Literature and Human Rights PDF

1407-Literature & Human Rights [BAHE-DSC-SV-CC4] Cover 020924.pdf - September 2, 2024 Literature and Human Rights [FOR LIMITED CIRCULATION] Editorial Board Dr. Neeta Gupta, Dr. Seema Suri, P.K. Satapathy,...

1407-Literature & Human Rights [BAHE-DSC-SV-CC4] Cover 020924.pdf - September 2, 2024 Literature and Human Rights [FOR LIMITED CIRCULATION] Editorial Board Dr. Neeta Gupta, Dr. Seema Suri, P.K. Satapathy, Nalini Prabhakar Content Writers Aisha Quadry, Dr. Seema Suri, Nalini Prabhakar, P.K. Satapathy, Dikshya Samantarai Academic Coordinator Deekshant Awasthi © Department of Distance and Continuing Education E-mail: [email protected] [email protected] Published by: Department of Distance and Continuing Education Campus of Open Learning, School of Open Learning, University of Delhi, Delhi-110007 Printed by: School of Open Learning, University of Delhi  Literature and Human Rights Disclaimer Corrections/Modifications/Suggestions proposed by Statutory Body, DU/ Stakeholder/s in the Self Learning Material (SLM) will be incorporated in the next edition. However, these corrections/modifications/suggestions will be uploaded on the website https://sol.du.ac.in. Any feedback or suggestions may be sent at the email- [email protected] Printed at: Taxmann Publications Pvt. Ltd., 21/35, West Punjabi Bagh, New Delhi - 110026 (10,000 Copies, 2024) Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi  Syllabus Literature and Human Rights Syllabus Mapping Unit - I: Pages 1–27 1. George Orwell: 1984 (1949) Unit - II: Pages 28–61 2. Harper Lee: To Kill a Mockingbird (1960) Unit - III: Pages 62–107 3. Freedom: Short Stories Celebrating the Universal Declaration of Human Rights. Amnesty International, 2009. (i) ‘In the Prison of Repose’—Paulo Coelho (ii) ‘Amnesty’—Nadine Gordimer (iii) ‘ABC Antidote’—Ishmael Beah 4. Maya Angelou: ‘I Know Why the Caged Bird Sings’[poem] 5. June Millicent Jordan: ‘Poem About My Rights’ Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights_Syllebus.indd 1 24-Aug-24 7:22:21 PM DSE-9_Literature and Human Rights_Syllebus.indd 2 24-Aug-24 7:22:21 PM  Contents Title Prepared by Edited by Pg. No. Unit-I 1. George Orwell, 1984 Aisha Quadry Dr. Neeta Gupta 1 Unit-II 2. Harper Lee, To Kill a Dr. Seema Suri Dr. Seema Suri 28 Mockingbird Unit-III 3. Freedom: Short Stories Cele- Nalini Prabhakar P.K. Satapathy 62 brating the Universal Decla- ration of Human Rights (i) “In the Prison of Repose”– Paulo Coelho (ii) “Amnesty”– Nadine Gordimer (iii) “ABC Antidote”– Ishmael Beah 4. Maya Angelou, ‘I Know Why P.K. Satapathy Nalini Prabhakar 83 the Caged Bird Sings’ 5. June Jordan, ‘Poem About My Dikshya Saman- P.K. Satapathy 93 Rights’ tarai PAGE i Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights_TOC.indd 1 24-Aug-24 7:23:26 PM DSE-9_Literature and Human Rights_TOC.indd 2 24-Aug-24 7:23:26 PM  U N I T I George Orwell, 1984 Aisha Quadry Structure 1. Introduction 2. Learning Objectives 3. Biographical Details of George Orwell 4. Summary and Critical Appreciation Part-I 1. Introduction 1984 is a dystopian novel written by George Orwell and published in 1949. The story is set in a totalitarian society where the government, led by the Party and its leader Big Brother, exercises complete control over every aspect of its citizens’ lives. Winston Smith, the protagonist, is a low-ranking employee working for the ruling Party rewriting historical records for the Ministry of Truth to fit its propaganda. However, Winston rebels and begins to question the Party’s oppressive rule. He also begins a clandestine love affair with Julia, who is a fellow party rebel. Together, they both delve into outlawed artefacts and ideas. Orwell moulds Winston into a symbol of resistance against the Party’s thought control and surveillance tactics. 1984 explores themes of totalitarianism, surveillance, individuality and freedom, and the politics of language, leaving an impactful influence on readers since its publication. Orwell’s novel continues to be relevant in discussions related to government control and individual freedoms even in contemporary times. In Part I of this unit, we will familiarize ourselves with the author’s background and the summary and analysis of the text. 2. Learning Objectives After going through this unit, you will be able to: ‹ ‹Understand the life of the author and the context in which the work was written ‹ ‹Understand the genre of human rights literature PAGE 1 Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 1 30-Aug-24 8:37:15 PM  Literature and Human Rights ‹ ‹Summarize and critically analyze the novel ‹ ‹Understand the literal depth of the work and be able to appreciate it 3. Biographical Details of George Orwell Born on June 25, 1903, in Motihari, Bengal Presidency (now Bihar), India, as Eric Arthur Blair, George Orwell was an English novelist, essayist, and literary critic best known for his allegorical novella Animal Farm (1945) and his dystopian novel Nineteen Eighty-Four (1949). He has also published several non-fiction pieces such as The Road to Wigan Pier (1937), Homage to Catalonia (1938), in addition to multiple essays on politics, literature, language and culture, and poetry. His first book Down and Out in Paris and London was published in 1933 as the work of George Orwell—the surname inspired from the pictur- esque river Orwell located in East Anglia. Soon, his non de plume became so entwined with his personality that apart from only close friends and family nobody really knew him as Blair. According to critics, the change in the name represented a significant shift in the author’s lifestyle—from being a name ensconced in the British imperial establishment to being a literary and political rebel like his protagonist Winston. Orwell’s father Richard Walmesley Blair, worked as a Sub-Deputy Opium Agent in the opium department of the Indian Civil Service, and his mother Ida Mabel Blair, was the daughter of an unsuccessful teak merchant in Burma (now Myanmar). He had two sisters: Marjorie, five years older; and Avril, five years younger. Orwell earned scholarships to the two prestigious English schools, Wellington and Eton. After briefly attending Wellington he transferred to Eton, where he studied from 1917 to 1921. It was there where he met Aldous Huxley, that subsequently led Orwell to begin publishing his writing in college publications. Instead of pursuing a university education, Orwell chose to honour his family’s tradition and, in 1922, traveled to Burma as an assistant district superintendent in the Indian Imperial Police. Initially, he seemed to be a model colonial officer, serving in many rural areas. However, with a desire to become a writer since childhood Orwell’s perspective changed when he witnessed firsthand the oppressive British rule over the Burmese, leading him to feel increasingly conflicted about his role in the colonial administration. These recounts of his shifting views on imperialism can be seen in his novel Burmese Days (1934) and in his two acclaimed autobiographical essays, “Shooting an Elephant” and “A Hanging”. In 1927, while on leave in England, Orwell made a pivotal decision not to return to Burma. He took the decisive step of resigning from the imperial police and becoming a writer. Feeling guilty about the racial and caste barriers that had kept him from truly 2 PAGE Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 2 30-Aug-24 8:37:15 PM  George Orwell, 1984 connecting with the Burmese people, he sought to assuage his guilt by immersing himself in the lives of Europe’s poor and outcasts. Thus, dressing in ragged clothing, Orwell would live in cheap lodging houses among labourers and beggars in the East End of London and spend time in the slums of Paris or washed dishes in French hotels and restaurants. These experiences materialized into Down and Out in Paris and London. Published in 1933, the book brought Orwell some initial literary recognition. Then, Orwell’s next novel, A Clergy- man’s Daughter (1935), features an unhappy spinster who experiences a brief and accidental liberation among agricultural labourers and Keep the Aspidistra Flying (1936) tells the story of a bookseller’s assistant who despises the materialism of middle-class life but ultimately accepts bourgeois prosperity through a forced marriage to the woman he loves. Orwell’s initial foray into socialist literature was a unique political treatise The Road to Wigan Pier (1937). The book begins with his firsthand experiences living among the destitute and unemployed miners of northern England. While The Road to Wigan Pier was being published, Orwell found himself in Spain, initially sent there to report on the Civil War. He eventually joined the Republican militia, serving on the Aragon and Teruel fronts and rising to the rank of second lieutenant. Orwell was seriously wounded at Teruel, resulting in permanent damage to his throat that gave his voice a distinctive quietness. Following his participation in the fighting in Barcelona against communist forces sup- pressing their political opponents, Orwell fled Spain in fear for his life in May 