BACKGROUND
Biography of George Orwell (1903-1950)
 

George Orwell is the pen name of Eric Arthur Blair: essayist, novelist, literary critic, advocate and fighter for political change, and man of contradictions. Blair was born on June 25, 1903, in the Bengal region of Eastern India, which was a British territory. He was the son of Richard Walmesley Blair, a civil servant, and Ida Mabel Blair. He moved to England with his mother and sisters at the age of one. He displayed academic talent from a young age, so his mother took pains to ensure his attendance at a well-known boarding school called St. Cyprian’s. His family was neither poor nor wealthy, and Blair attended St. Cyprian’s on a scholarship.
Blair excelled academically there but faced many hardships in its puritanical, cutthroat environment. In the autobiographical essay “Such, Such Were the Joys,” Blair/Orwell describes the social challenges he endured as a scholarship student among England’s wealthy elite. (These challenges would inform his satires of social stratification in his literary works, including Animal Farm.) In the essay, he describes his child self with much sympathy and feeling for the child's perspective. Such experiments in empathy prepared him to create Animal Farm's brilliantly naive narrator.
Blair’s academic prowess continued in secondary school at Eton, a renowned secondary school (more recently famous for Prince William's attendance there). Blair graduated from Eton in 1921. Despite his intelligence, he could not afford to attend college. In 1922, he joined the Indian Imperial Police in Burma. He had spent the first year of his life in a British colony, and this time, he got a thorough experience of British colonial life and despised what he saw. His experiences made him a champion of the poor and downtrodden, a role in which he would continue for the rest of his life. Moreover, he could not stand the fact that his job put him directly in the position of privileged oppressor. He resigned from the Indian Imperial Police five years later while on leave in England.
Blair/ George Orwell thus became devoted to the problems of class and government power long before he wrote Animal Farm. As Louis Menand writes, "He turned his life into an experiment in classlessness, and the intensity of his commitment to that experiment was the main reason that his friends and colleagues found him a perverse and sometimes exasperating man." To complete his rejection of elitism, Blair lived after the fashion of the poorest Englanders. This included refusing to wear warm clothing in winter or to display table manners. It is questionable whether his destitute lifestyle contributed to his frequent illnesses, but such choices indubitably influenced his written works.
Blair tried his luck in Paris briefly but found he could not make a living there as a writer. He returned to England in 1929, where he published essays and continued his fascination with and incorporation into the dregs of society. He began to slip into poverty in earnest, so he took a job as a teacher at Frays College. He also secured himself a literary agent. Blair/Orwell published Down and Out in Paris in 1932. Before the book’s publication, Blair assumed the pen name by which he would become famous. Accounts of why the writer chose the pen name “George Orwell” vary. Some say the name is deeply symbolic while others state that it was merely one of a list of names from which he allowed his publishers to choose.
From 1934 on, Orwell thrust himself fully into the writer’s arena. He quit his teaching job and moved to Hempstead, an epicenter for young writers at the time, where he worked in a used-book store. He published his first fictional work, Burmese Days, in 1934, and followed with A Clergyman’s Daughter in 1935. Orwell’s presence in Hempstead and his interest in the lower class did not go unnoticed. In 1936, the Left Book Club commissioned him to write an account of the destitute state of Northern England. Orwell threw himself into the project, conducting firsthand research in his quest for authenticity. In his travels, he met and married Eileen O’Shaughnessy. The controversial account was published in 1936 under the name The Road to Wigan Pier. He published Aspidistra Flying in the same year.
Around the time The Road to Wigan Pier was published, Orwell took his offensive against elitism and tyranny a step further, volunteering to fight in the Spanish Civil War on the side of the Republicans. He joined POUM, a Trotskyist socialist party that emphasized the need for a working-class uprising and opposed the Spanish Communist Party’s belief in collaborating with the middle class (Orwell was a revolutionary socialist). Orwell’s experiences in the war, including being shot almost fatally, cemented his hatred of totalitarianism in its many guises. This included Stalinism, against which he held a lifetime grudge. Ironically, Orwell’s neck injury very nearly—and literally—robbed the outspoken writer of his voice. However, he did recover, and while doing so Orwell completed a novel, Coming Up for Air. Orwell described his social observations of Spain in Homage to Catalonia.
In 1940, Orwell and his wife moved to central London, where he worked as a reviewer. When World War II began, he rose to fight for the cause of freedom again, this time for England. He joined the Home Guard and worked for the BBC to compose and disseminate wartime propaganda. Orwell knew of what he spoke when he skewered propaganda in Animal Farm and 1984. Orwell based his satires not just on hearsay and research but also on personal experience; writing propaganda is said to have made him feel corrupt.
He was also a war correspondent. During wartime, Orwell and his wife adopted a son, but his wife died shortly afterwards. Also during this time, Orwell completed Animal Farm, which was published in England in 1945. It was at this point, just when Orwell’s personal life was in shambles, that his legend took flight. The book met with immediate and far-reaching public success, especially since it was so topical.
Orwell continued to write for periodicals while completing his second renowned novel, 1984. He remarried, in 1949, to Sonia Brownell.
Orwell, who was prone to illness, had his career and his life cut short when he died of tuberculosis on January 21, 1950. His friend, David Astor, arranged for Orwell’s burial in a small county churchyard. Orwell is buried under his birth name. He left a strong literary and political legacy, being one of those artists who influenced not only the literary universe, but also the real world in which he lived. As he wrote in "Politics and the English Language": "In our age there is no such thing as 'keeping out of politics.' All issues are political issues, and politics itself is a mass of lies, evasions, folly, hatred and schizophrenia." This statement also illustrates the pessimism for which Orwell was known. Like some other disillusioned people of his generation, George Orwell believed that totalitarian governments would inevitably take over the West.











HISTORY  BACKGROUND OF ANIMAL FARM ANALYSIS


INTRODUCTION



George Orwell also known as Eric Arthur Blair wrote the Animal Farm during World War II and it was published in 1945. He was a democratic socialist and has written the Animal Farm to criticize the Stalin era. The major events in the book are based on Soviet Union. Orwell doesn’t criticize the act of revolution itself but the misery it could cause if the leaders go corrupt, shortsighted, greedy and indifferent.
Animal Farm is basically a satirical parable conceived and written by George Orwell. The novel is about a group of animals who take control of the farm on which they live and out throw humans.
In the story pigs; Napoleon and Snowball, govern the farm, being the leaders. Napoleon is the main villain and believed to be depicting Joseph Stalin. Snowball is popularly supposed to be a character to represent Leon Trotsky. He genuinely works for the good of the animals and tries to lead them toward a utopia they all believed in. Napoleon drives Snowball out of the farm using his dogs and stages a false propaganda against Snowball. After doing that he takes total charge over the farm.
Gradually, the living conditions of the animals start to deteriorate but they are made to believe that things have actually improved for them using false statistics. Napoleon alters the seven commandments for his own benefit. The Seven Commandments were initially in the interest of animals in the farm. They were meant to keep the animals united against the humans. By the end of the story he and his corrupt fellow pigs start acting like humans, whom they disgusted and won freedom from in the first place.
George Orwell’s Animal Farm is a distinguished novel. It has a spot in ‘Modern Library List of Best 20th Century Novels’ and ‘Great Books of the Western World’. It won a ‘Hugo Award’ in 1996 and was also chosen as one of the 100 best English-language novels by Time Magazine.






The Society and Politics Background of Animal Farm
At the age of eight, George Orwell, then known as "Eric Blair," was sent to a preparatory boarding school on the South Coast of England. He called this school "Crossgates" in his autobiographical essay Such, Such Were the Joys...; Crossgates, an expensive and snobbish school, was presided over by a husband-and-wife team of schoolmasters, nicknamed Sim and Bingo, respectively. Though Such, Such Were the Joys... is by no means a political piece of writing, it nevertheless contains references to victims, oppressors, and a highly systematized form of tyranny. In this atmosphere of constant taunting and endless competition for scholarships, Orwell developed a contempt for any type of authority.
Not yet twenty years old, Orwell enlisted in the Indian Imperial Police and served in Burma for five years. During these years, Orwell witnessed Imperialism at its worst; saw hangings, floggings, and filthy prisons, and he "was forced to assert a superiority over the Burmese which he never really felt." Little economic or cultural progress was made and Orwell left this situation with the conviction that Imperialism was too evil to risk one's life for.
In 1936, Orwell joined the Republican side and fought in the Spanish Civil War. Through first-hand experience, Orwell saw propaganda and the perversion of history used for the first time as instruments of war. The deliberate distortion of facts by both Left and Right seemed to Orwell to be even more terrible than "the roar of bombs." Orwell believed the unchecked distortion of objective truth would create far worse situations for mankind than any ideological war ever could. For power, Orwell realized, had become an end in itself.
The first of Orwell's great cries of despair was Animal Farm, his satirical beast fable, often heralded as his lightest, gayest work. Though it resembles the Russian Revolution and the rise of Stalin, it is more meaningfully an anatomy of all political revolutions, where the revolutionary ideals of justice, equality, and fraternity shatter in the event. Orwell paints a grim picture of the political 20th century, a time he believed marked the end of the very concept of human freedom.
Animal Farm is constructed on a circular basis to illustrate the futility of the revolution. [5] The novel is a series of dramatic repudiations of the Seven Commandments, and a return to the tyranny and irresponsibility of the beginning. The only change will be in the identity of the masters, and ironically, that will be only partially changed.
Animal Farm begins by introducing Mr. Jones, the master of the farm, who is too drunk to shut the popholes in the henhouse. The owner of Manor Farm also forgets to milk the cows, a biologically-serious omission, and is irresponsible toward the rest of his animals. (Later yet, the pigs will also forget the milking, an ironic parallel that reveals the subsequent corruption of the revolution.) One of the cows breaks into the store shed and Mr. Jones and his helpers try to fight off the hungry animals. "A minute later all five of them were in full flight down the cart track that led to the main road, with the animals pursuing them in triumph." Then, "almost before they knew what was happening, the Rebellion had been successfully carried through - Jones was expelled, and the Manor Farm was theirs." Yet with the revolution secured, there are graver dangers than the threat of invasion and counter-revolution. The ultimate corruption of the revolution is presaged immediately:
"They raced back to the farm building to wipe out the last traces of Jones' hated reign... the reins, the halters, the degrading nosebags, were thrown onto the rubbish fire which was burning in the yard. So were the whips."
Their reaction is understandable, but the desciption of the inevitable and immediate violence foreshadows the fate of the rebellion: reactionary cruelty, the search for the scapegoat, and the perversion of the ideals of the revolution.
Nevertheless, the animals are too overjoyed with their sudden success. Snowball, one of the pig leaders (the other is Napoleon), with the assistance of Squealer, the pigs' public-relations "man," crosses out the name "Manor Farm" and climbs a ladder and writes these words on the end wall of the big barn:
The Seven Commandments

