Places Discussed

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Last Updated on April 27, 2020, by eNotes Editorial. Word Count: 1247


London is the capital of a future (from the perspective of 1949, when George Orwell wrote the book) political unit called Airstrip One in the superstate Oceania that is the setting for the novel. London’s skyline is dominated by four government ministries, whose enormous bulk and tasteless architecture distinguish them from the surviving historical structures surrounding them. Residential sectors of the city segregate members of the unnamed Party from proles (“proletarians”), but both Proles and Outer Party members live in crumbling tenement buildings that are unsanitary, crowded, and poorly maintained. Police patrols are highly visible; posters of Big Brother—the ever-present, seemingly loving personification of the state—are ubiquitous.

The city’s squalor is symptomatic of the Ingsoc government’s disdain for the welfare of its own citizens. This is the result of a change in the fundamental principles and core values of the society; human rights are nonexistent, and all available resources support building and maintaining government structures that administer and preserve the collective. The life of the individual is barren; this barrenness is suggested by lack of luxury, beauty, and privacy.

Inner Party member Winston Smith has a fascination with the past that he acts out by paying clandestine visits to the oldest and meanest areas of the city, where the proles live and work. Because the proles are considered by Inner Party leaders to be beneath concern, their sectors are largely ignored by the government and have become de facto museums of prerevolutionary culture, customs, and mores. Only within the prole neighborhoods can Winston enjoy the smell of real coffee, the sounds of unconstrained conversation and songs, and the sights of uninhibited children playing and adults gathering to talk—all of which reminds Winston of his own childhood and suggest the complexity and fullness of prerevolutionary life.

Victory Mansions

Victory Mansions. Run-down London building in which Winston has a flat on the seventh floor. The building has bad plumbing, no heat, a broken elevator, and the inescapable stench of rancid cabbage. The one thing in the building that works flawlessly is its network of telescreens, which broadcast ceaseless propaganda and, in turn, watch residents through television cameras.

Charrington’s shop

Charrington’s shop. Cramped, dilapidated antique store in a prole sector of London that Winston frequents. He sees the shop as a microcosmic remnant of the past, but it is, in fact, a carefully maintained surveillance tool. Its upstairs apartment, which Winston rents for trysts with Julia, becomes the place of their downfall. Though infested by biting bedbugs and large, aggressive rats, the room also has a private entrance to facilitate Winston and Julia’s secret meetings. There they abandon themselves to sensuality only because they think the room has no telescreen. However, it does have a telescreen, which, ironically, is obscured by something that would never be found in the home of a Party member—an engraving of a medieval church. The illusion of privacy leads Winston and Julia to incriminate themselves, and furthermore leads Winston inadvertently to betray his abject horror of rats to the Thought Police watching him and Julia through the telescreen.

Ministry of Truth

Ministry of Truth. Government ministry building in which Winston is one of many writers who revise historical records to match the government’s constantly changing definitions of reality. Each time Oceania’s military alliances shift, history must be rewritten to show that Oceania has always had the same allies and same enemies. Winston often rewrites the same news stories many times, making something different happen each time, and he comes to appreciate the power of the government precept that whoever controls the past controls the future.

Ministry of...

(This entire section contains 1247 words.)

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Ministry of Love. Site of Winston and Julia’s detention, torture, and reintegration into the Party. One of four enormous pyramidal steel and concrete structures that dominate the London skyline, “Miniluv” has no windows. Standing behind heavily guarded barricades, it is protected by barbed wire and automatic gun pods. Inside, brilliant lights gleam on sparkling clean white walls, which Winston comes to think of as “the place where there is no darkness,” a phrase he remembers either from a prescient dream or from his confused memory. The absence of clocks and windows creates a sense that time is suspended or has no influence, an impression rendered more powerful by the contrast with life outside, where all activities are maintained on a rigorous schedule. Thus Miniluv becomes a mockery of heaven, and by extension, Winston’s indoctrination and reintegration into the Party by O’Brien become a mockery of the loving inclusion into Paradise and communion with God promised by the saints.

