Визначення специфіки, ролі та функцій хронотопу в романі Дж. Оруела "1984"

His parents had forced him to work hard at a dreary preparatory school, and now after winning the scholarship, he was not interested any more in further mental exertion unrelated to his private ambition. At the beginning of his essay «Why I Write», he explains that from the age of five or six he had known that he would be - must be - a writer. He had finished the final examinations at Eton as number 138 of 167. He neglected to win a university scholarship, and in 1922 Eric Blair joined the Indian Imperial Police. In doing so he was already breaking away from the path most of his school-fellows would take, for Eton often led to either Oxford or Cambridge. Instead, he was drawn to a life of travel and action. He trained in Burma, and served there in the police force for five years. In 1927, while home on leave, he resigned. There had been at least two reasons for this: firstly, his life as a policeman was a distraction from the life he really wanted, which was to be a writer; and secondly, he had come to feel that, as a policeman in Burma, he was supporting a political system in which he could no longer believe. Even as early as this, his ideas about writing and his political ideas were closely linked.

Back in London he settled down in a grotty bedroom in Portobello Road. There, at the age of twenty-four, he started to teach himself how to write. In spring of 1928, he turned his back on his own inherited values by taking a drastic step. For more than one year he lived among the poor, first in London, then in Paris. For him the poor were victims of injustice, playing the same part as the Burmese played in their country. One reason for going to live among the poor was to overcome a repulsion which he considered typical of his own class. Once again his journey was downward into the life to which he felt he should expose himself, the life of poverty-stricken, or of those who barely scraped a living.

His first book was written in 1930, «Down and Out in Paris and London» though it is not a novel; it is a kind of documentary account of life unknown to most of its readers. And this was the point of it: he wished to bring the English middle class, of which he was a member, to an understanding that the life they led and enjoyed, was founded upon the life under their very noses. At that time Eric Blair took a pseudonym George Orwell.

His next books were «A Clergyman's Daughter» (1935) and «Keep The Aspidistra Flying» (1936). In 1936 he opened a village shop in Wallington, Hertfordshire where he did business in the mornings and wrote in the afternoons. The same year he married Eileen O 'Shaughnessy and also received a commission from the Left Book Club to examine the conditions of the poor and unemployed. This resulted in «The Road to Wigan Pier». He went on living among the poor about whom he was to write his book. Once again it was a journey away from the comparative comfort of middle-class life.

In 1938, Orwell became ill with tuberculosis and spent the winter in Morocco. While being there, he wrote his next book, a novel entitled Coming up for Air, published in 1939, the year the long-threatened war between England and Germany broke out. Orwell wanted to fight against the fascist enemy, but he was declared physically unfit. In 1941 he joined the British Broadcasting Corporation as talks producer in the Indian section of the eastern service. He served in the Home Guard, a wartime civilian body for local defence. In 1943 he left the BBC to become literary editor of the Tribune and began writing «Animal Farm». In 1944 the Orwells adopted a son, but in 1945 his wife died during an operation. Towards the end of the war, Orwell went to Europe as a reporter. Late in 1945 he went to the island of Jura off the Scottish coast, and settled there in 1946. He wrote «Nineteen Eighty-Four» there. The island's climate was unsuitable for someone suffering from tuberculosis and «Nineteen Eighty-Four» reflects the bleakness of human suffering, the indignity of pain. Indeed, he said that the book wouldn't have been so gloomy had he not been so ill. Later that year he married Sonia Brownell. He died in January 1950.

Class work

T.: Thank you for a wonderful report. Now when you have heard about the life of George Orwell will you please answer my questions?

1. When did George Orwell realize his true calling - to become a writer and how did he learn to write books? (From the age of five or six Eric Blair (George Orwell) had known that he would be a writer. He taught himself how to write.)

2. Why did the writer live as a poor man when he was young? (George Orwell lived among the poor to overcome a repulsion which he considered typical of his own class. He wanted to experience the life of those people to whom he wanted to dedicate his works).

3. Under what circumstances had the novel «1984» been created? (George Orwell suffered from tuberculosis when he was writing his last novel «1984»).

T.: Thank you for excellent answers. As you can see George Orwell used his life experience and knowledge to reveal life conditions of poor people. Now we will try to understand how he used this knowledge while creating his best novel «1984». You have already read the novel at home and you were asked to pay particular attention to the description of space given in the novel and to focus on time organisation. Before we start let us find the definition to categories of time and space.

