shooting an elephant george orwell thesis

A Summary and Analysis of George Orwell’s ‘Shooting an Elephant’

By Dr Oliver Tearle (Loughborough University)

‘Shooting an Elephant’ is a 1936 essay by George Orwell (1903-50), about his time as a young policeman in Burma, which was then part of the British empire. The essay explores an apparent paradox about the behaviour of Europeans, who supposedly have the power over their colonial subjects.

Before we offer an analysis of Orwell’s essay, it might be worth providing a short summary of ‘Shooting an Elephant’, which you can read here .

Orwell begins by relating some of his memories from his time as a young police officer working in Burma. Although the extent to which the essay is autobiographical has been disputed, we will refer to the narrator as Orwell himself, for ease of reference.

He, like other British and European people in imperial Burma, was held in contempt by the native populace, with Burmese men tripping him up during football matches between the Europeans and Burmans, and the local Buddhist priests loudly insulting their European colonisers on the streets.

Orwell tells us that these experiences instilled in him two things: it confirmed his view, which he had already formed, that imperialism was evil, but it also inspired a hatred of the enmity between the European imperialists and their native subjects. Of course, these two things are related, and Orwell understands why the Buddhist priests hate living under European rule. He is sympathetic towards such a view, but it isn’t pleasant when you yourself are personally the object of ridicule or contempt.

He finds himself caught in the middle between ‘hatred of the empire’ he served and his ‘rage against the evil-spirited little beasts who tried to make [his] job impossible’.

The main story which Orwell relates takes place in Moulmein, in Lower Burma. An elephant, one of the tame elephants which the locals own and use, has given its rider or mahout the slip, and has been wreaking havoc throughout the bazaar. It has destroyed a hut, killed a cow, and raided some fruit stalls for food. Orwell picks up his rifle and gets on his pony to go and see what he can do.

He knows the rifle won’t be good enough to kill the elephant, but he hopes that firing the gun might scare the animal. Orwell discovers that the elephant has just trampled a man, a coolie or native labourer, to the ground, killing him. Orwell sends his pony away and calls for an elephant rifle which would be more effective against such a big animal. Going in search of the elephant, Orwell finds it coolly eating some grass, looking as harmless as a cow.

It has calmed down, but by this point a crowd of thousands of local Burmese people has amassed, and is watching Orwell intently. Even though he sees no need to kill the animal now it no longer poses a threat to anyone, he realises that the locals expect him to dispatch it, and he will lose ‘face’ – both personally and as an imperial representative – if he does not do what the crowd expects.

So he shoots the elephant from a safe distance, marvelling at how long the animal takes to die. He acknowledges at the end of the essay that he only shot the elephant because he did not wish to look like a fool.

‘Shooting an Elephant’ is obviously about more than Orwell’s killing of the elephant: the whole incident was, he tells us, ‘a tiny incident in itself, but it gave me a better glimpse than I had had before of the real nature of imperialism – the real motives for which despotic governments act.’

The surprise is that despotic governments don’t merely impose their iron boot upon people without caring what their poor subjects think of them, but rather that despots do care about how they are judged and viewed by their subjects.

Among other things, then, ‘Shooting an Elephant’ is about how those in power act when they are aware that they have an audience. It is about how so much of our behaviour is shaped, not by what we want to do, nor even by what we think is the right thing to do, but by what others will think of us .

Orwell confesses that he had spent his whole life trying to avoid being laughed at, and this is one of his key motivations when dealing with the elephant: not to invite ridicule or laughter from the Burmese people watching him.

To come all that way, rifle in hand, with two thousand people marching at my heels, and then to trail feebly away, having done nothing – no, that was impossible. The crowd would laugh at me. And my whole life, every white man’s life in the East, was one long struggle not to be laughed at.

Note how ‘my whole life’ immediately widens to ‘every white man’s life in the East’: this is not just Orwell’s psychology but the psychology of every imperial agent. Orwell goes on to imagine what grisly death he would face if he shot the elephant and missed, and he was trampled like the hapless coolie the elephant had killed: ‘And if that happened it was quite probable that some of them would laugh. That would never do.’

