish comic dramatist, literary critic, and socialist propagandist, winner of the Nobel Prize for Literature in 1925.

George Bernard Shaw (born July 26, 1856, Dublin, Ireland—died November 2, 1950, Ayot St. Lawrence, Hertfordshire, England) was an Irish comic dramatist, literary critic, and socialist propagandist, winner of the Nobel Prize for Literature in 1925.

Early life and career

George Bernard Shaw was the third and youngest child (and only son) of George Carr Shaw and Lucinda Elizabeth Gurly Shaw. Technically, he belonged to the Protestant “ascendancy”—the landed Irish gentry—but his impractical father was first a sinecured civil servant and then an unsuccessful grain merchant, and George Bernard grew up in an atmosphere of genteel poverty, which to him was more humiliating than being merely poor. At first Shaw was tutored by a clerical uncle, and he basically rejected the schools he then attended; by age 16 he was working in a land agent’s office.

Shaw developed a wide knowledge of music, art, and literature as a result of his mother’s influence and his visits to the National Gallery of Ireland. In 1872 his mother left her husband and took her two daughters to London, following her music teacher, George John Vandeleur Lee, who from 1866 had shared households in Dublin with the Shaws . In 1876 Shaw resolved to become a writer, and he joined his mother and elder sister (the younger one having died) in London. Shaw in his 20s suffered continuous frustration and poverty. He depended upon his mother’s pound a week from her husband and her earnings as a music teacher. He spent his afternoons in the British Museum reading room, writing novels and reading what he had missed at school, and his evenings in search of additional self-education in the lectures and debates that characterized contemporary middle-class London intellectual activities.

His fiction failed utterly. The semiautobiographical and aptly titled Immaturity (1879; published 1930) repelled every publisher in London. His next four novels were similarly refused, as were most of the articles he submitted to the press for a decade. Shaw’s initial literary work earned him less than 10 shillings a year. A fragment posthumously published as An Unfinished Novel in 1958 (but written 1887–88) was his final false start in fiction.

Despite his failure as a novelist in the 1880s, Shaw found himself during this decade. He became a vegetarian, a socialist, a spellbinding orator, a polemicist, and tentatively a playwright. He became the force behind the newly founded (1884) Fabian Society, a middle-class socialist group that aimed at the transformation of English society not through revolution but through “permeation” (in Sidney Webb’s term) of the country’s intellectual and political life. Shaw involved himself in every aspect of its activities, most visibly as editor of one of the classics of British socialism, Fabian Essays in Socialism (1889), to which he also contributed two sections.

Eventually, in 1885, the drama critic William Archer found Shaw steady journalistic work. His early journalism ranged from book reviews in the Pall Mall Gazette (1885–88) and art criticism in the World (1886–89) to brilliant musical columns in the Star (as “Corno di Bassetto”—basset horn) from 1888 to 1890 and in the World (as “G.B.S.”) from 1890 to 1894. Shaw had a good understanding of music, particularly opera, and he supplemented his knowledge with a brilliance of digression that gives many of his notices a permanent appeal. But Shaw truly began to make his mark when he was recruited by Frank Harris to the Saturday Review as theatre critic (1895–98); in that position he used all his wit and polemical powers in a campaign to displace the artificialities and hypocrisies of the Victorian stage with a theatre of vital ideas. He also began writing his own plays.

First plays

When Shaw began writing for the English stage, its most prominent dramatists were Sir A.W. Pinero and H.A. Jones. Both men were trying to develop a modern realistic drama, but neither had the power to break away from the type of artificial plots and conventional character types expected by theatregoers. The poverty of this sort of drama had become apparent with the introduction of several of Henrik Ibsen’s plays onto the London stage around 1890, when A Doll’s House was played in London; his Ghosts followed in 1891, and the possibility of a new freedom and seriousness on the English stage was introduced. Shaw, who was about to publish The Quintessence of Ibsenism (1891), rapidly refurbished an abortive comedy, Widowers’ Houses, as a play recognizably “Ibsenite” in tone, making it turn on the notorious scandal of slum landlordism in London. The result (performed 1892) flouted the threadbare romantic conventions that were still being exploited even by the most daring new playwrights. In the play a well-intentioned young Englishman falls in love and then discovers that both his prospective father-in-law’s fortune and his own private income derive from exploitation of the poor. Potentially this is a tragic situation, but Shaw seems to have been always determined to avoid tragedy. The unamiable lovers do not attract sympathy; it is the social evil and not the romantic predicament on which attention is concentrated, and the action is kept well within the key of ironic comedy.

The same dramatic predispositions control Mrs. Warren’s Profession, written in 1893 but not performed until 1902 because the lord chamberlain, the censor of plays, refused it a license. Its subject is organized prostitution, and its action turns on the discovery by a well-educated young woman that her mother has graduated through the “profession” to become a part proprietor of brothels throughout Europe. Again, the economic determinants of the situation are emphasized, and the subject is treated remorselessly and without the titillation of fashionable comedies about “fallen women.” As with many of Shaw’s works, the play is, within limits, a drama of ideas, but the vehicle by which these are presented is essentially one of high comedy.

