1984 by George Orwell
Quote
PART I
It was a bright
cold day in
April, and the
clocks were
striking
thirteen. –
Chapter 1
Technique
Contrasting
imagery
Foreshadowing
Symbolism
The hallway
smelt of boiled
cabbage and
old rag mats. –
Chapter 1
The face of a
man of about
forty-five, with
a heavy black
moustache and
ruggedly
handsome
features. –
Chapter 1
BIG
BROTHER IS
WATCHING
YOU. –
Chapter 1
Olfactory
imagery
Doublethink
Motif
Analysis
Human
Experiences
Theme
Demonstrates the
Truth
setting to be
unnatural and
distorted.
24-hour times
symbolises
modernisation,
militarisation, and
sharp
discontinuation with
the past
Sets the setting to be Reality
unpleasant
Allusion
Historical allusion
to Joseph Stalin –
hints that the story
parallels that of the
Soviet Union,
foreshadows a novel
centred around a
totalitarian regime
Capitalisation
Second person
narration
Stresses authority
and importance.
Illustrates how
citizens are under
constant
government
surveillance.
Implies that
collective voices
have been drowned
out into singular
narrative.
Narration
intimidates reader,
leaving them to feel
the fear and
uncertainty of
Winston.
Ability to hold two
contradictory ideas
Absolute
Control
Individual
experience
Lack of agency
Surveillance
Ministry of
Truth
Ministry of
Peace
Ministry of
Love
Ministry of
Plenty
Situational
irony
Antithesis
Allusion
Paradox
Misnomer
War is Peace
Freedom is
Slavery
Ignorance is
Strength –
Chapter 1
DOWN WITH
BIG
BROTHER–
Winston,
Chapter 1
Paradox
Oxymoron
Capitalisation
Repetition
Run-on
sentences
Epistolary
(diary)
in one’s mind at the
same time
Allows the people
to believe anything
they are told, even
while possessing
info that runs
counter to what
they’re told
The use of
contradictory names
inspired by the
British govt; during
WWII, the British
Ministry of Food
oversaw rationing,
and the Ministry of
Information
restricted and
controlled
information
Govt departments of
Oceania with
opposing definitions
from the names
Indicates how
propaganda is used
to enforce
contradictory ideals
in the citizens
Depiction of
Control of
Winston’s panicked, language
hysteric state as he
Individuality
writes down the
treasonous words
The lack of
punctuation
emphasises
Winston’s wild
frenzy
Shows how his
judgement was
clouded by feelings
of contempt and
hatred for the Party
Party’s control of
language prevents
Winston thinking
independently
Rebellion
and hope
To the future or Anaphora
to the past, to a Repetition
time when
thought is
free… From
the age… from
the age… from
the age of Big
Brother, from
the age of
doublethink greetings! –
Winston,
Chapter 2
Thoughtcrime
does not entail
death:
thoughtcrime is
death. –
Winston,
Chapter 2
Winston woke
up with the
word
‘Shakespeare’
on his lips. –
Chapter 3
Metaphor
Anaphora
Epistrophe
Symbolism
Empowered tone
which is addressed
to a future audience
Demonstrates
Winston’s desire to
rebel against the
state and his
discontent with
current societal
standards
The diary acts a
symbol of
Winston’s private
rebellion against
The Party.
In a society where
individual thoughts
are eradicated and
discouraged,
Winston’s selfexpression in his
diary marks his
awakening and
beginning of his
rebellion against
Big Brother
Orwell’s
metaphorical
representation of the
diary is used for
Winston to try to get
in touch with his
humanity
Winston is well
aware of the Party’s
omniscience
Self-awareness to
his rebellion
Winston knows he
is a dead man
Symbolic of the
past, including its
various emotions
and complicated
ideas.
Shakespeare is
notorious for
exploring human
behaviour, emotions
and themes which
Anomalous
behaviour
Storytelling by
Winston
Rebellion
and hope
Rebellion
and hope
6079 Smith W!
Yes you! –
Chapter 3
Allusion
Who controls
the past,
controls the
future: who
controls the
present,
controls the
past – Chapter
3
Memory holes
– Chapter 4
Ninth Three
Year-Plan –
Chapter 4
Aphorism
All history was
a palimpsest,
scraped clean
and reinscribed
exactly as often
as necessary. –
Chapter 4
Eleventh
Edition of the
Metaphor
Motif
Allusion
Motif
the government is
attempting to
oppress.