1. Whatever goes upon two legs is an enemy.
2. Whatever goes upon four legs, or has wings, is a friend.
3. No animal shall wear clothes.
4. No animal shall sleep in a bed.
5. No animal shall drink alcohol.
6. No animal shall kill any other animal.
7. All animals are equal.
Thus the ideals of the revolution are spelled out in writing and yet these same ideals are perverted almost immediately. With the task of harvesting the hay presenting itself to the animals, Snowball cries, "... to the hayfield! Let us make it a point of honour to get in the harvest more quickly than Jones and his men could do." All the animals proceed directly to the hayfield, but the pigs, rather than working, direct and supervise the others. "With their superior knowledge it was natural that they should assume the leadership." The pigs' managerial role foreshadow the perversion of the Seventh Commandment.
In this period of bliss, there are brewing far more horrible situations for the animals of Animal Farm. While Snowball is organizing "The Egg Production Committee" for the hens and the "Clean Tails League" for the cows, Napoleon, the sinister pig tyrant, is carefully educating a few puppies for his own evil purposes. Mr. Pilkington and Mr. Frederick, the owners of the farms adjoining Animal Farm, spread rumors of cannibalism, torture with red-hot horseshoes, and poligamy. On the other hand, there are rumors of a "wonderful farm, where the human beings had been turned out and the animals managed their own affairs" - in short, a paradise. Neither set of rumors is true - for is not the social situations of conflicting ideologies that Orwell concerns himself with, but the misrepresentation, the falsification, and the distortion of fact which leads unfortunately to disaster and misery.
The way fact is distorted and misrepresented is graphically portrayed in the rivalry between Snowball and Napoleon over the construction of a windmill. During a meeting, Snowball has almost swayed the animals to his side, that is, for the construction of the windmill, when suddenly nine huge dogs, the product of Napoleon's evil efforts, chase Snowball off the farm. Snowball becomes the scapegoat in Napoleon's plans, and everything that comes to harm Napoleon's regime will be blamed on Snowball. The remainder of Animal Farm is a chronicle of the consolidation of Napoleon's power through clever politics, propaganda, and terror. On the third Sunday after Snowball's expulsion, the animals hear that Napoleon wants the windwill to be built after all:
"The evening Squealer explained privately to the other animals that Napoleon had never in reality been opposed to the windmill. On the contrary, it was he who had advocated it in the beginning, and the plan which Snowball had drawn on the floor of the incubator shed had actually been stolen from among Napoleon's papers... He had seemed to oppose the windmill, simply as a maneuver to get rid of Snowball, who was a dangerous character and a bad influence."
The animals are not sure of Squealer's explanation but a few of Napoleon's dogs growl so threateningly that the animals accept it without question. This developing state of tyranny and oppression will ultimately transform the "unalterable" Seven Commandments into Napoleon's own laws.
The windmill soon becomes the means by which Napoleon exerts control. He uses it to direct the animals' attention away from the growing shortages and inadequacies on the farm, and the animals ignorantly concentrate all their efforts on building the windmill. The symbolic nature of the windmill is itself important - it suggests an empty concentration, a meaningless, unheroic effort, for the idea is literally misguided.
It is about this time that the rest of the animals notice that the pigs have taken residence in the farmhouse, and contrary to what they believe has been ruled against, the pigs have begun to sleep in beds. Clover the horse is doubtful, but she reads the Fourth Commandment on the barn wall, and concludes that she was mistaken after all: "No animal shall sleep in a bed with sheets." Beginning with this small but significant change in the unalterable Laws of Animalism, there will be an even greater and more profound change - the blatant alteration of history.
Half-finished, the windmill is suddenly destroyed, at the hands, so says Napoleon, of the traitor, Snowball. Work on the windmill resumes, this time with less rations for the animals. Almost "sure" of Snowball's secret collaboration with some of the animals, Napoleon calls together the entire population of the farm.
"Napoleon stood sternly surveying his audience; then he uttered a high-pitched whimper. Immediately the dogs bounded forward, seized four of the pigs by the ear and dragged them squealing with pain and terror, to Napoleon's feet... When they had finished their confession, the dogs promptly tore their throats out, and in a terrible voice Napoleon demanded whether any other animal had anything to confess."
Before long, there is a pile of corpses lying before Napoleon's feet and the air is heavy with the smell of blood. Even so, the terror and senseless death are both shattering experiences, but they are at least comprehensible; far more terrifying is the overt alteration of consciousness which follows the slaughter, the blatent misrepresentation of the past, which goes unchallenged. [9] Lacking the right words to express her thoughts after the slaughter, Clover begins to sing Beasts of England, the patriotic song of the Rebellion. Squealer stops her and tells her that Beasts of England is of no use anymore, because the better society portrayed in the song has already been achieved. The irony in this statement is almost absurd, yet the animals have failed to grasp its meaning.
Rebuilt completely, the windmill is once again destroyed, this time by Frederick and his followers who try to retake Animal Farm, but are defeated, inflicting many casualties on both sides. To celebrate their victory, the pigs get drunk off a case of whiskey found in the cellar of the farmhouse. A few days later, the animals realize that they have remembered another Commandment incorrectly. It now read: "No animal shall drink alcohol to excess." With so little opposition to this outright alteration of fact, nothing stands in the way of the pigs.
Boxer, the strongest and hardest-working animal, falls ill. Though the van in which the dying Boxer is taken away has the words "Horse Slaughterer" painted on the sides, Squealer assures the other animals that the veterinary surgeon had just recently bought it, and did not have time to paint the old name out. Boxer, devoting his unceasing labor to the pigs, outlives his usefulness, and is rewarded by being sent to the glue factory.
Years pass, and most of the animals involved in the Rebellion have been forgotten. The only Commandment left on the barn wall is this:

All Animals are Equal
But some animals are more equal than others.

The name "Animal Farm" is changed back to "Manor Farm." A deputation of neighboring farmers meet the pigs and tours the farm. Toasting each other's prosperity, Pig and Human alike proceed to play a game of cards. Suddenly:
"Twelve voices were shouting in anger, and they were all alike. No question, now, what had happened to the faces of the pigs. The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which."

This scene illustrates the essential horror of the human condition  there have been, are, and always will be pigs in every society, and they will always grab for power. It is the "human nature" of the animals that defeats them.