Shaw called these first plays “unpleasant,” because “their dramatic power is used to force the spectator to face unpleasant facts.” He followed them with four “pleasant” plays in an effort to find the producers and audiences that his mordant comedies had offended. Both groups of plays were revised and published in Plays Pleasant and Unpleasant (1898). The first of the second group, Arms and the Man (performed 1894), has a Balkan setting and makes lighthearted, though sometimes mordant, fun of romantic falsifications of both love and warfare. The second, Candida (performed 1897), was important for English theatrical history, for its successful production at the Royal Court Theatre in 1904 encouraged Harley Granville-Barker and J.E. Vedrenne to form a partnership that resulted in a series of brilliant productions there. The play represents its heroine as forced to choose between her clerical husband—a worthy but obtuse Christian socialist—and a young poet who has fallen wildly in love with her. She chooses her seemingly confident husband because she discerns that he is actually the weaker man. The poet is immature and hysterical but, as an artist, has a capacity to renounce personal happiness in the interest of some large creative purpose. This is a significant theme for Shaw; it leads on to that of the conflict between man as spiritual creator and woman as guardian of the biological continuity of the human race that is basic to a later play, Man and Superman. In Candida such speculative issues are only lightly touched on, and this is true also of You Never Can Tell (performed 1899), in which the hero and heroine, who believe themselves to be respectively an accomplished amorist and an utterly rational and emancipated woman, find themselves in the grip of a vital force that takes little account of these notions.

The strain of writing these plays, while his critical and political work went on unabated, so sapped Shaw’s strength that a minor illness became a major one. In 1898, during the process of recuperation, he married his unofficial nurse, Charlotte Payne-Townshend, an Irish heiress and friend of Beatrice and Sidney Webb. The apparently celibate marriage lasted all their lives, Shaw satisfying his emotional needs in paper-passion correspondences with Ellen Terry, Mrs. Patrick Campbell, and others.

Shaw’s next collection of plays, Three Plays for Puritans (1901), continued what became the traditional Shavian preface—an introductory essay in an electric prose style dealing as much with the themes suggested by the plays as the plays themselves. The Devil’s Disciple (performed 1897) is a play set in New Hampshire during the American Revolution and is an inversion of traditional melodrama. Caesar and Cleopatra (performed 1901) is Shaw’s first great play. In the play Cleopatra is a spoiled and vicious 16-year-old child rather than the 38-year-old temptress of Shakespeare’s Antony and Cleopatra. The play depicts Caesar as a lonely and austere man who is as much a philosopher as he is a soldier. The play’s outstanding success rests upon its treatment of Caesar as a credible study in magnanimity and “original morality” rather than as a superhuman hero on a stage pedestal. The third play, Captain Brassbound’s Conversion (performed 1900), is a sermon against various kinds of folly masquerading as duty and justice.

International importance of George Bernard Shaw

In Man and Superman (performed 1905) Shaw expounded his philosophy that humanity is the latest stage in a purposeful and eternal evolutionary movement of the “life force” toward ever-higher life forms. The play’s hero, Jack Tanner, is bent on pursuing his own spiritual development in accordance with this philosophy as he flees the determined marital pursuit of the heroine, Ann Whitefield. In the end Jack ruefully allows himself to be captured in marriage by Ann upon recognizing that she herself is a powerful instrument of the “life force,” since the continuation and thus the destiny of the human race lies ultimately in her and other women’s reproductive capacity. The play’s nonrealistic third act, the “Don Juan in Hell” dream scene, is spoken theatre at its most operatic and is often performed independently as a separate piece.

Shaw had already become established as a major playwright on the Continent by the performance of his plays there, but, curiously, his reputation lagged in England. It was only with the production of John Bull’s Other Island (performed 1904) in London, with a special performance for Edward VII, that Shaw’s stage reputation was belatedly made in England.

Shaw continued, through high comedy, to explore religious consciousness and to point out society’s complicity in its own evils. In Major Barbara (performed 1905), Shaw has his heroine, a major in the Salvation Army, discover that her estranged father, a munitions manufacturer, may be a dealer in death but that his principles and practice, however unorthodox, are religious in the highest sense, while those of the Salvation Army require the hypocrisies of often-false public confession and the donations of the distillers and the armourers against which it inveighs. In The Doctor’s Dilemma (performed 1906), Shaw produced a satire upon the medical profession (representing the self-protection of professions in general) and upon both the artistic temperament and the public’s inability to separate it from the artist’s achievement. In Androcles and the Lion (performed 1912), Shaw dealt with true and false religious exaltation in a philosophical play about early Christianity. Its central theme, examined through a group of early Christians condemned to the arena, is that one must have something worth dying for—an end outside oneself—in order to make life worth living.

Possibly Shaw’s comedic masterpiece, and certainly his funniest and most popular play, is Pygmalion (performed 1913). It was claimed by Shaw to be a didactic drama about phonetics, and its antiheroic hero, Henry Higgins, is a phonetician, but the play is a humane comedy about love and the English class system. The play is about the training Higgins gives to a Cockney flower girl to enable her to pass as a lady and is also about the repercussions of the experiment’s success. The scene in which Eliza Doolittle appears in high society when she has acquired a correct accent but no notion of polite conversation is one of the funniest in English drama. Pygmalion has been both filmed (1938), winning an Academy Award for Shaw for his screenplay, and adapted into an immensely popular musical, My Fair Lady (1956; motion-picture version, 1964).

Works after World War I

World War I was a watershed for Shaw. At first he ceased writing plays, publishing instead a controversial pamphlet, “Common Sense About the War,” which called Great Britain and its allies equally culpable with the Germans and argued for negotiation and peace. His antiwar speeches made him notorious and the target of much criticism. In Heartbreak House (performed 1920), Shaw exposed, in a country-house setting on the eve of war, the spiritual bankruptcy of the generation responsible for the war’s bloodshed. Attempting to keep from falling into “the bottomless pit of an utterly discouraging pessimism,” Shaw wrote five linked plays under the collective title Back to Methuselah (1922). They expound his philosophy of creative evolution in an extended dramatic parable that progresses through time from the Garden of Eden to 31,920 ce.

