E-Book, Englisch, Band 192, 217 Seiten
Reihe: Essential Novelists
A voice gainst totalitarianism
E-Book, Englisch, Band 192, 217 Seiten
Reihe: Essential Novelists
ISBN: 978-3-98522-870-6
Verlag: Tacet Books
Format: EPUB
Kopierschutz: 6 - ePub Watermark
Eric Arthur Blair (25 June 1903 21 January 1950), known by his pen name George Orwell, was an English essayist, journalist and critic
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Introduction
“If liberty means anything at all, it means the right to tell people what they do not want to hear.”
George Orwell Eric Arthur Blair (25 June 1903 – 21 January 1950), known by his pen name George Orwell, was an English essayist, journalist and critic. His work is characterised by lucid prose, biting social criticism, opposition to totalitarianism, and outspoken support of democratic socialism. As a writer, Orwell produced literary criticism and poetry, fiction and polemical journalism; and is best known for the allegorical novella Animal Farm (1945) and the dystopian novel Nineteen Eighty-Four (1949). His non-fiction works, including The Road to Wigan Pier (1937), documenting his experience of working-class life in the north of England, and Homage to Catalonia (1938), an account of his experiences soldiering for the Republican faction of the Spanish Civil War (1936–1939), are as critically respected as his essays on politics and literature, language and culture. In 2008, The Times ranked George Orwell second among "The 50 greatest British writers since 1945". Orwell's work remains influential in popular culture and in political culture, and the adjective "Orwellian"—describing totalitarian and authoritarian social practices—is part of the English language, like many of his neologisms, such as "Big Brother", "Thought Police", "Two Minutes Hate", "Room 101", "memory hole", "Newspeak", "doublethink", "proles", "unperson", and "thoughtcrime". Why I write
From a very early age, perhaps the age of five or six, I knew that when I grew up I should be a writer. Between the ages of about seventeen and twenty-four I tried to abandon this idea, but I did so with the consciousness that I was outraging my true nature and that sooner or later I should have to settle down and write books. I was the middle child of three, but there was a gap of five years on either side, and I barely saw my father before I was eight. For this and other reasons I was somewhat lonely, and I soon developed disagreeable mannerisms which made me unpopular throughout my schooldays. I had the lonely child's habit of making up stories and holding conversations with imaginary persons, and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued. I knew that I had a facility with words and a power of facing unpleasant facts, and I felt that this created a sort of private world in which I could get my own back for my failure in everyday life. Nevertheless the volume of serious—i.e. seriously intended—writing which I produced all through my childhood and boyhood would not amount to half a dozen pages. I wrote my first poem at the age of four or five, my mother taking it down to dictation. I cannot remember anything about it except that it was about a tiger and the tiger had 'chair-like teeth'—a good enough phrase, but I fancy the poem was a plagiarism of Blake's 'Tiger, Tiger'. At eleven, when the war or 1914-18 broke out, I wrote a patriotic poem which was printed in the local newspaper, as was another, two years later, on the death of Kitchener. From time to time, when I was a bit older, I wrote bad and usually unfinished 'nature poems' in the Georgian style. I also attempted a short story which was a ghastly failure. That was the total of the would-be serious work that I actually set down on paper during all those years. However, throughout this time I did in a sense engage in literary activities. To begin with there was the made-to-order stuff which I produced quickly, easily and without much pleasure to myself. Apart from school work, I wrote VERS D'OCCASION, semi-comic poems which I could turn out at what now seems to me astonishing speed—at fourteen I wrote a whole rhyming play, in imitation of Aristophanes, in about a week—and helped to edit a school magazines, both printed and in manuscript. These magazines were the most pitiful burlesque stuff that you could imagine, and I took far less trouble with them than I now would with the cheapest journalism. But side by side with all this, for fifteen years or more, I was carrying out a literary exercise of a quite different kind: this was the making up of a continuous 'story' about myself, a sort of diary existing only in the mind. I believe this is a common habit of children and adolescents. As a very small child I used to imagine that I was, say, Robin Hood, and picture myself as the hero of thrilling adventures, but quite soon my 'story' ceased to be narcissistic in a crude way and became more and more a mere description of what I was doing and the things I saw. For minutes at a time this kind of thing would be running through my head: 'He pushed the door open and entered the room. A yellow beam of sunlight, filtering through the muslin curtains, slanted on to the table, where a match-box, half-open, lay beside the inkpot. With his right hand in his pocket he moved across to the window. Down in the street a tortoiseshell cat was chasing a dead leaf', etc. etc. This habit continued until I was about twenty-five, right through my non-literary years. Although I had to search, and did search, for the right words, I seemed to be making this descriptive effort almost against my will, under a kind of compulsion from outside. The 'story' must, I suppose, have reflected the styles of the various writers I admired at different ages, but so far as I remember it always had the same meticulous descriptive quality. When I was about sixteen I suddenly discovered the joy of mere words, i.e. the sounds and associations of words. The lines from PARADISE LOST, So hee with difficulty and labour hard
Moved on: with difficulty and labour hee. which do not now seem to me so very wonderful, sent shivers down my backbone; and the spelling 'hee' for 'he' was an added pleasure. As for the need to describe things, I knew all about it already. So it is clear what kind of books I wanted to write, in so far as I could be said to want to write books at that time. I wanted to write enormous naturalistic novels with unhappy endings, full of detailed descriptions and arresting similes, and also full of purple passages in which words were used partly for the sake of their own sound. And in fact my first completed novel, BURMESE DAYS, which I wrote when I was thirty but projected much earlier, is rather that kind of book. I give all this background information because I do not think one can assess a writer's motives without knowing something of his early development. His subject matter will be determined by the age he lives in—at least this is true in tumultuous, revolutionary ages like our own—but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape. It is his job, no doubt, to discipline his temperament and avoid getting stuck at some immature stage, in some perverse mood; but if he escapes from his early influences altogether, he will have killed his impulse to write. Putting aside the need to earn a living, I think there are four great motives for writing, at any rate for writing prose. They exist in different degrees in every writer, and in any one writer the proportions will vary from time to time, according to the atmosphere in which he is living. They are: (i) Sheer egoism. Desire to seem clever, to be talked about, to be remembered after death, to get your own back on the grown-ups who snubbed you in childhood, etc., etc. It is humbug to pretend this is not a motive, and a strong one. Writers share this characteristic with scientists, artists, politicians, lawyers, soldiers, successful businessmen—in short, with the whole top crust of humanity. The great mass of human beings are not acutely selfish. After the age of about thirty they almost abandon the sense of being individuals at all—and live chiefly for others, or are simply smothered under drudgery. But there is also the minority of gifted, willful people who are determined to live their own lives to the end, and writers belong in this class. Serious writers, I should say, are on the whole more vain and self-centered than journalists, though less interested in money. (ii) 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. (iii) Historical impulse. Desire to see things as they are, to find out true facts and store them up for the use of posterity. (iv) Political purpose.—Using the word 'political' in the widest possible sense. Desire to push the world in a certain direction, to alter other peoples' idea of the kind of society that they should strive after. Once again, no book is genuinely free from political bias. The opinion that art should have nothing to do with politics is itself a political attitude. It can be seen how these various impulses must war against one another, and how they must fluctuate from person to person and from time to time. By nature—taking your 'nature' to be the state you have attained when you are first adult—I am a person in whom the first three motives would outweigh the fourth. In a peaceful age I might have written ornate or merely descriptive books, and might...