Golden Country

Golden Country. Place about which Winston dreams frequently. It is an abandoned pasture that, although once hedged, is being reclaimed by nature. Winston associates it at first with the distant past, and early in the novel, dreams of having a sexual encounter with Julia here; after this dream, he awakens speaking the word “Shakespeare.” Less than a month later, Winston and Julia have their first sexual experience in a rural spot outside London that Winston realizes is almost identical to the place of his dreams. In the midst of his first encounter with Julia, the Golden Country comes to represent for him an animal sensuality unburdened by reason, the antithesis of calculation and cold restraint. Such freedom, for Winston, is possible only in a place largely untainted not just by Ingsoc, but also by the political and philosophical milieu from which it has arisen. The disappearing traces of human domination and the return of the pasture to an idyllic state suggest perhaps not just a yearning for the past, but also a hope for the future. Nevertheless, it is a hope so wild that Winston can hardly allow himself to indulge it except in dream.

Chestnut Tree Café

Chestnut Tree Café. Sidewalk coffeehouse associated with Party members who have been reintegrated and subsequently targeted for vaporization. Early in the novel, Winston destroys an exculpatory newspaper photograph of three enemies of Big Brother whom he later sees at the café, before their disappearances but after their much-publicized but false confessions. A year later, in the novel’s final episode, Winston himself, now a doomed outcast, again sits at the café, drinking sweetened clove-flavored gin, the café specialty, and solving newspaper chess problems. As the telescreen announces a military victory for Oceania’s armies, Winston, who throughout the novel has reacted to such questionable government claims with cynical skepticism, can no longer resist proclaiming his joy and his love for Big Brother.


Oceania. One of three superstates that cover most of the globe. The superstates are conglomerates of nations and regions that first formed alliances then annealed into new entities under the pressures of revolution. The three states are engaged in a constant state of war and shifting alliances, on which Ingsoc broadcasts interminable news bulletins through the telescreens. Oceania itself comprises the lands of the Western Hemisphere, Australia and its surrounding islands, the British Islands, and part of Southern Africa. The easternmost province of Oceania is Airstrip One, which corresponds to what had once been the United Kingdom.


Eastasia. Superstate that comprises China, Southeast Asia, Japan and its surrounding islands, and varying portions of Manchuria, Mongolia, and Tibet.


Eurasia. Superstate that comprises most of Europe and northern Asia, from Portugal to eastern Siberia. When the novel opens, Oceania is at war with Eurasia; when it ends, Eurasia is Oceania’s ally.

The Plot

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Last Updated on May 5, 2015, by eNotes Editorial. Word Count: 283

Winston Smith begins a diary, an act tantamount to signing his own death sentence in a ruthlessly totalitarian state bent on eradicating individuality. He is determined to stay alive—and “human”—as long as he can. To do so, he must escape the all-seeing eye and all-hearing ear of the Thought Police behind the omnipresent telescreen.

Winston and Julia, who work in the Ministry of Truth, become lovers and find an illusory haven above Charrington’s shop in the district of the “proles,” or masses outside the Party. Earlier, the lovers revealed themselves to O’Brien, allegedly a member of the “Brotherhood” intent on toppling Big Brother. O’Brien sends them “the book,” supposedly written by Goldstein, Big Brother’s enemy. The Thought Police smash into the lovers’ refuge and drag them away to the Ministry of Love.

As he expected, Winston is maniacally tortured, but to his surprise his torturer is O’Brien, a self-styled therapist, determined to return Winston to “sanity.” Winston masters “doublethink,” or the capacity to believe that two plus two equals five, or any other number suggested. Confident that he has satisfied O’Brien’s insane demands without betraying the self that loves Julia, Winston is totally unprepared for the horror of what awaits him in Room 101. Knowing that Winston has a phobia of rats, O’Brien has devised a wire mask to fit over his head with a door his tormentors can open into a cage of starving rats. Winston in mindless terror screams, “Do it to Julia! Not me!” Internally devastated by the horrible recognition of his betrayal, Winston accepts self-annihilation as a “victory over himself.” The last sentence confirms his conversion: “He loved Big Brother.”

Literary Style

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Last Updated on April 27, 2020, by eNotes Editorial. Word Count: 972

Point of View

Orwell’s 1984 is told in the third person, but the point of view is clearly Winston Smith’s. Through his eyes, readers are able to see how the totalitarian society functions, in particular how an individual deals with having illegal thoughts that can be detected easily by spies and telescreens that monitor one’s every movement. Because readers are in Winston’s head, they make the mistakes he makes in judging people. At one point he looks around a room at work and tells himself he knows just who will be vaporized within the next few years and who will be allowed to live. His perceptions of who is a loyal party member and who is not turn out to be inaccurate, however. In this way, Orwell shows that in a paranoid society, where personal relationships with others are at best only tolerated and at worst illegal, no one can really know his fellow man.

