There are 3 super states in the whole world.  Oceania, East-Asia, and Eur-Asia.  The story takes place in Oceania.  Winston works in the Ministry of Truth.  There are 4 ministries that are the government.  There Is the Ministry of truth, the Ministry of Love, the Ministry of Peace, and the Ministry of Plenty.   The Ministry of truth works with entertainment, news, education, and fine arts.  The Ministry of Love consists of maintaining the law and order.  The ministry of peace worked with war, and the Ministry of Plenty was responsible for economic affairs.  The citizens in Oceania are treated poorly.  There are the Proles who are like lower class people in the book and in present time now.  There are also the Party Members who were not wealthy (some were) but they made more money and had better living conditions than the Proles.  The Party Members worked in the different sections in the ministries.  Then there was Big Brother.  He was on Posters everywhere!  No one had actually seen him in real life so they did not know if he was an actual person or not but if they doubted that then they could most likely been vaporized or thrown in a labor-camp.  All Party members wore blue jumpsuits. 

Winston’s part in the Ministry of Truth was to take documents and alter them so that they were correct.  Winston loved his job.  It made him think and he liked making up stories when he had to for some articles such as when he makes up a person so he can make an article true.  During his job there was a thing called the 2 minutes hate which is when Goldstein (the supposed “bad guy” who tries to sabotage Oceania) gets on the Telescreen and talks and shows his army killing people from Oceania.  The Telescreen is in every building o every wall and it allows the government to watch and listen to your every move so that they can monitor that you aren’t doing anything wrong or trying to betray the government.  Anyways during the 2 minutes hate one day Winston has 2 things happen.  He catches O’Brien’s eye and somehow he tells Winston through the eye contact that he to hates the government.  O’Brien is a higher ranking person in the Ministry.  The second of which is when he sees a young girl in her 20s that is seated next to him and at first he hates he and wants to kill her in many ways and rape her but then afterwards he finds that he is in love with her. 

One day as Winston Is going to the bathroom the Girl is walking in the same direction as he and trips.  Winston helps her up by grabbing her hand and as she did this she handed him a slip of paper.  Winston later reads and finds out that she said that she “Loves him.”  They meet one day and talking through clenched teeth so it appears as though they aren’t talking to each other they make a meeting place on Sunday out in the country.  Winston goes to meet her    and they fall in love.  They kiss and hug and then have sex.  They meet each other occasionally having a couple of weeks where they are to busy with work to meet.  Then as a month or so passes they start renting the attic of a Prole’s shop who knows what is going on but is fine with it and says he won’t rat them out.  One night as Winston is going to work O’Brien meets with him and as they walk he O’Brien make up an excuse for Winston to come to his penthouse and meet him.  Winston and Julia (his beloved partner) go and see O’Brien.  They find out that O’Brien is the leader of the brother hood that wants to tear down the government.  They receive a book made by Goldstein himself and is to read it to fill there minds with the knowledge about the governments.  One Morning as Winston and Julia wake up from staying in the attic of the Prole’s house they are told to get on the ground and to not move.  Then a Telescreen pops out from behind a picture and they hear a bold Strong voice coming from it.  Then the thought police come up the stairs and arrest them.  The prole who owned the little antique shop comes walking up the stairs in a thought police suit.  He had been spying on them for months and they hadn’t even known.  In fact they had been spying on Winston for 7 years! 

   They torture Winston and Julia but they never see another during the time they spent in The Ministry of Peace.  During the time being tortured Winston finds out that O’Brien is the one torturing him.  After around 2 years of being tortured they let Winston go.  He then got a new, higher paying job, and sits in the Chestnut Tree Café all day drinking gin and playing chess with himself.  In the end he loves Big Brother.

O. Henry sets up The Ransom of the Red Chief perfectly to end the story with a surprise. The author introduces the reader to Sam and Bill as two men desperate for money that have gone to the extreme to get money before. Bill and Sam start out the story with about 600 American dollars. In the next paragraphs, Sam and Bill discuss who the two should kidnap. The men decide on Ebenezer Dorset's son, Johnny Dorset, because Ebenezer is a wealthy man and a cruel tax collector. Sam and Bill believe the tax collector will give in to the ransom and pay up any some of money.

