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РефератыЛитература : зарубежная (124)Animal Farm
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Скачан: 163 Добавлен: 23.10.2006 It is the history of a revolution that went wrong — and of the excellent excuses that were forthcoming at every step for the perversion of the original doctrine’, wrote Orwell in the original blurb for the first edition of Animal Farm in 1945. His simple and tragic fable has become a world-famous classic of English prose. George Orwell is the pseudonym of Eric Arthur Blair. The change of the name corresponded to a profound shift in Orwell’s life-style, in which he changed from a pillar of the British imperial establishment into a literary and political rebel. Orwell is famous for his novels Animal Farm and Nineteen Eighty-four. Orwell derived his inspiration from the mood of Britain in the ‘40s. What is comic? Similar considerations apply to the historically earlier forms and theories of the comic. In Aristotle’s view ‘laughter was intimately related to ugliness and debasement’. Cicero held that the province of the ridiculous lay in the certain baseness and deformity. In Other sources of innocent laughter are situations in which the part and the home change roles and attention becomes focused on a detail torn out of the functional defect on which its meaning depends. ‘A bird’s wing, comrades, is an organ of propulsion not of manipulation’. Orwell displaces attention from meaning to spelling. One of the most popular comic devices is impersonation. The most aggressive form of impersonation is parody, designed to deflate hollow pretense, to destroy illusion and to undermine pathos by harping on the weaknesses of the victim. Orwell resorts to that device describing Squealer:’ The best known among them was a small fat pig named Squealer with very round cheeks, twinkling eyes, nimble movements and a shrill voice. He was a brilliant talker:’ A succession of writers from the ancient Greek dramatist Aristophanes through Swift to George Orwell, have used this technique to focus attention on deformities of society that, blunted by habit , are taken for granted. Early theories of humor, including even those of Bergson and Freud, treated it as an isolated phenomenon, without attempting to throw light on the intimate connections between the comic and tragic, between laughter and crying. Yet these two domains of creative activity form a continuum with no sharp boundaries between wit and ingenuity. The confrontation between diverse codes of behavior may yield comedy, tragedy or new psychological insights. Humor arouses malice and provides a harmless outlet for it. Surely satire reflects changes in political and cultural climate and it had it’s ups and downs. George Orwell’s satire of the 20th century is much more savage than that of Jonathan Swift in 18th century. It is only in the mid 20th century that the savage and the irrational have come to be viewed as part of the normative condition of the humanity rather than as tragic aberration from it. The savage and irrational amount to grotesque parodies of human possibility, ideally conceived. Thus it is the 20th century novelists have recognized the tragicomic nature of the contemporary human image and predicament, and the principal mode of representing both is the grotesque. This may take various forms. In Animal Farm it takes a form of apocalyptic nightmare of tyranny and terror. The satire in Animal Farm has two important aims — both based on the related norms of limitation and moderation. First, Animal Farm exposes and criticizes extremist political attitudes as dangerous. On the one hand, it satirizes the mentality of the utopian revolutionary — the belief at through the conscious effort of a ruling elite a society can be suddenly severed from its past and fashioned into a new, rational system. Implicit in Snowball’s vision of high technology modernization is the extirpation of the animals’ resent agricultural identity as domesticated creatures and — if Boxer’s goal of improving his mind is any indication , their eventual transformation into Houyhnhnms. Instead, Snowball’s futuristic incantations conjure up the power-hungry and pleasure-loving Napoleon. An allegorical view of reality – the thing said or displayed really meaning something else—suited the Marxist-oriented social criticism of the Analyzing the novel we can hardly determine comedy from tragedy. We can’t find those sharp boundaries which divide these two. Orwell can be called the true expert of man’s psychology. Cause only a man who studied psychology of the crowd could create such a vivid image of characters, which we see in Animal Farm. Describing the characters Orwell attaches great significance to the direct remarks which help the reader to determine who is the victim and who is hunter in the novel. The features of the animals are : ‘A white stripe down his nose gave him somewhat stupid appearance’, ‘Mollie , foolish, pretty white mare’. Stupidity becomes a kind of leitmotif in the description of the animals. Pigs on the contrary are represented as very clever animals: ‘the pigs were so clever that they could think of the way round every difficulty’, ‘with their superior knowledge...’ The author creates the image of the crowd which plays a very important role in the novel. What is a crowd? This is not only mass of individuals if to look deeper from the psychological point of view we shall find out that crowd is a gathering of people under the definite conditions which has its traits, which differ from that of single individual. The conscious person disappears , besides feelings and ideas of everyone who forms that gathering which is called crowd, receive united , indivisible direction. Major provides animals with scapegoat. In the nature of individual the image of an enemy excites aggressiveness but in the dimensions of the crowd the hostility increases thousands times. S.Moskovichy wrote in his book ‘The machine that creates Gods’, that ‘society is ruled by passions on which one should play and even stimulate them in order to have an opportunity to rule them and to subordinate to intellect’. Having read that episode we don’t pay attention to it’s deep psychological sense, but simply enjoy the humor with which the author speaks of it. Orwell uses very popular device he gives the description of the character and at the end he gives a short remark which completely destroy the created image: ‘Old Major was so highly regarded on the farm that everyone was quite ready to lose an hours sleep in order to hear what he had to say... they nestled down inside it and promptly fell asleep’,’she purred contentedly throughout Majors speech without listerning to a word of what he was saying’. He uses the same device in the situation when Old Orwell’s novel is always balancing between tragedy and comedy. In If allegory tends to subordinate narrative to thesis, the structure of allegory, it’s dualistic form, can be emphasized to restore a balance between fictional events and conceptual massage. In Animal Farm there are signs of a balance struck between satiric devices allegorically martialed to expose and assault a dangerous political myth and collateral apolitical elements — the latter akin to the ‘solid objects and useless scraps of information’. Orwell allows the reader to fix disgust at cruelty, torture and violence on one leading character—Napoleon. The way Orwell presents the figure is structural, in that the figure of the Napoleon clarifies his political intent for the reader. There is no doubt about the way the reader feels toward Napoleon, but Orwell’s handling of him is all the more effective for combining ‘humor with the disgust’.’Napoleon was a large, rather fierce looking Berkshire boar, the only Berkshire on the farm, not much of a talker but with the reputation for going his own way’. Orwell presents Napoleon to us in ways they are, at first amusing as, for example, in the scene where he shows his pretended disdain at On the allegorical level the differing views of socialism held by What the truth is? The Russian dictionary gives the difinition of truth as:the truth is ,what corresponds to the reality. But is it always so? Very often it happens so that we exept as the true the false things which we want to be true, or the things that someone whant us to exept. Napoleon appears to have gained the support of dogs and sheep and is helped by the fickle nature of the crowd. From the start it seems, Napoleon turns events to his own advantage. There is an interesting thing to notice about Seven Commandments. That is an important device to use the ‘lucky number’ to deepen the impression of animals misfortune. Every time the changing of the commandment takes place, we see an example of how the political power , as Orwell sees it, is prepared to alter the past in peoples minds, if the past prevents it from doing what he wishes to do. Firstly the fourth commandment is altered in order that pigs could sleep comfortably in warm beds. A simple addition of two words does it. ‘read me the fourth commandment. Does it not say something about sleeping in beds? With some difficulty Muriel spelt it out. Napoleon secures his rule through an unpleasant mix of lies distortion and hypocrisy / there are two scenes where Napoleon’s cruelty and cold violence are shown in all their horror : the scene of the trials and the episode where Boxer is brought to the knacker’s. The veil of mockery is drown aside. In these episodes humour is absent, the stark reality of ‘And so the tale of confessions and executions went on, until there was a pile of corpses lying before the Napoleon’s feet and the air was heavy with the smell of blood, which had been unknown there since the expulsion of Jones’. Napoleon in the novel stands for Joseph Stalin, and of course we can’t omit the