The Freedom of the Press
George Orwell's Proposed Preface to ‘Animal Farm’
This book was first thought of, so far as the central idea goes, in 1937, but was not written down until about the end of 1943. By the time when it came to be written it was obvious that there would be great difficulty in getting it published (in spite of the present book shortage which ensures that anything describable as a book will ‘sell’), and in the event it was refused by four publishers. Only one of these had any ideological motive. Two had been publishing anti-Russian books for years, and the other had no noticeable political colour. One publisher actually started by accepting the book, but after making the preliminary arrangements he decided to consult the Ministry of Information, who appear to have warned him, or at any rate strongly advised him, against publishing it. Here is an extract from his letter:
I mentioned the reaction I had from an important official in the Ministry of Information with regard to Animal Farm. I must confess that this expression of opinion has given me seriously to think... I can see now that it might be regarded as something which it was highly ill-advised to publish at the present time. If the fable were addressed generally to dictators and dictatorships at large then publication would be all right, but the fable does follow, as I see now, so completely the progress of the Russian Soviets and their two dictators, that it can apply only to Russia, to the exclusion of the other dictatorships. Another thing: it would be less offensive if the predominant caste in the fable were not pigs. I think the choice of pigs as the ruling caste will no doubt give offence to many people, and particularly to anyone who is a bit touchy, as undoubtedly the Russians are.
“  It is not quite clear whether this suggested modification is Mr... ’s own idea, or originated with the Ministry of Information; but it seems to have the official ring about it.”
 [Orwell’s Note]
This kind of thing is not a good symptom. Obviously it is not desirable that a government department should have any power of censorship (except security censorship, which no one objects to in war time) over books which are not officially sponsored. But the chief danger to freedom of thought and speech at this moment is not the direct interference of the MOI or any official body. If publishers and editors exert themselves to keep certain topics out of print, it is not because they are frightened of prosecution but because they are frightened of public opinion. In this country intellectual cowardice is the worst enemy a writer or journalist has to face, and that fact does not seem to me to have had the discussion it deserves.
Any fairminded person with journalistic experience will admit that during this war official censorship has not been particularly irksome. We have not been subjected to the kind of totalitarian ‘co-ordination’ that it might have been reasonable to expect. The press has some justified grievances, but on the whole the Government has behaved well and has been surprisingly tolerant of minority opinions. The sinister fact about literary censorship in England is that it is largely voluntary.
Unpopular ideas can be silenced, and inconvenient facts kept dark, without the need for any official ban. Anyone who has lived long in a foreign country will know of instances of sensational items of news — things which on their own merits would get the big headlines-being kept right out of the British press, not because the Government intervened but because of a general tacit agreement that ‘it wouldn’t do’ to mention that particular fact. So far as the daily newspapers go, this is easy to understand.
The British press is extremely centralised, and most of it is owned by wealthy men who have every motive to be dishonest on certain important topics. But the same kind of veiled censorship also operates in books and periodicals, as well as in plays, films and radio. At any given moment there is an orthodoxy, a body of ideas which it is assumed that all right-thinking people will accept without question. It is not exactly forbidden to say this, that or the other, but it is ‘not done’ to say it, just as in mid-Victorian times it was ‘not done’ to mention trousers in the presence of a lady. Anyone who challenges the prevailing orthodoxy finds himself silenced with surprising effectiveness. A genuinely unfashionable opinion is almost never given a fair hearing, either in the popular press or in the highbrow periodicals.
At this moment what is demanded by the prevailing orthodoxy is an uncritical admiration of Soviet Russia. Everyone knows this, nearly everyone acts on it. Any serious criticism of the Soviet régime, any disclosure of facts which the Soviet government would prefer to keep hidden, is next door to unprintable. And this nation-wide conspiracy to flatter our ally takes place, curiously enough, against a background of genuine intellectual tolerance. For though you arc not allowed to criticise the Soviet government, at least you are reasonably free to criticise our own.
Hardly anyone will print an attack on Stalin, but it is quite safe to attack Churchill, at any rate in books and periodicals. And throughout five years of war, during two or three of which we were fighting for national survival, countless books, pamphlets and articles advocating a compromise peace have been published without interference. More, they have been published without exciting much disapproval. So long as the prestige of the USSR is not involved, the principle of free speech has been reasonably well upheld. There are other forbidden topics, and I shall mention some of them presently, but the prevailing attitude towards the USSR is much the most serious symptom. It is, as it were, spontaneous, and is not due to the action of any pressure group.
The servility with which the greater part of the English intelligentsia have swallowed and repeated Russian propaganda from 1941 onwards would be quite astounding if it were not that they have behaved similarly on several earlier occasions. On one controversial issue after another the Russian viewpoint has been accepted without examination and then publicised with complete disregard to historical truth or intellectual decency. To name only one instance, the BBC celebrated the twenty-fifth anniversary of the Red Army without mentioning Trotsky. This was about as accurate as commemorating the battle of Trafalgar without mentioning Nelson, but it evoked no protest from the English intelligentsia. In the internal struggles in the various occupied countries, the British press has in almost all cases sided with the faction favoured by the Russians and libelled the opposing faction, sometimes suppressing material evidence in order to do so.
A particularly glaring case was that of Colonel Mihailovich, the Jugoslav Chetnik leader. The Russians, who had their own Jugoslav protege in Marshal Tito, accused Mihailovich of collaborating with the Germans. This accusation was promptly taken up by the British press: Mihailovich’s supporters were given no chance of answering it, and facts contradicting it were simply kept out of print. In July of 1943 the Germans offered a reward of 100,000 gold crowns for the capture of Tito, and a similar reward for the capture of Mihailovich. The British press ‘splashed’ the reward for Tito, but only one paper mentioned (in small print) the reward for Mihailovich: and the charges of collaborating with the Germans continued. Very similar things happened during the Spanish civil war. Then, too, the factions on the Republican side which the Russians were determined to crush were recklessly libelled in the English leftwing [sic] press, and any statement in their defence even in letter form, was refused publication. At present, not only is serious criticism of the USSR considered reprehensible, but even the fact of the existence of such criticism is kept secret in some cases. For example, shortly before his death Trotsky had written a biography of Stalin. One may assume that it was not an altogether unbiased book, but obviously it was saleable. An American publisher had arranged to issue it and the book was in print — 1 believe the review copies had been sent out — when the USSR entered the war. The book was immediately withdrawn. Not a word about this has ever appeared in the British press, though clearly the existence of such a book, and its suppression, was a news item worth a few paragraphs.
It is important to distinguish between the kind of censorship that the English literary intelligentsia voluntarily impose upon themselves, and the censorship that can sometimes be enforced by pressure groups. Notoriously, certain topics cannot be discussed because of ‘vested interests’. The best-known case is the patent medicine racket. Again, the Catholic Church has considerable influence in the press and can silence criticism of itself to some extent. A scandal involving a Catholic priest is almost never given publicity, whereas an Anglican priest who gets into trouble (e.g. the Rector of Stiffkey) is headline news. It is very rare for anything of an anti-Catholic tendency to appear on the stage or in a film. Any actor can tell you that a play or film which attacks or makes fun of the Catholic Church is liable to be boycotted in the press and will probably be a failure. But this kind of thing is harmless, or at least it is understandable.
Any large organisation will look after its own interests as best it can, and overt propaganda is not a thing to object to. One would no more expect the Daily Worker to publicise unfavourable facts about the USSR than one would expect the Catholic Herald to denounce the Pope. But then every thinking person knows the Daily Worker and the Catholic Herald for what they are. What is disquieting is that where the USSR and its policies are concerned one cannot expect intelligent criticism or even, in many cases, plain honesty from Liberal [sic — and throughout as typescript] writers and journalists who are under no direct pressure to falsify their opinions. Stalin is sacrosanct and certain aspects of his policy must not be seriously discussed. This rule has been almost universally observed since 1941, but it had operated, to a greater extent than is sometimes realised, for ten years earlier than that. Throughout that time, criticism of the Soviet régime from the left could only obtain a hearing with difficulty. There was a huge output of anti-Russian literature, but nearly all of it was from the Conservative angle and manifestly dishonest, out of date and actuated by sordid motives. On the other side there was an equally huge and almost equally dishonest stream of pro-Russian propaganda, and what amounted to a boycott on anyone who tried to discuss all-important questions in a grown-up manner. You could, indeed, publish anti-Russian books, but to do so was to make sure of being ignored or misrepresented by nearly me whole of the highbrow press.
Both publicly and privately you were warned that it was ‘not done’. What you said might possibly be true, but it was ‘inopportune’ and played into the hands of this or that reactionary interest. This attitude was usually defended on the ground that the international situation, and me urgent need for an Anglo-Russian alliance, demanded it; but it was clear that this was a rationalisation. The English intelligentsia, or a great part of it, had developed a nationalistic loyalty towards me USSR, and in their hearts they felt that to cast any doubt on me wisdom of Stalin was a kind of blasphemy. Events in Russia and events elsewhere were to be judged by different standards. The endless executions in me purges of 1936-8 were applauded by life-long opponents of capital punishment, and it was considered equally proper to publicise famines when they happened in India and to conceal them when they happened in me Ukraine. And if this was true before the war, the intellectual atmosphere is certainly no better now.
But now to come back to this book of mine. The reaction towards it of most English intellectuals will be quite simple: ‘It oughtn’t to have been published.’ Naturally, those reviewers who understand the art of denigration will not attack it on political grounds but on literary ones. They will say that it is a dull, silly book and a disgraceful waste of paper. This may well be true, but it is obviously not me whole of the story. One does not say that a book ‘ought not to have been published’ merely because it is a bad book. After all, acres of rubbish are printed daily and no one bothers. The English intelligentsia, or most of them, will object to this book because it traduces their Leader and (as they see it) does harm to the cause of progress. If it did me opposite they would have nothing to say against it, even if its literary faults were ten times as glaring as they are. The success of, for instance, the Left Book Club over a period of four or five years shows how willing they are to tolerate both scurrility and slipshod writing, provided that it tells them what they want to hear.
The issue involved here is quite a simple one: Is every opinion, however unpopular — however foolish, even — entitled to a hearing? Put it in that form and nearly any English intellectual will feel that he ought to say ‘Yes’. But give it a concrete shape, and ask, ‘How about an attack on Stalin? Is that entitled to a hearing?’, and the answer more often than not will be ‘No’, In that case the current orthodoxy happens to be challenged, and so the principle of free speech lapses.
Now, when one demands liberty of speech and of the press, one is not demanding absolute liberty. There always must be, or at any rate there always will be, some degree of censorship, so long as organised societies endure. But freedom, as Rosa Luxembourg [sic] said, is ‘freedom for the other fellow’. The same principle is contained in the famous words of Voltaire: ‘I detest what you say; I will defend to the death your right to say it.’ If the intellectual liberty which without a doubt has been one of the distinguishing marks of western civilisation means anything at all, it means that everyone shall have the right to say and to print what he believes to be the truth, provided only that it does not harm the rest of the community in some quite unmistakable way. Both capitalist democracy and the western versions of Socialism have till recently taken that principle for granted. Our Government, as I have already pointed out, still makes some show of respecting it. The ordinary people in the street-partly, perhaps, because they are not sufficiently interested in ideas to be intolerant about them-still vaguely hold that ‘I suppose everyone’s got a right to their own opinion.’ It is only, or at any rate it is chiefly, the literary and scientific intelligentsia, the very people who ought to be the guardians of liberty, who are beginning to despise it, in theory as well as in practice.
One of the peculiar phenomena of our time is the renegade Liberal. Over and above the familiar Marxist claim that ‘bourgeois liberty’ is an illusion, there is now a widespread tendency to argue that one can only defend democracy by totalitarian methods.
 If one loves democracy, the argument runs, one must crush its enemies by no matter what means. And who are its enemies? It always appears that they are not only those who attack it openly and consciously, but those who ‘objectively’ endanger it by spreading mistaken doctrines. In other words, defending democracy involves destroying all independence of thought. This argument was used, for instance, to justify the Russian purges. The most ardent Russophile hardly believed that all of the victims were guilty of all the things they were accused of: but by holding heretical opinions they ‘objectively’ harmed the régime, and therefore it was quite right not only to massacre them but to discredit them by false accusations. The same argument was used to justify the quite conscious lying that went on in the leftwing press about the Trotskyists and other Republican minorities in the Spanish civil war. And it was used again as a reason for yelping against habeas corpus when Mosley was released in 1943.
These people don’t see that if you encourage totalitarian methods, the time may come when they will be used against you instead of for you. Make a habit of imprisoning Fascists without trial, and perhaps the process won’t stop at Fascists. Soon after the suppressed Daily Worker had been reinstated, I was lecturing to a workingmen’s college in South London. The audience were working-class and lower-middle class intellectuals — the same sort of audience that one used to meet at Left Book Club branches. The lecture had touched on the freedom of the press, and at the end, to my astonishment, several questioners stood up and asked me: Did I not think that the lifting of the ban on the Daily Worker was a great mistake? When asked why, they said that it was a paper of doubtful loyalty and ought not to be tolerated in war time. I found myself defending the Daily Worker, which has gone out of its way to libel me more than once. But where had these people learned this essentially totalitarian outlook? Pretty certainly they had learned it from the Communists themselves! Tolerance and decency are deeply rooted in England, but they are not indestructible, and they have to be kept alive partly by conscious effort.
 The result of preaching totalitarian doctrines is to weaken the instinct by means of which free peoples know what is or is not dangerous. The case of Mosley illustrates this. In 1940 it was perfectly right to intern Mosley, whether or not he had committed any technical crime. We were fighting for our lives and could not allow a possible quisling to go free. To keep him shut up, without trial, in 1943 was an outrage. The general failure to see this was a bad symptom, though it is true that the agitation against Mosley’s release was partly factitious and partly a rationalisation of other discontents. But how much of the present slide towards Fascist ways of thought is traceable to the ‘anti-Fascism’ of the past ten years and the unscrupulousness it has entailed?
It is important to realise that the current Russomania is only a symptom of the general weakening of the western liberal tradition. Had the MOI chipped in and definitely vetoed the publication of this book, the bulk of the English intelligentsia would have seen nothing disquieting in this. Uncritical loyalty to the USSR happens to be the current orthodoxy, and where the supposed interests of the USSR are involved they are willing to tolerate not only censorship but the deliberate falsification of history. To name one instance. At the death of John Reed, the author of Ten Days that Shook the World — first-hand account of the early days of the Russian Revolution — the copyright of the book passed into the hands of the British Communist Party, to whom I believe Reed had bequeathed it. Some years later the British Communists, having destroyed the original edition of the book as completely as they could, issued a garbled version from which they had eliminated mentions of Trotsky and also omitted the introduction written by Lenin. If a radical intelligentsia had still existed in Britain, this act of forgery would have been exposed and denounced in every literary paper in the country.
As it was there was little or no protest. To many English intellectuals it seemed quite a natural thing to do. And this tolerance or [sic = of?] plain dishonesty means much more than that admiration for Russia happens to be fashionable at this moment. Quite possibly that particular fashion will not last. For all I know, by the time this book is published my view of the Soviet régime may be the generally-accepted one. But what use would that be in itself? To exchange one orthodoxy for another is not necessarily an advance. The enemy is the gramophone mind, whether or not one agrees with the record that is being played at the moment.
I am well acquainted with all the arguments against freedom of thought and speech — the arguments which claim that it cannot exist, and the arguments which claim that it ought not to. I answer simply that they don’t convince me and that our civilisation over a period of four hundred years has been founded on the opposite notice. For quite a decade past I have believed that the existing Russian régime is a mainly evil thing, and I claim the right to say so, in spite of the fact that we are allies with the USSR in a war which I want to see won. If I had to choose a text to justify myself, I should choose the line from Milton:
“  By the known rules of ancient liberty.”
The word ancient emphasises the fact that intellectual freedom is a deep-rooted tradition without which our characteristic western culture could only doubtfully exist. From that tradition many of our intellectuals arc visibly turning away. They have accepted the principle that a book should be published or suppressed, praised or damned, not on its merits but according to political expediency. And others who do not actually hold this view assent to it from sheer cowardice. An example of this is the failure of the numerous and vocal English pacifists to raise their voices against the prevalent worship of Russian militarism. According to those pacifists, all violence is evil, and they have urged us at every stage of the war to give in or at least to make a compromise peace. But how many of them have ever suggested that war is also evil when it is waged by the Red Army? Apparently the Russians have a right to defend themselves, whereas for us to do [so] is a deadly sin. One can only explain this contradiction in one way: that is, by a cowardly desire to keep in with the bulk of the intelligentsia, whose patriotism is directed towards the USSR rather than towards Britain. I know that the English intelligentsia have plenty of reason for their timidity and dishonesty, indeed I know by heart the arguments by which they justify themselves. But at least let us have no more nonsense about defending liberty against Fascism. If liberty means anything at all it means the right to tell people what they do not want to hear.
“The common people still vaguely subscribe to that doctrine and act on it. In our country — it is not the same in all countries: it was not so in republican France, and it is not so in the USA today — it is the liberals who fear liberty and the intellectuals who want to do dirt on the intellect: it is to draw attention to that fact that I have written this preface.”_George Orwell’s statement.












PART OF ANALYZING
HOW IS THE THEME AND THE PLOT OF ANIMAL FARM?
As being stated on this novel that the change of the animal commandment that "All animals are created equal" to "All animals are equal, but some animals are more equal than others." proves the underlying theme of power and its corrupting effects throughout the novel.
There are some keywords describe the book that fall under the same category of power. A few of these are:
Communism
 The political ideology of the book is a carbon copy of  Communism and is called Animalism. In the book, as in real life, Animalism is suppose to make everyone equal and working toward the greater good as a whole, however it becomes corrupted. George Orwell demonstrates in the book that while these idologies are meant to help society corruption is inevitable and societies are often left worse off.
Russian Revolution
 All of the characters in the book represent a connection to the Russian Revolution. Mr. Jones, the Human represents Czar Nicholas II. Old Major, creator of Animalism parallels Vladimir Lenin and Karl Marx inventors of communism. Then you have Leon Trotsky the leader of the Russian Revolution portrayed by Snowball. Napoleon as Stalin and the vicious dogs representing the KGB. The propaganda of the Revolution was represented by the character Squealer.


Propaganda
 As describe on the theme of this novel. It is shown in many instances when the animals send squealer to spread damaging lies to the farm community in order to sway public opinion and gain further political power.
Actually George Orwell wanted to show the world what he thought about the communist regime sweeping through Russia. By putting his opinions into a novel consisting of  farm animals he was able to both criticize and make people understand the movement as a whole. He focused on all of its faults even though he believed that many Marxist principles would work if there was no corruption. As Lord Acton wrote: "Power tends to corrupt; absolute power corrupts absolutely." So long as the animals can not remember the past, because it is being continually altered, they will have no control over the present and hence over the future.
So that I can conclude:
After analyzing the Novel of George Orwell “ANIMAL FARM”, I concern that the main Theme of Animal Farm as the main point that could describe all about the story deeply is :
“The Absolutely of Corruption Power “

THE PLOT OF ANIMAL FARM

The plot begins with the exposition that is the introduction of the characters of the novel. This part can be found in the beginning of the novel. The introduction of the characters in this novel is clear at the meeting of the animal. In this part of story, each character is introduced to the reader by showing their characteristic.
 “At one end of the big barn, on a sort of raised platform, Major was already
ensconced on his bed of straw, under a lantern which hung from a beam. He was
twelve years old and had lately grown rather stout, but he was still a majestic-
looking pig, with a wise and benevolent appearance in spite of the fact that his
tushes had never been cut. Before long the other animals began to arrive and
make themselves comfortable after their different fashions. First came the three
dogs, Bluebell, Jessie, and Pincher, and then the pigs, who settled down in the
straw immediately in front of the platform. The hens perched themselves on
the window-sills, the pigeons uttered up to the rafters, the sheep and cows lay
down behind the pigs and began to chew the cud. The two cart-horses, Boxer
and Clover, came in together, walking very slowly and setting down their vast
hairy hoofs with great care lest there should be some small animal concealed in
the straw. Clover was a stout motherly mare approaching middle life, who had
never quite got her _gore back after her fourth foal. Boxer was an enormous
beast, nearly eighteen hands high, and as strong as any two ordinary horses put
together. A white stripe down his nose gave him a somewhat stupid appearance,
and in fact he was not of _rest-rate intelligence, but he was universally respected
for his steadiness of character and tremendous powers of work. After the horses
came Muriel, the white goat, and Benjamin, the donkey. Benjamin was the
oldest animal on the farm, and the worst tempered. He seldom talked, and
when he did, it was usually to make some cynical remark | for instance, he
would say that God had given him a tail to keep the ides o_, but that he would
Sooner have had no tail and no ides. Alone among the animals on the farm he
never laughed. If asked why, he would say that he saw nothing to laugh at.
Nevertheless, without openly admitting it, he was devoted to Boxer; the two 1
of them usually spent their Sundays together in the small paddock beyond the
orchard, grazing side by side and never speaking.” (page 1, paragraph 3).