Winston is a well-drawn character with clear opinions (clear to the reader, that is; he cannot reveal his opinions to anyone in his society). Often, critics have claimed that these opinions echo George Orwell’s. For example, Winston admires the spirit of the proletariat, but looks down on them because they will never have the means or intelligence to change their lives and their government. On the other hand, he admires the sophistication of the wealthy, cultured O’Brien, even though he is an evil character. This may reflect Orwell’s own class prejudices, as someone who was far more educated and worldly than most of the people from the economic class in England (the lower middle class).


Written between 1947 and 1948, 1984’s original title was 1948, but Orwell changed it so that it would be set in the future, but still be close enough to the present to be frightening. The action takes place in London, which is now part of a country called Oceania. Oceania is one of three world superpowers, and it is continually at war with one of the other two superpowers, Eastasia and Eurasia. Enemies can change overnight and become an ally, although the Party automatically rewrites history when this happens so that no one will remember that circumstances were ever any different. This perpetual state of war consumes most of the state’s resources, so city buildings are in a constant state of disrepair. All consumer goods, from food to clothing, are rationed, just as they were in England during World War II. Winston lives in what was once London, now a drab, gray, and decaying urban area.

Language and Meaning

Orwell was very aware of the power of language, so he has the totalitarian government of the future create a new language called Newspeak. Newspeak is used throughout the book by the citizens of Oceania and explained in detail in an appendix. The language is derived from Standard English and will go through many versions over the years until it reaches its final version in the year 2050. The 1984 version, however, still bears a strong resemblance to English.

The basic idea behind Newspeak is to take all words that refer to ideas the Party disagrees with and strip them of their original meaning or eliminate them entirely. The purpose of Newspeak is to narrow the range of ideas that can be expressed, so as the language develops it contains fewer and fewer words. Word forms and grammar are simplified, as is pronunciation, so that eventually the number of readers can be kept to a minimum. Newspeak also contains words to express new ideas, such as oldthink, which means the way people thought before the revolution. Naturally, it has a wicked and decadent connotation.

When Newspeak appeared citizens were unable to read about old ideas and express new ones that were counter to what the Party wanted them to think. An entire passage from the Declaration of Independence “We hold these truths to be self-evident . . . ,” can be reduced to one word: crimethink. Simplistic slogans replace more complicated ideas. The Party’s most famous slogans are “War Is Peace,” “Freedom Is Slavery,” and “Ignorance Is Strength.”

Through the device of a fictional language, Orwell is able to point out that language can be misused to mislead people. In creating Newspeak, Orwell was influenced both by political rhetoric that takes the place of substantive communication and advertising lingo that makes ridiculous and vague promises.


1984 is divided into three parts plus an appendix. Part one sets up Winston’s world, which readers see through his eyes and his thoughts. They understand his loneliness and why this leads him to take risks that will lead to his downfall.

In part two, the lengthiest part of the narrative, Winston becomes connected with people he believes are rebels like himself. He has an affair with Julia and follows O’Brien to an underground meeting of dissidents. Also in part two, Orwell includes lengthy sections from the fictional Emmanuel Goldstein’s political tract. It is interesting to note that his publishers originally wanted Orwell to delete this material, because it stops the action of the narrative.

In part three, Winston and Julia have been caught by the Inner Party and separated. Winston undergoes severe torture and brainwashing at the hands of O’Brien. His dialogue and interaction with O’Brien has much dramatic tension because underlying their battle is mutual respect. Unfortunately for Winston, this respect does not translate into O’Brien freeing him. O’Brien successfully brainwashes Winston into loving Big Brother.

The book ends with an appendix on the development and structure of the language called “Newspeak.” The appendix is written as if it were a scholarly article, and while it serves to clarify the use of Newspeak in the novel it is interesting to note that the publisher originally wanted to cut it, thinking it unnecessary.

Literary Techniques

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Orwell arranged Nineteen Eighty-Four into three parts, devoting the first two thirds of the novel to creating the distorted identity of Oceania and establishing the liaison between Winston and Julia. The last third is comprised primarily of Winston's "re-education" interspersed with didactic polemic. Fusing realism and fantasy, Orwell presents a vivid impression of life as it could be in the future as well as a persuasive argument in favor of prevention. In addition, by utilizing religious metaphor to emphasize the transference of devotion into the extended arms of Big Brother, Orwell casts an ironic spell on the action of the novel. Written in direct, lucid prose, Nineteen Eighty-Four is unquestionably a technical achievement and deserving of its critical reputation as a modern classic.


Key Ideas and Commentary


Historical and Social Context