A Seamless Whole in George Orwell’s "Nineteen Eighty-Four" Introduction George Orwell’s Nineteenth Eighty-Four is deservedly a classic, thanks to factors such as its profound understanding of the totalitarian mindset, its sensitivity to issues of freedom of expression in authoritarian environments, and its inventive use of language (particularly ‘Doublespeak’) and political concepts (such as the various ministries of INGSOC) in a genre that, until Orwell, lacked political sophistication. Surely, in Nineteen Eighty-Four, Orwell realized his lifelong goal of melding art and propaganda into a seamless whole. However, looking back on Nineteen Eighty-Four, one is struck not only by the failure of Orwell’s specific predictions (such as the...The end:
.....reality. In a way, Nineteen Eighty-Four is both too optimistic and too pessimistic about civilization. On the one hand, Orwell is too pessimistic in assuming that states can exert precise control over all of their subjects via technology; as we see today, technology is easily dispersed and widely available to challenge the rule of authoritarianism. On the other hand, Orwell is too optimistic in assuming that the essential human spirit is the spirit of Winston, who has an inextinguishable spark of rebelliousness in him. In fact, the essential human spirit has turned out to be someone like Julia: that is, flighty, apolitical, and led around the nose by pleasure. References Orwell, George. Nineteen Eighty-Four. New York: Signet Classics, 1981.