The canonization of Joan of Arc in 1920 reawakened within Shaw ideas for a chronicle play about her. In the resulting masterpiece, Saint Joan (performed 1923), the Maid is treated not only as a Roman Catholic saint and martyr but as a combination of practical mystic, heretical saint, and inspired genius. Joan, as the superior being “crushed between those mighty forces, the Church and the Law,” is the personification of the tragic heroine; her death embodies the paradox that humankind fears—and often kills—its saints and heroes and will go on doing so until the very higher moral qualities it fears become the general condition of man through a process of evolutionary change. Acclaim for Saint Joan led to the awarding of the 1925 Nobel Prize for Literature to Shaw (he refused the award).

In his later plays Shaw intensified his explorations into tragicomic and nonrealistic symbolism. For the next five years, he wrote nothing for the theatre but worked on his collected edition of 1930–38 and the encyclopaedic political tract “The Intelligent Woman’s Guide to Socialism and Capitalism” (1928). Then he produced The Apple Cart (performed 1929), a futuristic high comedy that emphasizes Shaw’s inner conflicts between his lifetime of radical politics and his essentially conservative mistrust of the common man’s ability to govern himself. Shaw’s later, minor plays include Too True to Be Good (performed 1932), On the Rocks (performed 1933), The Simpleton of the Unexpected Isles (performed 1935), Geneva (performed 1938), and In Good King Charles’s Golden Days (1939). After a wartime hiatus, Shaw, then in his 90s, produced several more plays, including Farfetched Fables (performed 1950), Shakes Versus Shav (performed 1949), and Why She Would Not (1956), which is a fantasy with only flashes of the earlier Shaw.

Impudent, irreverent, and always a showman, Shaw used his buoyant wit to keep himself in the public eye to the end of his 94 years; his wiry figure, bristling beard, and dandyish cane were as well known throughout the world as his plays. When his wife, Charlotte, died of a lingering illness in 1943, in the midst of World War II, Shaw, frail and feeling the effects of wartime privations, made permanent his retreat from his London apartment to his country home at Ayot St. Lawrence, a Hertfordshire village in which he had lived since 1906. He died there in 1950.

George Bernard Shaw was not merely the best comic dramatist of his time but also one of the most significant playwrights in the English language since the 17th century. Some of his greatest works for the stage—Caesar and Cleopatra, the “Don Juan in Hell” episode of Man and Superman, Major Barbara, Heartbreak House, and Saint Joan—have a high seriousness and prose beauty that were unmatched by his stage contemporaries. His development of a drama of moral passion and of intellectual conflict and debate, his revivifying of the comedy of manners, and his ventures into symbolic farce and into a theatre of disbelief helped shape the theatre of his time and after. A visionary and mystic whose philosophy of moral passion permeates his plays, Shaw was also the most trenchant pamphleteer since Swift, the most readable music critic in English, the best theatre critic of his generation, a prodigious lecturer and essayist on politics, economics, and sociological subjects, and one of the most prolific letter writers in literature. By bringing a bold critical intelligence to his many other areas of interest, he helped mold the political, economic, and sociological thought of three generations.

 

228- ] English Literature - George Bernard Shaw

228- ] English Literature

George Bernard Shaw Summary

(July 26, 1856 – November 2nd, 1950)

Biography 

George Bernard Shaw was born on July 26 1856 in Dublin Ireland the son of a civil servant. Although he was best known for drama, he was also proficient in the areas of journalism, music and literary criticism. He began his literary career as a novelist. Shaw’s works concerned themselves mostly with prevailing social problems, specifically with what he saw as the exploitation of the working middle class. Shaw attended various schools throughout his youth but always harboured an animosity towards schools and teachers. He is quoted as saying that “Schools and schoolmasters, as we have them today, are not popular as places of education and teachers, but rather prisons and turnkeys in which children are kept to prevent them disturbing and chaperoning their parents”.

In his personal life, Shaw was an avid Socialist and a member of the Fabian society. In 1898 he married fellow Fabian member and Irish heiress Charlotte Payne-Townsend. He was the first person to be awarded the Nobel prize for Literature as well as an Oscar (for his work on Pygmalion, which was an adaptation of his play of the same name). He wrote 60 plays, most of which deal with social themes such as marriage, religion, class government and health care. Two of his greatest influences were Henrik Ibsen and Henry Fielding. Ibsen’s plays and Fielding’s expulsion from playwriting inspired him to write his own plays on the social injustices of the world around him, including the late nineteenth century censorship of plays, continued from Prime Minister Walpole’s rein in the mid 1740s. The Lord Chamberlain’s Examiner of Plays especially irked him:

“A gentleman who robs, insults, and suppresses me as irresistibly as if he were the Tsar of Russia and I the meanest of his subjects… But I must submit [my play] in order to obtain from him an insolent and insufferable document, which I cannot read without boiling of the blood, certifying that in his opinion — his opinion!– my play ‘does not in its general tendency contain anything immoral or otherwise improper for the stage,’ and that the Lord Chamberlain therefore ‘allows’ its performance (confound his impudence!).” (Mainly xv)

George Bernard Shaw died at the age of 94 due to injuries incurred from falling while pruning a tree.

His education was irregular, due to his dislike of any organized training. After working in an estate agent’s office for a while he moved to London as a young man (1876), where he established himself as a leading music and theatre critic in the eighties and nineties and became a prominent member of the Fabian Society, for which he composed many pamphlets. He began his literary career as a novelist; as a fervent advocate of the new theatre of Ibsen (The Quintessence of Ibsenism, 1891) he decided to write plays in order to illustrate his criticism of the English stage. His earliest dramas were called appropriately Plays Pleasant and Unpleasant (1898). Among these, Widower’s Houses and Mrs. Warren’s Profession savagely attack social hypocrisy, while in plays such as Arms and the Man and The Man of Destiny the criticism is less fierce. Shaw’s radical rationalism, his utter disregard of conventions, his keen dialectic interest and verbal wit often turn the stage into a forum of ideas, and nowhere more openly than in the famous discourses on the Life Force, «Don Juan in Hell», the third act of the dramatization of woman’s love chase of man, Man and Superman (1903).

