8. Part II chapter III, IV

• Engels
• Upper Secondary (Key Stage 4)
• GCSE

Goals for today 

We will consider the role and representation of the 'Proles' 

We will explore the setting of the room above Mr Charringtons shop 

AWL

Concepts HL language and literature 

Concepts we explored: 

Control, Rebellion, love, politics, sex 

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Having had feedback, try to give your thoughts on these topics. 

What does the quotation tell us about…

1. Winston’s beliefs about the proles

2. The conditions the proles live in

3. The role the proles could play in this novel

'The proles, normally apathetic about the war, were being lashed into one of their periodical frenzies of patriotism.' 

Part II chapter V

What is the significance of this description of the prole…

What is Orwell's intention; what is the purpose? 

• The proles are anonymous and have a timeless quality that members of the party do not, implying longevity for the proles. Foreshadows the limited time that Winston has with Julia. 
  
• This description implies that the proles embody human feeling and a more 'natural' way of life that Winston and Julia can only try to recreate and are denied by The Party and the system. 
  
• However, the proles as a whole are a passive force, without the desire to rebel and actually believe in The Party’s propaganda as much as Winston and Julia are meant to. 
  
• The proles appear to have a familial support network. This is something The Party members do not have. This makes The Party members vulnerable and isolated. 

Upload an image that represents the idea of a 'prole' in 1984

Sex in 1984 

' Unlike Winston, she [Julia] had grasped the inner meaning of the Party's sexual puritanism. It was not merely that the sex instinct created a world of its own which was outside the Party's control and which therefore had to be destroyed if possible. What was more important was that sexual privation induced hysteria, which was desirable because it could be transformed into war-fever and leader worship. The way she put it was: 

'When you make love you're using up energy; and afterwards you feel happy and don't give a damn for anything. They can't bear you to feel like that. They want you to be bursting with energy all the time. All this marching up and down and cheering and waving flags is simply sex gone sour.' p,139

Part II chapter III

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AWL

Draw what the room above Mr Charrington’s shop looks like. 

Label it with quotations from the text to show your evidence. pg 100 - 103 and  pg 143 - 144

Are there any significant objects or descriptions that you can identify? 

Are there any significant objects or descriptions that you can identify? 

Glass paperweight

Gate-leg table 

mahogany double bed

twelve-hour clock 

mantelpiece 

Rat-hole & rats 

Picture of St Clement's Dane church 

'but the room itself was sanctuary. It was as when Winston had gazed into the heart of the paperweight, with the feeling that it would be possible to get inside that glassy world, and that once inside it time could be arrested.' p.158

Fender

Tin oilstove

Saucepan

two cups

Victory coffee, saccharine tablets

The room is a place where Winston and Julia are able to create a space for themselves away from the everyday life of the party and Big Brother

It is typified by the inclusion of early twentieth century items which enables Winston and Julia to try and create a life for themselves before Big Brother emerged, removing them from the pressures of the party and creating an idealised and unattainable relationship

1. Write a paragraph comparing and contrasting this setting with the previous description in Part 1 Chapter 1 of Winston's flat. 

The role of the setting 

Role of the proletariat

Who might they be?  

noun:

1. the class of wage earners, especially those who earn their living by manual labour or who are dependent for support on daily or casual employment; the working class.
   
2. (in Marxist theory) the class of workers, especially industrial wage earners, who do not possess capital or property and must sell their labor to survive.
   
3. the lowest or poorest class of people, possessing no property, especially in ancient Rome.
   

source: adapted Wikipedia 

Goals for today 

HLE proposal upload before 9:00 - rereading chapter Part II Chapter VIII

Share your analysis of your extract regarding the proles 

Symbolism of the glass paperweight 

Meeting with O'Brien -tension and mood 

AWL

Goals for today 

Consideration of your homework paragraphs 

Background article on dystopian fiction and politics in 1984

Complete reading Part II for Monday 21st September 

Rate the word 1 to 4

1. I do not know the word, and I have never seen it before. 

2. I've heard or seen the word before, but I'm not sure what it means. 

3. I know the word and can recognise and understand it while reading, but I probably wouldn't feel comfortable using it in writing or speech. 