1937. This experience left him with a deep-seated fear of communism, a sentiment vividly captured in his memoir of his Spanish experiences, Homage to Catalonia (1938). Upon his return to England, Orwell’s writing took on a paradoxically conservative tone in Coming Up for Air (1939). The novel uses nostalgic recollections of a middle-aged man to explore the virtues of a past England and express concerns about a future threatened by war and fascism. Despite his desire to serve in World War II, Orwell was deemed unfit for military duty and instead assumed a role at the Indian service of the British Broadcasting Corpora- tion (BBC). He later left the BBC in 1943 to become the literary editor of the Tribune, a left-wing socialist newspaper. During this period, Orwell was a prolific journalist, writing numerous newspaper articles, reviews, and serious critiques, including his renowned essays on Charles Dickens and boys’ weeklies. In 1944, Orwell completed Animal Farm, a political allegory based on the events of the Russian Revolution and the subsequent betrayal by Joseph Stalin. The story depicts a group of barnyard animals who overthrow their oppressive human masters and estab- lish an egalitarian society. However, the pigs, the intelligent and power-hungry leaders, gradually corrupt the revolution, establishing a dictatorship more oppressive and heartless than the humans. PAGE 3 Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 3 30-Aug-24 8:37:15 PM  Literature and Human Rights While Animal Farm is considered one of Orwell’s finest works, his final book, 1984 (1949) is written as a cautionary tale. 1984 is set in a dystopian future where the world is controlled by three perpetually warring totalitarian states. Orwell penned the final pages of 1984 in a secluded house on the Hebridean island of Jura, which he purchased with the earnings from Animal Farm. Suffering from tuberculosis, Orwell passed away in a London hospital in January 1950. 4. Summary and Critical Appreciation The novel is divided into three parts. Let us now take a close look at the novel. 4.1 Book I Winston Smith returns home to Victory Mansions on a cold, dreary April day. As we see him walking through the hallways, a coloured poster depicts an enormous face, “the face of a man of about forty-five, with a heavy black moustache and ruggedly handsome fea- tures.” (Orwell, p. 3). We can see Winston walk past it making his way toward the stairs as the lift was not working because these days there are power cuts in the city—part of an economic drive for Hate week. Thirty-nine and with a varicose ulcer above his right ankle, our protagonist climbs the seven flights of stairs in great pain. On each landing, he walks past the enormous face that looks at him from the wall—a poster you would feel is always looking at you. To create an eerie, unsettling moment we read that the caption that ran beneath the poster was: BIG BROTHER IS WATCHING YOU. As he looks outside, Winston sees a desolate calmness spread across this city. Despite the colours of the sky and sun, there is no colour except the colour of the posters that are plastered across everywhere commanding attention. As readers we also learn about the police patrol whirring around in the helicopter snooping into its citizens’ windows. But soon we are told that it is actually the ‘Thought Police’ that mattered and not the patrolling guards. With Winston looking outside, the telescreen in his apartment continues playing. The unique telescreen is equipped to transmit and receive therefore any sound that was above a low whisper would be registered and there was no way of knowing whether the ‘Thought Police’ was watching you or not at any moment, At the very outset of the novel, Orwell is showcasing the extent of the government’s surveillance and control over the lives of its citizens. With the image of Winston standing with his back to the telescreen, Orwell allows the readers in on his protagonist’s defiance against the oppressive regime of Oceania. 4 PAGE Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 4 30-Aug-24 8:37:15 PM  George Orwell, 1984 Looking out at the dilapidated state of London, Winston deliberates whether it has always been this way. He can see ‘The Ministry of Truth’, a stark white pyramid, standing out against the rundown surroundings, a symbol of the regime’s control over information and history. Winston tries to reminisce about his childhood, finding only broken memo- ries. Here we see for the first time the reality of Oceania and the pristine facade of its institutions, reflecting on the theme of totalitarianism and the manipulation of truth. We are also told of other ministries that are part of the government: the ‘Ministry of Peace’, which is involved in war mongering, the ‘Ministry of Plenty’ which deals in economic strategies and the ‘Ministry of Love’ which is considered to be the compendium of the Inner Party’s most distasteful activities. In his very first act of rebellion, Winston, away from the eyes of the telescreen, pulls out a small diary and begins writing in it. Doing this is an act of rebellion against the party. Upon noticing that he has repetitively written “DOWN WITH BIG BROTHER” in his journal, Winston realizes he has committed a thoughtcrime—the gravest offence and anticipates the inevitable intervention of the ‘Thought Police’. At that very moment, a knock echoes at his door. Terrified, Winston opens the door assuming that he has been caught in the crime but it turns out it is his next door neighbour Mrs. Parsons who needs his help with plumbing as her husband is away. As Winston heads to Mrs. Parson’s apart- ment to help her, he is tormented by the Parson children who as Junior Spies accuse him of committing a thoughtcrime. The Junior Spies—composed of youngsters, vigilantly keep adults under surveillance for any signs of disloyalty to the ruling Party. As readers we can see even Mrs. Parsons appeared apprehensive about her own children. The children we read about are extremely restless as they are not permitted to attend a public execution of political adversaries of the Party that was scheduled in the park that evening. Once back in his apartment, Winston hurries back to hide the diary knowing the incriminating words written within it and his ink-stained fingers can make him a dead man. Taken into Winston’s past, we see him dreaming of his mother—finding himself aboard a sinking ship haunted by a sense of responsibility for her disappearance during a political upsurge almost two decades ago. He envisions a realm known as The Golden Country, where a brunette girl races toward him for an embrace—symbolizing a liberation that obliterates the Party’s influence. But Winston’s reveries are rudely interrupted by a shrill call from the telescreen, signaling the start of the Physical Jerks—a routine for the party’s office workers. During the exercise, Winston reflects on his childhood which is shrouded in faint recollection because of the absence of tangible records like photographs and documents. Thus, when he contemplates Oceania’s relations with other nations— Eurasia and Eastasia—he acknowledges the discrepancies between the official recorded PAGE 5 Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 5 30-Aug-24 8:37:15 PM  Literature and Human Rights history and his own awareness. Although the Party asserts that Oceania has always been at war with Eurasia and allied with Eastasia, Winston recalls that there has been a ma- nipulation of records. Furthermore, he recalls the absence of any mention of Big Brother, the Party’s leader, before 1960, that seems to be in complete contrast with contemporary narratives that actually date back to the 1930s. While Winston is lost in contemplation, the voice from the telescreen, calls him out and chastises him for his perceived lack of efforts during the Physical Jerks routine. Startled, Winston breaks into a sweat doubling his efforts to reach his toes. After the routine, a harried Winston heads to his job at the Records department within the ‘Ministry of Truth’, where he operates a “speakwrite” machine that transcribes dictated text and disposes of outdated documents. Winston’s primary job is to align Big Brother’s directives and Party records with current events, ensuring that Big Brother remains infal- lible, such as despite dwindling food supplies, citizens are fed propaganda proclaiming abundance, which many accept without question. Later in the day, Winston is assigned to amend a speech from December 1983, erasing any mention of Comrade Withers, who is now considered an enemy of the Party after being vaporized. We are told like Withers’ disappearance, many in the state have also disappeared: “The great purges involving thousands of people, with public trials of traitors and thought-criminals who made abject confession of their crimes and were afterwards executed, were special show-pieces not occurring oftener than once in a couple of years. More commonly, people who had incurred the displeasure of the Party simply disappeared and were never heard of again. One never had the smallest clue as to what