Time as philosophical term is identified as general form of being which predetermines the length of being and the consequence of changing in state of material objects. Time forms are: storyline time, plotline, narrative, past time, pre-past time etc.

Space - the set of homogeneous objects (events, states, functions and figures, variables, etc.) between which there are relationships such as common spatial relations. Space can act as a real visual character or narrator, and the imaginary, can be represented as increasing and narrowing.

T.: The main function of time and space in any literary work is of course the function of the main organizing element of the plot. But today I would like to show you that these two categories can perform a role of powerful means for expressing the main idea of the novel. Since you have already read the novel I would like you to share your thoughts about the main idea of this book. I will write your ideas on the blackboard so that we could decide on the most appropriate.

(Possible answers: 1. Degradation of society living in the totalitarian state; 2. Loss of free love in the totalitarian state; 3. The impossibility of free thoughts, feelings and deeds in a closed totalitarian society).

T.: Well done! You have grasped the main idea. Let us choose the third variant to express the main idea of the novel as indeed the main hero of the book has no right to feel, think and do anything willfully. Thus the main idea of the novel is as follows: The impossibility of free thoughts, feelings and deeds in a closed totalitarian society. And now we will try to see how this idea is developed with the help of time and space organization given in the book.

One of the slogans of the Party in Oceania says: «Who controls the past, controls the future: who controls the present controls the past». Please answer my question: How does the Party control the past? (Possible answer: past events are constantly changing with the help of newspapers, films, television. The past vents described in these sources of information are changing and new information claims as truth).

Reading

T.: Right you are! Now you will read an episode from the novel «1984» where the process of altering of the past is described. Please pay your attention to linguistic means which specify time such as forms of the verb, adverbs and adjectives. Make notes during reading (Дод. В)

T.: Please answer my questions:

1. On which day of Hate Week did the enemy of Oceania change? (On the sixth day).

2. Why does the author of the novel try to focus our attention on this precise period of time? (He wants to show that for six long days full of hatred and rage to the enemy people were absolutely sure that this enemy was Eurasia and nothing else).

3. When has the situation changed? How did it happen? (The situation changed at night during one of the demonstrations. The speaker had been proclaiming the speech for twenty minutes when he got to know that the enemy had changed. He simply said it to people without even breaking his speech).

4. What did the crowd do? How much time did people spend to do it? (People thought that it was sabotage and within two or three minutes all posters and slogans decorating the square were destroyed).

5. Which linguistic means does George Orwell use to show the immediate altering of the past? (The immediate altering of the past is shown with the help of adverbs and adjectives of time: at just this moment; with extreme suddenness and everywhere at once; the next moment; but within two or three minutes it was all over; one minute more, and the feral roars of rage were again bursting from the crowd; and with the help of forms of the verb (Past Indefinite and Past Perfect): «Oceania was at war with Eastasia: Oceania had always been at war with Eastasia»).

T.: As you can see the process of altering past events happens very quickly. Within several minutes people are convinced that their past had been always the same though it had changed only a moment before. And George Orwell skilfully used linguistic means to show short duration and irreversibility of this process. In this way people are deprived of their past. Everybody knows that a person who doesn't know his past can't build future. In the novel «1984» the Party doesn't allow people to remember their past thus taking away the possibility to change reality, to build their own future. Can we say that time becomes the weapon, the symbol in the hands of ruling class? (Yes, we can). What can time symbolise in the world created by George Orwell? How do you think? (Time symbolises power, unfreedom, inequality since only the upper, ruling class of people knows the true past of Oceania).

T.: We can make a conclusion that time in the novel «1984» serves as the symbol of power and helps to emphasise the main idea of the novel: the impossibility of freedom in the closed society.

Listening

T.: Now we will focus on the specific features of different places where the main hero of the novel, Winston Smith, comes during the narration. You can see the scheme of Winston's movement on the blackboard.

T.: As we have already mentioned, Winston lives in a closed society where freedom of any kind is impossible. Now I suggest you to analyse the movement of the hero and find a place where he feels free if there is any. I ask you to make three teams. Each team has to focus on the descriptions of space given in a certain part of the novel: first team - part I; second team - part II, third team - part III. Your task will be to listen to the abstract from the text of the novel and to make a conclusion about the characteristic features of places described by answering the questions on cards. Now we will listen to the first abstract for the first team. And our first stop will be the Victory Mansions, the place where Winston lives. Listen to the description of this space. Please make notes while listening.

T.: Here, in this house and in this room Winston lives, this is his home. Home is a place where a person feels comfortable and secure, where he can be himself and do what he wants.

