Although Orwell endured many rejection notices from publishers on both sides of the Atlantic before Animal Farm finally appeared in print, ever since it was published in 1945 it has enjoyed widespread critical approval. From the start, reviewers were apt to make a favorable comparison between Orwell's book and the work of the great satirists of the past. In an important early review, influential New Yorker critic Edmund Wilson commented that while Orwell's style was reminiscent of that used in the fables of French author Jean de La Fontaine and British author John Gay, he conceded that "Animal Farm even seems very creditable if we compare it with Voltaire and [Jonathan] Swift." Arthur M. Schlesinger, Jr., and Adam de Hegedus were among the first critics to attach more significance to the novel beyond that of a political satire. Schlesinger wrote in the New York Times Book Review that Orwell's ability to make the reader empathize with the plight of the animals "would compel the attention of persons who never heard of the Russian Revolution." In Commonweal, de Hegedus stated: "[The novel] has implications—and they are many—which are older and more universal than the past and present of the Union of Soviet Socialist Republics." He, like many critics have since, pointed out the similarity between conclusions drawn from Orwell's text and the famous aphorism of British historian Lord Acton who wrote, "Power tends to corrupt; absolute power corrupts absolutely." Early negative criticism of the novel included Nation contributor Isaac Rosenfeld's belief that since the events satirized by Orwell had already passed, it was "a backward work," and New Republic critic George Soule's complaint that the book was "on the whole dull."
On Orwell's death in 1950, Arthur Koestler, a friend who shared Orwell's own disillusion with Soviet Communism, again raised comparisons with Swift. "No parable was written since Gulliver's Travels," he wrote in the Observer, "equal in profundity and mordant satire to Animal Farm." British journalist Christopher Hollis examined Orwell's ability to craft a fable. "The author of such a fable must have the Swift-like capacity of ascribing with solemn face to the animals idiotic but easily recognized human qualities," Hollis wrote in his A Study of George Orwell: The Man and His Works, "decking them out in aptly changed phraseology to suit the animal life—ascribe to them the quality and then pass quickly on before the reader has begun to find the point overlaboured. This Orwell has to perfection." Essayist and novelist C. S. Lewis compared Animal Farm to 1984, Orwell's last novel, and found Animal Farm the more powerful of the two. In an essay in Tide and Time he wrote, "Wit and humour (absent from the longer work 1984) are employed with devastating effect. The great sentence 'All animals are equal but some are more equal than others' bites deeper than the whole of 1984."
In the 1960s and 1970s, critical interest in Orwell continued with scholars such as Jenni Calder, George Woodcock, Stephen I. Greenblatt, and Jeffrey Meyers publishing books that discussed Orwell and his works. Like Lewis, Greenblatt and Woodcock considered both Animal Farm and 1984 in their criticism, concluding that 1984 was a thematic continuation of Animal Farm. In his Three Modern Satirists: Waugh, Orwell, & Huxley, Greenblatt wrote: "The horror of both Animal Farm and the later 1984 is precisely the cold, orderly, predictable process by which decency, happiness, and hope are systematically and ruthlessly crushed." In his The Crystal Spirit: A Study of George Orwell, Woodcock observed: "By transferring the problems of caste division outside a human setting, Orwell was able in Animal Farm to avoid the psychological complications inevitable in a novel....
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