Propaganda In Animal Farm Quotes

Unpopular ideas can be silenced, and inconvenient facts kept dark, without the need for any official ban. Anyone who has lived long in a foreign country will know of instances of sensational items of news — things which on their own merits would get the big headlines-being kept right out of the British press, not because the Government intervened but because of a general tacit agreement that ‘it wouldn’t do’ to mention that particular fact. So far as the daily newspapers go, this is easy to understand. The British press is extremely centralised, and most of it is owned by wealthy men who have every motive to be dishonest on certain important topics. But the same kind of veiled censorship also operates in books and periodicals, as well as in plays, films and radio. At any given moment there is an orthodoxy, a body of ideas which it is assumed that all right-thinking people will accept without question. It is not exactly forbidden to say this, that or the other, but it is ‘not done’ to say it, just as in mid-Victorian times it was ‘not done’ to mention trousers in the presence of a lady. Anyone who challenges the prevailing orthodoxy finds himself silenced with surprising effectiveness. A genuinely unfashionable opinion is almost never given a fair hearing, either in the popular press or in the highbrow periodicals.

Is it not strange that we call those who kill dogs animal abusers, those who kill pigs normal and those who kill neither extremists? Is it not odd that someone who smashes a car window to rescue a dog on a hot day is viewed as a hero but someone who rescues a piglet suffering on a farm is a criminal?

The reality is that if we took the legally sanctioned practices from the animal farming industries and then applied them to other situations, we would think those practices horrendous. For example, if dog owners were cutting off their pets' tails and chopping their teeth out, we would condemn that as being horrific animal abuse. But we do it to pigs and call it high welfare. If someone was killing puppies by thumping their heads against a wall or dislocating their necks, we would call that evil, yet that happens to animals such as piglets and chickens and we call it humane. But the experience is the same for the individual animal, regardless of what species they are.

Was it upsetting, bewildering, and possibly traumatic to have four girls from your school - the smart, popular ones at that - disappear to ISIS? No longer sitting next to you in English class pouring over Animal Farm, discussing why the pigs (the girls sometimes spelled out P-I-G when speaking aloud, to minimize its haram grossness) embodied tyranny and propaganda. No longer kneeling next to you on Fridays in the prayer room, pressing their foreheads to the ground. Someone could have helped the students of Bethnal Green Academy to make some sense of it all, but making sense of it, as some students would discover later, was dangerously too close, in the eyes of the police and other community authorities, to sympathizing.

Part of the greater importance of the novella owes to its treatment of Animal Farm not as an isolated entity but as part of a network of farms—an analogue to the international political arena. Orwell thus comments on Soviet Russia and the global circumstances in which it arose. But the tactics that we see the pigs utilizing here—the overworking of the laboring class, the justification of luxuries indulged in by the ruling class, the spreading of propaganda to cover up government failure or ineffectiveness—evoke strategies implemented not only by communist Russia but also by governments throughout the world needing to oppress their people in order to consolidate their power.

98 per cent of farms in the USA are classed as ‘family farms’,1 which makes you realise that the notion of a family farm has nothing to do with an animal’s wellbeing but is instead a marketing ploy to make us think of a romanticised ideal of farming that simply doesn’t exist.

While everyone was worrying about the world turning into 1984 it turns out the world is actually Animal Farm.

Kui ma istun raamatut kirjutama, ei ütle ma endale: «Ma loon kunstiteose.» Ma kirjutan sellepärast, et paljastada mingit valet, juhtida tähelepanu mingile tõsiasjale, ja mu algseks sihiks on leida kuulajaid. Aga ma ei suudaks tulla toime raamatu või koguni pika ajaleheartikli kirjutamise tööga, kui see poleks ühtlasi esteetiline kogemus. Igaüks, kes võtab vaevaks mu teoseid lähemalt uurida, näeb, et kui nad on ka sulaselge propaganda, on neis paljugi sellist, mida kutseline poliitik peaks tähtsusetuks. Ma pole suuteline ja ma ei tahagi täielikult hüljata lapsepõlves omandatud maailmavaadet. Niikaua kui ma olen elu ja tervise juures, pean ma tähtsaks proosastiili, armastan maakera pealispinda ning tunnen mõnu käegakatsutavatest asjadest ja kasututest teadmispudemetest. Pole mõtet püüda seda külge endas maha suruda.

on the same instrument, private life came to an end. Every citizen, or at least every citizen important enough to be worth watching, could be kept for twenty-four hours a day under the eyes of the police and in the sound of official propaganda, with all other channels of communication closed. The possibility of enforcing not only complete obedience to the will of the State, but complete uniformity of opinion on all subjects, now existed for the first time.

in the past no government had the power to keep its citizens under constant surveillance. The invention of print, however, made it easier to manipulate public opinion, and the film and the radio carried the process further. With the development of television, and the technical advance which made it possible to receive and transmit simultaneously on the same instrument, private life came to an end. Every citizen, or at least every citizen important enough to be worth watching, could be kept for twenty-four hours a day under the eyes of the police and in the sound of official propaganda, with all other channels of communication closed. The possibility of enforcing not only complete obedience to the will of the State, but complete uniformity of opinion on all subjects, now existed for the first time.

STYLE & STRUCTURE LANGUAGE Simple, clear; effectively creates the atmosphere of a world that, on the surface, is down-to-earth and unsophisticated, but that on a deeper level is complex and contains many conflicting forces. NARRATOR Invisible, third-person narrator who emphasizes the thoughts, feelings, and actions of animals. FABLE (Short tale that teaches a moral lesson, with animals as characters.) The animals act in accordance with their animal nature, but their ideas and emotions are those of human beings: Benjamin is skeptical about the chances of improving his lot and feels just as disillusioned about their new society as a human would; Clover, the gentle, patient elderly mare, reacts to tragic events with the compassionate tears of a human being. It is obvious that Orwell sympathizes with the plight of the animals, whether they are ruled by Jones or Napoleon. His treatment of animals makes them believable as individuals, not just as types. IRONY (Use of words to express a meaning opposite to the literal meaning.) Orwell sees the animals’ flaws as well as their positive qualities; treats circumstances of their lives with persuasive irony: the Rebellion occurs not merely because of a bloodthirsty desire for revenge on the animals’ part, but also because Jones has forgotten to feed them and they are desperately hungry. STRUCTURE Ten chapters. Rising action: First five chapters tell of the animals’ Rebellion. Crisis (turning point): Napoleon launches the surprise attack that drives Snowball into exile, thus eliminating a rival for the position of power. The novel’s second half tells how Napoleon firmly establishes his power by making clever use of propaganda and terrorist tactics. Several unexplained events are cleared up as the story develops: why Napoleon took puppies (he raises them as a police force); what happened to the cows’ milk (it is reserved exclusively for the pigs’ use); the reason for the pigs’ moving into farmhouse (they are secretly learning to acquire human habits); the strange negotiations with Foxwood and Pinchfield Farms (Napoleon attempts to deal with humans on terms advantageous to him).