As it is, I believe this dedicated champion of the proletariat most probably heard a neural echo of certain lines composed by a celebrated early nineteenth century Suffolk versifier and ‘the first of Rural Bards’*, when he (George Orwell) wrote the concluding couplet of an unfinished poem that must have persisted like an earworm from his days in Southwold . . .
When good King Edward ruled the land
And I was a chubby boy.
Compare, then, this palimpsestic (?) verse with Robert Bloomfield’s Suffolk Dialect Ballad . . .
When once a giggling Mawther [girl] you,
And I a red-faced chubby boy.
A couplet from Bloomfield’s Rural Tales, Ballads and Songs 1802. (The Walk to the Fair, page 5.)
* The poet Robert Bloomfield, of humble parentage, was celebrated as the author of The Farmer’s Boy (published in 1800 with woodcuts by Thomas Bewick); he was born in Suffolk two hundred and fifty years ago, in December 1766, and has a lasting reputation as one of the most significant of the uneducated rustic poets of the English tradition.
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For more literary sleuthing, see . . .
Grim Secrets of Room 101 which traces the horrors of the Ministry of Truth to their source in the works of the Hungarian Tabori Brothers
http://catherineeisnerfrance.blogspot.com/2018/06/grim-secrets-of-room-101-is-it-time-to.html
and
Year Zero ‘A Thing with One Face’ : Prescient Words of the Godfather Who Foresaw the Birth of Winston Smith
http://catherineeisnerfrance.blogspot.com/2017/03/year-zero-thing-with-one-face-prescient.html
Maimed Hero: Frankenstein Exhumed . . . Tragic Monster in Nelson’s Own Image? A Bicentennial Investigation
https://catherineeisnerfrance.blogspot.com/2016/06/maimed-hero-frankenstein-exhumed-tragic.html
and
Three haikus in homage to John Clare
https://catherineeisnerfrance.blogspot.com/2017/02/three-haikus-in-homage-to-john-clare.html
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Catherine Eisner believes passionately in plot-driven suspense fiction, a devotion to literary craft that draws on studies in psychoanalytical criminology and psychoactive pharmacology to explore the dark side of motivation, and ignite plot twists with unexpected outcomes. Within these disciplines Eisner’s fictions seek to explore variant literary forms derived from psychotherapy and criminology to trace the traumas of characters in extremis. Compulsive recurring sub-themes in her narratives examine sibling rivalry, rivalrous cousinhood, pathological imposture, financial chicanery, and the effects of non-familial male pheromones on pubescence,
see Eisner’s Sister Morphine (2008)
