The Theme Of Enslavement In The Paradise Carpet

In George Orwell’s Novel, Animal Farm, Old Major delivers a speech to the animals on the farm. Major preaches on how the humans are weak, selfish, lazy thieves who steal from the farm animals. Lecturing on banning together and rebelling against the humans, Old Major uses pathos, ethos, asyndetons, and imagery to help sparks an uproar amongst the animals. Major uses these strategies to engage and convince them of who the real enemy is.

The novel clearly reiterates the notion that more people conform than rebel when confronted with authoritarian control. The animals in the novel are divided into two categories. Those who have knowledge and therefore power, and those who lack knowledge and therefore are submissive. The main difference is that the submissive animals such as the horses and sheep represent the people that chose to stay uneducated, as it is a much less difficult pathway. They chose this because knowing consequences creates threatening actions against the livelihood of the animals. Despite the animals suffering from violence, poor conditions, and being overworked, they continue to conform as it becomes an easier lifestyle for them. The repetition of the lines “Napoleon is always right” and “I will work harder” showcases how the farm animals follow the routine of others and resign to conformity as their means of life, for it is an easier, simpler outlook to life for them. The idea of being an outlier and having a voice is forsaken by the animals, as the narrative evolves they witness more and more unruly acts of behaviour from the pigs, who are controlling the farm. The emotive language used within the line “Silent and terrified, the animals crept back into the barn” effectively demonstrate how a wave of melancholic and frightened emotions flood through the farm animals, creating a sense of compliance within. The use of threatening tone within the lines “At this there was a terrible baying sound outside, and nine enormous dogs wearing

Orwell reveals the corruption of the farm’s rules, which mandated, “they were not as other animals. If they were hungry, it was not from feeding tyrannical human beings; if they worked hard, at least they worked for themselves. No creature among them went upon two legs. No creature called any other creature ‘Master’, all animals were equal” (Orwell 62).

In his latest novel, Jasper Jones (2009), Craig Silvey uses syntax, visual and olfactory imagery, personification and symbolism to describe the inside of Mad Jack Lionel’s dingy house, creating a sinister, gloomy and malicious mood. As this setting is observed through the youthful eyes of the Bildungsroman novel’s narrator, Charlie Bucktin, you receive the eye-opening thoughts and perceptions of a child combined with Silvey’s precisely crafted language, producing an impactful and evocative passage.

Where the Wild Things Are, a children’s book written by Maurice Sendak, is not only directed to young children, but has an underlying message that is intended for older generations to receive. This message, only used to enhance the meaning of the story, describes the addiction for one to have power and be in control. As the story goes on, the realization sets in that maybe the desire for power is not the best, at all times. The use of oppression becomes evident in this story, through Max, the main character, as he strives to control everything around him. Maurice Sendak uses repetition and parallelism in the imagery and text of Where the Wild Things Are to show Max’s progression to assume power and eventually discard it.

The animals go from a society in which they believe to be unacceptable to a life which becomes even worse than it began. The worst part, however, is that the oppression stems from an animal himself. Napoleon, the totalitarian leader, changes the founding ideas in which their ideal society was formed in order to increase his control, but continuously tells the animals that things are significantly better than before. Eventually, “the lower animals on Animal Farm did more work and received less food than any animals in the country.” The animals allow this to happen because they placed their trust in leadership and were wrongly educated on the circumstances. They are fed lies until they no longer remember their history, which allows the oppression to come full circle.

The author defines imagery by manipulating the environment to reflect characters’ emotions and describe the importance of sacrifice. When the father quits the house with the cat, Bedard describes that “[t]he kitchen light went off, and the house darkened.” (57) These details inform us that a big moment of fear and tension is felt inside the house, especially the little

The two articles “Boys Life and “Emancipation: A Life Fable” both have a comparable theme. The theme is similar because in both passages the main character is looking for freedom. Moreover, in the text “Boys Life” Cory wants to get dismissed from class because it is the last day of school. In “Emancipation: A Life Fable” the animal wants to escape his cage to wander the Earth. The passages also show that new situations can cause discomfort.

