George Orwell Art Quotations

Money, money, all is money! Could you write even a penny novelette without money to put heart in you?

The mutability of the past is the central tenet of Ingsoc. Past events, it is argued, have no objective existance, but survive only in written records and in human memories. The past is whatever the records and the memories agree upon. And since the Party is in full control of all records, and in equally full control of the minds of its members, it follows that the past is whatever the Party chooses to make it.

All left-wing parties in the highly industrialized countries are at bottom a sham, because they make it their business to fight against something which they do not really wish to destroy. They have internationalist aims, and at the same time they struggle to keep up a standard of life with which those aims are incompatible. We all live by robbing Asiatic coolies, and those of us who are 'enlightened' all maintain that those coolies ought to be set free; but our standard of living, and hence our 'enlightenment,' demands that the robbery shall continue.

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.

During five literary generations every enlightened person had despised him, and at the end of that time nine-tenths of those enlightened persons are forgotten and Kipling is in some sense still there.

Now I will tell you the answer to my question. It is this. The Party seeks power entirely for its own sake. We are not interested in the good of others; we are interested solely in power, pure power.

Reality exists in the human mind, and nowhere else. Not in the individual mind, which can make mistakes, and in any case soon perishes: only in the mind of the Party, which is collective and immortal.

And if all others accepted the lie which the Party imposed—if all records told the same tale—then the lie passed into history and became truth. 'Who controls the past' ran the Party slogan, 'controls the future: who controls the present controls the past.

Every record has been destroyed or falsified, every book has been rewritten, every picture has been repainted, every statue and street building has been renamed, every date has been altered. And that process is continuing day be day and minute by minute. History has stopped. Nothing exists except the endless present in which the party is always right.

To write or even speak English is not a science but an art. There are no reliable words. Whoever writes English is involved in a struggle that never lets up even for a sentence. He is struggling against vagueness, against obscurity, against the lure of the decorative adjective, against the encroachment of Latin and Greek, and, above all, against the worn-out phrases and dead metaphors with which the language is cluttered up.

The only thing for which we can combine is the underlying ideal of Socialism; justice and liberty. But it is hardly strong enough to call this ideal underlying. It is almost completely forgotten. It has been buried beneath layer after layer of doctnaire priggishness, party squabbles and half-backed progressivism until it is like a diamond hidden under a monition of dung. The job of the Socialist is to get it out again. Justice and liberty! Those are the words that have got to ring like a bugle across the world.

But the proles, if only they could somehow become conscious of their own strength, would have no need to conspire. They needed only to rise up and shake themselves like a horse shaking off flies. If they chose they could blow the Party to pieces tomorrow morning. Surely sooner or later it must occur to them to do it? And yet --!

From where Winston stood it was just possible to read, picked out on its white face in elegant lettering, the three slogans of the Party: WAR IS PEACE FREEDOM IS SLAVERY IGNORANCE IS STRENGTH.

All art is propaganda.

In a way, the world−view of the Party imposed itself most successfully on people incapable of understanding it. They could be made to accept the most flagrant violations of reality, because they never fully grasped the enormity of what was demanded of them, and were not sufficiently interested in public events to notice what was happening. By lack of understanding they remained sane. They simply swallowed everything, and what they swallowed did them no harm, because it left no residue behind, just as a grain of corn will pass undigested through the body of a bird.

The party told you to reject the evidence of your eyes and ears. It was their final, most essential command. His heart sank as he thought of the enormous power arrayed against him, the ease with which any Party intellectual would overthrow him in debate, the subtle arguments which he would not be able to understand, much less answer. And yet he was in the right! They were wrong and he was right.

Sheer egoism... Writers share this characteristic with scientists, artists, politicians, lawyers, soldiers, successful businessmen - in short, with the whole top crust of humanity.

Does Big Brother exist?" "Of course he exists. The Party exists. Big Brother is the embodiment of the Party." "Does he exist in the same way as I exist?" "You do not exist.

The opinion that art should have nothing to do with politics is itself a political attitude.

Day by day and almost minute by minute the past was brought up to date. In this way every prediction made by the Party could be shown by documentary evidence to have been correct; nor was any item of news, or any expression of opinion, which conflicted with the needs of the moment, ever allowed to remain on record. All history was a palimpsest, scraped clean and reinscribed exactly as often as was necessary.

All art is propaganda; on the other hand, not all propaganda is art.

It reminded us that propaganda in some form or other lurks in every book, that every work of art has a meaning and a purpose - a political, social and religious purpose - that our aesthetic judgements are always coloured by our prejudices and beliefs

An earthquake is such fun when it is over.

In any form of art designed to appeal to large numbers of people,...[t]he rich man is usually 'bad', and his machinations are invariably frustrated.:; 'Good poor man defeats bad rich man' is an accepted formula.

The paperweight was the room he was in, and the coral was Julia's life and his own, fixed in a sort of eternity at the heart of the crystal.

The birds sang, the proles sang. the Party did not sing. All round the world, in London and New York, in Africa and Brazil, and in the mysterious, forbidden lands beyond the frontiers, in the streets of Paris and Berlin, in the villages of the endless Russian plain, in the bazaars of China and Japan — everywhere stood the same solid unconquerable figure, made monstrous by work and childbearing, toiling from birth to death and still singing.

Except for the small revolutionary groups which exist in all countries, the whole world was determined upon preventing revolution in Spain. In particular the Communist Party, with Soviet Russia behind it, had thrown its whole weight against the revolution. It was the Communist thesis that revolution at this stage would be fatal and that what was to be aimed at in Spain was not workers' control, but bourgeois democracy. It hardly needs pointing out why 'liberal' capitalist opinion took the same line.