The reader is now starting to believe Sam and Bill may just get there ransom, but the reader may not be totally convinced yet. To convince the reader, O. Henry adds even more to the story. The author depicts Johnny Dorset outside throwing rocks at a lonely kitten resting on a fence post when Sam and Bill lurk in for the snatch. Bill has to wrestle with Jonny to get him in the car, but Bill eventually accomplishes his task. At this moment in the story, the reader is probably almost totally convinced that Sam and Bill will succeed, and if O. Henry were to provide one more event, the reader would go over the line. That is exactly what the author does. O. Henry writes about how Bill is examining his cuts and bruises from trying to get Jonny in the car.

This is the point in the story where it starts to turn slightly. When Sam returns to the cave, Johnny, now known as Red Chief, was playing Indian with Bill and was having a lot of fun. Red Chief was laughing and everything. Later that night, Sam wakes up to Bill's scream. Jonny is atop Bill's chest with a fistful of Bill's hair and a knife about to take Bill's scalp. The next day when Sam returns again, Red Chief has Bill up against the wall and Johnny has a rock the size of a coconut about to smash Bill's head. All of these events are leading up to one important event. The last event that puts Bill over the edge is when Jonny makes Bill play Black Scout with him. Bill freaks out and shows Johnny the road home, but Red Chief returns to the cave shortly after Bill gets back. Johnny won't leave. Sam and Bill are ready to get rid of Jonny. The two desperate men write to Ebenezer, they demand 1500 dollars. In return, Ebenezer demands his son's return at night, along with 250 dollars. Sam and Bill give in because the two have had enough of Johnny.

The ending in The Ransom of the Red Chief was a lot more surprising than The Gift of the Magi in many ways. The biggest reason was the way O. Henry set up The Ransom of the Red Chief versus the way the author set up The Gift of the Magi. In conclusion, The Ransom of the Red Chief overall had a better ending. Even though The Gift of the Magi had somewhat of a surprise ending, there was a lot of foreshadowing that foretold the ending.

Winston lived in London, in a flat in the centre. He was rather poor and the most of the time he lived without electricity, in this society nobody had electricity, they only had it in the rush week.

In this world all the people was controlated by telescreems and microphones, in this world people couldn'think, couldn't write because if they write against Big Brother they were commenting a thought crime and the they'll be vaporized.

In the world were three countries: Oceania (the country where Winston lives), Estasia and Eurasia. And they were always in war.

One day Winston met a young pretty girl called Julia who worked for the inner party but she was against Big Brother too. Their love was very strong and the hate that they had to Big Brother was so strong too, so they decided to met a lot of times in the only room that, apparently, had no telescreems. In that room they talked about a lot of things, and also they talked about a lot of things against Big Brother, but one they were arrested by the man who had rented their room. Big Brother listened all, there was a telescreem behind a poster in the room. Winston and Julia were making a thought crime. Winston was in prison and Julia too they thought that the thought police will kill them, but they only tortured them. They tortured him a lot till they changed their minds and they become Big Brother supporters .

I like this book because the story is interesting and entertaining.

.

Though not from a man's perspective, perhaps the grittiest description of the filth, bugs, and exhaustion of living at rock bottom on inner city streets can be found in George Orwell's story Down and Out in Paris in London. Amidst this description lies a sickening account of a young girl held against her will to be sold to men for sex. All of these accounts show the danger of living at the bottom of the social and economic chain in cities, especially for women. Initially, one might walk away from these stories with an ache in their heart for the situations of the women. However, one can also look deeper to a secondary role of women in these pieces of writing. These roles might not be the leads, but they show that in due course, it is the women of these cities that hold the ultimate power, despite their circumstances.