In the plays of his later period discussion sometimes drowns the drama, in Back to Methuselah (1921), although in the same period he worked on his masterpiece Saint Joan (1923), in which he rewrites the well-known story of the French maiden and extends it from the Middle Ages to the present.

Other important plays by Shaw are Caesar and Cleopatra (1901), a historical play filled with allusions to modern times, and Androcles and the Lion (1912), in which he exercised a kind of retrospective history and from modern movements drew deductions for the Christian era. In Major Barbara (1905), one of Shaw’s most successful «discussion» plays, the audience’s attention is held by the power of the witty argumentation that man can achieve aesthetic salvation only through political activity, not as an individual. The Doctor’s Dilemma (1906), facetiously classified as a tragedy by Shaw, is really a comedy the humour of which is directed at the medical profession. Candida (1898), with social attitudes toward sex relations as objects of his satire, and Pygmalion (1912), a witty study of phonetics as well as a clever treatment of middle-class morality and class distinction, proved some of Shaw’s greatest successes on the stage. It is a combination of the dramatic, the comic, and the social corrective that gives Shaw’s comedies their special flavour.

Shaw’s complete works appeared in thirty-six volumes between 1930 and 1950, the year of his death.

From Nobel Lectures, Literature 1901-1967, Editor Horst Frenz, Elsevier Publishing Company, Amsterdam, 1969

This autobiography/biography was written at the time of the award and first published in the book series Les Prix Nobel. It was later edited and republished in Nobel Lectures. To cite this document, always state the source as shown above.

Works

Short Stories

The Black Girl in Search of God

The Miraculous Revenge

Novels

Immaturity

Cashel Byron’s Profession

The Unsocial Socialist

The Irrational Knot

Love Among the Artists

Plays (In chronological order)

Plays Unpleasant

Widowers’ Houses

The Philanderer

Mrs. Warren’s Profession

To read the script with the Author’s Apology, click HERE.

Plays Pleasant

Arms and the Man

Candida

The Man of Destiny

You Can Never Tell

Three Plays for Puritans

The Devil’s Disciple

Caesar and Cleopatra

Captain Brassbound’s Conversion

The Admirable Bashville

Man and Superman

John Bull’s Other Island

How He Lied to Her Husband

Major Barbara

The Doctor’s Dilemma

Getting Married

The Glimpse of Reality

The Fascinating Foundling

Press Cuttings

Misalliance

Annajanska, The Bolshevik Empress

The Dark Lady of the Sonnets

Fanny’s First Play

Overruled

Androcles and the Lion

Pygmalion

The Great Catherine

The Inca of Perusalem

O’Flaherty VC

Augustus Does His Bit

Heartbreak House

Back to Methuselah

Saint Joan

In the Beginning

The Gospel of the Brothers Barnabus

The Thing Happens

Tragedy of an Elderly Gentleman

As Far as Thought Can Reach

The Apple Cart

Too True to be Good

On the Rocks

The Six of Calias

The Simpleton of the Unexpected Isles

The Shewing Up of Blanco Posnet

The Millionaires

Geneva

In Good King Charles Golden Days

Bouyant Billions

Shakes Versus Shav

Essays

The Quintessence of Ibenism

The Perfect Wagnerite, Commentary on the Ring

Maxims for Revolutionists

Preface to Major Barabara

How to Write a Popular Play

Treatise on Parents and Children

Common Sense about the War

The Intelligent Woman’s Guide to Socialism and Capitalism

Dictators-Let Us Have More of Them

“Shaw’s Music: The Complete Musical Criticism of Bernard Shaw in Three Volumes”

“Shaw on Shakespeare: An Anthology of Bernard Shaw’s Writings”

 

227- ] English Literature - George Orwell

227- ] English Literature

George Orwell 

Nineteen Eighty-four

novel by Orwell

Nineteen Eighty-four, novel by English author George Orwell published in 1949 as a warning against totalitarianism. The novel’s chilling dystopia made a deep impression on readers, and Orwell’s ideas entered mainstream culture in a way achieved by very few books. The book’s title and many of its concepts, such as Big Brother and the Thought Police, are instantly recognized and understood, often as bywords for modern social and political abuses.

Summary

The book is set in 1984 in Oceania, one of three perpetually warring totalitarian states (the other two are Eurasia and Eastasia). Oceania is governed by the all-controlling Party, which has brainwashed the population into unthinking obedience to its leader, Big Brother. The Party has created a propagandistic language known as Newspeak, which is designed to limit free thought and promote the Party’s doctrines. Its words include doublethink (belief in contradictory ideas simultaneously), which is reflected in the Party’s slogans: “War is peace,” “Freedom is slavery,” and “Ignorance is strength.” The Party maintains control through the Thought Police and continual surveillance.

The book’s hero, Winston Smith, is a minor party functionary living in a London that is still shattered by a nuclear war that took place not long after World War II. He belongs to the Outer Party, and his job is to rewrite history in the Ministry of Truth, bringing it in line with current political thinking. However, Winston’s longing for truth and decency leads him to secretly rebel against the government. He embarks on a forbidden affair with Julia, a like-minded woman, and they rent a room in a neighborhood populated by Proles (short for proletariats). Winston also becomes increasingly interested in the Brotherhood, a group of dissenters. Unbeknownst to Winston and Julia, however, they are being watched closely. Ubiquitous posters throughout the city warn residents that “Big Brother is watching you.”