Alludes to the
prison numbers
which Jews had in
concentration
camps.
Reinforces the
fascist ruling of the
Party and Big
Brother as Hitler is
associated with
ensuring Jews in
camps went by
numbers and not
their names.
This experience
shows how he is not
treated as a human
being who can
exercise basic
rights.
Relates to how the
Party’s control of
the present enables
them to control the
past and future
Absolute
control
Eradication of
Truth
memory
Alludes to the
Soviet Union’s
continuous 5-Year
Plans
Parallels 1984 with
previous reality
Provides insight into Truth
abolition of the past
and how true history
is continually
diminished by the
Party
Shows how
language is used to
Individuality
Manipulation
Manipulation
Newspeak
Dictionary –
Chapter 5
It’s a beautiful
thing, the
destruction of
words. – Syme,
Chapter 5
Don’t you see
that the whole
aim of
Newspeak is to
narrow the
range of
thought? –
Syme, Chapter
5
Our new,
happy life –
Chapter 5
Tone
Paradox
Dialogue
The sexual act,
successfully
performed, was
rebellion.
Desire was
thoughtcrime. –
Chapter 6
If there is hope,
…, it lies in the
proles. –
Tone
Truism
Rhetorical
Question
Dialogue
Allusion
Allusion
Microcosm
fulfil the ambitions
of the Party
Language is central
to human thoughts,
but the Party is
diminishing the
complexity of
language to simple
words
This eradication of
language limits the
capability of
individuals
expressing their
thoughts 
eradicating
individuality and
drowning the
individual voice to
become part of the
collective
Gleeful tone with
paradoxical
statement
disconcerts the
audience
Reinforces the
destruction of
language by the
Party
Alludes to the
Soviet slogan/
Stalin’s quote of
“Life has become
better”
Emphatic tone
(which implicitly
arises from
Winston)
Alludes to the
Russian Revolution
and how the rise of
Language as
mind control
Winston,
Chapter 7
Lucid prose
syntax
the common people
was seen to be the
solution
Taken out of
context of the
revolution
Until they
become
conscious, they
will never
rebel, and until
after they have
rebelled, they
cannot become
conscious. –
Winston,
Chapter 7
Three hundred
million people
all with the
same face –
Chapter 7
Paradoxical
chiasmus
The proles will only
rebel once they are
aware of the
inequality they
experience
Invites audience to
look into the
unfairness of this
dystopic world
I understand
HOW: I do not
understand
WHY –
Chapter 7
Freedom is the
freedom to say
that two plus
two make four.
If that is
granted, all else
follows –
Winston,
Chapter 7
Ownlife –
Chapter 8
Visual imagery Face is symbolic of
individuality
By saying 3 mil
people have same
face, this erases
individuals to
become one
collective Inspires
fear in audience of
collective
Capitalisation
Writing becomes
process of
clarification and
enlightenment,
capitalisation of the
interrogative,
internal focalisation
Aphorism
Freedom associated
with speaking the
truth
Mathematical
statement presents
logical conclusion
that exists in the real
world
Asserts that truth
exists independently
from the Party’s
ideology
Jargon
Dehumanises
individuality
Paradox
Individuality
Storytelling
Truth
Individuality
What appealed
to him about it
was not so
much its beauty
as the air it
seemed to
possess of
belonging to an
age quite
different from
the present one.
– Chapter 8
Oranges and
lemons, say the
bells of St.
Clement’s, You
owe me three
farthings, say
the bells of St.
Martin’s! –
Chapter 8
Like a leaden
knell the words
came back to
him – Chapter
8
PART II
I love you –
Chapter 1
Symbol
At the sight of
the words I
love you the
desire to stay
alive had
welled up in
him, and the
Personification
Removes personal
connotations
Conforming to the
collective
Symbolises the
beauty of the past
and the value it
holds in the present
History
Motif
Preservation of past History
language
Whilst childish, it
holds significance in
the current world
for Winston
Simile
Auditory
imagery
Presents the
overwhelming
nature of the Party’s
slogans
Truth
Italicisation
Presented in a
similar way to the
slogans but not
capitalised and
familiar to readers
Simple sentence
shows how plain
prose communicates
truths
Subverts Winston’s
and the readers’
expectations of Julia
Personifying how
Winston’s desire to
stay alive surpasses
the need to take
stupid risks
Simple
communication
Love
Storytelling
Love
Inconsistencies
taking of minor
risks suddenly
seemed stupid.