Anyone who has seen the play West Side Story is aware of the two main themes, circling around the ideas of gang violence and the love affair between Tony and Maria. In addition, viewers are also aware of how the love story becomes the victim of the gang war. However, when considering the gangs, one must determine at least some of the reasons why turf wars seem so prevalent in the cities. One very rarely sees knife fights, fist fights, and death over a bale of hay or an acre of land in the rural areas of our country. A significant portion of the problem is the restriction of space. When people flock to America, because “everything is free in America” the population skyrockets but that does not mean the amount of living space also increases. A place to call home is important to families and cultures around the world, be it in the United States or Puerto Rico. When someone tries to walk in to your home uninvited, we feel ready to take on the world to protect what is ours. In city life, crossing over into another's home, or community, is all too easy to do when space is so limited.

When we have little, we are more apt to fight harder to keep it and protect it. This is exactly why the turf war develops between the Americans and the Puerto Ricans. The territoriality festers and escalates until it climaxes into full blown war with another culture. Both cultures also feel territorial over the women of their families. To cross over the line drawn between cultures on the pavement was just as dangerous as engaging someone who was not in your family in conversation, much less as embrace. As one can observe in the dance seen in the play, Bernardo is quick to put an end to the relationship developing between Tony and Maria. Bernardo stops the clasping of hands between the young lovers, and orders Maria home immediately, telling her “We are family, Maria. Go.” Maria must succumb to the orders of her brother in law and to the danger of the escalating situation as both sides are put on the offensive. A number of times in the play, the women are sent away for their safety or while the men plan ways to stake claim to their territory. As a woman, Maria does not have power of her situation. She must listen to Bernardo, and she appears in potentially violent situations.

What is interesting, however, is that ultimately Maria is the one to make a decision that sets to action the eventual deaths of both Tony and Bernardo. As the story develops, Maria and Tony fall in love despite the hatred around them. Tony's love for Maria blossoms so he is willing to do anything for her. When Maria asks Tony to stop the fight-to-end-all-fights between the Americans and the Puerto Ricans, she is ultimately sending Tony to his death. It is a woman the dictates the fate of the two powerful men. It is very unlikely that a scenario like this one could have played out in any other environment. The elements of why a turf war exists in a city and the love between Tony and Maria make for the ingredients of a story that could only occur in the city. Instead of the city being a dangerous place for the women, it is a fateful place for the men.

Like Maria in West Side Story, we also see Maggie in Stephen Crane's Maggie: A Girl of the Streets be subjected to the dangerous woes of city life and its male occupants. Maggie's world is suddenly expanded after she falls in love with Peter, a true man of the city. Peter treats Maggie to shows and reveals to her a glitzier side of the city that previously was unbeknownst to her, and she “saw the golden glitter of the places where Pete was to take her” (28). Soon, Maggie's love for Peter is matched for her love of being part of the city-life environment. Maggie wonders at the splendor of the costumes (32).” She falls prey to that love, and ultimately is heart-broken and homeless when Peter moves on. Maggie must live in danger as she makes her home the streets. Survival of the fittest reigns, and Maggie must learn to live in the danger if she wishes to survive. Maggie explains, for example, to always look as if one is going walking with a purpose, for those who do not garner unwanted attention on the streets. At the end of the story, Maggie's loses her battle to an undisclosed death while living on the streets. Her downfall is directly attributed to falling in love with the glitzy side of the city and Peter.

Important to look into deeper though, is the catalyst for Maggie's downfall. While she held Peter's attention and mild affection briefly, Peter himself was drawn like a flame to an old flame, named Nell. For as much as Maggie worshiped the idea of Peter and the tastes of the city he had to offer, Peter was even farther under the spell of the sophisticated Nell. It was the unexpected appearance of Nell that instantly dimmed Peter's affection for Maggie. Nell cast a spell on every man about her as she “reduced Pete to a pulp” (64) during a dinner conversation when she simply informed Peter she did not find him particularly interesting. Although Maggie suffered the hardest hit upon the loss of Peter and his city, the ultimately most powerful individual was the femme-fatale, Nell. The city that savvy Nell, “a woman of brilliance and audacity” (82) thrived in cultivated her into a female force to be reckoned with. In a place where many women suffered the fate of Maggie, a few managed to rise above even the jauntiest city men. At the end of the story, we see Nell get the last laugh as the woman of brilliance and audacity gathers up Peter's money and deems him a “damn fool” (83) after he passes out drunk in his dinner. Though Maggie dies as a woman of the streets, the reigning champion of the city and story is a woman of brilliance and audacity.