When Winston is approached by O’Brien—an official of the Inner Party who appears to be a secret member of the Brotherhood—the trap is set. O’Brien is actually a spy for the Party, on the lookout for “thought-criminals,” and Winston and Julia are eventually caught and sent to the Ministry of Love for a violent reeducation. The ensuing imprisonment, torture, and reeducation of Winston are intended not merely to break him physically or make him submit but to root out his independence and destroy his dignity and humanity. In Room 101, where prisoners are forced into submission by exposure to their worst nightmares, Winston panics as a cage of rats is attached to his head. He yells out for his tormentors to “Do it to Julia!” and states that he does not care what happens to her. With this betrayal, Winston is released. He later encounters Julia, and neither is interested in the other. Instead, Winston loves Big Brother.

Analysis

Orwell wrote Nineteen Eighty-four as a warning after years of brooding on the twin menaces of Nazism and Stalinism. Its depiction of a state where daring to think differently is rewarded with torture, where people are monitored every second of the day, and where party propaganda trumps free speech and thought is a sobering reminder of the evils of unaccountable governments. Winston is the symbol of the values of civilized life, and his defeat is a poignant reminder of the vulnerability of such values in the midst of all-powerful states.

Nineteen Eighty-Four (also published as 1984) is a dystopian novel and cautionary tale by English writer George Orwell. It was published on 8 June 1949 by Secker & Warburg as Orwell's ninth and final book completed in his lifetime. Thematically, it centres on the consequences of totalitarianism, mass surveillance, and repressive regimentation of people and behaviours within society. Orwell, a staunch believer in democratic socialism and member of the anti-Stalinist Left, modelled the Britain under authoritarian socialism in the novel on the Soviet Union in the era of Stalinism and on the very similar practices of both censorship and propaganda in Nazi Germany. More broadly, the novel examines the role of truth and facts within societies and the ways in which they can be manipulated.

 The story takes place in an imagined future. The current year is uncertain, but believed to be 1984. Much of the world is in perpetual war. Great Britain, now known as Airstrip One, has become a province of the totalitarian superstate Oceania, which is led by Big Brother, a dictatorial leader supported by an intense cult of personality manufactured by the Party's Thought Police. The Party engages in omnipresent government surveillance and, through the Ministry of Truth, historical negationism and constant propaganda to persecute individuality and independent thinking.

The protagonist, Winston Smith, is a diligent mid-level worker at the Ministry of Truth who secretly hates the Party and dreams of rebellion. Smith keeps a forbidden diary. He begins an illegal relationship with a colleague, Julia, and they learn about a shadowy resistance group called the Brotherhood. However, their contact within the Brotherhood turns out to be a Party agent, and Smith and Julia are arrested. He is subjected to months of psychological manipulation and torture by the Ministry of Love. He ultimately betrays Julia and is released; he finally realises he loves Big Brother.

Nineteen Eighty-Four has become a classic literary example of political and dystopian fiction. It also popularised the term "Orwellian" as an adjective, with many terms used in the novel entering common usage, including "Big Brother", "doublethink", "Thought Police", "thoughtcrime", "Newspeak", and "2 + 2 = 5". Parallels have been drawn between the novel's subject matter and real life instances of totalitarianism, mass surveillance, and violations of freedom of expression, among other themes. Orwell described his book as a "satire", and a display of the "perversions to which a centralised economy is liable," while also stating he believed "that something resembling it could arrive." Time included the novel on its list of the 100 best English-language novels published from 1923 to 2005, and it was placed on the Modern Library's 100 Best Novels list, reaching number 13 on the editors' list and number 6 on the readers' list. In 2003, it was listed at number eight on The Big Read survey by the BBC. It has been adapted across media since its publication, most notably as a film, released in 1984, starring John Hurt, Suzanna Hamilton and Richard Burton.

Writing and publication

Idea

The Orwell Archive at University College London contains undated notes about ideas that evolved into Nineteen Eighty-Four. The notebooks have been deemed "unlikely to have been completed later than January 1944", and "there is a strong suspicion that some of the material in them dates back to the early part of the war".

 

In one 1948 letter, Orwell claims to have "first thought of [the book] in 1943", while in another he says he thought of it in 1944 and cites 1943's Tehran Conference as inspiration: "What it is really meant to do is to discuss the implications of dividing the world up into 'Zones of Influence' (I thought of it in 1944 as a result of the Tehran Conference), and in addition to indicate by parodying them the intellectual implications of totalitarianism". Orwell had toured Austria in May 1945 and observed manoeuvring he thought would probably lead to separate Soviet and Allied Zones of Occupation.

In January 1944, literature professor Gleb Struve introduced Orwell to Yevgeny Zamyatin's 1924 dystopian novel We . In his response Orwell expressed an interest in the genre, and informed Struve that he had begun writing ideas for one of his own, "that may get written sooner or later." In 1946, Orwell wrote about the 1931 dystopian novel Brave New World by Aldous Huxley in his article "Freedom and Happiness" for the Tribune, and noted similarities to We. By this time Orwell had scored a critical and commercial hit with his 1945 political satire Animal Farm, which raised his profile. For a follow-up he decided to produce a dystopian work of his own.

Writing

In a June 1944 meeting with Fredric Warburg, co-founder of his British publisher Secker & Warburg, shortly before the release of Animal Farm, Orwell announced that he had written the first 12 pages of his new novel. He could only earn a living from journalism, however, and predicted the book would not see a release before 1947. Progress was slow; by the end of September 1945 Orwell had written some 50 pages. Orwell became disenchanted with the restrictions and pressures involved with journalism and grew to detest city life in London. He suffered from bronchiectasis and a lesion in one lung; the harsh winter worsened his health.

