As I have tried to show, modern writing at its worst does not consist in picking out words for the sake of their meaning and inventing images in order to make the meaning clearer. It consists in gumming together long strips of words which have already been set in order by someone else, and making the results presentable by sheer humbug. The attraction of this way of writing is that it is easy. It is easier—even quicker, once you have the habit—to say In my opinion it is a not unjustifiable assumption that than to say I think. When you are composing in a hurry—when you are dictating to a stenographer, for instance, or making a public speech—it is natural to fall into a pretentious, Latinized style. Tags like a consideration which we should do well to bear in mind or a conclusion to which all of us would readily assent will save many a sentence from coming down with a bump. By using stale metaphors, similes and idioms, you save much mental effort, at the cost of leaving your meaning vague, not only for your reader but for yourself. This is the significance of mixed metaphors. The sole aim of a metaphor is to call up a visual image. When these images dash—as in The Fascist octopus has sung its swan song, the jackboot is thrown into the melting pot —it can be taken as certain that the writer is not seeing a mental image of the objects he is naming; in other words he is not really thinking. Look again at the examples I gave at the beginning of this essay. Professor Laski (1) uses five negatives in 53 words. One of these is superfluous, making nonsense of the whole passage, and in addition there is the [printer’s] slip alien for akin, making further nonsense, and several avoidable pieces of clumsiness which increase the general vagueness. Professor Hogben (2) plays ducks and drakes with a battery which is able to write prescriptions, and while disapproving of the everyday phrase put up with, is unwilling to look egregious up in the dictionary and see what it means. (3), if one takes an uncharitable attitude toward it, is simply meaningless: probably one could work out its intended meaning by reading the whole of the article in which it occurs. In (4), the writer knows more or less what he wants to say, but an accumulation of stale phrases chokes him like tea leaves blocking a sink. People who write in this manner usually have a general emotional meaning—they dislike one thing and want to express solidarity with another—but they are not interested in the detail of what they are saying. A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus: What am I trying to say? What words will express it? What image or idiom will make it clearer? Is this image fresh enough to have an effect? And he will probably ask himself two more: Could I put it more shortly? Have I said anything that is avoidably ugly? But you are not obliged to go to all this trouble. You can shirk it by simply throwing your mind open and letting the ready made phrases come crowding in. They will construct your sentences for you—even think your thoughts for you, to a certain extent—and at need they will perform the important service of partially concealing your meaning even from yourself. It is at this point that the special connection between politics and the debasement of language becomes clear.
In his edition of the Collected Works (20 volumes), Peter Davison notes that Orwell's American publisher claimed that the title derived from reversing the date, 1948, though there's no documentary evidence for this. Davison also argues that the date 1984 is linked to the year of Richard Blair's birth, 1944, and notes that in the manuscript of the novel, the narrative occurs, successively, in 1980, 1982 and finally, 1984. There's no mystery about the decision to abandon "The Last Man in Europe". Orwell himself was always unsure of it. It was his publisher, Fred Warburg who suggested that Nineteen Eighty-Four was a more commercial title.
Orwell's writings on the English language have had a large impact on classrooms, journalism, and other writing. In Trail's "Teaching Argument and the Rhetoric of Orwell's 'Politics and the English Language'" it is said that "A large part of Orwell's rhetorical approach consists of attempting at every opportunity to acquire reader participation, to involve the reader as an active and engaged consumer of the essay. Popular journalism is full of what may be the inheritance of Orwell's reader involvement devices".  Haltom and Ostrom's work, Teaching George Orwell in Karl Rove's World: 'Politics and the English Language' in the 21st Century Classroom , discusses how following of Orwell's six rules of English writing and speaking can have a place in the high school and university setting.