The Party is not interested in the overt act. The thought is all we care about.

Politically, Swift was one of those people who are driven into a sort of perverse Toryism by the follies of the progressive party of the moment.

It struck him that the truly characteristic thing about modern life was not its cruelty and insecurity, but simply its bareness, its dinginess, its listlessness. Life, if you looked about you, bore no resemblance not only to the lies that streamed out of the telescreens, but even to the ideals that the party was trying to achieve.

The artist is to be exempt from the moral laws that are binding on ordinary people. Just pronounce the magic word "Art," and everything is O.K. Rotting corpses with snails crawling over them are O.K.; kicking little girls in the head is O.K.; even a film like L'Age d'Or is O.K.

Facts, at any rate, could not be kept hidden. They could be tracked down by inquiry, they could be squeezed out of you by torture. But if the object was not to stay alive but to stay human, what difference did it ultimately make? They could not alter your feelings, for that matter you could not alter them yourself, even if you wanted to. They could lay bare in the utmost detail everything that you had done or said or thought; but the inner heart, whose workings were mysterious even to yourself, remained impregnable.

Men use up their lives in heart-breaking political struggles, or get themselves killed in civil wars, or tortured in the secret prisons of the Gestapo, not in order to establish some central-heated, air-conditioned, strip-lighted Paradise, but because they want a world in which human beings love one another instead of swindling and murdering one another.

The existence of good bad literature—the fact that one can be amused or excited or even moved by a book that one's intellect simply refuses to take seriously—is a reminder that art is not the same thing as cerebration.

The two aims of the Party are to conquer the whole surface of the earth and to extinguish once and for all the possibility of independent thought. There are therefore two great problems which the Party is concerned to solve. One is how to discover, against his will, what another human being is thinking, and the other is how to kill several hundred million people in a few seconds without giving warning beforehand.

The party is not concerned with perpetuating itself. Who wields power is not important, providing that the hierarchical structure always remains the same.

The Ministry of Truth, which concerned itself with news, entertainment, education and fine arts. The Ministry of Peace, which concerned itself with war. The Ministry of Love, which maintained law and order. And the Ministry of Plenty, which is responsible for economic affairs. their names, in Newspeak: Minitrue, Minipax, Miniluv and Miniplenty

The ideal set up by the Party was something huge, terrible, and glittering-a world of steel and concrete, of monstrous machines and terrifying weapons-a nation of warriors and fanatics, marching forward in perfect unity, all thinking the same thoughts and shouting the same slogans, perpetually working, fighting, triumphing, persecuting-three hundred million people all with the same face.

The educated man pictures a horde of submen, wanting only a day's liberty to loot his house, burn his books, and set him to work minding a machine or sweeping out a lavatory. 'Anything,' he thinks, 'any injustice, sooner than let that mob loose.' He does not see that since there is no difference between the mass of rich and poor, there is no question of setting the mob loose. The mob is in fact loose now, and--in the shape of rich men--is using its power to set up enormous treadmills of boredom, such as 'smart' hotels.

Never, for any reason on earth, could you wish for an increase in pain. Of pain you could wish only one thing: that it should stop.

they say that time heals all things, they say you can always forget; but the smiles and the tears across the years they twist my heart strings yet!

it was only a hopeless fantasy, it passed like an april day, but a look and a word and the dreams they stirred they have stolen my heart away.

Even the humblest Party member is expected to be competent, industrious, and even intelligent within narrow limits, but it is also necessary that he should be a credulous and ignorant fanatic whose prevailing moods are fear, hatred, adulation, and orgiastic triumph. In other words it is necessary that he should have the mentality appropriate to a state of war. It does not matter whether the war is actually happening, and, since no decisive victory is possible, it does not matter whether the war is going well or badly. All that is needed is that a state of war should exist.

The men who were well enough to stand had moved across the carriage to cheer the Italians as they went past. A crutch waved out of the window; bandaged forearms made the Red Salute. It was like an allegorical picture of war; the trainload of fresh men gliding proudly up the line, the maimed men sliding slowly down, and all the while the guns on the open trucks making one's heart leap as guns always do, and reviving that pernicious feeling, so difficult to get rid of, that war *is* glorious after all.

But you could not have pure love or pure lust nowadays. 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.

In all the useful arts the world is either standing still or going backwards.

In some ways she was far more acute than Winston, and far less susceptible to Party propaganda. Once when he happened in some connection to mention the war against Eurasia, she startled him by saying casually that in her opinion the war was not happening. The rocket bombs which fell daily on London were probably fired by the Government of Oceania itself, "just to keep the people frightened."

Some things ARE true, even though the party says they are true.

For a creative writer possession of the 'truth' is less important than emotional sincerity.

It was curious to think that the sky was the same for everybody, in Eurasia or Eastasia as well as here. And the people under the sky were also very much the same--everywhere, all over the world, hundreds or thousands of millions of people just like this, people ignorant of one another's existence, held apart by walls of hatred and lies, and yet almost exactly the same--people who had never learned to think but were storing up in their hearts and bellies and muscles the power that would one day overturn the world.

To an ordinary human being, love means nothing if it does not mean loving some people more than others.

When I sit down to write a book, I do not say to myself, 'I am going to produce a work of art.' I write it because there is some lie that I want to expose, some fact to which I want to draw attention, and my initial concern is to get a hearing.

In certain kinds of writing, particularly in art criticism and literary criticism, it is normal to come across long passages which are almost completely lacking in meaning.

History has stopped. Nothing exists except an endless present in which the Party is always right.