way the author skillfully creates this character. Everything from purvation of communist ideology to the cult of personality of Stalin, found it’s reflection in the novel. Orwell in the cruelest kind of parody gives to Napoleon such titles as: ‘Our ,leader, Comrade Napoleon’, ‘The Farther of all animals, Terror of The novel mainly is based on the historical facts, and even the relationships of Soviet Union and Germany are shown in that fairy tale. For the all cleverness of the Napoleon, though, he is fooled by Frederic of Orwell’s satire will be no iconoclastic wrecking job on the Stalinist Napoleon is a simple figure. Orwell makes no attempt as to give reasons as to why he comes to act the way he does. If Napoleon was a human character in the novel, if this where a historical novel about a historical figure Orwell would have had to make Napoleon convincing in human terms. The primary objective of the tale is that we should loathe Napoleon for what he stands for. The other animals are used to intensify our disgust or else to add color and life to the tale by the addition of the farmyard detail. The most significant of the other animals is undoubtedly the cart- horse Boxer, and in his handling of him Orwell shows great expertise in controlling the readers reactions and sympathies and in turning them against what is hates. Throughout the novel boxer is the very sympathetic figure. Honest and hardworking, he is devoted to the cause in a simple-minded way, although his understanding of the principles of Animalism is very limited. He is strong and stands nearly eighteen feet high, and is much respected by the other animals. He has two phrases which for him solve all problems, one, ‘I shall work harder’, and later on, despite the fact that Napoleon’s rule is becoming tyrannical, ‘Napoleon is always right’. At one point he does question Squealer, when he, in his persuasive way, is convincing the animals that Snowball was trying to betray them in the Battle of Cowshed. Orwell through the figure of Boxer is presenting a simple good-nature Boxer’s sacrificial break down in the service of what he and the other worker animals believed to be technological progress might be interpreted as allegorically portending the future deterioration of the animal community. At last his strength gives out and when it does his goodness is unprotected. The pigs are going to send him to the knacker’s to be killed and boiled out into glue. Warned by Benjamin the donkey (his close, silent friend throughout the book), and by Clover he tries to kick his way out of the van, but he has given all his energy to the pigs and now has none left to save himself. The final condition of Boxer, inside the van about to carry him to the knacker’s in exchange for money needed to continue work on the windmill, emblematically conveys a message close to the spirit of Boxer can be attributed to the tragic heroes cause he doesn’t struggle with the injustice as the tragic hero should do. And surely we can consider him a comical hero as all through the story the reader has compassion on him. Orwell managed to unite tragedy and comedy in one character. Boxer arouses mixed contradictory feelings. His story is no longer comic, but pathetic and evokes not laughter but pity. It is an aggressive element, that detached malice of the comic impersonator, which turns pathos into bathos and tragedy into travesty. Not only Boxer’s story reminds us more of a tragedy. The destiny of all animals makes us weep. If at the beginning of the novel they are ‘happy and excited’ in the middle ‘they work like slaves but still happy’, at the end ‘they are shaken and miserable’. After Napoleon’s dictatorship has showed it’s disregard for the facts and it’s merciless brutality, after the animals witnessed the forced confessions and the execution, they all go to the grassy knoll where the windmill is being built Clover thinks back on From the sketch of the political background to Animal Farm it will be quite clear that the main purpose of that episode is to expose the lie which Stalinist Russia had become. It was supposed to be a Socialist Union of States, but it had become the dictatorship. The Soviet Union in fact damaged the cause of the true socialism. In a preface Orwell wrote to Finally, the moderateness of Orwell’s satire is reinforced by a treatment of time that encourages the reader’s sympathetic understanding of the whole revolutionary experiment from it’s spontaneous and joyous beginnings to it’s ambiguous condition on the final page. A basic strategy of scathing social satire is to dehistoricize the society of the specific sociopolitical phenomena being exposed to ridicule and condemnation. In Animal Farm the past that jolts the creatures from the timeless present of the animal condition into manic state of historical consciousness is a quick, magically transformative moment . |
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