George Orwell

1984 and We

George Orwell's seminal work, "1984," bears the indelible imprint of Yevgeny Zamyatin's groundbreaking dystopian novel, "We." Published in 1924, Zamyatin's "We" pioneered the genre, laying the conceptual foundation for Orwell's later masterpiece. Orwell, deeply influenced by Zamyatin's narrative and ideas, acknowledged the impact of "We" on shaping his own vision of a totalitarian future.

Both protagonists - in "1984" and "We"- write a diary — "We" basically consists only from chapters from D-503 diary.

Zamyatin's "We" envisages a meticulously planned society where individuals are reduced to mere cogs in a machine, stripped of personal identity, and live in a glass houses where they are being constantly surveilled. The omnipresent eye of the Benefactor, akin to Big Brother in "1984," symbolizes the dehumanizing effects of absolute authority. Zamyatin's portrayal of a regimented world, stifling creativity and suppressing individuality, profoundly resonates in Orwell's depiction of Oceania. The glass walls were changed in 1984 to suveillence with screens.

Orwell, who reviewed "We" in the years preceding "1984", was captivated by Zamyatin's foresight into the perils of unchecked state control. The parallelism between the two works is evident in their exploration of the human spirit under the shadow of authoritarianism. Both authors grapple with the dehumanizing consequences of an omnipotent state apparatus. In both books authors depict torture and executions.

Even the plot of "1984" develops in the same direction as in "We". The main charachter D-503 meets a woman who takes him behind the wall which surronds the city and he sees the different world there. She tells him about planning rebellion. The story of Winston and Julia is similar, with the difference that to see another world they only take a train to the other part of London.

In "We", the old world represents so called Ancient House, where protoganists meet.

In "1984" Julia and Winston meet in an antique house.

Both ptotoganists in the end betray their loved ones.

Even some distinct phrases from "1984", such as “Freedom is the freedom to say that two plus two make four.” goes back to "We". The protoganist of "We" also thinks about two plus two, he even writes a poem —

Eternally enamored two times two
Eternally united in the passionate four,
Most ardent lovers in the world—
Inseparable two times two…

The theme of forbidden love as a subversive act against the oppressive regime, is prevalent in both novels. Orwell's Winston Smith and Zamyatin's D-503 rebel against the regime.

Furthermore, Orwell borrowed the concept of Newspeak—a language designed to eliminate unorthodox thoughts—from Zamyatin's exploration of linguistic control. Zamyatin's exploration of the manipulation of language finds its echo in the politically charged linguistic landscape of "1984".

Orwell, shaped by the Russian author's foresight, translated these warnings into a distinct narrative that has become a timeless cautionary tale. The legacy of Zamyatin's "We" endures not only as a foundational work in dystopian literature but also as a guiding influence that enriched Orwell's exploration of the darkest corners of the human experience.

The book by Zanyatin "We" did not become as well known as "1984". The writer died in poverty in Paris in 1938. His book was definitely ahead of his time and was appreciated mainly by writers who often borrowed ideas from this book. Even George Orwell write in his review:

"The first thing anyone would notice about We is the fact—never pointed out, I believe—that Aldous Huxley’s Brave New World must be partly derived from it. Both books deal with the rebellion of the primitive human spirit against a rationalised, mechanised, painless world, and both stories are supposed to take place about six hundred years hence. The atmosphere of the two books is similar, and it is roughly speaking the same kind of society that is being described, though Huxley’s book shows less political awareness and is more influenced by recent biological and psychological theories."

Eugeniy Zamyatin, an avant-garde modernist writer, distinguished himself through the development of a distinctive literary style characterized by an abundance of neologisms and metaphors. The aesthetics inherent in his writing, both in terms of form and style, may have proven challenging for some readers to fully grasp, especially when juxtaposed with the more conservative approach of George Orwell. Unlike Zamyatin, Orwell aimed for simplicity and clarity in his narrative, seeking to render his stories more accessible to a broader audience.

Writer and journalist Isaac Deutscher, in his 1955 essay "1984 – The Mysticism of Cruelty", claimed that Orwell 'borrowed the idea of 1984, the plot, the chief characters, the symbols and the whole climate of his story from Evgeny Zamyatin's "We"... Poor Orwell, could he ever imagine that his own book would become so prominent an item in the program of Hate Week?'

Moreover, both Zamyatin and Orwell infused their works with elements from their own lives. Zamyatin, drawing on his background as an engineer, prominently featured an engineer as the protagonist in his narrative. This choice not only showcased his personal experiences and perspectives but also added a unique dimension to his storytelling. On the other hand, Orwell's incorporation of biographical details is evident in the character of Winston, who works in the Ministry of Information. This professional setting mirrors Orwell's own experiences at the BBC and underscores his ongoing struggle with issues of censorship and control.