In Geeta's world in Mumbai, India, the women are also brilliant. The efforts of the community to get Geeta and other pavement dwellers out of the city were fruitless once the women decided to take it upon themselves to rise about their lives of poverty and filth. Although both of Geeta's parents held jobs, their efforts combined were not enough to provide a true house for their family. When their “home” was not being torn down by city workers or members of the community, it was a flimsy structure of “two piece of cardboard and a sheet of black plastic for a roof.” The pavement dwellers were reliant on members of the community, like employers and neighbors, for basic necessities such as water and clothing. If they had lived in the country, the likelihood of finding individuals willing to part with such things would be significantly less likely. The city was also able to provide employment opportunities that were not available in the rural parts of India. Despite these advantages, though, city life for pavement dwellers was dirty, dangerous, and disease-ridden. There was a heavy burden placed on Geeta and the female family members to provide for the family.

Although the men were the primary decision makers in the Indian culture, it was the women who had to support the family, especially in Geeta's circumstances. It was not until the women of the pavement dwelling community pulled together and saved that improvement in living standards occurred. Officially having an address allowed children an education and better access to health care. Again, all of this arose exclusively from the efforts of the women as they banded together as a Mahil Milan group. The group was able to accomplish in very little time what the men were not able to provide. Even more, the women stepped in when spouse abuse occurred, as “the women of the committee go to their house and try to work things out” to better the lives of the women stuck under the abuse of the men. Geeta goes as far to say she does not wish to be married because of the control her future husband would have over her. By avoiding what is intended for every young woman, Geeta is retaining her independence and control of her own life. Without what she and the female members of the pavement dweller community have accomplished in their city lives, Geeta would have to face a much different, powerless fate.

Much like Geeta's story, the one of George Orwell's Down and Out in Paris and London also provides some of the most graphic depictions of inner city life at the lowest, poorest levels. The reader is drowned in descriptions of the filth, bugs, disease, and desperation that those below the poverty line contend with on a daily basis. There is an unprecedented amount of desperation and dirt oozing out of these individuals. An important concept to consider is why anyone would remain in the city if the living conditions were as such. The answer to this question lies in what the city has to offer that a rural life does not: opportunity. Just as we see the Puerto Ricans in West Side Story choosing to immigrate to an inner city, we see the narrator of Orwell's writing choose city life for the opportunity it had to offer. In this narrator's case, there lies a heavy focus on finding a job to make ends meet. The city offers a much higher chance of landing a job than if one chose to bumble around the rural country-side instead.

The journey is as important as the destination, and we see the narrator take a few side trips during his life. One particularly graphic side trip involves shelling out precious monies for a guide who leads him to a whorehouse. It is in this establishment that the reader gets his first glimpse at the hell the city has to offer the women. Having paid his fee, the narrator darts into the room and begins forcing himself on the very young woman held there for his use. “She have a whimper of fright. With a bound I was beside the bed . . . I seized her by the throat - tight! She struggled, she began to cry out for mercy, but I held her fast” (13). The passage only continues to the graphic rape of the young woman. Although ultimately the narrator feels regret and revulsion, he allowed the audience to view the true horrors to which women of the inner city life are subject. Even today, fear of rape or attack lies in the hearts of all women who live in the city, especially at the lowest levels where desperation is a disgusting catalyst for despicable and lowly actions.

Seeing as how this account falls so soon into the text, one might feel inclined to feel that all women in the city will eventually be condemned to a powerless fate due to men. However, small and even passing references bring forth a small vindication for some women. After the narrator joins forces with his old friend, Boris, the latter feels that his fate lies in the hands of his former mistresses. His is quite confident that he “will only have to ask, and they will help” (29) him in his destitute. With this statement, Boris quickly and surely hands back some of the power stolen from women in the city. Instead of being at the whims of men, women suddenly become the very thing that Boris feels will pull him out of the trenches of poverty and hunger. Although not vindication for the appalling situations of some of the women, it is still a small victory.