In the paragraph above, the author introduced and described the characters of the animal by showing the reader the characteristics of each animal, like how he describes the major as an old pig who is still looked majestic or how he describes.


The next part of the plot is the raising action or the conflict. This is where the conflict started to begin.

“ The pigs now revealed that during the past three months they had taught
themselves to read and write from an old spelling book which had belonged to
Mr. Jones's children and which had been thrown on the rubbish heap. Napoleon
sent for pots of black and white paint and led the way down to the _ve-barred
gate that gave on to the main road. Then Snowball (for it was Snowball who was
best at writing) took a brush between the two knuckles of his trotter, painted out
MANOR FARM from the top bar of the gate and in its place painted ANIMAL
FARM. This was to be the name of the farm from now onwards. After this
they went back to the farm buildings, where Snowball and Napoleon sent for
a ladder which they caused to be set against the end wall of the big barn.
They explained that by their studies of the past three months the pigs had
succeeded in reducing the principles of Animalism to Seven Commandments.
These Seven Commandments would now be inscribed on the wall; they would
form an unalterable law by which all the animals on Animal Farm must live for
ever after. With some di_culty (for it is not easy for a pig to balance himself on
a ladder) Snowball climbed up and set to work, with Squealer a few rungs below
him holding the paint-pot. The Commandments were written on the tarred wall
in great white letters that could be read thirty yards away. They ran thus:
THE SEVEN COMMANDMENTS
1. Whatever goes upon two legs is an enemy.
2. Whatever goes upon four legs, or has wings, is a friend.
3. No animal shall wear clothes.
4. No animal shall sleep in a bed.
5. No animal shall drink alcohol.
6. No animal shall kill any other animal.
7. All animals are equal.

It was very neatly written, and except that `friend' was written `freind' and
one of the `S's' was the wrong way round, the spelling was correct all the way
through. Snowball read it aloud for the beneath of the others. All the animals
nodded in complete agreement, and the cleverer ones at once began to learn the commandment by heart.” (page 9)












The following part of the plot is the climax. This is the top of the conflict.



“ In April, Animal Farm was proclaimed a Republic, and it became necessary
to elect a President. There was only one candidate, Napoleon, who was elected
unanimously. On the same day it was given out that fresh documents had
been discovered which revealed further details about Snowball's complicity with
Jones. It now appeared that Snowball had not, as the animals had previously
imagined, merely attempted to lose the Battle of the Cowshed by means of
a stratagem, but had been openly _ghting on Jones's side. In fact, it was
he who had actually been the leader of the human forces, and had charged
into battle with the words `Long live Humanity!' on his lips. The wounds on
Snowball's back, which a few of the animals still remembered to have seen, had
been inicted by Napoleon's teeth.
In the middle of the summer Moses the raven suddenly reappeared on the
farm, after an absence of several years. He was quite unchanged, still did no
work, and talked in the same strain as ever about Sugarcandy Mountain. He
would perch on a stump, ap his black wings, and talk by the hour to anyone
who would listen. `Up there, comrades,' he would say solemnly, pointing to the
sky with his large beak|`up there, just on the other side of that dark cloud that
you can see | there it lies, Sugarcandy Mountain, that happy country where we
poor animals shall rest for ever from our labours!' He even claimed to have been
there on one of his higher ights, and to have seen the everlasting _elds of clover
and the linseed cake and lump sugar growing on the hedges. Many of the animals
believed him. Their lives now, they reasoned, were hungry and laborious; was it
not right and just that a better world should exist somewhere else? A thing that
was di_cult to determine was the attitude of the pigs towards Moses. They all
declared contemptuously that his stories about Sugarcandy Mountain were lies,
and yet they allowed him to remain on the farm, not working, with an allowance
of a gill of beer a day. (Page 45)



The next part of the novel is the falling action. This is where the conflict started to get end. This is where the solution comes up.

“ He did not believe, he said, that any of the old suspicions still lingered, but
certain changes had been made recently in the routine of the farm which should
have the e_ect of promoting con_dence sti_ further. Hitherto the animals on the
farm had had a rather foolish custom of addressing one another as `Comrade.'
This was to be suppressed. There had also been a very strange custom, whose
origin was unknown, of marching every Sunday morning past a boar's skull
which was nailed to a post in the garden. This, too, would be suppressed, and
the skull had already been buried. His visitors might have observed, too, the
green ag which ew from the masthead. If so, they would perhaps have noted
that the white hoof and horn with which it had previously been marked had
now been removed. It would be a plain green ag from now onwards.

He had only one criticism, he said, to make of Mr. Pilkington's excellent
and neighbourly speech. Mr. Pilkington had referred throughout to `Animal
Farm.' He could not of course know | for he, Napoleon, was only now for the first time announcing it that the name `Animal Farm' had been abolished.
Henceforward the farm was to be known as `The Manor Farm' | which, he
believed, was its correct and original name.



`Gentlemen,' concluded Napoleon, `I will give you the same toast as before,
but in a di_erent form. Fill your glasses to the brim. Gentlemen, here is my
toast: To the prosperity of The Manor Farm!' “ ( page 53 and 54)


The last part of the novel is the denouement. This is the end of the story and as the big conclusion of the story itself :


“ But they had not gone twenty yards when they stopped short. An uproar of
voices was coming from the farmhouse. They rushed back and looked through
the window again. Yes, a violent quarrel was in progress. There were shoutings,
bangings on the table, sharp suspicious glances, furious denials. The source of
the trouble appeared to be that Napoleon and Mr. Pilkington had each played
an ace of spades simultaneously;”

“Twelve voices were shouting in anger, and they were all alike. No question,
now, what had happened to the faces of the pigs. The creatures outside looked
from pig to man, and from man to pig, and from pig to man again; but already
it was impossible to say which was which.”
(page 54 of the last paragraph)









Analysis of Major Characters

Pigs
Old Major – An aged prize Middle White boar provides the inspiration that fuels the Rebellion in the book. He is an allegory of Karl Marx and Vladimir Lenin, the founders of communism, in that he draws up the principles of the revolution. His skull being put on revered public display also recalls Lenin, whose embalmed body was put on display.
Napoleon – "A large, rather fierce-looking Berkshire boar, the only Berkshire on the farm, not much of a talker, but with a reputation for getting his own way", An allegory of Joseph Stalin, Napoleon is the main villain of Animal Farm. In the first French version of Animal Farm, Napoleon is called César, the French form of Caesar,  although another translation has him as Napoléon.
Snowball – Napoleon's rival and original head of the farm after Jones' overthrow. He is mainly based on Leon Trotsky, but also combines elements from Vladimir Lenin.
Squealer – A small white fat porker who serves as Napoleon's right hand pig and minister of propaganda, holding a position similar to that of Molotov.
Minimus – A poetic pig who writes the second and third national anthems of Animal Farm after the singing of "Beasts of England" is banned.
The Piglets – Hinted to be the children of Napoleon (albeit not explicitly stated) and are the first generation of animals actually subjugated to his idea of animal inequality.
The young pigs – Four pigs who complain about Napoleon's takeover of the farm but are quickly silenced and later executed.
Pinkeye – A minor pig who is mentioned only once; he is the pig that tastes Napoleon's food to make sure it is not poisoned, in response to rumours about an assassination attempt on Napoleon.
Humans
Mr Jones – The former owner of the farm, Jones is a very heavy drinker. The animals revolt against him after he drinks so much that he does not feed or take care of them.
Mr Frederick – The tough owner of Pinchfield, a well-kept neighbouring farm, who briefly enters into an "alliance" with Napoleon.
Mr Pilkington – The easy-going but crafty owner of Foxwood, a neighbouring farm overgrown with weeds.
Mr Whymper – A man hired by Napoleon for the public relations of Animal Farm to human society, who is eventually used to procure luxuries like alcohol for the pigs.
Mrs Jones – The wife of Mr Jones. When the animals begin their revolt, she escapes from the farm with her pet raven Moses following behind. Her character is expanded upon in the 1999 film version, where she is at first somewhat sympathetic to the animals' plight regarding the poor care her husband gives them.
Equines
Boxer – Boxer is a loyal, kind, dedicated, and respectable horse, although quite dim-witted.
Clover
 Boxer's companion, constantly caring for him; she also acts as a matriarch of sorts for the other horses and the other animals in general.
Mollie
 Mollie is a self-centred, self-indulgent and vain young white mare who quickly leaves for another farm after the revolution. Mollie is painted as a fairly stupid, vain, and materialistic horse. In the very beginning, she comes late to Old Major’s speech, and she “took a place near the front and began flirting her white mane, hoping to draw attention to the red ribbons it was plaited with”
Benjamin
Benjamin is a donkey, is one of the longest-lived animals. He has the worst temper, but is also one of the wisest animals on the farm, and is one of the few who can actually read. He is sceptical and pessimistic, his most-often-made statement being "Life will go on as it has always gone on – that is, badly."
Other animals
Muriel – A wise old goat who is friends with all of the animals on the farm. She, like Benjamin and Snowball, is one of the few animals on the farm who can read.
The Puppies – Offspring of Jessie and Bluebell, taken away from them by Napoleon at birth and reared by Napoleon to be his security force.
Moses the Raven – An old crow who occasionally visits the farm, regaling its denizens with tales of a wondrous place beyond the clouds called Sugarcandy Mountain, where he avers that all animals go when they die—but only if they work hard. He is interpreted as symbolising the Russian Orthodox Church, with Sugarcandy Mountain an allusion to Heaven for the animals.
The Sheep – They show limited understanding of the situations but nonetheless blindly support Napoleon's ideals.
The Hens – The hens are among the first to rebel against Napoleon.
The Cows – Their milk is stolen by the pigs, who learn to milk them, and is stirred into the pigs' mash every day while the other animals are denied such luxuries.
Jessie – A dog on the farm who has her puppies taken away by Napoleon for "advanced education" (these dogs later run Snowball off the farm). In the 1999 film version she is the narrator and main protagonist.
The Cat – Never seen to carry out any work, the cat is absent for long periods, and is forgiven because her excuses are so convincing and she "purred so affectionately that is was impossible not to believe in her good intentions".She has no interest in the politics of the farm, and the only time she is recorded as having participated in an election, she is found to have actually "voted on both sides".





The Setting of Animal Farm

The Extrinsic Setting of The Story :

Animal Farm is an allegorical novella by George Orwell published in England on 17 August 1945. According to Orwell, the book reflects events leading up to and during the Stalin era before the Second World War. Orwell, a democratic socialist, was a critic of Joseph Stalin and hostile to Moscow-directed Stalinism, especially after his experiences with the NKVD and the Spanish Civil War. In a letter to Yvonne Davet, Orwell described Animal Farm as his novel "contre Stalin (Joseph Stalin and Lenin)".
The original title was Animal Farm: A Fairy Story, but the subtitle was dropped by U.S. publishers for its 1946 publication and subsequently all but one of the translations during Orwell's lifetime omitted the addition. Other variations in the title include: A Satire and A Contemporary Satire. Orwell suggested the title Union des républiques socialistes animales for the French translation, which recalled the French name of the Soviet Union, Union des républiques socialistes soviétiques, and which abbreviates to URSA, the Latin for "bear", a symbol of Russia.
Time magazine chose the book as one of the 100 best English-language novels (1923 to 2005); it also places at number 31 on the Modern Library List of Best 20th-Century Novels. It won a Retrospective Hugo Award in 1996 and is also included in the Great Books of the Western World.
The novel addresses not only the corruption of the revolution by its leaders but also how wickedness, indifference, ignorance, greed and myopia corrupt the revolution. It portrays corrupt leadership as the flaw in revolution, rather than the act of revolution itself. It also shows how potential ignorance and indifference to problems within a revolution could allow horrors become happen if a smooth transition to a people's government is not achieved.