In May 1946, Orwell arrived on the Scottish island of Jura. He had wanted to retreat to a Hebridean island for several years; David Astor recommended he stay at Barnhill, a remote farmhouse on the island that his family owned, with no electricity or hot water. Here Orwell intermittently drafted and finished Nineteen Eighty-Four. His first stay lasted until October 1946, during which time he made little progress on the few already completed pages, and at one point did no work on it for three months. After spending the winter in London, Orwell returned to Jura; in May 1947 he reported to Warburg that despite progress being slow and difficult, he was roughly a third of the way through. He sent his "ghastly mess" of a first draft manuscript to London, where Miranda Christen volunteered to type a clean version. Orwell's health worsened further in September, however, and he was confined to bed with inflammation of the lungs. He lost almost two stone (28 pounds or 12.7 kg) in weight and had recurring night sweats, but he decided not to see a doctor and continued writing. On 7 November 1947, he completed the first draft in bed, and subsequently travelled to East Kilbride near Glasgow for medical treatment at Hairmyres Hospital, where a specialist confirmed a chronic and infectious case of tuberculosis.

Orwell was discharged in the summer of 1948, after which he returned to Jura and produced a full second draft of Nineteen Eighty-Four, which he finished in November. He asked Warburg to have someone come to Barnhill and retype the manuscript, which was so untidy that the task was only considered possible if Orwell was present, as only he could understand it. The previous volunteer had left the country and no other could be found at short notice, so an impatient Orwell retyped it himself at a rate of roughly 4,000 words a day during bouts of fever and bloody coughing fits. On 4 December 1948, Orwell sent the finished manuscript to Secker & Warburg and left Barnhill for good in January 1949. He recovered at a sanitarium in the Cotswolds.

Title

Shortly before completion of the second draft, Orwell vacillated between two titles for the novel: The Last Man in Europe, an early title, and Nineteen Eighty-Four. Warburg suggested the latter, which he took to be a more commercially viable choice. There has been a theory – doubted by Dorian Lynskey (author of a 2019 book about Nineteen Eighty-Four) – that 1984 was chosen simply as an inversion of the year 1948, the year in which it was being completed. Lynskey says the idea was "first suggested by Orwell's US publisher", and it was also mentioned by Christopher Hitchens in his introduction to the 2003 edition of Animal Farm and 1984, which also notes that the date was meant to give "an immediacy and urgency to the menace of totalitarian rule". However, Lynskey does not believe the inversion theory:

This idea ... seems far too cute for such a serious book. ... Scholars have raised other possibilities. [His wife] Eileen wrote a poem for her old school's centenary called 'End of the Century: 1984.' G. K. Chesterton's 1904 political satire The Napoleon of Notting Hill, which mocks the art of prophecy, opens in 1984. The year is also a significant date in The Iron Heel. But all of these connections are exposed as no more than coincidences by the early drafts of the novel ... First he wrote 1980, then 1982, and only later 1984. The most fateful date in literature was a late amendment.

Publication

In the run up to publication, Orwell called the novel "a beastly book" and expressed some disappointment towards it, thinking it would have been improved had he not been so ill. This was typical of Orwell, who had talked down his other books shortly before their release. Nevertheless, the book was enthusiastically received by Secker & Warburg, who acted quickly; before Orwell had left Jura he rejected their proposed blurb that portrayed it as "a thriller mixed up with a love story." He also refused a proposal from the American Book of the Month Club to release an edition without the appendix and chapter on Goldstein's book, a decision which Warburg claimed cut off about £40,000 in sales.

Nineteen Eighty-Four was published on 8 June 1949 in the UK; Orwell predicted earnings of around £500. A first print of 25,575 copies was followed by a further 5,000 copies in March and August 1950. The novel had the most immediate impact in the US, following its release there on 13 June 1949 by Harcourt Brace, & Co. An initial print of 20,000 copies was quickly followed by another 10,000 on 1 July, and again on 7 September. By 1970, over 8 million copies had been sold in the US, and in 1984 it topped the country's all-time best seller list.

In June 1952, Orwell's widow Sonia Bronwell sold the only surviving manuscript at a charity auction for £50. The draft remains the only surviving literary manuscript from Orwell, and is held at the John Hay Library at Brown University in Providence, Rhode Island.

Variant English language editions

In the original published UK and US editions of 1984 numerous small variations in the text exist, the US edition altering Orwell's agreed edit of the text as was typical of publishing practices of the time in regard to spelling and punctuation, as well as some small edits and phrasings. While Orwell rejected a proposed book club edition which would see substantial sections of the book removed, these minor changes passed somewhat under the radar. Other more significant revisions and variant texts also exist, however.

In 1984, Peter Davison edited Nineteen Eighty-Four: The Facsimile of the Extant Manuscript, published by Secker and Warburg in the UK and Harcourt-Brace-Jovanovich in the US. This reproduced page for page Sonia Bronwell's copy of the original manuscript in facsimiles, as well as a complete typeset versions of that text - complete with Orwell's holograph and typewritten pages, and handwritten amendments and corrections. The book had a preface by Daniel Segal. It has been reprinted in various international editions with translated introductions and notes, and reprinted in English in limited edition formats.

In 1997, Davison produced a definitive text of Nineteen Eighty Four as part of Secker's 20 volume definitive edition of the Complete Works of George Orwell. This edition removed errors, typographic errors, and reversed editorial changes in the original editions made without Orwell's oversight, all based on detailed reference to Orwell's original manuscript and notes. This text has gone on to be reprinted in various subsequent paperback editions, including one with an introduction by Thomas Pynchon, without obvious note that it is a revised text, and has been translated as an unexpurgated version of text.

In 2021, Polygon published Nineteen Eighty Four: The Jura Edition, with an introduction by Alex Massie.