And now we will listen to the second abstract which describes the first meeting of Winston and Julia (Дод. Д).

T.: This time the author shows us an open area. Can it be a place where freedom and happiness are possible? Our second team will think over this question later. And now we will listen to the last abstract for third team (Дод. Е)

T.: You have cards with questions. Please try to answer these questions and give us a conclusion about the parts of space described in the abstract for your team.

Card 1

Answer the following questions and make a conclusion about the characteristic features of the place described:

1. Is Winston's home comfortable? Which words from the abstract can you name to prove your answer?

2. Is Winston's apartment safe enough? Can Winston do what he wants to do being at home?

3. Which elements of space make Winston feel locked?

(Conclusion of the first team: Winston Smith, the main character of the novel, lives in poor living conditions. The Victory Mansions is extremely shabby building with unpleasant smells of boiled cabbage and old rag mats. Besides the lift inside of the building is always broken so Winston whose leg hurts has to go up on the seventh floor by foot. Moreover we can see two specific detail of the interior which prevent Winston from feeling calm and secure in his own house and flat. These are the poster with the enormous face of Big Brother gazed from the wall and caption: BIG BROTHER IS WATCHING YOU and the telescreen, device for watching people. The telescreen can't be shut off completely and this device can pick up every Winston's word and movement. And the poster on the wall was so contrived that the eyes follow could follow Winston about when he moved. We can make a conclusion that Winston's home is particularly shabby, uncomfortable place where a person can't feel safe even for a second. We would say that this building itself looks like a prison where Winston's flat is his cell and Big Brother is the main prison guard. Winston is a prisoner in his own house).

Card 2

Answer the following questions and make a conclusion about the characteristic features of the place described:

1. Does Winston like the place of his date with Julia? What emotions and feelings does he feel while being there?

2. Why does Julia ask Winston to keep silent?

3. Which details of the space calm Julia down and allow her to start speaking?

(Conclusion of the second team: though the space chosen by Julia for their first date is characterized by safe from telescreens and Big Brother's eyes place, Winston feels uncomfortable here. The sunshine which must give energy and good mood makes Winston feel dirty and etiolated as he has got used to dusty London streets and buildings. Besides Julia herself feels scared of microphones which might be hidden somewhere on the trees. That is why she forbids Winston to talk and herself keeps silence until the branches of the trees are thin so that the microphone can't be hidden there. As we can see the open area still can't be safe enough, fresh air and sunshine become the reason for feeling unwell for Winston. We can make a conclusion that this part of the space can be viewed as a closed space where anyone can't help feeling scared of the possibility to be arrested).

Card 3

Answer the following questions and make a conclusion about the characteristic features of the place described:

1. Which details of the interior make Winston think that he is in the cell of Ministry of love?

2. Which details of space prevent Winston from sleeping and eating?

3. Why can't Winston tell what time it is?

(Conclusion of the second team: The third abstract describes the cell in the Ministry of love. Though Winston can't say for sure where he is placed such details of the interior as high-ceilinged windowless cell and walls of glittering white porcelain assure Winston and the reader that it is prison cell. Thus we can see closed space where amenity such as bed and lavatory are absent. Moreover the devises for watching are quadruplicated - there are four telescreens on the walls instead of one. Every slightest movement is immediately noticed by those who are watching Winston. Another important detail in the description of this place is absolute absence of any temporal references - Winston can't tell for how long he has already been sitting here. The only thing which Winston could understand, the last thing which connected him with outer world, time, was stolen from him in this prison cell. We can make a conclusion that the part of space described in abstract three is shown as a perfect closed space where even time stops for a prisoner).

T.: Thank you for wonderful observations that you've made. We found out that in all three parts of the novel closed kinds of space are given. We can see how separate details of interior make up the world of fear and captivity. Every next place where Winston finds himself turns out to be unsafe for him. The main character constantly feels discomfort, cold, constraints and fear for his life. These are life conditions in a closed society, where human's life is locked in a cell and freedom of thought, feeling or action is impossible.

ІV. Заключна частина уроку

Підсумок уроку

T.: Today we've got acquainted with one of the greatest novels of the XX century - «1984» written by George Orwell. We found out the main idea of this novel and analysed how this idea is developed with the help of time and space organization given in the book. We have found out that time becomes a symbol of power over people and different types of space function as means for creating the closed world of totalitarian state where freedom of any kind is impossible. Thank you for excellent work.