Later in the story, the women once again get the last laugh, this time at the expense of the narrator himself. The chance of starvation looming largely, the narrator's jog down this path is temporarily suspended thanks to the good graces of a woman named Maria. Although poor herself, this woman of the city is still able to score the food that the narrator himself could not. Desperate enough to pray to Sainte Eloise, the narrator is also finally humble enough to want to pay thanks in the form of lighting a candle in her honor. At this point in the tale, the women get the greatest laugh once the true identity of “Sainte Eloise” is revealed. The idea to appeal to the saint was sparked by an old painting on the narrator's current residence. Once he points this out to Maria, she cannot contain her laughter when she informs the narrator that the saint in the picture was really Suzanne May, “the famous prostitute of the Empire” (88). The kudos must go to the deceased prostitute as well as Maria for their ability to accomplish what the narrator and Boris cannot. While this victory is not equal to the horrors situated on the women of the streets of the city, it adds up to something greater.

In conclusion, men and women in the inner cities face danger and despair regularly. Although these are a result of living in the city and are induced because of things like territoriality, the drawbacks are oft offset by advantages, such as a greater opportunity of success. However, it is the women who ultimately face the greatest danger and are subjected to the worst fears and treatment. Seemingly on the surface, men control the lives and futures of the women. However, if one takes the opportunity to look deeper, it becomes apparent that the women have the ability to make their mark, even with the odds stacked against them. In most literature that displays the despair of women in inner cities at the poverty level, there are also displays of the power of these very same women. This leaves the audience to wonder, what would women of a higher social and economic class be able to accomplish in the cities around the world?

The central characters of Animal Farm are barn animals- pigs, horses, cows, sheep, hens, geese, donkeys, and dogs- that Orwell endows with the ability to reason and speak. The animals of Manor Farm are first instilled with the idea to rebel by old Major, a well-respected Boar who, in a glorious speech, tells the animals that he dreamt that they would one day be free from “the tyranny of human beings” (Orwell 30). The patriarch insists that the animals work together to overthrow humans so that they may live by their own designs and reap the full profits of their labor (Orwell 30). And rebel they do; it happens incidentally, one day when the farmer, Jones, neglects to feed them and then whips them for trying to find food themselves. After the rebellion, the pigs establish a sort of government that has seven commandments for all animals to adhere to. At first the establishment, renamed Animal Farm, appears successful, but the ruling pigs become corrupt with power and destroy the farm and oppress the animals in worse conditions than when the farm was owned by humans.

Animal Farm addresses the issue of the Soviet Union's corruption of Marxist values within Joseph Stalin's rise as dictator. In the allegory, Old Major represents Karl Marx: he sets forth the original ideals of Animal Farm, which mirror the principles of Marxism. As Marx believes all history is a struggle between the classes and that eventually a revolution would eliminate class divisions, Old Major believes that a revolution will inevitably take place on Manor Farm and the animals will take over. Also as promoter of this revolution, Old Major represents revolutionary leader, Vladimir Lenin.

After Old Major dies, the revolution takes place and two leaders rise up from the pigs: Snowball and Napoleon. They represent Leon Trotsky and Joseph Stalin, respectively, and Snowball is ousted from Animal Farm by Napoleon just as Trotsky was exiled from the Soviet Union by Stalin in an attempt to eliminate his political rivalries. After Snowball's expulsion, Napoleon becomes more tyrannical, forcing the animals to build a windmill that would supply power to the farm, feeding them less, setting up in the house apart from the other animals, installing a crew of vicious dogs as his protectors, taking greater provisions and luxuries for himself and the other pigs, secretly altering the seven commandments, and terrorizing the animals into confessing crimes and then murdering them.

As Napoleon becomes more despotic, the animals seem to become more complacent and forgetful of the original purpose of the revolution. The animals take up Boxer's motto “I will work harder” and “Napoleon is always right” (70). The ever faithful and hardworking animals represent the gullible working class of the Soviet Union. The animals do exhibit some growth as the novella progresses as shown by their suspicion that the seven commandments have been revised, and are proven correct when they find Squealer painting the amendments onto the wall that holds the commandments.

