British writer and journalist (1903–1950)
George Orwell (25 June 1903 – 21 January 1950) was the pen name of British novelist, essayist, and journalist Eric Arthur Blair, whose work is characterised by lucid prose, awareness of social injustice, opposition to totalitarianism, and strong support of democratic socialism.
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One feels of him that there was much he did not understand, but not that there was anything that he was frightened of saying or thinking. I have never been able to feel much liking for Gandhi, but I do not feel sure that as a political thinker he was wrong in the main, nor do I believe that his life was a failure. ... One may feel, as I do, a sort of aesthetic distaste for Gandhi, one may reject the claims of sainthood made on his behalf (he never made any such claim himself, by the way), one may also reject sainthood as an ideal and therefore feel that Gandhi's basic aims were anti-human and reactionary: but regarded simply as a politician, and compared with the other leading political figures of our time, how clean a smell he has managed to leave behind!
"أوبراين: "كيف يؤكد إنسان سلطته على إنسان آخر يا وينستون ؟"
قال وينستون بعد تفكير: "يجعله يقاسي الألم"
رد أوبراين: "أصبت فيما تقول. بتعريضه للألم , فالطاعة وحدها ليست كافية , وما لم يعانِ الإنسان الألم كيف يمكنك أن تتحقق من أنه ينصاع لإرادتك لا لإرادته هو ؟
إن السلطة هي إذلاله وإنزال الألم به , وهي أيضا تمزيق العقول البشرية إلى أشلاء ثم جمعها ثانية وصياغتها في قوالب جديدة من اختيارنا.
هل بدأت تفهم أي نوع من العالم نقوم بخلقه الآن ؟ إنه النقيض التام ليوتوبيا المدينة الفاضلة التي تصورها المصلحون الأقدمون, إنه عالم الخوف والغدر والتعذيب, عالم يدوس الناس فيه بعضهم بعضا.
عالم يزداد قسوة كلما ازداد نقاء , إذ التقدم في عالمنا هو التقدم باتجاه المزيد من الألم.
لقد زعمت الحضارات الغابرة أنها قامت على الحب والعدالة أما حضارتنا فهي قائمة على الكراهية, ففي عالمنا لا مكان لعواطف غير الخوف والغضب والانتشاء بالنصر وإذلال الذات, وأي شيء خلاف ذلك سندمره تدميراً.
I have been discussing Dickens simply in terms of his ‘message’, and almost ignoring his literary qualities. But every writer, especially every novelist, has a ‘message’, whether he admits it or not, and the minutest details of his work are influenced by it. All art is propaganda. Neither Dickens himself nor the majority of Victorian novelists would have thought of denying this. On the other hand, not all propaganda is art. As I said earlier, Dickens is one of those writers who are felt to be worth stealing. He has been stolen by Marxists, by Catholics and, above all, by Conservatives. The question is, What is there to steal? Why does anyone care about Dickens? Why do I care about Dickens?
A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus:
1. What am I trying to say?
2. What words will express it?
3. What image or idiom will make it clearer?
4. Is this image fresh enough to have an effect?
And he will probably ask himself two more:
1. Could I put it more shortly?
2. 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.
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