The stiff upper lip of this final phrase is British imperialism personified. Being trampled to death by the elephant might be something that Orwell could live with (as it were); but being laughed at? And, worse still, laughed at by the ‘natives’? Unthinkable …

And from this point, Orwell extrapolates his own experience to consider the colonial experience at large: the white European may think he is in charge of his colonial subjects, but ironically – even paradoxically – the coloniser loses his own freedom when he takes it upon himself to subjugate and rule another people:

I perceived in this moment that when the white man turns tyrant it is his own freedom that he destroys. He becomes a sort of hollow, posing dummy, the conventionalized figure of a sahib. For it is the condition of his rule that he shall spend his life in trying to impress the ‘natives,’ and so in every crisis he has got to do what the ‘natives’ expect of him. He wears a mask, and his face grows to fit it.

So, at the heart of ‘Shooting an Elephant’ are two intriguing paradoxes: imperial rulers and despots actually care deeply about how their colonised subjects view them (even if they don’t care about those subjects), and the one who colonises loses his own freedom when he takes away the freedom of his colonial subjects, because he is forced to play the role of the ‘sahib’ or gentleman, setting an example for the ‘natives’, and, indeed, ‘trying to impress’ them. He is the alien in their land, which helps to explain this second paradox, but the first is more elusive.

However, even this paradox is perhaps explicable. As Orwell says, aware of the absurdity of the scene: ‘Here was I, the white man with his gun, standing in front of the unarmed native crowd – seemingly the leading actor of the piece; but in reality I was only an absurd puppet pushed to and fro by the will of those yellow faces behind.’

The Burmese natives are the ones with the real power in this scene, both because they are the natives and because they outnumber the lone policeman, by several thousand to one. He may have a gun, but they have the numbers. He is performing for a crowd, and the most powerful elephant gun in the world wouldn’t be enough to give him power over the situation.

There is a certain inevitability conveyed by Orwell’s clever repetitions (‘I did not in the least want to shoot him … They had seen the rifle and were all shouting excitedly that I was going to shoot the elephant … I had no intention of shooting the elephant … I did not in the least want to shoot him … But I did not want to shoot the elephant’), which show how the idea of shooting the elephant gradually becomes apparent to the young Orwell.

These repetitions also convey how powerless he feels over what is happening, even though he acknowledges it to be unjust (when the elephant no longer poses a threat to anyone) as well as financially wasteful (Orwell also draws attention to the pragmatic fact that the elephant while alive is worth around a hundred pounds, whereas his tusks would only fetch around five pounds).

But he does it anyway, in an act that is purely for show, and which goes against his own will and instinct.

Discover more about Orwell’s non-fiction with our analysis of his ‘A Hanging’ , our discussion of his essay on political language , and our thoughts on his autobiographical essay, ‘Why I Write’ .

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8 thoughts on “A Summary and Analysis of George Orwell’s ‘Shooting an Elephant’”

Absolutely fascinating and very though provoking. Thank you.

Thanks, Caroline! Very kind

One biographer claimed that the incident never took place and is pure fiction created to make the points you mention. Is there any proof that it actually happened ?

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Circuses – it still goes on, tragically. https://robinsaikia.org/2021/04/04/elephants-in-venice-1954/

Hmm now I make another connection here. A degree of the hypocrisy of human society. In a sense, the Burmese were ‘owned’ by their imperial masters – personified by Orwell – but the Elephant was owned by the Burmese. the Burmese hate Orwell for being the imperialist and yet they expect him to shoot their elephant who is itself forced into a role it clearly didn’t like. I know it is all very post-modernist to consider things from a non-human point of view, but there seems a very obvious mirroring here.

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Shooting an Elephant

George orwell.