had happened to them. In some cases, they might not even be dead. Perhaps thirty people personally known to Winston, not counting his parents, had disappeared at one time or another” (Orwell, p. 57). To complete his assignment for the day, Winston fabricates a certain Comrade Ogilvy, an exemplary Party member created solely from his imagination, while Comrade Withers becomes an “unperson,” erased from existence. There, observing his colleague, Comrade Tillotson, Winston reflects on the pervasive manipulation of history within the ‘Ministry of Truth’, where thousands diligently rewrite records to align with Party ideology, producing propaganda, including pornography, to pacify the oppressed masses. At lunch, Syme, a philologist, and a specialist in Newspeak working in the Research Department tells Winston that he is working on a revised dictionary of Newspeak—the official language, Winston learns that Newspeak aims to limit thought to prevent rebellion. Syme tells him, “Don’t you see that the whole aim of Newspeak is to narrow the range of 6 PAGE Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 6 30-Aug-24 8:37:15 PM  George Orwell, 1984 thought? In the end we shall make thoughtcrime literally impossible, because there will be no words in which to express it” (Orwell, p. 67). As Syme tells him more, Winston is convinced that one of these days Syme’s intellect and ideas will get him vaporized. Winston’s neighbour Parsons interrupts their conversation, by seeking contributions for the neighbourhood Hate Week, and expressing pride in his children’s zeal in being Spies. During the lunch hour, a broadcast from the Ministry of Plenty announces increased pro- duction, though Winston knows it’s a lie. As everyone celebrates around him, Winston feels scrutinized by a dark-haired girl whom he suspects of being a Party informant. He thinks that he may have committed a ‘Facecrime’ which was to improperly express a look on your face. Later, Winston defiantly records in his diary his last sexual encounter with a prole prostitute, reflecting on the Party’s disdain for pleasure in sex, viewing it merely as a duty for procreation. As readers we are told, “There were even organizations such as the Junior Anti-Sex League, which advocated complete celibacy for both sexes. All children were to be begotten by artificial insemination (ARTSEM, it was called in Newspeak) and brought up in public institutions…The Party was trying to kill the sex instinct, or, if it could not be killed, then to distort it and dirty it” (Orwell, p. 84). He also thinks of his wife Katherine who is now separated from him. In his diary, Winston writes that any prospect of overthrowing the Party rests with the proles. He doubts the Party’s vulner- ability from within, dismissing even the Brotherhood, an underground resistance group, as insufficient against the manacles of the Thought Police. With eighty-five percent of Oceania’s population, we are told that the proles possess the numerical advantage and potential strength to challenge the Police, but it is their primitive, uninformed lifestyles that hinder any inclination toward revolt. Turning to a children’s history book for new insights, Winston finds a stark contrast between the Party’s claims of ideal cities and the dilapidated state of London which is marked by scarce electricity, crumbling infrastructure, and economic inequalities. Lacking reliable historical archival material, Winston doubts the Party’s assertions of progress in literacy, infant mortality, and living standards, suspecting them as propaganda. Recalling a moment when he caught the Party in a lie, Winston reflects on encountering deposed leaders of the Revolution, disproving the Party’s accusations of treason with evidence of their presence elsewhere. Although he destroyed the incriminating photograph out of fear, the memory serves as a tangible example of Party deceit. Now, viewing his diary entries as communiqués to O’Brien, who Winston thinks secretly opposes the Party, he acknowledges the Party’s control over truth, compelling its members to deny reality, highlighting the essence of freedom in the ability to perceive PAGE 7 Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 7 30-Aug-24 8:37:15 PM  Literature and Human Rights and express reality independently, epitomized by the simple affirmation, “Freedom is the freedom to say that two plus two make four. If that is granted, all else follows” (Orwell, p. 103). Strolling through the prole district, Winston admires the simplicity of the common folk’s lives. Entering a pub, he encounters an elderly man who might hold clues to the past. Conversing with him, Winston seeks insight into whether pre-party society truly suffered under exploitative capitalists, as Party records claim. However, the old man’s recollections are too hazy to provide a conclusive answer, leaving Winston disheartened by the prospect of the past fading into obscurity under prole neglect. While visiting the store where he purchased his diary, Winston is guided to a private room devoid of telescreens, he notices a print of St. Clement’s Church, evoking nostalgic rhymes. On his way home, Winston spots the dark-haired girl, dressed in blue Party over- alls, seemingly trailing him. Fearing for his safety, he fantasizes about attacking her with a cobblestone or the paperweight in his pocket, growing increasingly desperate. Contemplat- ing suicide to evade the Thought Police’s torture, Winston tries to find solace in thoughts of O’Brien and the elusive place free from darkness mentioned in his dreams. Disturbed, he gazes at a coin bearing Big Brother’s image, haunted by the Party’s slogans: “WAR IS PEACE,” “FREEDOM IS SLAVERY,” “IGNORANCE IS STRENGTH” (Orwell, p. 6). Check Your Progress (i) How does Orwell create a sense of surveillance and control in Winston’s environment? (ii) Describe Winston’s reflections on the state of Oceania and his doubts about the Party’s propaganda. (iii) Discuss the relevance of Winston’s encounter with the old man in the prole district. 4.2 Book II One morning at work, Winston meets the dark-haired girl in the hallway, her arm in a sling. As she stumbles and he helps her up, she surreptitiously passes him a note con- fessing her love for him. Bewildered by this unexpected declaration from someone he suspects to be a Party spy, Winston is interrupted by Parsons before he can fully process the note’s significance. Despite his initial confusion, the girl’s declaration fills Winston with a newfound sense of purpose and vitality. In the ensuing days, Winston grapples with the tension of their clandestine connection, hesitant to engage with the girl. However, they eventually manage to share a table in the lunchroom, conversing discreetly while avoiding attention. Planning a secret rendezvous in Victory Square, they strategize how to evade the omnipresent telescreens amidst the 8 PAGE Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 8 30-Aug-24 8:37:15 PM  George Orwell, 1984 bustling crowds. Meeting at the appointed place, they observe a procession of Eurasian prisoners subjected to the wrath of the mob. With the girl providing directions, they arrange the meeting point in the countryside, stealing a moment to briefly clasp hands amidst the chaos of their surroundings. Putting their plan into action, Winston and the girl meet at a safe place. Despite Winston’s lingering suspicions, he no longer views the dark-haired girl, now revealed to us as Julia, as a spy. Julia’s boldness takes him by surprise. Shedding her Junior Anti-Sex League sash, she shows her rebellious nature completely enthralling Winston. They then engage in a passionate lovemaking session reminiscent of his dreams. As readers Orwell tells us, “No emotion was pure, because everything was mixed up with fear and hatred. Their embrace had been a battle, the climax a victory. It was a blow struck against the Party. It was a political act” (Orwell, p. 159). We learn more about Julia and the activities she has been involved in toward the state which include attend- ing lectures and demonstrations, distributing literature for the Junior Anti-Sex League, preparing banners for Hate Week, making collections for campaigns. She thinks that if she abides by these small rules, she can forgo the bigger ones. Presently, Julia works at the novel-writing machines in the Fiction Department where narratives are created and approved by the Planning Committee. Additionally, we learn that she has been the cap- tain of the hockey team, played gymnastics, been a troop leader in the Spies, a branch secretary in the Youth League before joining the Junior Anti-Sex League and worked at the Pornosec, the sub-section of the Fiction Department which worked on state-sanctioned cheap pornography for distribution among the proles. Curious about Julia’s sexual history, Winston learns that she has engaged in similar liaisons numerous times, a revelation that both thrills and reassures him, as it signifies widespread dissent among Party members. Delighted by this revelation, Winston declares that her encounters with others only deepen their bond, as