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Asignatura: Literatura Inglesa Contemporánea, Profesor: , Carrera: Filologia/Estudis Anglesos, Universidad: UA
Tipo: Ejercicios
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1.”Such, Such were the Joys” (1952)
Your home might be far from perfect, but at least it was a place ruled by love rather than by fear, where you did not have to be perpetually on your guard against the people surrounding you. At eight years old you were suddenly taken out of this warm nest and flung into a world of force and fraud and secrecy, like a gold-fish into a tank full of pike…
All the very rich boys were more or less undisguisedly favoured…. The rich boys had milk and biscuits in the middle of the morning, they were given riding lessons once or twice a week, Flip mothered them and called them by their Christian names, and above all they were never caned. …
I had no money, I was weak, I was ugly, I was unpopular, I had a chronic cough, I was cowardly, I smelt. This picture, I should add, was not altogether fanciful. I was an unattractive boy. St Cyprian's soon made me so, even if I had not been so before. … Again, until after I had left school for good I continued to believe that I was preternaturally ugly. It was what my schoolfellows had told me, and I had no other authority to refer to. The conviction that it was not possible for me to be a success went deep enough to influence my actions till far into adult life.
2. “Shooting and Elephant” (1936)
In Moulmein, in Lower Burma, I was hated by large numbers of people. I was a police officer in the town … anti-European feeling was very bitter … at that time I had already made up my mind that imperialism was an evil thing and the sooner I chucked up my job and got out of it the better. Theoretically — and secretly, of course — I was all for the Burmese and all against their oppressors, the British. As for the job I was doing, I hated it more bitterly than I can perhaps make clear. In a job like that you see the dirty work of Empire at close quarters. The wretched prisoners huddling in the stinking cages of the lock-ups, the grey, cowed faces of the long-term convicts, the scarred buttocks of the men who had been flogged with bamboos — all these oppressed me with an intolerable sense of guilt … I had had to think out my problems in the utter silence that is imposed on every Englishman in the East.
3. “The Spike”
You are a gentleman?’ (tramp), ‘I suppose so,’ I said. (Orwell). He gave me another long look. ‘Well, that’s bloody bad luck’ he said, ‘that’s bloody bad luck, that is.’
It was a disgusting sight, that bathroom. All the indecent secrets of our underwear were exposed…. The room became a press of steaming nudity, the sweaty odours of the tramps competing with the sickly, sub-faecal stench native to the spike. Some of the men refused the bath, and washed only their ‘toe-rags’ … Each of us had three minutes in which to bathe himself. Six greasy, slippery roller towels had to serve for the lot of us.
4. “Why I Write” (1946)
In a peaceful age I might have written ornate or merely descriptive books, and might have remained almost unaware of my political loyalties. As it is I have been forced into becoming a sort of pamphleteer. First I spent five years in an unsuitable profession (the Indian Imperial Police, in Burma), and then I underwent poverty and the sense of failure. This increased my natural hatred of authority and made me for the first time fully aware of the existence of the working classes, and the job in Burma had given me some understanding of the nature of imperialism: but these experiences were not enough to give me an accurate political orientation. Then came Hitler, the Spanish Civil War, etc. By the end of 1935 I had still failed to reach a firm decision. .. The Spanish war and other events in 1936-37 turned the scale and thereafter I knew where I stood. Every line of serious work that I have written since 1936 has been written, directly or indirectly, against totalitarianism and for democratic socialism, as I understand it. It seems to me nonsense, in a period like our own, to think that one can avoid writing of such subjects. … What I have most wanted to do throughout the past ten years is to make political writing into an art. My starting point is always … a sense of injustice.
Animal Farm was the first book in which I tried, with full consciousness of what I was doing, to fuse political purpose and artistic purpose into one whole.
Looking back through my work, I see that it is invariably where I lacked a political purpose that I wrote lifeless books and was betrayed into purple passages, sentences without meaning, decorative adjectives and humbug generally.
5. “Politics and the English Language” (1946) 1. Never use a metaphor, simile, or other figure of speech which you are used to seeing in print. 2. Never use a long word where a short one will do. 3. If it is possible to cut a word out, always cut it out. 4. Never use the passive where you can use the active. 5. Never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday English equivalent. 6. Break any of these rules sooner than say anything outright barbarous.
Political language — and with variations this is true of all political parties, from Conservatives to Anarchists — is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind….
In our time, political speech and writing are largely the defence of the indefensible. Things like the continuance of British rule in India, the Russian purges and deportations, the dropping of the atom bombs on Japan …Thus political language has to consist largely of euphemism…. and sheer cloudy vagueness.