However, the danger of the animals' submission to Napoleon is evident through the resolution of Animal Farm in which they are subjugated and Napoleon and the pigs become almost exactly like the human owners that the animals rebelled against. The final scene shows the pigs having dinner with humans and changing the name back to Manor Farm, demonstrating that they have reverted to the practices that they abhorred in the beginning of the novella. The animals and the humans break out into a fight and the working class animals witness it: “Twelve voices were shouting in anger, and they were all alike. No question, now, what had happened to the faces of the pigs. The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which: (139). The regression of the farm mirrors the regression of the Soviet Union, once the government has been established it is just like the government that they had overthrown.

Animal Farm was met with criticism and anger when it was first published. The Newsweek article, a good example of such censure states:

“Even the most casual reader will discover after a few pages that the experiences on the Animal Farm, as it was renamed, follow closely the experiences of the Russian people during the revolution and its continuing re action. This, of course, will make fellow travelers furious, but if they think hard, they'll relax. The humor is quite British and page after page of the book lags.” Yet in later years, Animal Farm will be hailed as one of the greatest and most influential political satires ever written and becomes standard reading in history and literature courses in high schools and colleges in both America and Britain.

Animal Farm's success is due not only to its apt allegory of the events in the Soviet Union revolution, but in its accessibility. Worldwide readers, and American readers particularly may not be eager to read a political tract condemning the Soviet revolution, but this short, easy-to-read and relatable text is the perfect medium for expressing the corruption of ideals as well as create sympathy for the people of the Soviet Union that were oppressed by the dictatorship.

Works Cited

Orwell, George. Animal Farm. New York: Penguin, 1996.

“The Barnyard Soviet.” Rev. of Animal Farm, by George Orwell. Newsweek. 9 September 1946. (attached).

While it seems that all heroes must succeed in accomplishing something great, it could be argued that the best heroes may not succeed in truly accomplishing anything at all, but rather in laying the foundation for the accomplishment of great things to follow. In the works of George Orwell's 1984, and Terry Gilliam's Brazil, the two main characters in the story are the perfect representation of this type of hero.

They exemplify a mindset that reaches beyond their limitations, the mindset to attempt to correct the injustices in their life, and the ability to carry on a lasting legacy as literary heroes even though they failed as conventional heroes by the end of their stories.

Both the characters, Sam Lowry from Brazil, and Winston Smith from 1984, exemplified a mind set that reached beyond their limitations. Both characters worked middle tier jobs for their respective governments, both of which were oppressive to both the body and mind. The governments went through great lengths to control the actions, thoughts, and feelings of every citizen, even the supposedly privileged ones who got to work for them.

In some ways, Sam Lowry had a much easier time dealing with such a controlling society. While he was controlled by the government he worked for, he did not have the constant surveillance that Winston Smith had from "Big Brother." Because their was no thought police, he was able to carry out his dream of meeting the literal woman of his dreams, proving that he would not be limited entirely by the state for which he lived.

Winston Smith did a similar thing by attempting to carry on a relationship with Julia. The government of Oceana would have never accepted this; however, nonetheless, he was bound and determined to be with the love of his life. Winston refused to live by the bounds of which the state of Ocean placed upon him in a similar fashion as Sam Lowry refused to live by the bounds his state imposed upon him. It is because of that attitude that they may be considered great literary heroes.

In addition to not accepting the limitations placed on them by their governments, they both attempted to correct those injustices. In 1984, Winston Smith realizes that the government of Oceana was telling their people lies about who they are at war with. He realizes that they continue to change their story of history however they see fit in order to control the people of Oceana. Winston does not like the idea of this type of control over him and the other residents of Oceana.

He bravely trusts people while conspiring with them to realize what is going on, and attempts to spark an uprising against the government. He keeps a journal of his rebellious thoughts; something he knows is highly illegal and attempts to hide it from Big Brother as best he can. Winston is confused throughout the story about why he has these thoughts and feelings-however, he embraces those feelings as an extension of who he is as a person and never tries to regret who he is.