– Chapter 1
For a week
after this, life
was like a
restless dream.
– Chapter 1
Simile
The sense of
his own
inferiority was
heavy upon
him – Chapter
2
Personification
Hyperbole
Already on the
walk from the
station, the
May sunshine
had made him
feel dirty and
etiolated, a
creature of the
indoors, with
the sooty dust
of London in
the pores of his
skin. – Chapter
2
Personification
Juxtaposition
I wanted to
rape you and
then murder
you afterwards
– Winston,
Chapter 2
Them, it
appeared,
Italicisation
evokes such an
emotional reaction
in Winston,
emphasising the
need for language
Individual
experience is
disturbed by
responsibility of
taking care of loved
ones
The new emotion of Love
love makes Winston
into a new man
His previous,
sombre reality has
become a idyllic
dream
Winston feels
daunted in the
presence of Julia
The appearance of
Julia prompts
Winston to heavily
doubt himself
Party’s control
reflected in the body
of its citizens
Degradation of the
human body to
become a dirty
machine to be used
by the govt
The surrounding
nature juxtaposes
the ugliness of
Winston’s
appearance
The Party has
fashioned his being
to become an
unnatural creature
Implication that the
Party supresses the
human sex instinct
to the point Winston
may go feral to
satisfy his urges
Disdainful tone
Individuality
meant the
party, and
above all the
Inner Party,
about whom
she talked with
an open jeering
hatred. –
Chapter 2
Third person
pronouns
Tone
Situational
irony
Julia separates
herself from the
party through the
use of third person
pronoun Ironically
delineates herself
yet performs
conformity for
safety
Golden
Country –
Chapter 2
Symbol
Motif
Anything that
hinted at
corruption
filled him with
wild hope. –
Chapter 2
‘I hate purity! I
hate goodness!
I don’t want
any virtue to
exist anywhere.
I want
everyone to be
corrupt to the
bones.’ –
Winston,
Chapter 2
Not merely the
love of one
person, but the
animal instinct,
the simple
undifferentiated
desire: that was
the force that
would tear the
Party to pieces.
– Chapter 2
Paradox
Juxtaposition
Place where
Winston goes in his
dreams
Prior mention of
Golden Country
foreshadowed
Winston’s eventual
encounter with Julia
Land of freedom
Winston’s hope
Opposite of the
Party’s World
Paradoxical human
desires under
oppression
Exclamatory
language
Demonstrates
strength of emotion
when it has been
suppressed and only
now voiced
Personification
Personifies the
animal instinct as a
strong force capable
of prevailing above
the Party’s control
Implies how human
desire cannot be
forever supressed
and how it can be
the downfall of the
Party
Conforming to
the collective
Paradox in
human
behaviour
No emotion
was pure
because
everything was
mixed up with
fear and hatred.
– Chapter 2
Their embrace
had been a
battle, the
climax a
victory. It was
a blow struck
against the
Party. It was a
political act. –
Chapter 2
With Julia,
everything
came back to
her sexuality. –
Chapter 3
“We are the
dead,” he said.
“We’re not
dead yet,” said
Julia
prosaically. –
Chapter 3
Oh rubbish!
Which would
you sooner
sleep with, me
or a skeleton?
Don’t you
enjoy being
alive? Don’t
you like the
feeling: This is
me, this is my
hand, this is my
leg, I’m real,
I’m solid, I’m
alive! Don’t
you like this? –
Julia, Chapter 3
Internal
focalisation
Winston sees how
emotion is distorted
by the Party, how it
becomes
constructed by
power
Metaphor
Anaphora
Tone
Declarative
statement
Emotion
Emphatic tone
makes political
statements
Presents Winston’s
and Julia’s
relationship as a
rebellion against the
Party
Shows Winston’s
attempt to regain his
humanity after
being supressed by
the Party
Julia as a foil
Julia’s rebellion tied
character
up in sexuality and
politicisation of her
femininity,
politicisation of
personal identity
Anaphora
Foreshadowing,
Dialogue
Ominous tone,
Declarative
Winston’s
statements
pessimism about the
Foreshadowing future
Sexuality
Rebellion
Sexuality
Rebellion
Anaphora
Tone
Dialogue
Run-on
sentences
Rhetoric
Exclamatory
Humanity
Stream of
consciousness,
emphatic tone,
contrasts Winston’s
intellectualising
Julia is emphasising
with her humanity
and appealing to
Winston as well
Power
Rebellion
and hope
‘The oldfashioned clock
with the
twelve-hour
face was
ticking away on
the
mantelpiece.’ –
Chapter 4
The
improvement in
her appearance
was startling.