each liaison represents another act of defiance against the Party. In the ensuing weeks, they meet for several discreet encounters. During one such meeting, Julia shares anecdotes about her time living in a crowded hostel and reminisces about her initial foray into forbidden intimacy. Unlike Win- ston, Julia’s motivations are not driven by a desire for widespread rebellion—she simply enjoys the thrill of outsmarting the Party and indulging in these pleasurable encounters. She tells Winston that the Party’s prohibition of sex serves to redirect the citizens’ pent- up sexual frustration towards fervent opposition against Party adversaries and zealous devotion to Big Brother. As Winston predicted would happen, Syme vanishes. During the preparations for Hate Week, the city comes alive with the heat of the summer, and even the proles seem row- PAGE 9 Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 9 30-Aug-24 8:37:16 PM  Literature and Human Rights dy. Parsons hangs streamers everywhere and his children boisterously sing the new party song, called “Hate Song,” dedicated to the event. We can see Winston becomes increas- ingly obsessed with the room above Mr. Charrington’s shop, thinking about it even when he cannot go there with Julia. He fantasizes that Katherine will die, which would allow him to marry Julia; he even dreams of altering his identity to become a prole. Winston and Julia talk about the Brotherhood; he tells her about the strange kinship he feels with O’Brien, and she tells him that she believes the war and Party enemies like Emmanuel Goldstein are all Party inventions. Winston is put off by her thoughtlessness. In an interesting turn of events, the infamous O’Brien finally reaches out to Win- ston, a moment he’s been eagerly anticipating his entire life. During their brief encounter, Winston is filled with both anxiety and anticipation. O’Brien references Syme and offers Winston the opportunity to peruse the new Newspeak dictionary if he visits O’Brien’s residence one evening. For Winston, this meeting with O’Brien is significant—for the first time Winston takes a conscious step down the rebellious path that began with his first defiant thought of writing in his diary. Despite his sombre realization that this path may ultimately lead him to his demise, Winston accepts his fate with a mixture of resignation and excitement, grateful to have O’Brien’s address. One morning, when Winston wakes up in tears with Julia by his side, she inquires about his distress and he confides that he had been dreaming of his mother and has long harboured guilt over her fate, believing he had led to his mother’s demise. Suddenly flooded with suppressed memories, Winston recalls his tumultuous childhood marked by air raids and food shortages, culminating in his desperate attempt to steal chocolate from his sister and a subsequent disappearance of his family. Winston and Julia fret over their heightened risk of capture despite acknowledging the inevitable torture and potential death they may face if captured, yet they find solace in knowing their unwavering love for each other. While they agree that leaving the room would be the wisest choice, they find themselves unable to do so. Taking a perilous gamble, they head together to O’Brien’s residence. Inside his apartment, O’Brien surprises Winston by disabling the telescreen, creating an illusion of privacy. Emboldened, Winston boldly proclaims their defiance against the Party and their desire to join the Brotherhood. O’Brien confirms the Brotherhood’s existence, the reality of Emmanuel Goldstein, and initiates them into their circle of outlaws. O’Brien pledges to provide Winston with a copy of THE BOOK. As they part ways, O’Brien hints at the possibility of future encounters, alluding to a place devoid of surveillance. Before Winston leaves, O’Brien reveals missing verses from the St. Clement’s Church rhyme. As Winston exits, O’Brien resumes his work, reactivating the telescreen. 10 PAGE Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 10 30-Aug-24 8:37:16 PM  George Orwell, 1984 That week, Winston is utterly drained due to a gruelling ninety-hour workweek. Amidst the chaos of Hate Week, Oceania abruptly shifts its allegiances in the ongoing war, bur- dening Winston with an overwhelming workload to adapt to the change. At a rally, the speaker is compelled to alter his speech halfway through, asserting that Oceania is not, and has never been, at war with Eurasia, but with Eastasia instead. Despite this abrupt change, the populace shifts their hatred seamlessly towards Eastasia, blaming Emmanuel Goldstein’s agents for the confusion. In the sanctuary of Mr. Charrington’s room, Winston immerses himself in Goldstein’s “The Theory and Practice of Oligarchical Collectivism,” provided by O’Brien. This extensive tome, structured with chapter titles derived from Party slogans like “WAR IS PEACE” and “IGNORANCE IS STRENGTH,” delves into the hierarchical social structure comprising the High Class, Middle Class, and Low Class—corresponding to the Inner Party, Outer Party, and Proles respectively. Goldstein reveals the origins of the three superstates, em- phasizing how perpetual border wars maintain the ruling elite’s power by diverting the populace’s attention. The war serves as a mechanism to perpetuate ignorance among the masses, epitomized by the Party’s mantra “WAR IS PEACE.” While engrossed in reading, Julia enters and embraces Winston. After sharing an intimate moment, Winston reads excerpts to Julia, exposing the Party’s control over history and the concept of doublethink. As they lie in bed, reflecting on the woman singing outside, they ponder the significance of the Proles in potentially challenging Party dominance. Suddenly, their musings are interrupted by a third voice, signaling their capture. Discovering a hidden telescreen behind a picture, they are besieged by black-clad troops, who brutally subdue them. In a shocking revelation, Winston realizes that Mr. Charrington, the seemingly benign proprietor, is a member of the ‘Thought Police’, orchestrating their capture. Check Your Progress (i) How does Winston initially react to the note passed to him by the dark-haired girl? (ii) What significant information does O’Brien reveal to Winston during their encounter at his residence? (iii) What does Winston discover about Mr. Charrington that shocks him during the raid by the ‘Thought Police’? 4.3 Book III Winston sits in a bare cell in which the lights are always on—he has, at last, arrived at the place where there is no darkness. Four telescreens monitor him. He has been transferred PAGE 11 Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 11 30-Aug-24 8:37:16 PM  Literature and Human Rights here from a holding cell in which a huge prole woman who shares the last name Smith wonders if she is Winston’s mother. In his solitary cell, Winston starts envisioning his captors beating him, and he worries that the sheer physical pain will force him to betray Julia. Ampleforth, a poet whose crime was leaving the word “God” in a Rudyard Kipling translation, is tossed into the cell along with Winston too. He is soon dragged away to the dreaded Room 101, a place of mysterious and unspeakable horror. We read that Winston is sharing his cell with a variety of fellow prisoners, including his neighbour Parsons, who is turned in by his own daughter for committing thoughtcrime. Seeing starvation, beating, and mangling, Winston hopes dearly that the Brother- hood will send him a razorblade with which he might commit suicide. His dreams of the Brotherhood are wrecked when O’Brien, his hoped-for link to the rebellion, enters his cell. Winston cries out, “They’ve got you too!” to which O’Brien replies, “They got me long ago” (Orwell, p. 301). identifying himself as an operative of the Ministry of Love. O’Brien asserts that Winston has in fact known O’Brien was an operative all along, and Winston admits that this is true. A guard smashes Winston’s elbow, and Winston thinks that no one can become a hero in the face of physical pain because it is too much to endure. O’Brien oversees Winston’s prolonged torture sessions. He tells Winston that his crime was refusing to accept the Party’s control of history and his memory. As O’Brien increas- es the pain, Winston agrees to accept that O’Brien is holding up five fingers, though he knows that O’Brien is holding up only four—he agrees that anything O’Brien wants him to believe is true. He begins to love O’Brien, because it is O’Brien who stops the pain; he even convinces himself that O’Brien isn’t the source of the pain after all. O’Brien tells Winston that Winston’s current outlook is insane, and therefore the torture will cure him. As weeks of interrogation and torment ensue, O’Brien elucidates the Party’s insatiable thirst for power, dismissing Winston’s speculation about the Party’s governance of the proles for their benefit. Instead, O’Brien asserts the Party’s relentless pursuit of absolute dominion over every facet of human existence, transcending the constraints of natural order. Reduced to a skeletal, desolate figure, Winston