Read the passage from Animal Farm.

They had just finished singing it for the third time when Squealer, attended by two dogs, approached them with the air of having something important to say. He announced that, by a special decree of Comrade Napoleon, "Beasts of England" had been abolished. From now onwards it was forbidden to sing it.

The animals were taken aback.

"Why?" cried Muriel.

"It's no longer needed, comrade," said Squealer stiffly. "'Beasts of England' was the song of the Rebellion. But the Rebellion is now completed. The execution of the traitors this afternoon was the final act. The enemy both external and internal has been defeated. In 'Beasts of England' we expressed our longing for a better society in days to come. But that society has now been established. Clearly this song has no longer any purpose."

Frightened though they were, some of the animals might possibly have protested, but at this moment the sheep set up their usual bleating of "Four legs good, two legs bad," which went on for several minutes and put an end to the discussion.

So "Beasts of England" was heard no more. In its place Minimus, the poet, had composed another song which began:

Animal Farm, Animal Farm,
Never through me shalt thou come to harm!

and this was sung every Sunday morning after the hoisting of the flag. But somehow neither the words nor the tune ever seemed to the animals to come up to "Beasts of England."

How does the introduction of Minimus the poet support the author's purpose?

Minimus represents the Soviet people’s determination to defend the country against attack.
Minimus represents the producers of state-approved songs and slogans in Stalin's era.
Minimus represents the true feelings of all Soviet people and their commitment to communism.
Minimus represents the underlying loyalty that Soviet people had to Stalin despite his flaws.

User Icon for Bot GPT 4-o mini Bot GPT 4-o mini answered
1 hour ago

The introduction of Minimus the poet supports the author's purpose by illustrating how the regime replaces authentic expressions of hope and rebellion with state-sanctioned propaganda. Specifically, Minimus represents the producers of state-approved songs and slogans in Stalin's era. This aligns with the themes of manipulation and control over the populace, as the new song lacks the emotional resonance and revolutionary spirit of "Beasts of England," serving instead to reinforce the power of the ruling elite. By depicting this transition, the author critiques the ways in which governments can co-opt cultural expressions to suppress dissent and maintain authority, highlighting the loss of genuine aspiration for a better society.