The Intrinsic Setting of The Story :

The story take place at a farm in England,

“Mr. Jones, of the Manor Farm, had locked the hen-houses for the night, but
was too drunk to remember to shut the popholes. With the ring of light from
his lantern dancing from side to side, he lurched across the yard, kicked o_ his
boots at the back door, drew himself a last glass of beer from the barrel in the
scullery, and made his way up to bed, where Mrs. Jones was already snoring.
As soon as the light in the bedroom went out there was a stirring and a
uttering all through the farm buildings. Word had gone round during the day
that old Major, the prize Middle White boar, had had a strange dream on the
previous night and wished to communicate it to the other animals. It had been
agreed that they should all meet in the big barn as soon as Mr. Jones was safely
out of the way. Old Major (so he was always called, though the name under
which he had been exhibited was Willingdon Beauty) was so highly regarded on
the farm that everyone was quite ready to lose an hour's sleep in order to hear
what he had to say.” (Paragraph 1, Page 1)



As story show us that the story happen in different place of farm around England, but there are three of farm that is point out on the story :
Animal Farm that belongs to Mr. Jones
Pinchfield that belongs to Mr. Pilkington
Foxwood that belongs to Mr. Frederick

“Most of this time Mr. Jones had spent sitting in the taproom of the Red
Lion at Willingdon, complaining to anyone who would listen of the monstrous
injustice he had suffered in being turned out of his property by a pack of good-
for-nothing animals. The other farmers sympathized in principle, but they did
not at first give him much help. At heart, each of them was secretly wondering
whether he could not somehow turn Jones's misfortune to his own advantage.
It was lucky that the owners of the two farms which adjoined Animal Farm
were on permanently bad terms. One of them, which was named Foxwood, was
a large, neglected, old-fashioned farm, much overgrown by woodland, with all
its pastures worn out and its hedges in a disgraceful condition. Its owner, Mr.
Pilkington, was an easy-going gentleman farmer who spent most of his time in
fishing or hunting according to the season. The other farm, which was called
Pinchfield, was smaller and better kept. Its owner was a Mr. Frederick, a tough,
shrewd man, perpetually involved in lawsuits and with a name for driving hard
bargains. These two disliked each other so much that it was difficult for them
to come to any agreement, even in defense of their own interests.” ( page 16 )



The story take time as stated on the story describes us :

In the night
“Mr. Jones, of the Manor Farm, had locked the hen-houses for the night, but
was too drunk to remember to shut the popholes.”

Sunday, At the last moment
“Alone among the animals on the farm he
never laughed. If asked why, he would say that he saw nothing to laugh at.
Nevertheless, without openly admitting it, he was devoted to Boxer; the two
of them usually spent their Sundays together in the small paddock beyond the
orchard, grazing side by side and never speaking.

The two horses had just lain down when a brood of ducklings, which had lost
their mother, _led into the barn, cheeping feebly and wandering from side to
side to _nd some place where they would not be trodden on. Clover made a sort
of wall round them with her great foreleg, and the ducklings nestled down inside
it and promptly fell asleep. At the last moment Mollie, the foolish, pretty white
mare who drew Mr. Jones's trap, came mincing daintily in, chewing at a lump
of sugar. She took a place near the front and began flirting her white mane,
hoping to draw attention to the red ribbons it was plaited with.”

Three days later, Early in March

“Three nights later old Major died peacefully in his sleep. His body was buried
at the foot of the orchard.

This was early in March. During the next three months there was much
secret activity. Major's speech had given to the more intelligent animals on the
farm a completely new outlook on life. They did not know when the Rebellion
predicted by Major would take place, they had no reason for thinking that
it would be within their own lifetime, but they saw clearly that it was their
duty to prepare for it. The work of teaching and organising the others fell
naturally upon the pigs, who were generally recognised as being the cleverest of
the animals.” (Page 6)


On the Summer, The late of Summer
“All through that summer the work of the farm went like clockwork. The an-
imals were happy as they had never conceived it possible to be. Every mouthful
of food was an acute positive pleasure, now that it was truly their own food,
produced by themselves and for themselves, not doled out to them by a grudging
master.” (page 11)

“By the late summer the news of what had happened on Animal Farm had spread
across half the county. Every day Snowball and Napoleon sent out ights of
pigeons whose instructions were to mingle with the animals on neighboring
farms, tell them the story of the Rebellion, and teach them the tune of Beasts
of England. “( page 16 )

A week later , on the afternoon, that evening

“A week later, in the afternoon, a number of dogcarts drove up to the farm.
A deputation of neighbouring farmers had been invited to make a tour of in-
spection. They were shown all over the farm, and expressed great admiration
for everything they saw, especially the windmill. The animals were weeding the
turnip _eld. They worked diligently, hardly raising their faces from the ground,
and not knowing whether to be more frightened of the pigs or of the human
visitors.”

“That evening loud laughter and bursts of singing came from the farmhouse.
And suddenly, at the sound of the mingled voices, the animals were stricken
with curiosity. What could be happening in there, now that for the _rst time
animals and human beings were meeting on terms of equality? With one accord
they began to creep as quietly as possible into the farmhouse garden.” (Page 53)

In January

“In January food fell short. The corn ration was drastically reduced, and it
was announced that an extra potato ration would be issued to make up for it.
Then it was discovered that the greater part of the potato crop had been frosted
in the clamps, which had not been covered thickly enough. The potatoes had
become soft and discoloured, and only a few were edible. For days at a time the
animals had nothing to eat but cha_ and mangels. Starvation seemed to stare
them in the face.”( page 29)

Throughout  the year, In the Autumn, The very next morning

“Throughout the year the animals worked even harder than they had worked
in the previous year To rebuild the windmill, with walls twice as thick as before,
and to finish it by the appointed date, together with the regular work of the
farm, was a tremendous labour. (page 35)

In the autumn, by a tremendous, exhausting effort | for the harvest had
to be gathered at almost the same time | the windmill was finished. The
machinery had still to be installed, and Whymper was negotiating the purchase
of it, but the structure was completed. In the teeth of every difficulty, in spite of
inexperience, of primitive implements, of bad luck and of Snowball's treachery,
the work had been finished punctually to the very day! Tired out but proud, the
animals walked round and round their masterpiece, which appeared even more
beautiful in their eyes than when it had been built the first time. Moreover,
the walls were twice as thick as before.(37)


The very next morning the attack came. The animals were at breakfast when
the look-outs came racing in with the news that Frederick and his followers had
already come through the _ve-barred gate.(40)”
In April, In the middle of summer
“In April, Animal Farm was proclaimed a Republic, and it became necessary
to elect a President. There was only one candidate, Napoleon, who was elected
unanimously. On the same day it was given out that fresh documents had
been discovered which revealed further details about Snowball's complicity with
Jones. It now appeared that Snowball had not, as the animals had previously
imagined, merely attempted to lose the Battle of the Cowshed by means of
a stratagem, but had been openly _ghting on Jones's side. ( Page 45)
In the middle of the summer Moses the raven suddenly reappeared on the
farm, after an absence of several years. He was quite unchanged, still did no
work, and talked in the same strain as ever about Sugarcandy Mountain. He
would perch on a stump, ap his black wings, and talk by the hour to anyone
who would listen.  ( Page 45)”
Year Passed still in summer

Years passed. The seasons came and went, the short animal lives ed by. A
time came when there was no one who remembered the old days before the
Rebellion, except Clover, Benjamin, Moses the raven, and a number of the pigs.
Muriel was dead; Bluebell, Jessie, and Pincher were dead. Jones too was
dead | he had died in an inebriates' home in another part of the country.
Snowball was forgotten. ( Page 49)


The Atmosphere of the story:
 The story has a strong and full of conflict, full competition feeling between Napoleon and Snowbell.


We see at the end of the story , it was so confusing that we can say after read the story that human and animals have no difference or we get some trouble on make some distinguish between them especially for some of their characterization as describe on the story, greedy, ambitious, arrogant, selfish, dictator and corrupt  power as Napoleon done.
“ Twelve voices were shouting in anger, and they were all alike. No question, now, what had happened to the faces of the pigs. The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which.”  ( Last Paragraph , at  page 54 )


Point of View
Animal Farm is a satirical fable set on Manor Farm, a typical English farm. Orwell employs a third-person narrator, who reports events without commenting on them directly. The narrator describes things as the animals perceive them.

MY IMMPRESION and THE MESSAGE


“ I think that Animal Farm which is written by George Orwell, was a very well written personified metaphor for rulings of years passed.  The setting was very important to the story itself and the characters in it.  Although the characters in this book were not human, I believe that this story is a good lesson in what man can bring upon himself with a little encouragement from a very mischievous part of life- power”



My impression is specifically on why George Orwell wrote this book is reflected on the times that he lived through before and after he wrote this novel. The story takes themes and events from his own personal life of when he was a soldier, a period of his life that he draws much inspiration from. Being completely immersed in a lifestyle of ill-minded warfare, politicians with ulterior motives, and the chaos that raged all throughout the world, Orwell took his thoughts and opinions and formed them into Animal Farm, a book much critically acclaimed as a "dark humorous read" and as a book that clearly depicts Marxian themes. The book itself describes and delves into the darker overtones of the social structure of society, and the power struggle between the innocent masses and the powerful minority. Much reminiscent of his early work, 1984, it focuses itself on the theme of oppression, a theme that George Orwell himself seems infatuated with to keep at bay in his novels.
During the entire read of Animal Farm, I periodically gets the distinct feeling that George Orwell is subliminally passing the message along that the public as well as the individual should think for himself, to not let his own freedom slip away into the hands of men who would do nothing to preserve that freedom, an obvious attempt to criticize those who do oppress or those who let themselves be oppressed. One broad idea that inspires me is  that Orwell continually portrays during the book is that by living life as such, that man is no different from animals as said by himself during the final passage of the book, "The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which." Touching off darker tones of a society that bases itself on systems of hierarchy, George Orwell tells a familiar tale of blissful ignorance and destruction in Animal Farm.
Based on the story we can also learn that in fact there will be always corruption done by the government in every nation around the world on their powerful zone.
The novel can also be taken as a more general attack on the search of power and the way in which corrupt figures gain and manipulate power for their own purposes. Animal farm is a satire on political power. Lord Acton observed that: ‘power corrupts but absolute power corrupts absolutely.’ As the pigs gain power, it accordingly becomes harder and harder for them to resist the temptations of enjoying an easier life for themselves, especially as the other animals are presented as being too naive to prevent themselves from being manipulated. Napoleon is driven by power and slowly descends into tyranny. He is driven by power and throughout the novel all he does is plan how to take it.
i. We see this first when in Chapter 2 he takes control of the food. His removal of the puppies to ‘educate’ them results in the creation of his own secret police. Napoleon uses the dogs to terrify the animals into obedience. Neither Squealer nor Napoleon is seen without their dogs that growl menacingly whenever the animals ask difficult questions.
ii. The abolition of debates and elections removes a valuable way for the animals to express their opinions. Napoleon sees voting as irrelevant and he easily suppresses it. This directly violates the principle commandment that ‘’all animals are equal’’
iii. The bloodbath in the barn and the subsequent executions remind us of the most effective way of maintaining power and that is terror. This use of murder and intimidation to keep control of absolute power goes completely against the ideas of revolution, ‘’No animal shall kill another animal.’’
iv. The careful management of all sources of information also achieves power. Napoleon uses Squealer’s ability to ‘’turn black into white’’ to brainwash the animals into accepting his decisions and actions. We see this when Squealer defends Napoleon’s decision to build the windmill in Chapter 5.