confronts his shattered reflection in the mirror, laying blame on O’Brien for his condition. In a chilling denouement, O’Brien acknowledges Winston’s resilience in not betray- ing Julia but dismisses it, revealing that regardless of Winston’s actions, death ultimately awaits him. Thus, amidst Winston’s overwhelming feelings of love and gratitude towards O’Brien for recognizing his fortitude, O’Brien callously assures Winston that his fate, like all dissenters, culminates in execution. After a period of time, Winston experiences a transfer to a more comfortable space. He finds solace in dreams featuring Julia, his mother, and O’Brien within the idyllic setting of the Golden Country. Gradually, he regains 12 PAGE Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 12 30-Aug-24 8:37:16 PM  George Orwell, 1984 weight and gains privileges such as writing on a small slate. Winston begins to question his past defiance against the Party and attempts to convince himself of the validity of Party slogans. He dutifully writes phrases like “FREEDOM IS SLAVERY,” “TWO AND TWO MAKE FIVE,” and “GOD IS POWER” on his slate. In a moment of intense despair, Winston succumbs to a passionate outburst, repeatedly screaming Julia’s name, knowing it will result in renewed torture from O’Brien. Despite his efforts to suppress his hatred for the Party, Winston realizes his deep-seated desire to continue opposing it. He aims to conceal his true feelings, even from himself, hoping to maintain his hatred until his eventual demise—a personal triumph over Big Brother. However, when confronted by O’Brien, Winston defiantly expresses his hatred for Big Brother. In response, O’Brien insists that mere obedience is insufficient; Winston must learn to love Big Brother. Subsequently, Winston is led to Room 101. There, Winston is strapped into a chair and immobilized, while O’Brien reveals that it houses “the worst thing in the world”—a reminder of Winston’s darkest fears. O’Brien unveils a cage filled with ravenous rats and threatens to release them onto Winston’s face. Overwhelmed by terror, Winston breaks down and begs O’Brien to subject Julia to torture instead. Satisfied by this betrayal, O’Brien removes the cage. Following his release, Winston finds himself at the Chestnut Tree Café, frequented by dismissed Party members. He numbs himself with Victory Gin and submits to the Party’s propaganda broadcasted on the telescreen. Despite outward compliance, Winston still senses the lingering presence of the rats, a reminder of his traumatic ordeal. Reflecting on his encounter with Julia and their mutual betrayal, he witnesses the image of Big Brother on the telescreen, eliciting feelings of happiness and security. As he listens to the war news, Winston reassures himself of his supposed victory over his own rebellious instincts and his newfound devotion to Big Brother. Check Your Progress (i) Who is torturing Winston, and what does Winston agree to believe to stop the pain? (ii) What happens when Winston is threatened with a cage of rats in Room 101? (iii) Where does Winston find himself after his release, and how does he react to the propaganda broadcasted on the telescreen? PAGE 13 Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 13 30-Aug-24 8:37:16 PM  Literature and Human Rights Part II Background, Characters and Themes Structure 1. Introduction 2. Learning Objectives 3. Background to the Novel 4. Characters 5. Themes 6. Additional Perspectives on the Novel 7. Suggested Readings 1. Introduction In Part I we familiarized ourselves with the background information of the author, the context in which the novel was written and the narrative of 1984. Part II of the Unit will provide you with several access-points to the text to help you formulate your own interpretations of the novel. 2. Learning Objectives In this unit the student will learn about: ‹ ‹The characters in the narrative. ‹ ‹How the text can be interpreted from various perspectives ‹ ‹Significant themes that are knitted in the text, such as totalitarianism, surveillance and control, individuality and freedom and language 3. Background to the Novel Now that we have gained an understanding of the plot structure of the novel, it’s time to look at the broader questions that 1984 asks us readers. Why do you think we are outraged by the representation of surveillance, totalitarianism, and the erosion of individual values in the text? The answer lies in our knowledge and understanding of human rights, many 14 PAGE Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 14 30-Aug-24 8:37:16 PM  George Orwell, 1984 of which are being usurped in the text. Therefore, our interpretations of the text must be guided by a close analysis of human rights and human rights literature to form an informed opinion on not just the text at hand but also citizenship, justice, and democratic processes. 3.1 Universal Declaration of Human Rights The Universal Declaration of Human Rights (UDHR) is an international document that was adopted by the United Nations General Assembly in 1948. It underscores the rights and freedoms of all individuals and consists of 30 articles affirming these rights as universal and therefore applicable to all people. The Declaration, while not legally binding, has influenced international human rights law and inspired subsequent treaties and legal codes worldwide. Its structure includes a preamble and articles detailing individual rights, civil and political freedoms, and social, economic, and cultural rights. The UDHR is considered a milestone document for its universalist language and has been translated into over 530 languages. The Universal Declaration was adopted by the General Assembly on 10 December 1948 in Palais de Chaillot, Paris. 3.2 Human Rights Literature Human rights literature is a genre that discusses human rights issues and promotes the values of human rights, directly or indirectly, through narratives, poetry, essays, and other creative forms of literature. This genre aims to blend narratives of literature toward action. This is based on the concept of engaged literature, as articulated by the French writer and philosopher Jean-Paul Sartre. At its core, human rights literature is committed to society advocating the moral duty and power of individuals to effect social change. It recognizes the immense influence of literature in bringing about change, underscoring the author’s responsibility to readers, both socially and artistically. The concept of human rights literature was first discussed in the foreword to Freedom, an anthology of short stories published in 2010 by Mainstream Publishing in cooperation with Amnesty International. The stories in this anthology were written in the spirit of the Universal Declaration of Human Rights. Furthermore, it is also Jean-Paul Sartre’s idea of “engaged literature” that forms the basis of human rights literature—a literature advocat- ing for writers and intellectuals to take a stand on major political conflicts. Alternatively, critics have argued that engaged literature has the ability to be reduced to propaganda, but Sartre believed that engaged literature could elevate readers’ intellectual level and offer them something beyond the ordinary. This genre challenges dominant narratives and exposes the injustices perpetrated by those in power. For example, in Harper Lee’s classic To Kill a Mockingbird the novel PAGE 15 Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 15 30-Aug-24 8:37:16 PM  Literature and Human Rights explores themes of racial injustice and moral growth through the character of Atticus Finch, a lawyer who defends a black man who is falsely accused of raping a white woman in the segregated American South. Moreover, human rights literature frequently highlights the resilience and courage of individuals who resist oppression and fight for justice. In The Kite Runner by Khaled Hosseini, the novel portrays the struggles of its protagonist, Amir, as he grapples with guilt and seeks redemption in war-torn Afghanistan, shedding light on the human cost of conflict and the power of forgiveness. Additionally, human rights literature should not be limited to fictional works as it also includes memoirs, es- says, and journalistic accounts that document real-life experiences of injustice like I Am Malala by Malala Yousafzai that chronicles Malala’s fight for girls’ education in Pakistan and her survival of an assassination attempt by the Taliban, highlighting the importance of education as a human right. 