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Colonialism

Orwell uses his experience of shooting an elephant as a metaphor for his experience with the institution of colonialism. He writes that the encounter with the elephant gave him insight into “the real motives for which despotic governments act.” Killing the elephant as it peacefully eats grass is indisputably an act of barbarism—one that symbolizes the barbarity of colonialism as a whole. The elephant’s rebelliousness does not justify Orwell’s choice to kill it. Rather, its…

“Shooting an Elephant” is filled with examples of warped power dynamics. Colonialism nearly always entails a small minority of outsiders wielding a disproportionate amount of influence over a larger group of local peoples. This imbalance of power in colonialism seems counterintuitive, and Orwell literalizes the imbalance by showing his ability to kill the elephant singlehandedly. But even this distribution of power is not clear-cut: Orwell and the British colonists do not in fact have absolute…

Orwell’s service in the British Empire places his reasoned principles and his basic intuitions in constant conflict. He recognizes that the empire is tyrannical and abusive, yet he is unable to overcome his visceral contempt for the local villagers who mistreat him. The decisions Orwell makes when confronted with the rogue elephant encapsulate these tensions between his different principles. Orwell could have followed his more humane, ethical impulses and chosen to spare the elephant. However…

Performance

When Orwell stands before the crowd, he likens himself to a performer, rather than a peacekeeper or powerful official. He repeatedly uses metaphorical language to develop this connection. The thousands of gathered Burmese regard him as they would regard “a conjurer about to perform a trick;” he describes how, as he loaded the rifle, “the crowd grew very still, and a deep, low, happy sigh, as of people who see the theatre curtain go up…

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Shooting an Elephant

This material remains under copyright in some jurisdictions, including the US, and is reproduced here with the kind permission of  the Orwell Estate . The Orwell Foundation is an independent charity – please consider making a donation or becoming a Friend of the Foundation to help us maintain these resources for readers everywhere. 

In Moulmein, in lower Burma, I was hated by large numbers of people – the only time in my life that I have been important enough for this to happen to me. I was sub-divisional police officer of the town, and in an aimless, petty kind of way anti-European feeling was very bitter. No one had the guts to raise a riot, but if a European woman went through the bazaars alone somebody would probably spit betel juice over her dress. As a police officer I was an obvious target and was baited whenever it seemed safe to do so. When a nimble Burman tripped me up on the football field and the referee (another Burman) looked the other way, the crowd yelled with hideous laughter. This happened more than once. In the end the sneering yellow faces of young men that met me everywhere, the insults hooted after me when I was at a safe distance, got badly on my nerves. The young Buddhist priests were the worst of all. There were several thousands of them in the town and none of them seemed to have anything to do except stand on street corners and jeer at Europeans.

All this was perplexing and upsetting. For at that time I had already made up my mind that imperialism was an evil thing and the sooner I chucked up my job and got out of it the better. Theoretically – and secretly, of course – I was all for the Burmese and all against their oppressors, the British. As for the job I was doing, I hated it more bitterly than I can perhaps make clear. In a job like that you see the dirty work of Empire at close quarters. The wretched prisoners huddling in the stinking cages of the lock-ups, the grey, cowed faces of the long-term convicts, the scarred buttocks of the men who had been Bogged with bamboos – all these oppressed me with an intolerable sense of guilt. But I could get nothing into perspective. I was young and ill-educated and I had had to think out my problems in the utter silence that is imposed on every Englishman in the East. I did not even know that the British Empire is dying, still less did I know that it is a great deal better than the younger empires that are going to supplant it. All I knew was that I was stuck between my hatred of the empire I served and my rage against the evil-spirited little beasts who tried to make my job impossible. With one part of my mind I thought of the British Raj as an unbreakable tyranny, as something clamped down, in saecula saeculorum, upon the will of prostrate peoples; with another part I thought that the greatest joy in the world would be to drive a bayonet into a Buddhist priest’s guts. Feelings like these are the normal by-products of imperialism; ask any Anglo-Indian official, if you can catch him off duty.

