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Shooting an elephant george orwell essay

Shooting an elephant george orwell essay



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Our civilization is decadent and our language — so the argument runs — must inevitably share in the general collapse. Now, it is clear shooting an elephant george orwell essay the decline of a language must ultimately have political and economic causes: it is not due simply to the bad influence of this or that individual writer. But an effect can become a cause, reinforcing the original cause and producing the same effect in an intensified form, and so on indefinitely. A man may take to drink because he feels himself to be a failure, and then fail all the more completely because he drinks.

These five passages have not been picked out because they are especially bad — I could have quoted far worse if I had chosen — but because they illustrate various of the mental vices from which we now suffer. They are a little below the average, but are fairly representative examples. Above all, we cannot play ducks and drakes with a native battery of idioms which prescribes egregious collocations of vocables as the Basic put up with for tolerate, or put at a loss for bewilder. On the one side we have the free personality: by definition it is not neurotic, for it has neither conflict nor dream. If a new spirit is to be infused into this old country, there is one thorny and contentious reform which must be tackled, and that is the humanization and galvanization of the B. Timidity here will bespeak canker and atrophy of the soul. Each of these passages has faults of its own, but, quite apart from avoidable ugliness, two qualities are common to all of them.

The writer either has a meaning and cannot express it, or he inadvertently says something else, or he is almost indifferent as to whether his words mean anything or not. But in between these two classes there is a huge dump of worn-out metaphors which have lost all evocative power and are merely used because they save people the trouble of inventing phrases for themselves. These save the trouble of picking out appropriate verbs and nouns, and at the same time pad each sentence with extra syllables which give it an appearance of symmetry. The keynote is the elimination of simple verbs. Now that I have made this catalogue of swindles and perversions, let me give another example of the kind of writing that they lead to. This time it must of its nature be an imaginary one. I am going to translate a passage of good English into modern English of the worst sort.

Objective considerations of contemporary phenomena compel the conclusion that success or failure in competitive activities exhibits no tendency to be commensurate with innate capacity, but that a considerable element of the unpredictable must invariably be taken into account. This is a parody, but not a very gross one. It will be seen that I have not made a full translation. As I have tried to show, modern writing at its worst does not consist in picking out words for the sake of their meaning and inventing images in order to make the meaning clearer.



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