3.3 George Orwell and Human Rights Literature Edmond van Den Bossche wrote in The New York Times: “1984 is a political statement. It contains no prophetic declaration, only a simple warning to mankind.” Orwell’s works are seminal to human rights literature as they are unflinching interro- gations of totalitarian regimes and advocacy for individual freedom and dignity. In both the texts, Animal Farm and 1984, Orwell critiques authoritarianism and the erosion of civil liberties, warning his readers of the dangers of unchecked state power. As stated before, Animal Farm allegorically portrays the Russian Revolution and subsequent Stalinist regime, illustrating how idealistic movements can be corrupted by greed and tyranny. Similarly, 1984 as you have read in the first section, depicts a dystopian society where surveillance, propaganda, and thought control are used to maintain a totalitarian regime, highlighting the importance of freedom of thought and expression, both of which are basic human rights. We can also see Orwell’s commitment to truth and justice in his non-fiction works as well. In essays like “Shooting an Elephant” and “A Hanging,” he reflects on his experi- ences as a colonial police officer in Burma, critiquing imperialism and its dehumanizing effects on both the oppressor and the oppressed. These essays reveal Orwell’s empathy for the marginalized and his belief in the inherent dignity of every individual. Check Your Progress (i) What is the significance of the Universal Declaration of Human Rights? (ii) How does human rights literature play a role in advocating for social change? (iii) In what ways do George Orwell’s works, such as Animal Farm and 1984, contribute to the genre of human rights literature? 16 PAGE Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 16 30-Aug-24 8:37:16 PM  George Orwell, 1984 4. Characters 4.1 Winston Smith is a complex character whose experiences provide us with a lens through which we explore the dystopian world of Oceania. Winston is portrayed as a disillusioned and rebellious individual who yearns for freedom and truth in a society dominated by oppression and propaganda. At the beginning of the novel, we read that Winston is a low-ranking member of the Party, outwardly conforming to its rules while harbouring deep-seated resentment and scepticism towards the State’s ideology, “He was already dead, he reflected. It seemed to him that it was only now, when he had begun to be able to formulate his thoughts, that he had taken the decisive step [to write in his dia- ry]” (Orwell, 36). Despite his outward compliance, Winston possesses an apparent hatred for Big Brother—questioning the Party’s control over every aspect of life and longing for a sense of individuality and autonomy. Among all the characters in the text, Winston stands out for his capacity to think critically. He is acutely aware of the contradictions and falsehoods perpetuated by the Party and therefore seeks the truth in an atmosphere riddled with deception and manipulation. Through activities, such as keeping a diary, (“the writing … was not more dangerous than the initial act of opening the diary” (Orwell, p. 23-24); visiting the proles neighbourhood (“ ‘If there is hope,’ wrote Winston, ‘it lies in the proles.’’’(Orwell, p. 89) and engaging in an illicit affair with Julia, Winston demonstrates his defiance against the Party’s sup- pression of independent thought and emotion. As the novel progresses, Winston undergoes a profound transformation, driven by his increasing disillusionment with the Party and his growing awareness of the extent of its tyranny. His encounters with O’Brien who is initially seen as a potential ally in his rebellion, ultimately lead to his betrayal. Winston’s experiences in the ‘Ministry of Love’, where he is subjected to torture and psychological manipulation, strip away his sense of self and break his spirit, culminating in his eventual acceptance of Party orthodoxy and betrayal of his love for Julia. Despite his ultimate capitulation to the Party, Winston, for the readers, remains a symbol of resistance and defiance against authoritarianism. His internal struggles and moral dilemmas reflect the universal human desire for freedom and individuality in the face of oppression. Through Winston’s journey, Orwell offers a poignant commentary on the dangers of totalitarianism and the importance of preserving individual liberties and truth in the face of tyranny. 4.2 Julia’s actions and beliefs provide a stark contrast to those of the protagonist, Winston Smith. She embodies rebellion and defiance against the oppressive regime of the Party in PAGE 17 Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 17 30-Aug-24 8:37:16 PM  Literature and Human Rights 1984. Unlike Winston, who harbours a deep-seated desire to dismantle the Party’s control, Julia’s rebellion is more immediate and personal, driven by a selfish desire for freedom and individuality rather than a broader ideological struggle. Described as youthful and vibrant, with an air of sensuality, Julia’s character contrasts sharply with the bleakness of the dystopian world in which she lives. Her appearance suggests an audacious fearlessness throughout the novel. Julia’s rebellion is manifested in her pursuit of pleasure and enjoyment, particularly in defiance of the Party’s strict regulations on sex and relationships. She engages in se- cret affairs and displays a carefree attitude toward the Party’s restrictions, viewing them as opportunities for subversion rather than constraints. Despite this seemingly hedonistic behaviour, she possesses a shrewd understanding of the Party’s mechanisms of control and manipulation. She navigates the oppressive environment with a combination of cunning and pragmatism, avoiding detection while actively seeking out moments of joy and fulfilment. Julia’s relationship with Winston serves as both a source of comfort and a catalyst for further rebellion. While their connection initially revolves around shared desires and physical attraction, it evolves into a partnership marked by mutual support and solidarity in the face of adversity. However, Julia’s rebellion at the end of the book is ultimately tempered by a sense of self-preservation. When confronted with the harsh reality of the Party’s power, she willingly compromises her ideals in order to survive because she had no memories of a time before Big Brother. As Orwell writes, “She had no memories of anything before the early sixties and the only person she had ever known who talked frequently of the days before the Revolution was a grandfather who had disappeared when she was eight” (Orwell, p. 164) Therefore, her betrayal of Winston while being tortured highlights the brutal extent to which the Party is able to manipulate and exploit its citizens. Despite her flaws and limitations, she remains a symbol of resilience and defiance in 1984’s dystopian world. 4.3 O’Brien is the embodiment of authority, and ambiguity. As readers we are first intro- duced to O’Brien as a dissenter against the oppressive regime of the Party and a member of the Inner Party, where he holds significant authority, making him an influential figure. His eloquence, intelligence, and seemingly rebellious demeanour draws the reader and Winston in as he views him as a potential connection to the underground resistance movement, the Brotherhood. However, O’Brien’s true allegiance remains shrouded in mystery, serving as a central source of tension and suspense in the novel. Despite initially presenting himself as a comrade, sympathetic to Winston’s dissent, O’Brien ultimately reveals himself to be a loyal servant of the Party, functioning as an agent of the dreaded Ministry of Love. 18 PAGE Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 18 30-Aug-24 8:37:16 PM  George Orwell, 1984 This revelation subverts our expectations and underscores Orwell’s exploration of betrayal and manipulation. Later, as Winston’s interrogator and tormentor in the Ministry of Love, O’Brien em- bodies the brutal and authoritarian nature of the regime he serves. Through his interac- tions with Winston, O’Brien demonstrates a deep understanding of psychological warfare, employing tactics designed to break the protagonist’s spirit and reshape his beliefs. Despite his role as an antagonist, O’Brien remains a complex and compelling char- acter, challenging readers to question the nature of power, authority, and morality. We see him as a sobering reminder of the dangers of blind obedience and unchecked authority. 