With just a few
dabs of colour
in the right
places she had
become not
only very much
prettier, but,
above all, far
more feminine.
– Chapter 4
The
paperweight
was the room
he was in, and
the coral was
Julia’ life and
his own, fixed
in a sort of
eternity at the
heart of the
crystal. –
Chapter 4
Juxtaposition
Syme had
ceased to exist:
he had never
existed. –
Chapter 5
Dirty or clean,
the room was
paradise. –
Chapter 5
Short syntax
Foreshadowing
Metaphor
Motif
Symbolism
Metaphor
Contrast to opening
lines
Portrays a return to
the past and
reinforcement of
human beauty
Humanity >
technology
Limited perspective
of Winston invites
the male gaze,
femininity as
performance for
male gaze becomes
a form of power and
entrapment
Gender
Paradoxically
beautiful and
sinister imagery
Denotes beauty of
human connection
yet their entrapment
Motif of
paperweight
illustrates the
humanity supressed
by Party
Romantic imagery
is metaphorical
BUT entrapping
Shocks audience
Paradox
The room is
presented as an
escape from reality
It is a microcosm
for the human
connection much
suppressed by the
Party
Privacy
Connection
Terror
Winston’s change
after meeting Julia
Since he has
something to live
for, Winston is
finding it easier to
conform to society
The process of
life ceased to
be
intolerable… Chapter 5
Personification
To hang on
from day to day
and from week
to week,
spinning out a
present that had
no future,
seemed an
unconquerable
instinct, just as
one’s lungs
will always
draw the next
breath so long
as there is air
available. –
Chapter 5
She did not feel
the abyss
opening
beneath her feet
at the thought
of lies
becoming
truths. –
Chapter 5
Every record
has been
destroyed or
falsified, every
book has been
rewritten, every
picture has
been repainted,
every statue
and street and
building has
been re-named,
every date has
been altered. –
Winston,
Chapter 5
Foreshadowing Importance of
Simile
survival over
Asyndeton
individuality
Winston and Julia
know their love
affair cannot last
and they are
doomed to die.
Personification
Julia did not feel
fear the same way
as Winston
Asyndeton
Anaphora
Run-on
sentence
Rewriting the past
Provides insight into
how the Party
would do anything
to maintain their
power and control
Conformity
Individuality
History
History has
stopped.
Nothing exists
except an
endless present
in which the
Party is always
right. –
Winston,
Chapter 5
“You’re only a
rebel from the
waist
downwards.” –
Winston,
Chapter 5
Short syntax
There is no accurate
past because the
Party alters history
to match up with
what they say so
that they will look
good and always be
right.
Femininity is Julia’s Gender
method of rebellion
but is demeaned
Julia does not rebel
for a better future
She only rebels to
relieve her lust, not
for others.
She is not
committed to
making a change
and is still partly
under the influence
of the Party.
Winston note that
Julia is no
intellectual rebel,
but just a woman
adhering to her
sexual stereotypes
He moved from Foreshadowing Process of words
Hero’s journey
thoughts to
becoming actions
words, and now
and the importance
from words to
of language
actions. The
Hero’s journey
last step was
subverted
something that
would happen
in the Ministry
of Love. –
Chapter 6
The end was
Metaphor
Winston is referring
contained in the Truism
to writing of the
beginning. –
diary. The second
Chapter 6
he begins writing in
the diary means the
end of his life.
He had the
Foreshadowing Subversion of
Hero’s journey
sensation of
Metaphor
hero’s journey,
stepping into
audience still retains
Dialogue
Julia as a foil
Euphemism
History
the dampness
of a grave, and
it was not much
better because
he had always
known that the
grave was there
and waiting for
him. – Chapter
6
It was a vast
Simile
luminous
dream in which
his whole life
seemed to
stretch out
before him like
a landscape on
a summer
evening after
rain. – Chapter
7
If you loved
someone, you
loved him, and
when you had
nothing else to
give, you still
gave him love.