4. I know the word well and can use it correctly in writing or speech. 

Soliloquy 

Word of the day

Colloquial (adjectives)  - (of words and expressions) informal and more suitable for use in speech than in writing. 

Can you unscramble the letters to find a synonym AEUARLCVNR

One paper was written in an informal colloquial style; the other, in a formal, almost businesslike style.

Vernacular 

What does the paperweight symbolise in the novel and how does Orwell use this symbol to represent development in the character of Winston? 

" 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." p. 99

“He turned over towards the light and lay gazing into the glass paperweight. The inexhaustibly interesting thing was not the fragment of coral but the interior of the glass itself. There was such a depth of it, and yet it was almost as transparent as air. It was as though the surface of the glass had been the arch of the sky, enclosing a tiny world with its atmosphere complete. He had the feeling that he could get inside it, and that in fact he was inside it, along with the mahogany bed and the gateleg table, and the clock and the steel engraving and the paperweight itself. 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.” p. 154

How does Orwell Construct the opening of Part 2 Chapter 2 to explore the concepts of refuge and desire, and highlight Winston’s increasing resistance to Big Brother? 

Pick out one sentence that you feel was the most effective and answering the guiding question.

In the opening of Part II, Chapter II, Orwell uses vivid imagery to describe the natural surroundings, creating a peaceful and pleasant mood that contrasts sharply with the oppressive conditions of the city. The countryside becomes a form of escape for Winston, as its beauty and freedom offer an escape from the constant surveillance and control of Big Brother. This contrast also reveals Winston’s growing desire for a life beyond the Party’s restrictions. His attention to the natural world suggests that he is becoming aware of what he has been denied, making the countryside more than just a setting, it represents the freedom he is missing. By constructing this peaceful environment outside the city, Orwell highlights Winston’s increasing resistance to Big Brother’s control, as he begins to imagine a life in which he can experience genuine freedom.

Orwell uses imagery to show the countryside as a refuge for Winston. This is achieved through the use of words such as “pools of gold,” “bluebells,” and “the air seemed to kiss one’s skin”. These words create a peaceful atmosphere, which is very different from the dirty and controlled London. The countryside represents the freedom Winston desires. The bluebells also show Winston’s feelings for Julia, as he picks flowers to give her, showing that he can show his love for her despite the Party’s control.

However, Orwell also insinuates that Winston is still in danger by referring to “concealed microphones,” “patrols,” and “papers.” This implies that Big Brother’s control is difficult to escape, even in places which are meant to be secure. Despite being afraid, Winston continues his secret journey to meet Julia, showing his increase in resistance to the Party’s control. The “natural clearing” becomes a private and safe place where Winston can escape the Party, even if only temporarily. This emphasizes how Winston is willing to take risks in order to experience freedom.

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Orwell constructs the opening of Part 2, Chapter 2 to explore the concepts of refuge and desire, and highlights Winston’s increasing resistance to Big Brother’s control. First, the environment that Winston is now in during the course of the chapter is depicted with “pools of gold” and “the ground was misty with bluebells”; these represent a contrast from the city of London and, in particular, represent what Winston wants: an ideal country, akin to the golden country that he dreamt of before, where he can seek refuge from the overarching grasp of Big Brother. Also, the air was described as to “kiss one’s skin”, which represents another one of Winston’s desires, where he wants to be able to love Julia, shown through the sexual depiction of how the environment around him feels. Alongside this, the journey they have from the forest to the grassy knoll is meant to represent their escape from the surveillance over London, to a place free from control and restrictions, with the hidden opening in the bushes being the escape to freedom. This represents how Winston is increasingly learning to evade Big Brother’s surveillance, with him finally being able to visit a place completely void of governmental control, and how he did this with the intent to meet his lover, which is forbidden in Airstrip One, representing their rebellion against Big Brother’s control. All in all, the opening explores how the journey to the countryside acts as a place where Winston can be free from surveillance and fulfill his desire to meet Julia as lovers, representing how Winston is learning about the freedom that exists elsewhere, increasingly wanting to break free from Big Brother’s control.