One day something happened which in a roundabout way was enlightening. It was a tiny incident in itself, but it gave me a better glimpse than I had had before of the real nature of imperialism – the real motives for which despotic governments act. Early one morning the sub-inspector at a police station the other end of the town rang me up on the phone and said that an elephant was ravaging the bazaar. Would I please come and do something about it? I did not know what I could do, but I wanted to see what was happening and I got on to a pony and started out. I took my rifle, an old 44 Winchester and much too small to kill an elephant, but I thought the noise might be useful in terrorem. Various Burmans stopped me on the way and told me about the elephant’s doings. It was not, of course, a wild elephant, but a tame one which had gone “must.” It had been chained up, as tame elephants always are when their attack of “must” is due, but on the previous night it had broken its chain and escaped. Its mahout, the only person who could manage it when it was in that state, had set out in pursuit, but had taken the wrong direction and was now twelve hours’ journey away, and in the morning the elephant had suddenly reappeared in the town. The Burmese population had no weapons and were quite helpless against it. It had already destroyed somebody’s bamboo hut, killed a cow and raided some fruit-stalls and devoured the stock; also it had met the municipal rubbish van and, when the driver jumped out and took to his heels, had turned the van over and inflicted violences upon it.

The Burmese sub-inspector and some Indian constables were waiting for me in the quarter where the elephant had been seen. It was a very poor quarter, a labyrinth of squalid bamboo huts, thatched with palmleaf, winding all over a steep hillside. I remember that it was a cloudy, stuffy morning at the beginning of the rains. We began questioning the people as to where the elephant had gone and, as usual, failed to get any definite information. That is invariably the case in the East; a story always sounds clear enough at a distance, but the nearer you get to the scene of events the vaguer it becomes. Some of the people said that the elephant had gone in one direction, some said that he had gone in another, some professed not even to have heard of any elephant. I had almost made up my mind that the whole story was a pack of lies, when we heard yells a little distance away. There was a loud, scandalized cry of “Go away, child! Go away this instant!” and an old woman with a switch in her hand came round the corner of a hut, violently shooing away a crowd of naked children. Some more women followed, clicking their tongues and exclaiming; evidently there was something that the children ought not to have seen. I rounded the hut and saw a man’s dead body sprawling in the mud. He was an Indian, a black Dravidian coolie, almost naked, and he could not have been dead many minutes. The people said that the elephant had come suddenly upon him round the corner of the hut, caught him with its trunk, put its foot on his back and ground him into the earth. This was the rainy season and the ground was soft, and his face had scored a trench a foot deep and a couple of yards long. He was lying on his belly with arms crucified and head sharply twisted to one side. His face was coated with mud, the eyes wide open, the teeth bared and grinning with an expression of unendurable agony. (Never tell me, by the way, that the dead look peaceful. Most of the corpses I have seen looked devilish.) The friction of the great beast’s foot had stripped the skin from his back as neatly as one skins a rabbit. As soon as I saw the dead man I sent an orderly to a friend’s house nearby to borrow an elephant rifle. I had already sent back the pony, not wanting it to go mad with fright and throw me if it smelt the elephant.

The orderly came back in a few minutes with a rifle and five cartridges, and meanwhile some Burmans had arrived and told us that the elephant was in the paddy fields below, only a few hundred yards away. As I started forward practically the whole population of the quarter flocked out of the houses and followed me. They had seen the rifle and were all shouting excitedly that I was going to shoot the elephant. They had not shown much interest in the elephant when he was merely ravaging their homes, but it was different now that he was going to be shot. It was a bit of fun to them, as it would be to an English crowd; besides they wanted the meat. It made me vaguely uneasy. I had no intention of shooting the elephant – I had merely sent for the rifle to defend myself if necessary – and it is always unnerving to have a crowd following you. I marched down the hill, looking and feeling a fool, with the rifle over my shoulder and an ever-growing army of people jostling at my heels. At the bottom, when you got away from the huts, there was a metalled road and beyond that a miry waste of paddy fields a thousand yards across, not yet ploughed but soggy from the first rains and dotted with coarse grass. The elephant was standing eight yards from the road, his left side towards us. He took not the slightest notice of the crowd’s approach. He was tearing up bunches of grass, beating them against his knees to clean them and stuffing them into his mouth.