Домашне завдання

- Answer the questions:

1. What symbols are presented in the novel?

2. How do the cells in the Ministry of love where Winston has been locked change and why?

3. Why does George Orwell place his character back to life in society at the end of the novel?

Оцінювання учнів

роман оруелл хронотоп художній

Висновки

У результаті нашого дослідження нами було визначено та узагальнено наукові (філософські, лінгвокультурологічні та літературознавчі) уявлення про ключові поняття категорій часу і простору. У роботі дано визначення сутності поняття «хронотоп», проаналізовано основні типи і форми просторової і часової організації художнього твору, що були виокремлені у різних трудах провідними теоретиками та дослідниками хронотопу, такими як М. Бахтін, Д. Ліхачов, Ю. Лотман, Н. Джохадзе, Н. Копистянська, Н. Тодчук, В.М. Топоров, Б. Успенський. Зроблено висновок, що хронотоп відіграє важливу роль у структурній організації будь-якого художнього твору, виконує сюжетоформуючу функцію. Аналіз часопростору нерідко дозволяє виявити додаткові смислові парадигми у творі та надає змогу більш глибокого осягнення авторської художньої концепції.

У ході аналізу роману Джорджа Оруела «1984» нами виокремлено та схарактеризовано часові моделі та досліджено їх специфіку. Так час у романі характеризується циклічністю, стискається, розширюється, змінюється. Наявні часові лакуни, у яких перебуває головний герой під час окремих етапів розслідування у Міністерстві любові. В романі також присутні такі типи художнього часу як психологічний, карнавальний та критичний. Характерною особливістю цих типів часового простору ми назвали їх спрямованість на визначення головної ідеї роману. Ми також зробили висновок, що час в романі набуває особливого значення для створення світу, який оточує головних героїв роману, виступаючи символом влади та несвободи, а також функціонуючи як останній зв'язок із реальним світом для головного героя.

Аналізуючи особливості просторового континууму в романі «1984», ми звернули увагу на специфіку розподілу художнього простору твору, який має троїсту структуру, замість традиційних двох складових. Такий авторський прийом виступає інструментом для позначення непросторових відносин в романі і ділить суспільство на три класи. Водночас непорушність просторових кордонів підкреслює чіткий і суворий характер розшарування суспільства. Простір у романі характеризується «замкненістю - відкритістю», яка насправді полягає у відсутності опозиції між двома видами простору. Таку особливість просторової організації роману, де замкнений вид простору практично повністю витісняє розімкнений / відкритий, на нашу думку, можна вважати авторським прийомом Джорджа Оруела, що спрямований на розвиток головної ідеї роману «1984». В ході нашого дослідження ми також дійшли висновку, що хронотоп в романі виступає в якості сюжетоскладової частини тексту, виконуючи сюжетні функції та виокремлюючи кордон між сюжетним та безсюжетним текстом.

Підбиваючи підсумки нашого наукового дослідження, ми можемо зазначити, що мета дослідження була виконана. Нам вдалося з'ясувати основні риси, особливості та функції хронотопу в романі «1984» Дж. Оруела.

На основі результатів дослідження нами розроблено план-конспект інтегрованого уроку з англійської мови та зарубіжної літератури для учнів 11 класу шкіл з поглибленим вивченням англійської мови. В нашій розробці ми спробували зосередити увагу учнів на лексико-граматичних конструкціях та одиницях, які використовує Дж. Оруел при створенні художнього простору роману, а також на роль часового та просторового континуумів для розвитку головної ідеї твору.

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Додаток А

Додаток Б

Додаток В

Abstract for reading

On the sixth day of Hate Week, after the processions, the speeches, the shouting, the singing, the banners, the posters, the films, the waxworks, the rolling of drums and squealing of trumpets, the tramp of marching feet, the grinding of the caterpillars of tanks, the roar of massed planes, the booming of guns - after six days of this, when the great orgasm was quivering to its climax and the general hatred of Eurasia had boiled up into such delirium that if the crowd could have got their hands on the 2,000 Eurasian war-criminals who were to be publicly hanged on the last day of the proceedings, they would unquestionably have torn them to pieces - at just this moment it had been announced that Oceania was not after all at war with Eurasia. Oceania was at war with Eastasia. Eurasia was an ally.