In “The Ones Who Walk Away From Omelas” by Ursula Le Guin, the informally-speaking narrator depicts a cookie-cutter utopia with perpetually happy citizens that sing and dance in the music-filled streets during the Festival of Summer. However, under one of the beautiful public buildings lays a child, no older than ten years-old, who lays in its own excrement. Although the citizens know the emancipated child is there, they refuse to act upon the child’s suffering, for their happiness depends entirely on the child’s abominable misery. Through ethos, the narrator illustrates this utopian society with a casual tone and frequently asks the audience for their input. Le Guin’s fairy-tale introduction of the story establishes her credibility through her extensive knowledge and understanding of the people of Omelas. Le Guin utilizes logos through the narrator’s second person point of view which incites the audience to draw their own conclusions about the city of Omelas and question their own justifications of the child’s existence. The concept of the happiness of many relying on the necessary suffering of one forces the reader to question their own morals and their justifications for the child’s physical and mental condition. Through ethos, logos, and pathos, Le Guin presents the contrast and divide between the citizens of Omelas and the child in the cellar in order to challenge the reader’s capacity for moral self-conception.

Theme: “For a start, the very young are necessarily self-centred. What do they care for the tragic or untidy lives of their neighbours? Their primary business is survival, and their preoccupation is with those who help them to survive. Of course their business is also learning about the world around them-hence the boundless curiosity of young animals…” (Page 122)

Of the many important themes that appear throughout Timothy Findley’s novel The Wars, the loss of innocence is undeniably one of, if not the, most significant. When central character Robert Ross goes off to fight in the War to end all Wars, the traumatic events he experiences strip him of his docile nature. It should be noted that this loss of innocence in Robert Ross cannot be pinned down to a single, sudden event or specific battle – rather, it is a process that unfolds slowly over the course of the novel, and it is devastating. Perhaps more significantly, however, is that the loss of innocence is strongly tied to another theme central to the novel – animals and animal symbolism. In The Wars, animals and the natural world represent something pure and untainted by the war; whereas the world of humans is war-torn and brutal. Robert himself appears to feel more at home with animals, and is timid, fumbling, and awkward in front of other humans – at least in the early parts of the novel. It is noteworthy, then, that in most landmark scenes in which some innocence is lost, an animal is always present.

George Orwell’s Animal Farm is a perfect example of how ignorance and lack of education can be used for control. Control which can lead to political and social oppression. The experiences of the various characters present how the pigs use this idea to oppress the animals of Animal Farm.

The antagonist of the book ‘Animal Farm’, Napoleon was highly emphasized for his cruel tactics that he upheld against his fellow animals. He tortured and tormented them giving himself the title of a cruel leader. This sense of tyranny is why he resembles Mr.Jones the previous owner of Manor Farm. Similar to Mr.Jones, Napoleon has created a caste system in which he is the “farmer” and the rest of the animals are his “slaves”, he has shown that he only uses the animals for his own monetary gain, and that he uses fear and propaganda to control the rest of the animals. In this essay I will compare and contrast the two individuals.

In one scene, Said and Hubert are imprisoned and tortured by the police. The officers choke them and shout racial slurs. For the police (and society), “justification for treating groups defined as inferior in an exploitive and oppressive manner.” (Gallagher 11) lead to the men’s physical and emotional mistreatment. Ultimately, the film;s message is that because hateful concepts such as racism and classism exist, underprivileged humans are kept from achieving upward social mobility. Although the boys are continually outraged by the burdens society has imposed on them, their efforts to escape their unfavorable situations are futile because they all end up, or “land”, in a tragic was predetermined by

Animal Farm is a novel by George Orwell. It is an allegory in which animals play the roles of Russian revolutionists, and overthrow the human owners of the farm. Once the farm has been taken over by the animals, they are all equal at first, but class and status soon separates the different animal species. This story describes how a society’s ideologies can be manipulated by those in political power, to cause corruption by those in leadership.