1 Winston put his lips against her ear.
2 Winston could hear the blood singing in his ears.
3 Even the waiters had started and pricked up their ears.
4 He thought of the telescreen with its never-sleeping ear.
5 The Party told you to reject the evidence of your eyes and ears.
6 But with the voice from the telescreen nagging at his ears he could not follow the train of thought further.
7 For the moment he had shut his ears to the remoter noises and was listening to the stuff that streamed out of the telescreen.
8 He was alone: no telescreen, no ear at the keyhole, no nervous impulse to glance over his shoulder or cover the page with his hand.
9 The man in the white coat bent down and looked closely into Winston's eyes, felt his pulse, laid an ear against his chest, tapped here and there, then he nodded to O'Brien.
10 But this statement, which to an orthodox ear merely conveyed a self-evident absurdity, could not have been sustained by reasoned argument, because the necessary words were not available.
Nineteen Eighty-Four By George OrwellContextHighlight In PART 3: Chapter 7-APPENDIX 11 And once--Winston could not remember whether it was in drugged sleep, or in normal sleep, or even in a moment of wakefulness--a voice murmured in his ear: 'Don't worry, Winston; you are in my keeping.'
12 They slapped his face, wrung his ears, pulled his hair, made him stand on one leg, refused him leave to urinate, shone glaring lights in his face until his eyes ran with water; but the aim of this was simply to humiliate him and destroy his power of arguing and reasoning.
13 Day and night the telescreens bruised your ears with statistics proving that people today had more food, more clothes, better houses, better recreations--that they lived longer, worked shorter hours, were bigger, healthier, stronger, happier, more intelligent, better educated, than the people of fifty years ago.
14 And a few cubicles away a mild, ineffectual, dreamy creature named Ampleforth, with very hairy ears and a surprising talent for juggling with rhymes and metres, was engaged in producing garbled versions--definitive texts, they were called--of poems which had become ideologically offensive, but which for one reason or another were to be retained in the anthologies.