GENERAL CONCLUSION
Conclusion
Animal Farm is the story of a revolution gone sour. Animalism, Communism, and Fascism are all illusions which are used by the pigs as a means of satisfying their greed and lust for power. As Lord Acton wrote: "Power tends to corrupt; absolute power corrupts absolutely." So long as the animals cannot remember the past, because it is being continually altered, they will have no control over the present and hence over the future.

Animal Farm, a novel by George Orwell, was a story of courage and corrupt government.  It was set on a farm in England.  This setting is very important to the story itself and the characters in it.  It made the plot a lot more interesting and influenced all the characters.

This novel was about an angry community of common animals who revolted against not only their owner, but all humans.  They form a government where the most intelligent pigs are in control.  There are several rules made to keep their revolt strong.  For example, none of the animals were allowed to go into the house or sleep on the beds. 

When the pigs start to bend these rules the entire government becomes corrupt and unfair.  This leads to a very good plot about the common animals’ fight for equality.
The physical setting of a farm is ideal for this story.  It is a good place for Old Majors vision and has necessary isolation from the world for the development of this society.  This makes life easier in the since that it is away from the modern world typical of the Twentieth Century.  If this novel was set anywhere other than a farm, the characters would be irrelevant and the story it self would have no meaning.  The story would also be hard to understand and follow.

 Without the rural setting of this farm, Napoleon would not have been able get the power he so desperately wanted through this revolt.  The revolt would not have occurred if this novel had been set in an urban area or city, which in result would stop Napoleon from leading this group of confused animals and gaining his overwhelming power over them.  Napoleon was only happy looking over and down at the less intelligent animals.  If he was some how forced to be on the same level as the other animals, who knows what would have come of him.  The setting also increased my knowledge about what a government could do if it abused its power.  Napoleon set up a government similar to the government ruled by Napoleon Bonapart in the late 1700s, this story was helpful to me in understanding Napoleon Bonapart’s corrupt and aggressive ways.
       
The universal message of George Orwell's "Animal Farm" is that all violent revolutions which aim to and initially succeed in overthrowing repressive totalitarian regimes, after a brief idealistic period rapidly deteriorate into totalitarian and repressive regimes themselves. Orwell illustrates and clarifies this profound universal truth by his allegorical novel "Animal Farm" in which the animals and the incidents represent the characters and incidents of the Russian Revolution.

1. Old Major represents either Karl Marx the author of the "Communist Manifesto" (1848) or Lenin who propagated his ideas in Russia which led to the overthrow of the last Czar who is represented by Mr.Jones in the novel.

2.Napoleon stands for Josef Stalin the ruthless dictator who eliminated his close friend and associate Leon Trotsky in the power struggle to take over the governance of Russia. 
3. Snowball who is forced to flee "Animal Farm" represents Trotsky who had to flee Russia. 
4. Squealer represents the "Pravda" the propaganda organ of the totalitarian Communist State of Russia.
5. Mr. Pilkington stands for England and her allies. 
6. Frederick represents Germany. 
7. The incidents related to the building of the windmill correspond to Lenin's ambitious plans for the complete electrification of Russia, although in actual history this did not lead to the quarrel between Stalin and Trotsky.









APPENDIX
SYNOPSIS
Old Major calls a meeting of all the animals in the big barn. He announces that he may die soon and relates to them the insights he has gathered in his life. Old Major tells the animals that human beings are the sole reason that “No animal in England is free” and that “The life of an animal is misery and slavery.” Therefore the animals must take charge of their destiny by overthrowing Man in a great Rebellion. He relates his dream of rebellion.
Old Major dies soon after the meeting and the other animals prepare for the Rebellion under Snowball, Napoleon, and Squealer’s leadership. One night, Mr. Jones passes out drunk, creating the perfect opportunity for the animals to rebel. They are so hungry that they break into the store-shed. When Jones and his men try to whip them into submission, the animals run them off the farm. The animals burn all reminders of their former bondage but agree to preserve the farmhouse “as a museum.” Snowball changes the name of the farm to “Animal Farm” and comes up with Seven Commandments, which are to form the basis of Animalism. They are:
1. Whatever goes upon two legs is an enemy.
2. Whatever goes upon four legs, or has wings, is a friend.
3. No animal shall wear clothes.
4. No animal shall sleep in a bed.
5. No animals shall drink alcohol.
6. No animal shall kill any other animal.
7. All animals are equal.

The pigs milk the cows, and then the animals go out to begin the harvest. When they return, the milk has disappeared mysteriously. The first harvest is a great success. The animals adhere to the tenets of Animalism happily, and with good result. Each animal works according to his ability and gets a fair share of food.
Every Sunday, Snowball and Napoleon lead a meeting of all the animals in the big barn. The pigs are the most intelligent animals, so they think up resolutions for the other animals to debate. Soon after, the pigs set up a study-center for themselves in the harness-room. Snowball embarks on various campaigns for social and economic improvement. Napoleon opposes whatever Snowball does. Because most of the animals lack the intelligence to memorize the Seven Commandments, Snowball reduces them to the single maxim, “Four legs good, two legs bad.” The sheep take to chanting this at meetings.
As time goes by, the pigs increase their control over the animals and award themselves increasing privileges. They quell the animals’ questions and protests by threatening Mr. Jones’s return. During this time, Napoleon also confiscates nine newborn puppies and secludes them in a loft in order to “educate” them.
By late summer, Snowball’s and Napoleon’s pigeon-messengers have spread news of the Rebellion across half of England. Animals on other farms have begun lashing out against their human masters and singing the revolutionary song “Beasts of England.” Jones and other farmers try to recapture Animal Farm but fail. The animals celebrate their victory in what they call “The Battle of the Cowshed.”
The animals agree to let the pigs make all the resolutions. Snowball and Napoleon continue to be at odds and eventually clash over the windmill. Snowball wants to build a windmill in order to shorten the work week and provide the farm electricity, but Napoleon opposes it. Napoleon summons nine fierce dogs (the puppies he trained) to run Snowball off the farm. Napoleon announces that Sunday meetings will cease and that the pigs will make all the decisions in the animals’ best interest. At this point, Boxer takes on his own personal maxims, “I will work harder” and “Napoleon is always right.” In the spring, Napoleon announces plans to build the windmill, claiming that it was his idea all along—rewriting history.
Building the windmill forces the animals to work harder and on Sundays. Shortages begin to occur, so Napoleon opens up trade with the human world. Through Squealer, he lies that no resolutions against interaction with humans or the use of money had ever been passed. Napoleon enlists Whymper to be his intermediary, and the pigs move into the farmhouse. Squealer assures the animals that there is no resolution against this, but Clover and Muriel discovers that one of the resolutions has been changed to: “No animal shall sleep in a bed with sheets.” Squealer convinces her that there was never a resolution against beds at all.
One night, strong winds shake the farm and the animals awake to discover the windmill destroyed. Napoleon blames Snowball and sentences the expelled pig to death.
In the winter, as conditions become worse on Animal Farm, Napoleon deceives the human world into thinking Animal Farm is prospering. He signs a contract for a quota of four hundred eggs per week, inciting a hen rebellion that results in several deaths. Around the same time, Napoleon begins negotiating with Frederick and Pilkington to sell Animal Farm’s store of timber. He also spreads propaganda against Snowball, claiming that Snowball was always a spy and a collaborator while Napoleon was the true hero of the Battle of the Cowshed, and Squealer warns against Snowball’s secret agents.
Four days later, Napoleon holds an assembly in which he makes several animals confess to treachery and then has the dogs execute them. The dogs try to get Boxer to confess but leave him alone when they cannot overpower him. Afterwards, Clover and some other animals huddle together on a hill overlooking the farm. They reminisce about Animalism’s ideals and consider how much they differ from the violence and terror of Napoleon’s reign. They sing “Beasts of England,” but Squealer informs them that the song is useless now that the Rebellion is completed and that it is now forbidden. The new anthem begins with the lyrics: “Animal Farm, Animal Farm, / Never through me shalt thou come to harm!”
Another commandment is changed to read: “No animal shall kill any other animal without cause.” Clover and Muriel convince themselves that the commandment has always been this way. Squealer begins reading the animals statistics regularly to convince them that production is increasing. Napoleon seldom appears in public. The animals now call him “our Leader, Comrade Napoleon.” They attribute all misfortunes to Snowball and all success and luck to Napoleon.
Napoleon continues to negotiate with the farmers and eventually decides to sell the timber to Mr. Pilkington. At last, the windmill is finished and named “Napoleon Mill.” Soon after, Napoleon announces that he will sell the timber to Frederick, quickly changing his allegiance and disavowing his earlier vilification of Frederick. Napoleon says that Pilkington and Snowball have been collaborating. Frederick pays for the timber in fake cash, and the next morning, Frederick and his men invade the farm and blow up the windmill. The animals manage to chase the humans off, though many die or are injured in what they call “The Battle of the Windmill.”
After the battle, the pigs discover a case of whisky in the farmhouse. They drink to excess and soon, Squealer reports that Napoleon is dying and, as his last action, has made the consumption of alcohol punishable by death. But Napoleon recovers quickly and then sends Whymper to procure manuals on brewing alcohol. Squealer changes another commandment to “No animal shall drink alcohol to excess.”
Napoleon plans to build a schoolhouse for the thirty-one young pigs he has parented. Towards the end of the winter, Napoleon begins increasing propaganda to distract the animals from inequality and hardship. He creates special “Spontaneous Demonstrations” in which the animals march around and celebrate their triumphs.
In April, Napoleon declares the farm a Republic and is elected unanimously as President. The animals continue to work feverishly, most of all Boxer. One day, Boxer collapses while overexerting himself. Napoleon promises to send him to the veterinarian in Willingdon. A few days later, a horse-slaughterer takes Boxer away in his van. The animals are none the wiser until Benjamin reads the lettering on the side of the van. A few days later, Squealer reports that Boxer died in the hospital despite receiving the best possible care. He claims that Boxer’s last words glorified Animal Farm and Napoleon. He also claims that the van belongs to the veterinarian, who recently bought it from the horse slaughterer and had not yet managed to paint over the lettering. Napoleon promises to honor Boxer with a special banquet. But the pigs use the money from his slaughter to buy a case of whisky, which they drink on the day appointed for the banquet.
Years go by, and though Animal Farm’s population has increased, only a few animals that remember the Rebellion remain. Conditions are still harsh despite technological improvements. The pigs and dogs continue to do no manual labor, instead devoting themselves to organizational work. One day, Squealer takes the sheep out to a deserted pasture where, he says, he is teaching them a song. On the day the sheep return, the pigs walk around the yard on their hind legs as the sheep chant, “Four legs good, two legs better.” The other animals are horrified. Clover consults the barn wall again. This time Benjamin reads to her. The Seven Commandments have been replaced with a single maxim: “All animals are equal / But some animals are more equal than others.”
The pigs continue the longstanding pattern of awarding themselves more and more privileges. They buy a telephone and subscribe to magazines. They even wear Jones’s clothing. One night, Napoleon holds a conciliatory banquet for the farmers. Pilkington makes a speech in which he says he wants to emulate Animal Farm’s long work hours and low rations. Napoleon announces that the farm will be called “Manor Farm” again, the animals will call each other “Comrade” no longer, and they no longer will march ceremoniously past Old Major’s skull (a practice he denies understanding). He also declares that the farm’s flag will be plain green, devoid of the symbols of the Rebellion. As the animals peer through the windows to watch the humans and pigs play poker, they cannot distinguish between them.
SYMBOLIZE AND MOTIFS OF ANIMAL FARM
Symbols are objects, characters, figures, and colors used to represent abstract ideas or concepts.
The novel Animal Farm is a satire of the Russian revolution, and therefore full of symbolism. Generally, George Orwell associates certain real characters with the characters of the book.
Here is a list of the characters, things and their meaning:
Napoleon
From the very beginning of the novella, Napoleon emerges as an utterly corrupt opportunist. Though always present at the early meetings of the new state, Napoleon never makes a single contribution to the revolution—not to the formulation of its ideology, not to the bloody struggle that it necessitates, not to the new society’s initial attempts to establish itself. He never shows interest in the strength of Animal Farm itself, only in the strength of his power over it. Thus, the only project he undertakes with enthusiasm is the training of a litter of puppies. He doesn’t educate them for their own good or for the good of all, however, but rather for his own good: they become his own private army or secret police, a violent means by which he imposes his will on others.
Although he is most directly modeled on the Soviet dictator Joseph Stalin, Napoleon represents, in a more general sense, the political tyrants that have emerged throughout human history and with particular frequency during the twentieth century. His namesake is not any communist leader but the early-eighteenth-century French general Napoleon, who betrayed the democratic principles on which he rode to power, arguably becoming as great a despot as the aristocrats whom he supplanted. It is a testament to Orwell’s acute political intelligence and to the universality of his fable that Napoleon can easily stand for any of the great dictators and political schemers in world history, even those who arose after Animal Farm was written. In the behavior of Napoleon and his henchmen, one can detect the lying and bullying tactics of totalitarian leaders such as Josip Tito, Mao Tse-tung, Pol Pot, Augusto Pinochet, and Slobodan Milosevic treated in sharply critical terms.
Napoleon is Orwell's chief villain in Animal Farm. The name Napoleon is very appropriate since Napoleon, the dictator of France, was thought by many to be the Anti-Christ. Napoleon, the pig, is really the central character on the farm. Obviously a metaphor for Stalin, Comrade Napoleon represents the human frailties of any revolution. Orwell believed that although socialism is good as an ideal, it can never be successfully adopted due the to uncontrollable sins of human nature.
 For example, although Napoleon seems at first to be a good leader, he is eventually overcome by greed and soon becomes power-hungry. Of course, Stalin did, too, in Russia, leaving the original equality of socialism behind, giving himself all the power and living in luxury while the common peasant suffered. Thus, while his national and international status blossomed, the welfare of Russia remained unchanged. Orwell explains, "Somehow it seemed as though the farm had grown richer without making the animals themselves any richer--except, of course for the pigs and the dogs." The true side of Napoleon becomes evident after he slaughters so many animals for plotting against him. He even hires a pig to sample his food for him to make certain that no one is trying to poison him. Stalin, too, was a cruel dictator in Russia. After suspecting many people in his empire to be supporters of Trotsky (Orwell's Snowball), Stalin systematically murdered many. At the end of the book, Napoleon doesn't even pretend to lead a socialist state. After renaming it a Republic and instituting his own version of the commandments and the Beasts of England, Comrade Napoleon quickly becomes more or less a dictator who of course has never even been elected by the animals.
Snowball
Orwell’s stint in a Trotskyist battalion in the Spanish Civil War—during which he first began plans for a critique of totalitarian communism—influenced his relatively positive portrayal of Snowball. As a parallel for Leon Trotsky, Snowball emerges as a fervent ideologue who throws himself heart and soul into the attempt to spread Animalism worldwide and to improve Animal Farm’s infrastructure. His idealism, however, leads to his downfall. Relying only on the force of his own logic and rhetorical skill to gain his influence, he proves no match for Napoleon’s show of brute force.
Although Orwell depicts Snowball in a relatively appealing light, he refrains from idealizing his character, making sure to endow him with certain moral flaws. For example, Snowball basically accepts the superiority of the pigs over the rest of the animals. Moreover, his fervent, single-minded enthusiasm for grand projects such as the windmill might have erupted into full-blown megalomaniac despotism had he not been chased from Animal Farm. Indeed, Orwell suggests that we cannot eliminate government corruption by electing principled individuals to roles of power; he reminds us throughout the novella that it is power itself that corrupts.
Boxer
The most sympathetically drawn character in the novel, Boxer epitomizes all of the best qualities of the exploited working classes: dedication, loyalty, and a huge capacity for labor. He also, however, suffers from what Orwell saw as the working class’s major weaknesses: a naïve trust in the good intentions of the intelligentsia and an inability to recognize even the most blatant forms of political corruption. Exploited by the pigs as much or more than he had been by Mr. Jones, Boxer represents all of the invisible labor that undergirds the political drama being carried out by the elites. Boxer’s pitiful death at a glue factory dramatically illustrates the extent of the pigs’ betrayal. It may also, however, speak to the specific significance of Boxer himself: before being carted off, he serves as the force that holds Animal Farm together.
Squealer
Throughout his career, Orwell explored how politicians manipulate language in an age of mass media. In Animal Farm, the silver-tongued pig Squealer abuses language to justify Napoleon’s actions and policies to the proletariat by whatever means seem necessary. By radically simplifying language—as when he teaches the sheep to bleat “Four legs good, two legs better!”—he limits the terms of debate. By complicating language unnecessarily, he confuses and intimidates the uneducated, as when he explains that pigs, who are the “brainworkers” of the farm, consume milk and apples not for pleasure, but for the good of their comrades. In this latter strategy, he also employs jargon (“tactics, tactics”) as well as a baffling vocabulary of false and impenetrable statistics, engendering in the other animals both self-doubt and a sense of hopelessness about ever accessing the truth without the pigs’ mediation. Squealer’s lack of conscience and unwavering loyalty to his leader, alongside his rhetorical skills, make him the perfect propagandist for any tyranny. Squealer’s name also fits him well: squealing, of course, refers to a pig’s typical form of vocalization, and Squealer’s speech defines him. At the same time, to squeal also means to betray, aptly evoking Squealer’s behavior with regard to his fellow animals.
Old Major
Old Major is the major character described by Orwell in Animal Farm. This "pure-bred" of pigs is the kind, grandfatherly philosopher of change - an obvious metaphor for Karl Marx. Old Major proposes a solution to the animals’ desperate plight under the Jones "administration" when he inspires a rebellion of sorts among the animals. Of course the actual time of the revolt is untold. It could be the next day or several generations down the road. But Old Major's philosophy is only an ideal. After his death, three days after the barn-yard speech, the socialism he professes is drastically altered when Napoleon and the other pigs begin to dominate.
 It's interesting that Orwell does not mention Napoleon or Snowball at any time during the great speech of old Major. This shows how distant and out-of-touch they really were; the ideals Old Major proclaimed seemed to not even have been considered when they were establishing their new government after the successful revolt. It almost seems as though the pigs fed off old Major's inspiration and then used it to benefit themselves (an interesting twist of capitalism) instead of following through on the old Major's honest proposal. This could be Orwell's attempt to dig Stalin, whom many consider to be someone who totally ignored Marx's political and social theory. Using Old Major's apparent naivety, Orwell concludes that no society is perfect, no pure socialist civilisation can exist, and there is no way to escaping the evil grasp of capitalism. (More on this in the Napoleon section.) Unfortunately, when Napoleon and Squealer take over, old Major becomes more and more a distant fragment of the past in the minds of the farm animals.
As a democratic socialist, Orwell had a great deal of respect for Karl Marx, the German political economist, and even for Vladimir Ilych Lenin, the Russian revolutionary leader. His critique of Animal Farm has little to do with the Marxist ideology underlying the Rebellion but rather with the perversion of that ideology by later leaders. Major, who represents both Marx and Lenin, serves as the source of the ideals that the animals continue to uphold even after their pig leaders have betrayed them.
Though his portrayal of Old Major is largely positive, Orwell does include a few small ironies that allow the reader to question the venerable pig’s motives. For instance, in the midst of his long litany of complaints about how the animals have been treated by human beings, Old Major is forced to concede that his own life has been long, full, and free from the terrors he has vividly sketched for his rapt audience. He seems to have claimed a false brotherhood with the other animals in order to garner their support for his vision.