– Chapter 7
optimistic hopes for
his success
Bleak tone
Death-related
imagery
The proles had
stayed human –
Chapter 7
Short syntax
Shows how dreams
are an escape from
the real world
A perfect world that
is set apart from the
Party’s world
The dreams retain
his ability to be
human, subverting
the Party’s ideals
Dream
Represents the
private emotions
and sacrifices on
individuals in the
past
Dreams connote the
immaterial nature of
these things
Limitless nature of
love
Love
Humanity
The Proles are
common masses
who aren't as
controlled by the
Party
They are human
because they have
feelings and
emotions, give love,
and are loyal.
Winston and the
other Party
members are not
human because they
do not love and are
not loyal.
Humanity
Confession is
not betrayal.
What you say
or do doesn’t
matter; only
feelings matter.
If they could
make me stop
loving you –
that would be
real betrayal. –
Winston,
Chapter 7
Emotions are
valorised
Betrayal equated
with losing
connection
Externalising
political thought
Short statements
amplify the need to
feel human
emotions
The Party is
powerless to change
the power of their
love
But if the
Rhetorical
Allows audience to
object was not
question
remain hopeful
to stay alive but Dramatic irony before crushed
to stay human,
Importance of
what difference
emotion
did it
Love/humanity
ultimately
essential to rebellion
make? They
could not alter
your feelings.
…the inner
heart, whose
workings were
mysterious
even to
yourself,
remained
impregnable. –
Chapter 7
He began
asking his
questions in a
low,
expressionless
voice, as
though this
were a routine,
a sort of
catechism,
most of whose
answers were
known to him
already –
Chapter 8
Dialogue
Short
statements
Religion
allusion
Presents O’Brien as
a godlike figure for
which Winston and
Julia have come to
seek redemption
from
Connection
Human emotion
Emotion
Interior
self/individuality
You are
prepared to
cheat, to forge,
to blackmail, to
corrupt the
minds of
children, to
distribute habit
forming drugs,
to encourage
prostitution, to
disseminate
venereal
disease….? –
O’Brien,
Chapter 8
When you
looked at
O’Brien’s
powerful
shoulders and
his bluntfeatured face,
so ugly and yet
so civilised, it
was impossible
to believe that
he could be
defeated. –
Chapter 8
Nothing holds
it together
except an idea
which is
indestructible.
You will never
have anything
to sustain you
except the idea.
– O’Brien,
Chapter 8
Winston was
gelatinous with
fatigue.
Gelatinous was
the right word.
It had come
into his head
spontaneously.
– Chapter 9
Cumulative
listing
Rhetorical
question
Focuses the reader’s
attention on the
similarity of what
O’Brien is listing
Undermining
humanity Winston
stands for
Chant-like,
repetition
Irony in that
rebellion involves
losing humanity
Individuality
Visual imagery Presents O’Brien as
an external force,
too solid to be
overpowered
Focalises him as a
godlike figure
Personification
Meta fictively
Individuality
reflects the nature of
the Party, held
together by
narrative that
overwhelms
individuals
Simple
sentences
Rebellion against
Newspeak
Shows how
language is
important for
individuality
Language
Individuality
The Theory and
Practice of
Oligarchical
Collectivism by
Emmanuel
Goldstein –
Chapter 9
Being in a
minority, even
a minority of
one, did not
make you mad.
– Chapter 9
There was truth
and there was
untruth, and if
you clung to
the truth even
against the
whole world,
you were not
mad. – Chapter
9
Sanity is not
statistical –
Winston,
Chapter 9
‘We are the
dead,’ he said.
… ‘You are the
dead,’ said an
iron voice
behind them. –
Chapter 10
It was starting,
it was starting
at last! –
Chapter 10
The fragment
of coral, a tiny
crinkle of pink
like a sugar
rosebud from a
cake, rolled
across the mat.