There was, of course, no admission that any change had taken place. Merely it became known, with extreme suddenness and everywhere at once, that Eastasia and not Eurasia was the enemy. Winston was taking part in a demonstration in one of the central London squares at the moment when it happened. It was night, and the white faces and the scarlet banners were luridly floodlit. The square was packed with several thousand people, including a block of about a thousand schoolchildren in the uniform of the Spies. On a scarlet-draped platform an orator of the Inner Party, a small lean man with disproportionately long arms and a large bald skull over which a few lank locks straggled, was haranguing the crowd. A little Rumpelstiltskin figure, contorted with hatred, he gripped the neck of the microphone with one hand while the other, enormous at the end of a bony arm, clawed the air menacingly above his head. His voice, made metallic by the amplifiers, boomed forth an endless catalogue of atrocities, massacres, deportations, lootings, rapings, torture of prisoners, bombing of civilians, lying propaganda, unjust aggressions, broken treaties. It was almost impossible to listen to him without being first convinced and then maddened. At every few moments the fury of the crowd boiled over and the voice of the speaker was drowned by a wild beast-like roaring that rose uncontrollably from thousands of throats. The most savage yells of all came from the schoolchildren. The speech had been proceeding for perhaps twenty minutes when a messenger hurried on to the platform and a scrap of paper was slipped into the speaker's hand. He unrolled and read it without pausing in his speech. Nothing altered in his voice or manner, or in the content of what he was saying, but suddenly the names were different. Without words said, a wave of understanding rippled through the crowd. Oceania was at war with Eastasia! The next moment there was a tremendous commotion. The banners and posters with which the square was decorated were all wrong! Quite half of them had the wrong faces on them. It was sabotage! The agents of Goldstein had been at work! There was a riotous interlude while posters were ripped from the walls, banners torn to shreds and trampled underfoot. The Spies performed prodigies of activity in clambering over the rooftops and cutting the streamers that fluttered from the chimneys. But within two or three minutes it was all over. The orator, still gripping the neck of the microphone, his shoulders hunched forward, his free hand clawing at the air, had gone straight on with his speech. One minute more, and the feral roars of rage were again bursting from the crowd. The Hate continued exactly as before, except that the target had been changed.

The thing that impressed Winston in looking back was that the speaker had switched from one line to the other actually in midsentence, not only without a pause, but without even breaking the syntax. But at the moment he had other things to preoccupy him. It was during the moment of disorder while the posters were being torn down that a man whose face he did not see had tapped him on the shoulder and said, `Excuse me, I think you've dropped your brief-case.' He took the brief-case abstractedly, without speaking. He knew that it would be days before he had an opportunity to look inside it. The instant that the demonstration was over he went straight to the Ministry of Truth, though the time was now nearly twenty-three hours. The entire staff of the Ministry had done likewise. The orders already issuing from the telescreen, recalling them to their posts, were hardly necessary.

Oceania was at war with Eastasia: Oceania had always been at war with Eastasia. A large part of the political literature of five years was now completely obsolete. Reports and records of all kinds, newspapers, books, pamphlets, films, sound-tracks, photographs -- all had to be rectified at lightning speed. Although no directive was ever issued, it was known that the chiefs of the Department intended that within one week no reference to the war with Eurasia, or the alliance with Eastasia, should remain in existence anywhere.

Додаток Г

Abstract for listening №1

The hallway smelt of boiled cabbage and old rag mats. At one end of it a coloured poster, too large for indoor display, had been tacked to the wall. It depicted simply an enormous face, more than a metre wide: the face of a man of about forty-five, with a heavy black moustache and ruggedly handsome features. Winston made for the stairs. It was no use trying the lift. Even at the best of times it was seldom working, and at present the electric current was cut off during daylight hours. It was part of the economy drive in preparation for Hate Week. The flat was seven flights up, and Winston, who was thirty-nine and had a varicose ulcer above his right ankle, went slowly, resting several times on the way. On each landing, opposite the lift-shaft, the poster with the enormous face gazed from the wall. It was one of those pictures which are so contrived that the eyes follow you about when you move. BIG BROTHER IS WATCHING YOU, the caption beneath it ran.

Inside the flat a fruity voice was reading out a list of figures which had something to do with the production of pig-iron. The voice came from an oblong metal plaque like a dulled mirror which formed part of the surface of the right-hand wall. Winston turned a switch and the voice sank somewhat, though the words were still distinguishable. The instrument (the telescreen, it was called) could be dimmed, but there was no way of shutting it off completely. He moved over to the window: a smallish, frail figure, the meagreness of his body merely emphasized by the blue overalls which were the uniform of the party. His hair was very fair, his face naturally sanguine, his skin roughened by coarse soap and blunt razor blades and the cold of the winter that had just ended.