4.4 Big Brother is the omnipresent figurehead of the Party. Despite never making a physical appearance in the novel, Big Brother’s influence permeates every aspect of the dystopian society depicted in the novel. As the leader of the Party, Big Brother is the representation of totalitarianism, manipulating reality and perpetuating propaganda to maintain dominance over Oceania’s citizens. Through slogans like “BIG BROTHER IS WATCHING YOU” and images plastered on posters and telescreens, the Party reinforces the idea of Big Brother as a benevolent and omnipotent figure, deserving of unwavering loyalty and obedience. Throughout the novel this character is characterized by ambiguity and mystery, serving as a symbol rather than a flesh-and-blood individual. While the Party claims that Big Brother is a real person, capable of leading and guiding the nation to greatness, the truth remains elusive. Winston Smith, continues to harbour doubts about Big Brother’s existence, ques- tioning whether he is merely a propaganda tool used to manipulate the masses: “Nobody has ever seen Big Brother. He is a face on the hoardings, a voice on the telescreen. We may be reasonably sure that he will never die, and there is already considerable uncertainty as to when he was born. Big Brother is the guise in which the Party chooses to exhibit itself to the world. His function is to act as a focusing point for love, fear, and reverence, emotions which are more easily felt towards an individual than towards an organi- zation.” (Orwell, p. 262) Despite Big Brother’s intangible nature, he exerts a profound influence on the lives of Oceania’s citizens, instilling fear, conformity, and submission. The constant surveillance and monitoring by the ‘Thought Police’ reinforce the notion that Big Brother is always watching, eroding individual freedoms and privacy in the name of security and stability. Big Brother represents the ultimate manifestation of tyranny, a figurehead whose image inspires both reverence and terror in the hearts of Oceania’s inhabitants. PAGE 19 Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 19 30-Aug-24 8:37:16 PM  Literature and Human Rights 4.5 Emmanuel Goldstein never physically appears in the novel yet can be seen as a shadowy figure and a symbol of opposition to the Party’s regime. Goldstein is depicted as the principal enemy of the Party, a “renegade” and “back- slider” who once belonged to the Inner Party but rebelled against its authority. He is the author of “The Theory and Practice of Oligarchical Collectivism,” a book considered taboo by the Party. His book serves as a manual for dissenters and provides a critique of the Party’s oppressive tactics and manipulation of truth. Despite being vilified by the Party for being a traitor, Goldstein’s character also remains ambiguous throughout the novel. While the Party portrays him as a dangerous enemy of the state, some characters, like Winston Smith, harbour doubts about Goldstein’s true intentions. Winston even questions whether Goldstein is a real person or merely a fabricated scapegoat used to unite the populace against a common enemy: “The tales about Goldstein and his underground army, [..]. were simply a lot of rubbish which the Party had invented for its own purposes and which you had to pretend to believe in” (Orwell, p. 192). Therefore, in many ways, Goldstein embodies the inherent tensions and contradictions within Oceania’s society. While the Party suppresses dissent and promotes conformity, Goldstein’s existence as a symbol of resistance underscores the human desire for freedom. 4.6 Parsons is Winston’s neighbour, residing in Victory Mansions. He is described as a zealous supporter of the Party, enthusiastically participating in various Party activities and initiatives. Parsons worked at the ‘Ministry of Truth’ in some subordinate position. Despite his fervent loyalty to the Party, Parsons is ultimately betrayed by his own daughter, who reports him to the ‘Thought Police’ for allegedly committing a thoughtcrime. Parsons’ character serves as a stark contrast to Winston Smith. While Winston ac- tively hopes to challenge the Party’s authority, Parsons unquestioningly embraces Party ideology and willingly conforms to its dictates. Through him we see the extent to which the Party’s propaganda and surveillance apparatuses have succeeded in indoctrinating and controlling the populace. Check Your Progress (i) How does Julia’s rebellion differ from Winston’s defiance against the Party? (ii) Describe O’Brien’s initial portrayal and his ultimate revelation in the novel. (iii) Discuss the significance of Big Brother in 1984 and his impact on the citizens of Oceania. (iv) What role does Parsons play in the novel, and how does his character contrast with that of Winston Smith? 20 PAGE Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 20 30-Aug-24 8:37:16 PM  George Orwell, 1984 5. Themes 5.1 Totalitarianism In 1984 we see a harrowing vision of totalitarianism, of a dystopian society where the ruling Party exerts complete control over every aspect of its citizens’ lives. Totalitarianism, as portrayed in the novel, is characterized by pervasive government surveillance, the ma- nipulation of information, and the suppression of individual autonomy. The ruling Party is led by the figure of Big Brother, who maintains its grip on power through a combination of surveillance and propaganda. The use of telescreens, ‘Thought Police’, and informants ensures that every citizen is under constant scrutiny, with even the slightest hint of dis- sent swiftly punished. This pervasive surveillance creates a climate of fear and paranoia, where citizens are afraid to express their true thoughts and feelings. As readers we also see how propaganda plays a central role in maintaining the Party’s control over the population. Through slogans such as “War is Peace, Freedom is Slavery, Ignorance is Strength,” we see the Party manipulates language to warp reality and con- trol public perception. By rewriting history and disseminating false information, the Party maintains its authority and suppresses any opposition. Furthermore, language itself becomes a tool of oppression through the introduction of ‘Newspeak’—a language designed to limit freedom of thought and expression. By elim- inating words that could be used to express dissent and creating a new dictionary, Big Brother wants to seek to control the very thoughts of its citizens, ensuring their complete submission to its authority. The psychological impact of totalitarianism can be seen in the experiences of Winston Smith and Julia. Winston’s struggle to maintain his individuality and resist the Party’s indoctrination serves as a powerful metaphor for the human spirit’s resilience in the face of oppression. However, Winston’s eventual surrender and betrayal underscores the over- whelming power of totalitarianism to crush dissent and extinguish hope. Orwell’s critique of totalitarianism extends beyond political oppression to encompass the erosion of personal relationships and the destruction of basic human freedoms. The Party’s relentless pursuit of power leads to the breakdown of trust and intimacy, as indi- viduals are forced to betray their loved ones in order to survive such as Parson’s daughter who puts her own father behind bars. What we therefore see in Orwell’s, 1984, is a chilling portrayal of totalitarianism, highlighting its ability to strip individuals of their humanity and subjugate them to the will of the state. As readers we must be attentive as to how Orwell’s exploration of totalitar- PAGE 21 Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 21 30-Aug-24 8:37:16 PM  Literature and Human Rights ianism remains relevant in the contemporary world, reminding readers of the importance of vigilance and resistance in safeguarding democracy and human rights. 5.2 Politics of Language Steven Blakemore notes in Language and Ideology in Orwell’s 1984 that “Orwell’s great insight was to see that any ideological assault on human nature is intimately connected to the assault on human language; he saw that human experience is expressed and passed down through a language which must be conserved in or intelligible to future generations. Moreover, he saw that the textuality of human time and history is precarious in a world where language and texts are destroyed” (Blakemore, p. 356). Therefore, in the text we see that through the manipulation of language, the Party sought to shape and control thought, eradicate dissent, and maintain its authoritarian regime. The Party’s linguistic manipulation is through the introduction of ‘Newspeak’, a language designed to restrict freedom of thought and expression. As discussed before, Newspeak aims to eliminate words that could be used to articulate dissent or rebellion, thus narrowing the range of thought permissible within society. By controlling language, the Party seeks to control the very thoughts and beliefs of its citizens, ensuring their complete submission to its authority. Through the character of Syme, we learn that the elimination of certain words from the language reflects the Party’s desire to eliminate certain concepts from society altogether. For example, the removal of words like “freedom,” “equality,” and “justice” serves to erase the possibility of questioning the Party’s authority or advocating for po- litical change. So, what Orwell intends to show is that in Newspeak, words are stripped of their nuanced meanings, reducing language to a tool of ideological conformity and social control. We also see that apart from the manipulation of language, the Party also engages in the distortion of existing language through propaganda and doublespeak. With slogans like “War is Peace, Freedom is Slavery, Ignorance is Strength,” the Party twists the meaning of words to justify its oppressive actions and maintain its grip on power. 