Everyone knows that a doll cannot bawl (shout aggressively) and say that the child in the cradle is an insult to the dolls, in the real world. Now, it is necessary to interpret the symbolic meaning of the ‘doll’, its ‘shouting’, the ‘cradle’ and child it is referring to, and also in what sense the child of the doll-maker is an ‘insult’ to the dolls. This means that the whole situation, the characters, the actions and the like are all symbolic. If we read the poem carefully, we find out that the doll symbolizes the world of ‘art’ and the artist’s experience of the perfectly beautiful, ideal and satisfying existence. In contrast to the doll’s symbolic world of permanence, pleasure and perfection, the child in the cradle symbolizes the practical world of the artist’s family, the world of all the trouble, pain, burden and responsibility. Now, the talking about the doll also represents the symbolic speaking of the artist’s consciousness: living in the two worlds, he becomes conscious of the difference of reality and art, burden and beauty, problems and perfection. That is the symbolic sense in which the doll speaks to him. The symbol in the poem always requires the reader to be more tactful and resourceful.
George Orwell made much use out of the significance of euphemisms, and their potential danger, in his masterpiece dystopian novel 1984 . The “Party”—the ruling government organization to which it seems no individual really belongs—has created four main ministries, as described in the excerpt above. Each one has a name that is directly opposed to the true nature of the ministry. This is just one way in which the Party uses language to confuse and distort reality. In fact, Orwell’s creation of the term “doublethink” has become a well-known euphemism for the types of distortions that many politicians and media personalities use to explain their positions, which may be hypocritical.