Plot

In 1984, civilisation has been ravaged by world war, civil conflict, and revolution. Airstrip One (formerly known as Great Britain) is a province of Oceania, one of the three totalitarian super-states that rule the world. It is ruled by "The Party" under the ideology of "Ingsoc" (a Newspeak shortening of "English Socialism") and the mysterious leader Big Brother, who has an intense cult of personality. The Party brutally purges out anyone who does not fully conform to their regime, using the Thought Police and constant surveillance through telescreens (two-way televisions), cameras, and hidden microphones. Those who fall out of favour with the Party become "unpersons", disappearing with all evidence of their existence destroyed.

In London, Winston Smith is a member of the Outer Party, working at the Ministry of Truth, where he rewrites historical records to conform to the state's ever-changing version of history. Winston revises past editions of The Times, while the original documents are destroyed after being dropped into ducts known as memory holes, which lead to an immense furnace. He secretly opposes the Party's rule and dreams of rebellion, despite knowing that he is already a "thought-criminal" and is likely to be caught one day.

While in a prole neighbourhood he meets Mr. Charrington, the owner of an antiques shop, and buys a diary where he writes criticisms of the Party and Big Brother. To his dismay, when he visits a prole quarter he discovers they have no political consciousness. As he works in the Ministry of Truth, he observes Julia, a young woman maintaining the novel-writing machines at the ministry, whom Winston suspects of being a spy, and develops an intense hatred of her. He vaguely suspects that his superior, Inner Party official O'Brien, is part of an enigmatic underground resistance movement known as the Brotherhood, formed by Big Brother's reviled political rival Emmanuel Goldstein.

One day, Julia discreetly hands Winston a love note, and the two begin a secret affair. Julia explains that she also loathes the Party, but Winston observes that she is politically apathetic and uninterested in overthrowing the regime. Initially meeting in the country, they later meet in a rented room above Mr. Charrington's shop. During the affair, Winston remembers the disappearance of his family during the civil war of the 1950s and his tense relationship with his estranged wife Katharine. Weeks later, O'Brien invites Winston to his flat, where he introduces himself as a member of the Brotherhood and sends Winston a copy of The Theory and Practice of Oligarchical Collectivism by Goldstein. Meanwhile, during the nation's Hate Week, Oceania's enemy suddenly changes from Eurasia to Eastasia, which goes mostly unnoticed. Winston is recalled to the Ministry to help make the necessary revisions to the records. Winston and Julia read parts of Goldstein's book, which explains how the Party maintains power, the true meanings of its slogans, and the concept of perpetual war. It argues that the Party can be overthrown if proles rise up against it. However, Winston never gets the opportunity to read the chapter that explains why the Party took power and is motivated to maintain it.

Winston and Julia are captured when Mr. Charrington is revealed to be an undercover Thought Police agent, and they are separated and imprisoned at the Ministry of Love. O'Brien also reveals himself to be a member of the Thought Police and a member of a false flag operation which catches political dissidents of the Party. Over several months, Winston is starved and relentlessly tortured to bring his beliefs in line with the Party. O'Brien tells Winston that he will never know whether the Brotherhood actually exists and that Goldstein's book was written collaboratively by him and other Party members; furthermore, O'Brien reveals to Winston that the Party sees power not as a means but as an end, and the ultimate purpose of the Party is seeking power entirely for its own sake. For the final stage of re-education, O'Brien takes Winston to Room 101, which contains each prisoner's worst fear. When confronted with rats, Winston denounces Julia and pledges allegiance to the Party.

Winston is released into public life and continues to frequent the Chestnut Tree café. He encounters Julia, and both reveal that they have betrayed the other and are no longer in love. Back in the café, a news alert celebrates Oceania's supposed massive victory over Eurasian armies in Africa. Winston finally accepts that he loves Big Brother.

Characters

Main characters

Winston Smith: the 39-year-old protagonist who is a phlegmatic everyman harbouring thoughts of rebellion and is curious about the Party's power and the past before the Revolution.

Julia: Winston's lover, who publicly espouses Party doctrine as a member of the fanatical Junior Anti-Sex League. Julia enjoys her small acts of rebellion and has no interest in giving up her lifestyle.

O'Brien: A mysterious character, O'Brien is a member of the Inner Party who poses as a member of The Brotherhood, the counter-revolutionary resistance, to catch Winston. He is a spy intending to deceive, trap, and capture Winston and Julia.

Big Brother and Emmanuel Goldstein never appear but play a big part in the plot and have a significant role in the worldbuilding of 1984.

Big Brother: the leader and figurehead of the Party that rules Oceania. A deep cult of personality is formed around him. It is not revealed whether he actually exists.

Emmanuel Goldstein: ostensibly a former leading figure in the Party who became the counter-revolutionary leader of the Brotherhood, and author of the book The Theory and Practice of Oligarchical Collectivism. Goldstein is the symbolic enemy of the state—the national nemesis who ideologically unites the people of Oceania with the Party, especially during the Two Minutes Hate and other forms of fearmongering. However O'Brien claims that the book was actually written by the Party.

Secondary characters

Aaronson, Jones, and Rutherford: former members of the Inner Party whom Winston vaguely remembers as among the original leaders of the Revolution, long before he had heard of Big Brother. They confessed to treasonable conspiracies with foreign powers and were then executed in the political purges of the 1960s. In between their confessions and executions, Winston saw them drinking in the Chestnut Tree Café—with broken noses, suggesting that their confessions had been obtained by torture. Later, in the course of his editorial work, Winston sees newspaper evidence contradicting their confessions, but drops it into a memory hole. Eleven years later, he is confronted with the same photograph during his interrogation.

Ampleforth: Winston's one-time Records Department colleague who was imprisoned for leaving the word "God" in a Kipling poem as he could not find another rhyme for "rod";[44] Winston encounters him at the Ministry of Love. Ampleforth is a dreamer and intellectual who takes pleasure in his work, and respects poetry and language, traits which cause him disfavour with the Party.

Charrington: an undercover officer of the Thought Police masquerading as a kind and sympathetic antiques dealer amongst the proles.