Outside, even through the shut window-pane, the world looked cold. Down in the street little eddies of wind were whirling dust and torn paper into spirals, and though the sun was shining and the sky a harsh blue, there seemed to be no colour in anything, except the posters that were plastered everywhere. The blackmoustachio'd face gazed down from every commanding corner. There was one on the house-front immediately opposite. BIG BROTHER IS WATCHING YOU, the caption said, while the dark eyes looked deep into Winston's own. Down at street level another poster, torn at one corner, flapped fitfully in the wind, alternately covering and uncovering the single word INGSOC. In the far distance a helicopter skimmed down between the roofs, hovered for an instant like a bluebottle, and darted away again with a curving flight. It was the police patrol, snooping into people's windows. The patrols did not matter, however. Only the Thought Police mattered.

Behind Winston's back the voice from the telescreen was still babbling away about pig-iron and the overfulfilment of the Ninth Three-Year Plan. The telescreen received and transmitted simultaneously. Any sound that Winston made, above the level of a very low whisper, would be picked up by it, moreover, so long as he remained within the field of vision which the metal plaque commanded, he could be seen as well as heard. There was of course no way of knowing whether you were being watched at any given moment.

Додаток Д

Abstract for listening №2

He looked up. It was the girl. She shook her head, evidently as a warning that he must keep silent, then parted the bushes and quickly led the way along the narrow track into the wood. Obviously she had been that way before, for she dodged the boggy bits as though by habit. Winston followed, still clasping his bunch of flowers. His first feeling was relief, but as he watched the strong slender body moving in front of him, with the scarlet sash that was just tight enough to bring out the curve of her hips, the sense of his own inferiority was heavy upon him. Even now it seemed quite likely that when she turned round and looked at him she would draw back after all. The sweetness of the air and the greenness of the leaves daunted him. Already on the walk from the station the May sunshine had made him feel dirty and etiolated, a creature of indoors, with the sooty dust of London in the pores of his skin. It occurred to him that till now she had probably never seen him in broad daylight in the open. They came to the fallen tree that she had spoken of. The girl hopped over and forced apart the bushes, in which there did not seem to be an opening. When Winston followed her, he found that they were in a natural clearing, a tiny grassy knoll surrounded by tall saplings that shut it in completely. The girl stopped and turned.

`Here we are,' she said.

He was facing her at several paces” distance. As yet he did not dare move nearer to her.

`I didn't want to say anything in the lane,' she went on, `in case there's a mike hidden there. I don't suppose there is, but there could be. There's always the chance of one of those swine recognizing your voice. We're all right here.'

He still had not the courage to approach her. `We're all right here?' he repeated stupidly.

`Yes. Look at the trees.' They were small ashes, which at some time had been cut down and had sprouted up again into a forest of poles, none of them thicker than one's wrist. `There's nothing big enough to hide a mike in. Besides, I've been here before.'

Додаток Е

Abstract for listening № 3

He did not know where he was. Presumably he was in the Ministry of Love, but there was no way of making certain. He was in a high-ceilinged windowless cell with walls of glittering white porcelain. Concealed lamps flooded it with cold light, and there was a low, steady humming sound which he supposed had something to do with the air supply. A bench, or shelf, just wide enough to sit on ran round the wall, broken only by the door and, at the end opposite the door, a lavatory pan with no wooden seat. There were four telescreens, one in each wall.

There was a dull aching in his belly. It had been there ever since they had bundled him into the closed van and driven him away. But he was also hungry, with a gnawing, unwholesome kind of hunger. It might be twenty-four hours since he had eaten, it might be thirty-six. He still did not know, probably never would know, whether it had been morning or evening when they arrested him. Since he was arrested he had not been fed.

He sat as still as he could on the narrow bench, with his hands crossed on his knee. He had already learned to sit still. If you made unexpected movements they yelled at you from the telescreen. But the craving for food was growing upon him. What he longed for above all was a piece of bread. He had an idea that there were a few breadcrumbs in the pocket of his overalls. It was even possible -- he thought this because from time to time something seemed to tickle his leg -- that there might be a sizeable bit of crust there. In the end the temptation to find out overcame his fear; he slipped a hand into his pocket.

`Smith!' yelled a voice from the telescreen. `6079 Smith W! Hands out of pockets in the cells!'

He sat still again, his hands crossed on his knee. Before being brought here he had been taken to another place which must have been an ordinary prison or a temporary lock-up used by the patrols. He did not know how long he had been there; some hours at any rate; with no clocks and no daylight it was hard to gauge the time.

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