         Mr Jones
Mr Jones is one of Orwell's major (or at least most obvious) villain in Animal Farm. Orwell says that at one time Jones was actually a decent master to his animals. At this time the farm was thriving. But in recent years the farm had fallen on harder times and the opportunity was seen to revolt. The world-wide depression began in the United States when the stock market crashed in October of 1929. The depression spread throughout the world because American exports were so dependent on Europe. The U.S. was also a major contributor to the world market economy. Germany along with the rest of Europe was especially hard hit. The parallels between crop failure of the farm and the depression in the 1930s are clear. Only the leaders and the die-hard followers ate their fill during this time period. Mr Jones symbolises (in addition to the evils of capitalism) Czar Nicholas II, the leader before Stalin (Napoleon). Jones represents the old government, the last of the Czars. Orwell suggests that Jones was losing his "edge". In fact, he and his men had taken up the habit of drinking. Old Major reveals his feelings about Jones and his administration when he says, "Man is the only creature that consumes without producing. He does not give milk, he does not lay eggs, he is too weak to pull the plough, he cannot run fast enough to catch rabbits. Yet he is lord of all the animals. He sets them to work, he gives back to them the bare minimum that will prevent them from starving and the rest he keeps for himself." So Jones and the old government are successfully uprooted by the animals. Little do they know history will repeat itself with Napoleon and the pigs.
Squealer
Squealer is an intriguing character in Orwell's Animal Farm. He's first described as a manipulator and persuader. Orwell narrates, "He could turn black into white." Many critics correlate Squealer with the Pravda, the Russian newspaper of the 1930s. Propaganda was a key to many publications, and since there was no television or radio, the newspaper was the primary source of media information. So the monopoly of the Pravda was seized by Stalin and his new Bolshevik regime. In Animal Farm, Squealer, like the newspaper, is the link between Napoleon and other animals. When Squealer masks the evil intentions of the pigs, the intentions can be carried out with little resistance and without political disarray. Squealer is also thought by some to represent Goebbels, who was the minister of propaganda for Germany. This would seem inconsistent with Orwell's satire, however, which was supposed to metaphor characters in Russia.
Snowball
 Orwell describes Snowball as a pig very similar to Napoleon at least in the early stages. Both pigs wanted a leadership position in the "new" economic and political system (which is actually contradictory to the whole supposed system of equality). But as time passes, both eventually realise that one of them will have to step down. Orwell says that the two were always arguing. "Snowball and Napoleon were by far the most active in the debates. But it was noticed that these two were never in agreement: whatever suggestion either of them made, the other could be counted to oppose it." Later, Orwell makes the case stronger. "These two disagreed at every point disagreement was possible." Soon the differences, like whether or not to build a windmill, become too great to deal with, so Napoleon decides that Snowball must be eliminated. It might seem that this was a spontaneous reaction, but a careful look tells otherwise. Napoleon was setting the stage for his own domination long before he really began "dishing it out" to Snowball. For example, he took the puppies away from their mothers in an effort to establish a private police force. These dogs would later be used to eliminate Snowball, his arch-rival. Snowball represents Leo Dawidowitsch Trotsky, the arch-rival of Stalin in Russia.
The parallels between Trotsky and Snowball are uncanny. Trotsky too, was exiled, not from the farm, but to Mexico, where he spoke out against Stalin. Stalin was very weary of Trotsky and feared that Trotsky supporters might try to assassinate him. The dictator of Russia tried hard to kill Trotsky, for the fear of losing leadership was very great in the crazy man's mind. Trotsky also believed in communism, but he thought he could run Russia better than Stalin. Trotsky was murdered in Mexico by the Russian internal police, the NKVD - the precursor of the KGB. Trotsky was found with a pick axe in his head at his villa in Mexico.
Boxer
The name Boxer is cleverly used by Orwell as a metaphor for the Boxer Rebellion in China in the early twentieth century. It was this rebellion which signalled the beginning of communism in red China. This form of communism, much like the distorted Stalin view of socialism, is still present today in the oppressive socialist government in China. Boxer and Clover are used by Orwell to represent the proletariat, or unskilled labour class in Russian society. This lower class is naturally drawn to Stalin (Napoleon) because it seems as though they will benefit most from his new system. Since Boxer and the other low animals are not accustomed to the "good life," they can't really compare Napoleon's government with the life they had before under the czars (Jones). Also, since usually the lowest class has the lowest intelligence, it is not difficult to persuade them into thinking they are getting a good deal. The proletariat is also quite good at convincing themselves that communism is a good idea. Orwell supports this contention when he narrates, "Their most faithful disciples were the two carthorses, Boxer and Clover. Those two had great difficulty in thinking anything out for themselves, but having once accepted the pigs as their teachers, they absorbed everything that they were told, and passed it on to the other animals by simple arguments." Later, the importance of the proletariat is shown when Boxer suddenly falls and there is suddenly a drastic decrease in work productivity. But still he is taken for granted by the pigs, who send him away in a glue truck. Truly Boxer is the biggest poster-child for gullibility.
Pigs
Orwell uses the pigs to surround and support Napoleon. They symbolise the communist party loyalists and the friends of Stalin, as well as perhaps the Duma, or Russian parliament. The pigs, unlike other animals, live in luxury and enjoy the benefits of the society they help to control. The inequality and true hypocrisy of communism is expressed here by Orwell, who criticised Marx's oversimplified view of a socialist, "utopian" society. Obviously, George Orwell doesn't believe such a society can exist. Toward the end of the book, Orwell emphasises, "Somehow it seemed as though the farm had grown richer without making the animals themselves any richer except, of course, the pigs and the dogs."
Dogs
Orwell uses the dogs in his book, Animal Farm, to represent more accurately, the bodyguards of Stalin. The dogs are the arch-defenders of Napoleon and the pigs, and although they don't speak, they are definitely a force the other animals have to reckon with. Orwell almost speaks of the dogs as mindless robots, so dedicated to Napoleon that they can't really speak for themselves. This contention is supported as Orwell describes Napoleon's early and suspicious removal of six puppies from their mother. The reader is left in the dark for a while, but is later enlightened when Orwell describes the chase of Snowball. Napoleon uses his "secret dogs" for the first time here; before Snowball has a chance to stand up and give a counter-argument to Napoleon's disapproval of the windmill, the dogs viciously attack the pig, forcing him to flee, never to return again. Orwell narrates, "Silent and terrified, the animals crept back into the barn. In a moment the dogs came bounding back. At first no one had been able to imagine where these creatures came from, but the problem was soon solved: they were the puppies whom Napoleon had taken away from their mothers and reared privately. Though not yet full-grown, they were huge dogs, and as fierce-looking as wolves. They kept close to Napoleon. It was noticed that they wagged their tails to him in the same way as the other dogs had been used to do to Mr Jones." The use of the dogs begins the evil use of force which helps Napoleon maintain power. Later, the dogs do even more dastardly things when they are instructed to kill the animals labelled "disloyal." Stalin, too, had his own special force of "helpers". Really there are followers loyal to any politician or government leader, but Stalin in particular needed a special police force to eliminate his opponents. This is how Trotsky was killed.
Mollie
 Mollie is one of Orwell's minor characters, but she represents something very important. Mollie is one of the animals who is most opposed to the new government under Napoleon. She doesn't care much about the politics of the whole situation; she just wants to tie her hair with ribbons and eat sugar, things her social status won't allow. Many animals consider her a traitor when she is seen being petted by a human from a neighbouring farm. Soon Mollie is confronted by the "dedicated" animals, and she quietly leaves the farm. Mollie characterises the typical middle-class skilled worker who suffers from this new communism concept. No longer will she get her sugar (nice salary) because she is now just as low as the other animals, like Boxer and Clover. Orwell uses Mollie to characterise the people after any rebellion who aren't too receptive to new leaders and new economics. There are always those resistant to change. This continues to dispel the belief Orwell hated and according to which basically all animals act the same. The naivety of Marxism is criticised, socialism is not perfect, and it doesn't work for everyone.
Moses
 Moses is perhaps Orwell's most intriguing character in Animal Farm. This raven, first described as the "especial pet" of Mr Jones, is the only animal who doesn't work. He's also the only character who doesn't listen to Old Major's speech of rebellion. Orwell narrates, "The pigs had an even harder struggle to counteract the lies put about by Moses, the tame raven. Moses, who was Mr Jones's especial pet, was a spy and a tale-bearer, but he was also a clever talker. He claimed to know of the existence of a mysterious country called Sugarcandy Mountain, to which all animals went when they died. It was situated somewhere up in the sky, a little distance beyond the clouds, Moses said. In Sugarcandy Mountain it was Sunday seven days a week, clover was in season all the year round, and lump sugar and linseed cake grew on the hedges. The animals hated Moses because he told tales and did no work but some of them believed in Sugarcandy Mountain, and the pigs had to argue very hard to persuade them that there was no such place." Moses represents Orwell's view of the Church. To Orwell, the Church is just used as a tool by dictatorships to keep the working class of people hopeful and productive. Orwell uses Moses to criticize Marx's belief that the Church will just go away after the rebellion. Jones first used Moses to keep the animals working, and he was successful in many ways before the rebellion. The pigs had a real hard time getting rid of Moses, since the lies about Heaven they thought would only lead the animals away from the equality of socialism. But as the pigs led by Napoleon become more and more like Mr Jones, Moses finds his place again. After being away for several years, he suddenly returns and picks up right where he left off. The pigs don't mind this time because the animals have already.
   