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Orwell introduces Winston in a sudden foreign surrounding, the countryside after living in unnatural circumstances in the highly urban London. London itself is linked to surveillance, but here in the countryside, there were no Telescreens and no openly noticeable microphones. The peacefulness and the connection with nature on his body is a fabricated refuge from the constant surveillance, because even in the peacefulness, he is constantly anxious. This is seen when Julia appears – “twigs crack” behind him, but he didn’t care look around, not because he wanted to surprise her, but because “To look around was to show guilt”. The nature itself is alluring and desirable to Winston, he feels the “Sun kiss one’s skin” and picks the bluebells to make a bouquet for Julia. He indirectly yearns for learning how to live in freedom, as seen in the meaning of etiolated – how does one live a natural life after living in unnatural conditions all your life? He does not only desire that freedom, but he also desires connection. He desires Julia just as much as he desires his natural self – he romanticizes her body. He doesn’t only make her body desirable, but her as a person. This can be seen in the way he feels “relief” when it is her, and that he has a sense of trust around her. 

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Orwell starts Part 2, Chapter 2 by moving Winston out of dirty, crowded London and into the countryside, where the air is clean and flowers are growing. After the smells of boiled cabbage and sour beer, and the constant watching of the telescreens, the open land feels like an escape from the Party's control. The contrast also criticises London: through how relieved Winston feels, Orwell shows that this ugly, run-down life is not normal or natural, it is something the Party has forced on people. An important detail is that Winston has dreamed of this countryside before, which shows his desire for beauty and freedom still exists inside him, even though the Party tries to control everything. So the countryside works as both a safe place and proof that Winston resists Big Brother in his mind. The chapter then makes this resistance real: Julia's note saying she loves him leads to their meeting, and the opening landscape becomes the place where Winston's private rebellion finally turns into action.

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Topic sentence - underline 

Evidence/example - Box 

Analysis - squiggly line 

Link back to argument - double underline 

Give feedback on the paper; what is missing or underdeveloped? 

"'Rats! murmured Winston ... that's all." p. 151 Part II chapter III

"   'Don't go on!'  said Winston, with his eyes tightly shut. 

    'Dearest! You've gone quite pale. What's the matter? Do they make you feel sick?' 

    'Of all the horrors in the world – a rat!'" p. 151

Write a response:<div>How is direct speech used in this extract to reflect the mood?&nbsp;</div>

Syme had vanished ... were wild rumours.  p. 154-155 Part II chapter III

"It was enough. 

Syme had ceased to exist: he had never existed" 

"The weather was baking hot."

"In the labyrinthine Ministry the windowless, air-conditioned rooms kept their normal temperature, but outside the pavements scorched one's feet and the stench of the Tubes at the rush hours was a horror" 

Write a response:<div>How does Orwell employ sentence length and sentence construction to enhance his message?</div>

"Four, five six ...worn-out musical box." p.157 - 158 Part II chapter III

"He seemed to have lost the need for it. 

He had grown fatter, his varicose ulcer had subsided, leaving only a brown stain on the skin above his ankle, his fits of coughing in the early morning had stopped." p. 157 

Write a response:<div>How does Orwell employ sentence length and sentence construction to enhance his message?</div>

"The new tune, ... of acrid-smelling sweat." p. 155 -156 Part II chapter III

"He was everywhere at one, pushing, pulling, sawing, hammering, improvising, jollying everyone along with comradely exhortations and giving out from every world of his body what seemed an inexhaustible supply of acrid-smelling sweat." p. 155-156

Write a response:<div>How is the sentence construction used to aid characterisation of Parsons?&nbsp;</div>