The description of Napoleon’s dealings with his neighbors, Mr. Pilkington and Mr. Frederick, elaborately parodies Stalin’s diplomatic tap dance with Germany and the Allies at the outset of World War II. Stalin, faced with an unpleasant choice between the capitalist Allies and the fascist Germans and reluctant to enter into another large war, stalled by alternately siding with one country and then the other, using propaganda to drag the populace along with his changing allegiances. At the last minute, and quite unexpectedly, he signed the Non-Aggression Pact (an agreement not to wage war on each other) with the German leader Adolf Hitler, much as Napoleon makes the surprise move of selling the timber to Mr. Frederick. Hitler almost immediately went back on his word—as is evoked by Mr. Frederick’s forged banknotes—and invaded Russia’s western frontier, eventually killing over twenty-five million Russians and demolishing much of the infrastructure that the Soviets had built since the Russian Revolution. In his depiction of the animals’ response to Mr. Frederick’s gratuitous destruction of the great windmill, Orwell aptly conveys the tremendous sense of betrayal and feelings of anger that Russians felt toward Germany during and after World War II.
The pigs, echoing another tactic of the victorious governments after World War II, use the heroism of individuals from the lower classes to reinforce the patriotism of the demoralized survivors. Orwell crafts particularly keen descriptions of the patriotic celebrations and rituals after the animals’ war with Mr. Frederick’s men. He subtly implies that while such ceremonies have the apparent function of bestowing the glory of the state upon the individual, they truly serve the opposite goal: to transfer the nobility of individual sacrifices onto the state.
There are several notable parallels between Animal Farm and Orwell’s final novel, 1984. One can argue that Animal Farm was even a sort of study for 1984, which applies many of Animal Farm’s themes and ideas to human society, rendering the horror of totalitarian government all the more real. One of the principal ideas that each work addresses is the ability of those in power to control and alter both attitudes and history, especially by subverting language. Just as Squealer offers a host of statistics to show that Animal Farm is in better shape than ever, despite the fact that the animals are hungry and cold, so too does the Ministry of Plenty, in 1984, crank out misleading reports about how greatly production has increased; indeed, the ministry reduces rations but convinces people that it is actually increasing them. Similarly, Animal Farm’s ever-alternating alliance with Mr. Frederick and Mr. Pilkington and the leaders’ claim that the farm has always remained committed to the same farmer reaches the apex of absurdity in 1984. In the middle of a speech during Hate Week, the masses mindlessly accept the speaker’s assertion that their country, Oceania, which has indeed been at war with Eurasia, is actually not at war and never has been at war with Eurasia. He says the country is and always has been at war with Eastasia. The masses, carrying explicit anti-Eurasia signs, become embarrassed about their apparent mistake.