       
Animal Farm
Animal Farm, known at the beginning and the end of the novel as the Manor Farm, symbolizes Russia and the Soviet Union under Communist Party rule. But more generally, Animal Farm stands for any human society, be it capitalist, socialist, fascist, or communist. It possesses the internal structure of a nation, with a government (the pigs), a police force or army (the dogs), a working class (the other animals), and state holidays and rituals. Its location amid a number of hostile neighboring farms supports its symbolism as a political entity with diplomatic concerns.
The Barn
The barn at Animal Farm, on whose outside walls the pigs paint the Seven Commandments and, later, their revisions, represents the collective memory of a modern nation. The many scenes in which the ruling-class pigs alter the principles of Animalism and in which the working-class animals puzzle over but accept these changes represent the way an institution in power can revise a community’s concept of history to bolster its control. If the working class believes history to lie on the side of their oppressors, they are less likely to question oppressive practices. Moreover, the oppressors, by revising their nation’s conception of its origins and development, gain control of the nation’s very identity, and the oppressed soon come to depend upon the authorities for their communal sense of self.
The Windmill
The great windmill symbolizes the pigs’ manipulation of the other animals for their own gain. Despite the immediacy of the need for food and warmth, the pigs exploit Boxer and the other common animals by making them undertake backbreaking labor to build the windmill, which will ultimately earn the pigs more money and thus increase their power. The pigs’ declaration that Snowball is responsible for the windmill’s first collapse constitutes psychological manipulation, as it prevents the common animals from doubting the pigs’ abilities and unites them against a supposed enemy. The ultimate conversion of the windmill to commercial use is one more sign of the pigs’ betrayal of their fellow animals. From an allegorical point of view, the windmill represents the enormous modernization projects undertaken in Soviet Russia after the Russian Revolution.

Motifs
Motifs are recurring structures, contrasts, and literary devices that can help to develop and inform the text’s major themes.
Songs
Animal Farm is filled with songs, poems, and slogans, including Major’s stirring “Beasts of England,” Minimus’s ode to Napoleon, the sheep’s chants, and Minimus’s revised anthem, “Animal Farm, Animal Farm.” All of these songs serve as propaganda, one of the major conduits of social control. By making the working-class animals speak the same words at the same time, the pigs evoke an atmosphere of grandeur and nobility associated with the recited text’s subject matter. The songs also erode the animals’ sense of individuality and keep them focused on the tasks by which they will purportedly achieve freedom.

State Ritual
As Animal Farm shifts gears from its early revolutionary fervor to a phase of consolidation of power in the hands of the few, national rituals become an ever more common part of the farm’s social life. Military awards, large parades, and new songs all proliferate as the state attempts to reinforce the loyalty of the animals. The increasing frequency of the rituals bespeaks the extent to which the working class in the novella becomes ever more reliant on the ruling class to define their group identity and values.

'Animal Farm' Quotes
George Orwell's Famous & Controversial Novel
Animal Farm is a famous novel by George Orwell. In this novel, the animals all begin to follow the precepts of Animalism, rise up against the humans, take over the farm, and rename the place: Animal Farm.

Here are a few quotes from this famous work :
"Man is the only creature that consumes without producing. He does not give milk, he does not lay eggs, he is too weak to pull the plough, he can not run fast enough to catch rabbits. Yet he is lord of all the animals. He sets them to work, he gives back to them the bare minimum that will prevent them from starving, and the rest he keeps for himself."
- George Orwell, Animal Farm, Ch. 1
"All men are enemies. All animals are comrades."
- George Orwell, Animal Farm, Ch. 1

"THE SEVEN COMMANDMENTS”
1. Whatever goes upon two legs is an enemy.
2. Whatever goes upon four legs, or has wings, is a friend.
3. No animal shall wear clothes.
4. No animal shall sleep in a bed.
5. No animal shall drink alcohol.
6. No animal shall kill any other animal.
7. “ All animals are equal."
- George Orwell, Animal Farm, Ch. 2
"The animals were happy as they had never conceived it possible to be. Every mouthful of food was an acute positive pleasure, now that it was truly their own food, produced by themselves and for themselves, not doled out to them by a grudging master."
- George Orwell, Animal Farm, Ch. 3
"I will work harder!"
- George Orwell, Animal Farm, Ch. 3
"FOUR LEGS GOOD, TWO LEGS BAD"
- George Orwell, Animal Farm, Ch. 3, pg. 29
"It was given out that the animals there practiced cannibalism, tortured one another with red-hot horseshoes, and had their females in common. This was what came of rebelling against the laws of Nature, Frederick and Pilkington said."
- George Orwell, Animal Farm, Ch. 4
"'I have no wish to take life, not even human life,' repeated Boxer, and his eyes were full of tears."
- George Orwell, Animal Farm, Ch. 4
"No one believes more firmly than Comrade Napoleon that all animals are equal. He would be only too happy to let you make your decisions for yourselves. But sometimes you might make the wrong decisions, comrades, and then where should we be?"
- George Orwell, Animal Farm, Ch. 5
"Napoleon is always right."
- George Orwell, Animal Farm, Ch. 5
"All that year the animals worked like slaves. But they were happy in their work; they grudged no effort or sacrifice, well aware that everything they did was for the benefit of themselves and those of their kind who would come after them, and not for a pack of idle, thieving human beings."
- George Orwell, Animal Farm, Ch. 6
"The human beings did not hate Animal Farm any less now that it was prospering; indeed, they hated it more than ever."
- George Orwell, Animal Farm, Ch. 6
"They were always cold, and usually hungry as well."
- George Orwell, Animal Farm, Ch. 7
"If a window was broken or a drain was blocked up, someone was certain to say that Snowball had come in the night and done it, and when the key of the store-shed was lost, the whole farm was convinced that Snowball had thrown it down the well. Curiously enough, they went on believing this even after the mislaid key was found under a sack of meal."
- George Orwell, Animal Farm, Ch. 7
"If she herself had had any picture of the future, it had been of a society of animals set free from hunger and the whip, all equal, each working according to his capacity, the strong protecting the weak."
- George Orwell, Animal Farm, Ch. 7
"they had come to a time when no one dared speak his mind, when fierce, growling dogs roamed everywhere, and when you had to watch your comrades torn to pieces after confessing to shocking crimes." Chapter 7
"some of the animals remembered--or thought they remembered--that the Sixth Commandment decreed 'No animal shall kill any other animal.' And though no one cared to mention it in the hearing of the pigs or the dogs, it was felt that the killings which had taken place did not square with this."
- George Orwell, Animal Farm, Ch. 8
"It had become usual to give Napoleon the credit for every successful achievement and every stroke of good fortune. You would often hear one hen remark to another, 'Under the guidance of our Leader, Comrade Napoleon, I have laid five eggs in six days'; or two cows, enjoying a drink at the pool, would exclaim, 'Thanks to the leadership of Comrade Napoleon, how excellent this water tastes!”
- George Orwell, Animal Farm, Ch. 8
"Reading out the figures in a shrill, rapid voice, he proved to them in detail that they had more oats, more hay, more turnips than they had had in Jones's day, that they worked shorter hours, that their drinking water was of better quality, that they lived longer, that a larger proportion of their young ones survived infancy, and that they had more straw in their stalls and suffered less from fleas."
- George Orwell, Animal Farm, Ch. 9
"Besides, in those days they had been slaves and now they were free, and that made all the difference, as Squealer did not fail to point out."
- George Orwell, Animal Farm, Ch. 9
"Napoleon had denounced such ideas as contrary to the spirit of Animalism. The truest happiness, he said, lay in working hard and living frugally."
- George Orwell, Animal Farm, Ch. 10
"Only old Benjamin professed to remember every detail of his long life and to know that things never had been, nor ever could be much better or much worse - hunger, hardship and disappointment being, so he said, the unalterable law of life."
- George Orwell, Animal Farm, Ch. 10, pg. 109
"ALL ANIMALS ARE EQUAL, BUT SOME ARE MORE EQUAL THAN OTHERS"
- George Orwell, Animal Farm, Ch. 10
"No question now, what had happened to the faces of the pigs. The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which."
- George Orwell, Animal Farm, Ch. 10














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