Sam Lowry also tried to accept his feelings and correct the injustices in his life. He dreams of soaring high in life with the girl of his dreams at his side. He works extremely hard to find out who this girl he keeps dreaming of is. He even accepts a promotion that he does not necessarily want in an effort to garner more information about her.

Winston and Sam in the beginning of their stores seemed to have no passion or purpose in their life. They worked normal seemingly unimportant jobs in order to simply blend in with society. They lacked a certain element of excitement and passion that otherwise normal un-brainwashed people would display.

They truly were oppressed, and to an extent against their will. However, it was the love in their hearts that allowed the passion to start showing, and the realization that they were oppressed to sink in. Once they had discovered that fact, both Sam and Winston gave it their best shot at allowing themselves to break through the barriers that restrained them.

This is the reason why both Sam and Winston were able to carry on a lasting legacy as literary heroes even though they failed as conventional heroes. The most poignant scene in 1984 was when Winston was sent to be tortured in room 101. It was there when he thought about what Julia was going through and he decided in his mind that “if he could save Julia by doubling his own pain, he would.”

This is perhaps the best example of showing how Winston Smith became a hero by liberating his mind from the evil control of Oceana's government. Even though he would eventually fail at being able to be totally free, the face that he proved he could do it in the face of an immense amount torture for a brief amount of time sealed his fate forever as a great literary hero.

It begs the question that even though in the end, he becomes a pawn in the mind control game of Oceana's Government, did he still succeed in what he was trying to accomplish? Sam Lowry had a similar fate-He was able have that feeling of liberation for a brief period of time, until it was taken away. But did he necessarily fail at what he was trying to accomplish?

While they may have not had that period of liberation for very long, Winston and Sam were still able to soak up what it was like to feel the things that were prohibited. Feelings of love and passion for another are feelings that can never be replaced and are feelings that not many people under those mind controlling governments were able to experience. In summation of this point recall what Alfred Lord Tennyson once so eloquently stated, “Tis better to have loved and lost than never to have loved at all.”

It is for this brief period of liberation and feeling of love which they worked so hard to experience for even just a moment, that both Winston Smith and Sam Lowry become great literary heroes, despite in a sense failing and relapsing to the control of their governments.

The best heroes may not succeed in truly accomplishing anything at all, but rather in laying the foundation for the accomplishment of great things to follow-Winston and Sam did this. They exemplify a mindset that reaches beyond their limitations, they had the mindset to attempt to correct the injustices in their life, and they carried on a lasting legacy as literary heroes even though they failed as conventional heroes by the end of their respective stories. It is the works of art like 1984 and Brazil and the characters like Winston Smith and Sam Lowry, who make you appreciate your ability to have free thoughts.

In this Chapter, Mr. Jones is introduced in the beginning. Mr. Jones is the owner of the farm. Orwell shows Mr. Jones drunk, which symbolizes how irresponsible he could be. In this chapter, they introduce all of the other characters.

The first animal that is introduced is an old white boar named Old Major. Old Major is the wisest and oldest animal on the farm. Then the three dogs of the farm are introduced, Bluebell, Jessie and Pincher with the pigs. The next two animals that are introduced are the horses, Boxer and Clover. Clover is a female motherly horse. Boxer is a characterized as a strong but stupid animal. The next animals that are introduced are Muriel the white goat, and Benjamin, a lazy, old, donkey. Benjamin is known to be the worst tempered in the farm. Then came the ducks and Mollie. Mollie was a foolish pretty white mare. Then the cat came last. Another animal that Orwell introduced was a raven name Moses, which was Mr. Jones' tame Raven. Moses was not in the meeting held by Old Major.

During this chapter, Old Major tells the other animals about a dream he had. The dream was about a song that he remembered. He taught the other animals this song, which was called The Beasts of England and about animals rebelling against their owners. He explains how humans are the enemies and that the other animals should take over.