How small,
thought
Winston, how
small it always
Oxymoron
Complex
intellectual thinking
allows one to think
independently
Book encapsulates
power of
storytelling
The minority can
also determine truth
Storytelling
Aphorism ^^
Mirrors the first
sentence
Images demonstrate
the power against
the individual
Truth
Aphorism
Means that the
majority does not
determine or decide
sanity
Optimism is
destroyed by iron
voice
Inflexibility of the
image, impersonal
image
Truth
Exclamatory
sentence
Final phase of
journey
Failure is expected
Hero’s journey
Motif
Symbolism
Metaphor
Hope is shattered
and the fragile
world Winston has
created for himself
now no longer
exists
Revelation that this
world would have
never lasted
Privacy and security
was just an allusion
Security
Privacy
Aphorism
Internal
focalisation
Emphatic
statement
Repetition
Dialogue
Truth
Truth
was! – Chapter
10
PART III
He hardly
thought of
Julia…He
loved her and
would not
betray her; but
that was only a
fact, known as
he knew the
rules of
arithmetic. He
felt no love for
her… - Chapter
1
It was the place
with no
darkness: he
saw now why
O’Brien had
seemed to
recognise the
allusion. –
Chapter 1
Room 101 –
Chapter 1
In the face of
pain, there are
no heroes, no
heroes, he
thought over
and over as he
writhed on the
floor, clutching
uselessly at his
left disabled
arm. – Chapter
1
Mathematical
allusion
Situational
irony
Anaphora
Impersonal
language
underscored by
mathematical
allusion
Short sentences
Love is only
response to
totalitarian power
Ironic since he will
betray her
Symbolism
Meaning of light is
subverted to become
torture instead of
hope
Symbolism
Represents the
power of the Party
Room which helps
Party show absolute
dominance
Proves that the party
has the power to
totally ruin someone
through the use of
their deepest fear
Repetition
Violent imagery
Visual imagery Winston’s power of
storytelling is
neutralised by
greater power (pain)
In pain, Winston
notes that no one
can save him, not
even himself
Agency
There were
memories of
another kind.
They stood out
in his mind
disconnectedly,
like pictures
with blackness
all around them
– Chapter 2
Simile
Anaphora
He was the
tormentor, he
was the
protector, he
was the
inquisitor, he
was the friend.
– Chapter 2
Asyndeton
Anaphora
Consonance
Paradox
Juxtaposition
He had the air
of a doctor, a
teacher, even a
priest, anxious
to explain and
persuade rather
than punish –
Chapter 2
Situational
irony
Simile
Juxtaposition
‘Sometimes
they are five.
Sometimes
they are three.
Sometimes
they are all of
them at once.
Equivocation
Anaphora
Shows how Winston
is beginning to be
no longer himself
He is now
conforming to the
dystopian society
and alienating
himself from his
past
Winston’s humanity
is leaving him
Invites reader to
think about how far
an image can be
stretched from the
truth and how scary
that can be when it
is done by people in
power
O’Brien’s
paradoxical nature
is purposefully
deceptive to enforce
conformity
O’Brien is presented
as both an ally and
an enemy
Irony since O’Brien
is the torturer
Simile draws on
nurturing figures
that are juxtaposed
with the role of
torture
Exposing the
paradoxes and
ironies in the
Party’s system that
allow it to control
citizens
Mentor to the hero
role remains but as a
torturer
Truth is fluid
Conveys the
uncertainty
Paradoxical
statements
disconcert audience
Humanity
Paradox in
human
behaviour
Paradoxes in
human
behaviour
Truth
You must try
harder. It is not
easy to become
sane.’ –
O’Brien,
Chapter 2
We do not
merely destroy
our enemies,
we change
them –
O’Brien,
Chapter 2
You are a flaw
in the pattern
Winston. You
are a stain that
must be wiped
out – O’Brien
Chapter 2
We convert
him, we
capture his
inner mind, we
reshape him –
O’Brien
Chapter 2
‘You will be
hollow. We
shall squeeze
you empty and
then we shall
fill you with
ourselves.’ –
O’Brien
Chapter 2
‘She betrayed
you, Winston.