Katharine Smith: the emotionally indifferent wife whom Winston "can't get rid of". Despite disliking sexual intercourse, Katharine married Winston because it was their "duty to the Party". Although she was a "goodthinkful" ideologue, they separated because the couple could not conceive children. Divorce is not permitted, but couples who cannot have children may live separately. For much of the story Winston lives in vague hope that Katharine may die or could be "got rid of" so that he may marry Julia. He regrets not having killed her by pushing her over the edge of a quarry when he had the chance many years previously.

The Parsons family:

Tom Parsons: Winston's naïve neighbour, and an ideal member of the Outer Party: an uneducated, suggestible man who is utterly loyal to the Party, and fully believes in its perfect image. He is socially active and participates in the Party activities for his social class. He is friendly towards Smith, and despite his political conformity punishes his bullying son for firing a catapult at Winston. Later, as a prisoner, Winston sees Parsons imprisoned in the Ministry of Love, after his young daughter reported him to the Thought Police for speaking against Big Brother in his sleep. Even this does not dampen Parsons's belief in the Party—he says he could do "good work" in the hard labour camps.

Mrs. Parsons: Parsons's wife is a wan and hapless woman who is intimidated by her own children.

The Parsons children: a nine-year-old son and seven-year-old daughter. Both are members of the Spies, a youth organisation that focuses on indoctrinating children with Party ideals and training them to report any suspected incidents of unorthodoxy. They represent the new generation of Oceanian citizens, the model society envisioned by the Inner Party without memory of life before Big Brother, and without family ties or emotional sentiment.

Syme: Winston's colleague at the Ministry of Truth, a lexicographer involved in compiling a new edition of the Newspeak dictionary. Although he is enthusiastic about his work and support for the Party, Winston notes, "He is too intelligent. He sees too clearly and speaks too plainly." Winston predicts, correctly, that Syme will become an unperson.

Setting

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History of the world

The Revolution

Winston Smith's memories and his reading of the proscribed book, The Theory and Practice of Oligarchical Collectivism by Emmanuel Goldstein, reveal that after the Second World War, a Third World War broke out in the early 1950s in which nuclear weapons destroyed hundreds of cities in Europe, western Russia and North America (though not stated, it is implied this was a nuclear exchange between the United States and the Soviet Union). Colchester was destroyed, and London also suffered widespread aerial raids, leading Winston's family to take refuge in a London Underground station.

During the war, the Soviet Union invaded and absorbed all of Continental Europe, while the United States absorbed the British Commonwealth and later Latin America. This formed the basis of Eurasia and Oceania respectively. Due to the instability perpetuated by the nuclear war, these new nations fell into civil war, but who fought whom is left unclear (there is a reference to the child Winston having seen rival militias in the streets, each one having a shirt of a distinct colour for its members). Meanwhile, Eastasia, the last superstate established, emerged only after "a decade of confused fighting". It includes the Asian lands conquered by China and Japan. Although Eastasia is prevented from matching Eurasia's size, its larger populace compensates for that handicap.

However, due to the fact that Winston only barely remembers these events as well as the Party's constant manipulation of historical records, the continuity and accuracy of these events are unknown, and exactly how the superstates' ruling parties managed to gain their power is also left unclear. If the official account was accurate, Smith's strengthening memories and the story of his family's dissolution suggest that the atomic bombings occurred first, followed by civil war featuring "confused street fighting in London itself" and the societal postwar reorganisation, which the Party retrospectively calls "the Revolution". It is very difficult to trace the exact chronology, but most of the global societal reorganisation occurred between 1945 and the early 1960s.

The War

In 1984, there is a perpetual war between Oceania, Eurasia and Eastasia, the superstates that emerged from the global atomic war. The Theory and Practice of Oligarchical Collectivism, by Emmanuel Goldstein, explains that each state is so strong that it cannot be defeated, even with the combined forces of two superstates, despite changing alliances. To hide such contradictions, the superstates' governments rewrite history to explain that the (new) alliance always was so; the populaces are already accustomed to doublethink and accept it. The war is not fought in Oceanian, Eurasian or Eastasian territory but in the Arctic wastes and a disputed zone roughly situated in between Tangiers, Brazzaville, Darwin and Hong Kong. At the start, Oceania and Eastasia are allies fighting Eurasia in northern Africa and the Malabar Coast.

That alliance ends, and Oceania, allied with Eurasia, fights Eastasia, a change occurring on Hate Week, dedicated to creating patriotic fervour for the Party's perpetual war. The public are blind to the change; in mid-sentence, an orator changes the name of the enemy from "Eurasia" to "Eastasia" without pause. When the public are enraged at noticing that the wrong flags and posters are displayed, they tear them down; the Party later claims to have captured the whole of Africa.

Goldstein's book explains that the purpose of the unwinnable, perpetual war is to consume human labour and commodities so that the economy of a superstate cannot support economic equality, with a high standard of life for every citizen. By using up most of the produced goods, the Party keeps the proles poor and uneducated, hoping that they will neither realise what the government is doing nor rebel. Goldstein also details an Oceanian strategy of attacking enemy cities with atomic rockets before invasion but dismisses it as unfeasible and contrary to the war's purpose; despite the atomic bombing of cities in the 1950s, the superstates stopped it for fear that it would imbalance the powers. The military technology in the novel differs little from that of World War II, but strategic bomber aeroplanes are replaced with rocket bombs, helicopters were heavily used as weapons of war (they were very minor in World War II) and surface combat units have been all but replaced by immense and unsinkable Floating Fortresses (island-like contraptions concentrating the firepower of a whole naval task force in a single, semi-mobile platform; in the novel, one is said to have been anchored between Iceland and the Faroe Islands, suggesting a preference for sea lane interdiction and denial).