Chapter Two

This chapter is known to be the most important chapter. The chapter starts off by telling the reader that Old Major has died. Orwell explains to the reader that the remaining animals are forming secret meetings. Then there are two more animals that are introduced, the two boars, Snowball and Napoleon. Napoleon is a fierce looking Berkshire boar, which is not much of a talker, but he has a reputation of getting his way. Snowball was quicker in speech and more inventive. In this chapter they talk about Moses little more.

Moses is a tame raven that talks about a place called sugar candy mountain. In this chapter the animals went into the storeroom. Then Jones and his men came with whips but they fled from the animals because the animals started to attack them. This was the start of the rebellion. With Mr. Jones gone, the animals changed the name of the farm to Animal Farm. Then Snowball created the seven commandments which stated, whatever goes by upon two legs is an enemy, whatever goes upon four legs or has wings is a friend, no animal shall wear clothes, no animal shall sleep in a bed, no animal shall drink alcohol, no animal shall kill any other animal, and all animals are equal.

In the end of the chapter it shows Napoleon stealing milk.

Orwell draws the death of the elephant out in three long paragraphs with long, periodic sentences. He says, “In that instant, in too short a time, one would have thought, even for the bullet to get there, a mysterious, terrible change had come over the elephant” (130), drawing out the sentence with four clauses and two modifiers; this grammatical structure serves to mirror his guilt and the pain he feels over shooting the elephant. The Burmese people responded to its shooting with a “devilish roar of glee” (130), after having forced him to do something that he did not want to do. The inner torment that Orwell undergoes as a result of his being forced to shoot the elephant is reflected in his style; he repeats the words “tortured,” “dreadful,” and “agony.” Orwell also uses figurative language to describe the elephant as “immensely old,” “grandmotherly,” and “senile,” emphasizing his guilt over killing an animal that seems as if it can cause no harm.

Through his description of the elephant's death and the havoc that it wreaks, Orwell illustrates the fact that the elephant is a symbol of imperialism. He specifically chooses to use a large, powerful animal…

Orwell is introduced to the readers as feeling out of place and futile in a place where “anti-European feeling was very bitter” (125). He employs specific examples to illustrate the tormenting of Europeans by the Burmese people; in one instance, he is tripped by a Burman man while playing football, and the crowd proceeds to roar with “hideous laughter” (125). Orwell clearly displays his hatred for the Burmese, particularly the young Buddhist priests, who were the “worst of all” (125), and his feeling of helplessness as an official who was supposed to be able to control them. Ironically, although he is supposed be of a high position in the town, he is constantly jeered at and insulted by those over whom he should have power.

Despite his antipathy towards the Burmese people, however, Orwell also sympathizes with him. In a very explicit, straightforward passage, he describes his hatred for imperialism. In a plain cumulative sentence, Orwell states that “imperialism was an evil thing and the sooner I chucked up my job and got out of it the better.” There is no ornate diction and no sophisticated syntax; he is explicitly stating his abhorrence of imperialism. He goes on to use detailed imagery to describe the “dirty work of [the] Empire” (126)-prisoners in stinking cages, grey faces of convicts, and scarred buttocks of men who had been flocked with bamboo appeal to the emotions of the reader and allow them to understand Orwell's utter hatred of imperialism. Even with this hatred, however, Orwell is torn between his contempt for the tyrants and the tyrannized. He claims to be “all for the Burmese and all against their oppressors” (126), but this assertion only serves to further reveal his ambivalence; he is an oppressor, and he is therefore against himself. His parallels this statement by affirming that the torture he witnessed “oppressed [him] with an intolerable sense of guilt (126). By establishing himself as both one who oppresses and one who is oppressed, Orwell further illustrates his torn mindset. He ends this passage with a generalization, claiming that feelings of ambivalence such as his are normal by-products of imperialism.

Through his hatred for his own position and his ambivalence towards the Burmese and the British, Orwell illustrates his obligation to both groups of people. He is employed as a tool for the British to control their conquests and a tool for the Burmese to achieve what they want. Although he does not want to shoot the elephant, he is pressured by the people around him. The elephant comes to symbolizes British imperialism and reflect Orwell's ambivalence; it is dying, but it can't move-just as British imperialism dies shortly thereafter.