Immediately –
unreservedly’ –
O’Brien
Chapter 2
O’Brien is trying to
force Winston to
accept the Party’s
truths
Anaphora
Exemplifies the
party’s need for
power and absolute
obedience
Anaphora
Metaphor
Metaphors make
Hero’s journey
Winston individual
and the ‘hero’ nonconformist figure
Audience’s hope
continues but is
eventually stamped
Suggests that the
party’s goal is not to
physically change a
person, but to
change a person’s
mindset
Conveys how the
Party aims to
remove individual
thinking among
population
Conveys how the
Individuality
Party will replace
Winston’s humanity
and individuality by
forcing themselves
into him
Party replaces
individual narrative
Anaphora
Asyndeton
Second person
pronoun
Metaphor
Adverbs
Short sentence
Love and
connection are
irrelevant in face of
power
Human emotion is
not stronger than the
overarching power
of the collective
We are the
priests of
power –
O’Brien
Chapter 3
Metaphor
Reality is
inside the skull
– O’Brien
Chapter 3
Metaphor
Irony
We make the
laws of Nature
– O’Brien
Chapter 3
There will be
no love, except
the love of Big
Brother –
O’Brien
Chapter 3
Second person
pronoun
If you want a
picture of the
future, imagine
a boot
stamping on a
human face –
forever. –
O’Brien,
Chapter 3
Metaphor
Hyphen
Metaphor invokes
the power of
religion
Likens the Party to
some untouchable
power
Suggests the
postmodern theories
of multiple truths
that are equally
valid, only to
undermine with the
absolute control and
dictatorship over
truth
Critique of
multiplicity and
flexibility of truth,
the need to rearticulate the
concreteness of
truth
The Party’s control
exceeds the simple
laws of the natural
world
The world that the
Party aspires to
create is a world
unlike any other.
Fear and torture
replace love and
happiness. Loyalty
to the party is the
only acceptable
loyalty.
Synecdochical boot
represents the
faceless collective
Face is symbolic of
individuality; it is
erased by collective
embodied in the
synecdochical boot
Hyphen creates
pause that
emphasises the
forever and
heightens audience
tension
Power
‘You are
rotting away;
you are falling
to pieces. What
are you? A bag
of filth. Now
turn round and
look into that
mirror again.
Do you see that
thing facing
you? That is
the last man. If
you are human,
that is
humanity.’ –
O’Brien,
Chapter 3
We have beaten
you. We have
broken you up.
– O’Brien,
Chapter 3
‘You are a
difficult case.
But don’t give
up hope.
Everyone is
cured sooner or
later. In the end
we shall shoot
you.’ –
O’Brien,
Chapter 3
It must be so:
how could the
immortal,
collective brain
be mistaken? –
Chapter 4
Two and two
make five –
Chapter 4
God is power –
Chapter 4
O'Brien is also
explaining that the
Party must have
resistance in order
to exist.
Second person Second person
Visual imagery pronoun includes
Metaphor
audience
Audience feels
similar despair as
Winston
Emaciated imagery
reflects the state of
humanity
Winston becomes
symbol for society
writ large
Second person
pronoun
Anaphora
Situational
irony
Shows how the
Party has succeeded
in breaking Winston
to partake in their
cause
Dispassionate tone
Grotesque
subversion of the
hero’s journey
Euphemistic irony
of ‘cured’
Curing is distortion
of reality and
erasure of identity
Rhetoric
Slogan
Metaphor
Shows the Party’s
Humanity
The so-called
Epistrophe
laws of Nature
were nonsense.
The law of
gravity was
nonsense. –
Chapter 4
The
arithmetical
problems
raised, for
instance, by
such a
statements as
‘two and two
make five’
were beyond
his intellectual
grasp – Chapter
4
Stupidity was
as necessary as
intelligence,
and as difficult
to attain. –
Chapter 4
To die hating
Foreshadowing
them, that was Tone
freedom –
Chapter 4
Do it to Julia!
Do it to Julia!
Not me! Julia!
– Winston,
Chapter 5
Repetition
Exclamatory
language
Under the
spreading
chestnut tree/ I
sold you and
you sold me –
Chapter 6
Rhyme
Symbol
Dismissive tone
Even the scientific
laws are overcome
by totalitarian
power
Hero’s journey
motif returns in
hope spot that
foreshadows the
ending, emphatic
tone, political
slogan
Fragmented
Individuality
sentences
Symbolic of
splintered individual
cracked apart by
power
Betrayal of own
internality
It ironically implies
that the bad times
have gone
The phrase refers to
the way the Party
succeeds in dividing
and breaking up
Winston and Julia
…his soul
white as snow.
– Chapter 6
Simile
He had won the Short Sentence
victory over
Anaphora
himself. He
loved Big
Brother. –
Chapter 6
Represents purity of
spirit
Religious
connotations
Simile is bitterly
ironic given the
nature of his beliefs
Winston's total
acceptance of Party
rule marks the
completion of the
trajectory he has
been on since the
opening of the
novel.
Definite tone
Disturbing lexical
reversal and
negation
Ironic
Individuality
Individuality