5.3 Surveillance and Social Control Surveillance and social control are omnipresent elements of the Party’s totalitarian regime, serving as tools to maintain power, enforce conformity, and suppress dissent. The most prominent symbol of surveillance in 1984 is the ubiquitous telescreen, which monitors citizens’ every move and word, blurring the line between public and private spaces. Cit- izens are constantly under surveillance, unable to escape the watchful eye of the Party. The telescreens serve as both a physical and psychological mechanism of control, instill- 22 PAGE Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 22 30-Aug-24 8:37:16 PM  George Orwell, 1984 ing a sense of paranoia and self-censorship among the populace—“But at any rate they could plug in your wire whenever they wanted to. You had to live—did live, from habit that became instinct—in the assumption that every sound you made was overheard, and, except in darkness, every movement scrutinized” (Orwell, p. 5). Furthermore, we see that the Party’s surveillance apparatus is further reinforced by the presence of the ‘Thought Police’, who actively seek out and punish any form of dissent or independent thought. Citizens live in constant fear of being reported for thoughtcrime, leading to widespread conformity and obedience to the Party doctrine. The threat of sur- veillance and punishment creates a culture of distrust and betrayal, where even intimate relationships such as Winston and Julia or Parsons and his kids, are suspect. When Winston asks Parson who turned you in, we receive a chilling response, “‘It was my little daughter,’ said Parsons with a sort of doleful pride. ‘She listened at the keyhole. Heard what I was saying and nipped of to the patrols the very next day. Pretty smart for a nipper of seven, eh? I don’t bear her any grudge for it. In fact, I’m proud of her. It shows I brought her up in the right spirit, anyway’” (Orwell, p. 295). Surveillance in 1984 extends beyond physical observation to include psychological manipulation and control. Through propaganda, censorship, and historical revisionism, the Party seeks to shape public perception and erase any memory of dissent or resistance. By controlling the past, the Party seeks to control the present and future, ensuring its continued dominance over society. On multiple occasions in the text, we see how history is doctored to suit the requirements of the Party like the creation of a fictional Comrade Ogilvy to alter historical artifacts or the ever-changing political adversaries of Oceania. By depicting a society where privacy is non-existent and individual autonomy is crushed under the weight of state surveillance, we see how Orwell highlights the dangers of un- checked government power and the erosion of basic human rights. Check Your Progress (i) How does the Party maintain control over its citizens in 1984 through surveillance and social control mechanisms? (ii) What role does Newspeak play in the Party’s efforts to manipulate language and control thought? (iii) How do characters like Winston and Julia resist the Party’s totalitarian regime, and what are the consequences of their rebellion? PAGE 23 Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 23 30-Aug-24 8:37:16 PM  Literature and Human Rights 6. Additional Perspectives on the Novel 6.1 Class Consciousness in 1984 Orwell’s 1984 offers an interesting portrayal of class consciousness and Marxism, weaving elements of socialist critique into its dystopian narrative. George Orwell, a socialist himself, can be seen employing the novel as a platform to explore themes of social hierarchy, ex- ploitation, and resistance. At the heart of Orwell’s critique is the stark class division within Oceania, where society is stratified into the ruling Inner Party, the bureaucratic Outer Party, and the oppressed proletarian masses, or proles. This hierarchical structure mirrors Karl Marx’s analysis of class struggle, with the Inner Party representing the bourgeoisie, the Outer Party as the bureaucratic enforcers of the regime, and the proles as the exploited working class. As mentioned earlier, we see that Orwell portrays the proles as the potential agents of revolution, as they possess the numerical strength to overthrow the Party’s oppressive regime. However, their ignorance and apathy serve as barriers to collective action, highlighting the challenges of organizing resistance among marginalized communities. We can see Winston Smith emerging as a symbol of class consciousness and rebellion within the rigid social hierarchy of Oceania. Despite his (considerably) privileged position within the Outer Party, Winston nurtures a deep sense of alienation and disillusionment with the Party’s oppressive tactics. His many acts of defiance, such as keeping a diary and engaging in an illicit affair with Julia, reflect his growing awareness of the injustices perpetuated by the Party. Orwell’s depiction of Winston’s trajectory parallels Marxist ideals, wherein individu- als awaken to their exploitation and unite in solidarity against their oppressors. However, Winston’s ultimate fate, subjected to brutal torture and psychological manipulation by the Party, shows the formidable challenges of resisting totalitarian control, a thought also es- poused by critic Robert Paul Resch in “Utopia, Dystopia, and the Middle Class in George Orwell’s Nineteen Eighty-Four” that, “Orwell demonstrates that, as long as capitalism dominates the world system, totalitarianism remains a real possibility, and the notion of a progressive alliance of the middle and working classes a chimera.” (Resch, p. 140) 6.2 Technology in 1984 Technology plays a pivotal role in the oppressive regime’s surveillance and control of its citizens. Orwell shows us how every aspect of life is monitored and manipulated by the rul- ing Party. The most prominent technological device in the novel is the ubiquitous, two-way television that not only broadcasts propaganda and Party directives but also puts individuals under surveillance in their own homes. The telescreens symbolize the intrusive nature of government surveillance and the erosion of privacy in the dystopian world of Oceania. We 24 PAGE Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 24 30-Aug-24 8:37:16 PM  George Orwell, 1984 see Winston Smith living in constant fear of being observed and punished for any deviation from Party orthodoxy, creating a pervasive atmosphere of paranoia and self-censorship. Fur- thermore, the telescreens exemplify the theme of doublethink, as citizens are compelled to simultaneously accept contradictory information presented by the Party. For example, while the screens proclaim slogans like “WAR IS PEACE” and “FREEDOM IS SLAVERY,” they also monitor and manipulate individuals’ behaviour to ensure compliance with Party ideology. This manipulation of truth and reality through technology underscores the Party’s control over both the minds and bodies of its subjects. In addition to the telescreens, other forms of technology contribute to the oppressive atmosphere of Oceania. The ‘Thought Police’ employ advanced surveillance techniques, including hidden microphones and cameras, to root out dissent and punish thoughtcrime—the mere act of thinking rebellious or subversive thoughts. This constant surveillance creates a sense of omnipresent authority, where even private moments are subject to scrutiny and punishment. Moreover, technology in 1984 is used not only as a means of control but also as a weapon of psychological manipulation. 6.3 The Dystopian Novel and 1984 Dystopian novels present imagined societies that are characterized by oppression, suffer- ing, and often a loss of individual freedoms. These narratives typically explore themes of totalitarianism, surveillance, and the consequences of unchecked power. Dystopian worlds are often depicted as grim and oppressive, serving as cautionary tales about the potential dangers of societal trends or political systems taken to extreme ends. Through dystopian literature, authors critique contemporary society, challenge political ideologies, and prompt readers to reflect on the implications of certain societal structures. Seminal texts of this genre include George Orwell’s “1984,” Aldous Huxley’s “Brave New World,” and Margaret Atwood’s “The Handmaid’s Tale.” As already established, 1984 is a quintessential dystopian novel that offers a portray- al of a totalitarian regime and its impact on individual autonomy. Set in a future world where government surveillance is omnipresent and dissent is ruthlessly suppressed, the novel explores themes of power, control, and the erosion of truth. 6.4 Title of the Novel The origin of the title remains shrouded in mystery. Robert McCrum notes in The Guardian, that critics have speculated that it may be a reference to the centenary of the Fabian Society in 1884, while others suggest connections to Jack London’s novel The Iron Heel, where a political movement rises to power in 1984, or to GK Chesterton’s story “The Napoleon of Notting Hill,” set in the same year. Despite the uncertainty surrounding the title’s origins, we know for sure that the initial title “The Last Man in Europe” was abandoned completely PAGE 25 Department of Distance & Continuing Education, Campus of Open Learning, School of Open Learning, University of Delhi DSE-9_Literature and Human Rights.indd 25 30-Aug-24 8:37:17 PM  Literature and Human Rights as Orwell himself had reservations about it, and it was his publisher, Fred Warburg, who proposed the title 1984. 6.5 Orwell and