I had halted on the road. As soon as I saw the elephant I knew with perfect certainty that I ought not to shoot him. It is a serious matter to shoot a working elephant – it is comparable to destroying a huge and costly piece of machinery – and obviously one ought not to do it if it can possibly be avoided. And at that distance, peacefully eating, the elephant looked no more dangerous than a cow. I thought then and I think now that his attack of “must” was already passing off; in which case he would merely wander harmlessly about until the mahout came back and caught him. Moreover, I did not in the least want to shoot him. I decided that I would watch him for a little while to make sure that he did not turn savage again, and then go home.

But at that moment I glanced round at the crowd that had followed me. It was an immense crowd, two thousand at the least and growing every minute. It blocked the road for a long distance on either side. I looked at the sea of yellow faces above the garish clothes-faces all happy and excited over this bit of fun, all certain that the elephant was going to be shot. They were watching me as they would watch a conjurer about to perform a trick. They did not like me, but with the magical rifle in my hands I was momentarily worth watching. And suddenly I realized that I should have to shoot the elephant after all. The people expected it of me and I had got to do it; I could feel their two thousand wills pressing me forward, irresistibly. And it was at this moment, as I stood there with the rifle in my hands, that I first grasped the hollowness, the futility of the white man’s dominion in the East. Here was I, the white man with his gun, standing in front of the unarmed native crowd – seemingly the leading actor of the piece; but in reality I was only an absurd puppet pushed to and fro by the will of those yellow faces behind. I perceived in this moment that when the white man turns tyrant it is his own freedom that he destroys. He becomes a sort of hollow, posing dummy, the conventionalized figure of a sahib. For it is the condition of his rule that he shall spend his life in trying to impress the “natives,” and so in every crisis he has got to do what the “natives” expect of him. He wears a mask, and his face grows to fit it. I had got to shoot the elephant. I had committed myself to doing it when I sent for the rifle. A sahib has got to act like a sahib; he has got to appear resolute, to know his own mind and do definite things. To come all that way, rifle in hand, with two thousand people marching at my heels, and then to trail feebly away, having done nothing – no, that was impossible. The crowd would laugh at me. And my whole life, every white man’s life in the East, was one long struggle not to be laughed at.

But I did not want to shoot the elephant. I watched him beating his bunch of grass against his knees, with that preoccupied grandmotherly air that elephants have. It seemed to me that it would be murder to shoot him. At that age I was not squeamish about killing animals, but I had never shot an elephant and never wanted to. (Somehow it always seems worse to kill a large animal.) Besides, there was the beast’s owner to be considered. Alive, the elephant was worth at least a hundred pounds; dead, he would only be worth the value of his tusks, five pounds, possibly. But I had got to act quickly. I turned to some experienced-looking Burmans who had been there when we arrived, and asked them how the elephant had been behaving. They all said the same thing: he took no notice of you if you left him alone, but he might charge if you went too close to him.

It was perfectly clear to me what I ought to do. I ought to walk up to within, say, twenty-five yards of the elephant and test his behavior. If he charged, I could shoot; if he took no notice of me, it would be safe to leave him until the mahout came back. But also I knew that I was going to do no such thing. I was a poor shot with a rifle and the ground was soft mud into which one would sink at every step. If the elephant charged and I missed him, I should have about as much chance as a toad under a steam-roller. But even then I was not thinking particularly of my own skin, only of the watchful yellow faces behind. For at that moment, with the crowd watching me, I was not afraid in the ordinary sense, as I would have been if I had been alone. A white man mustn’t be frightened in front of “natives”; and so, in general, he isn’t frightened. The sole thought in my mind was that if anything went wrong those two thousand Burmans would see me pursued, caught, trampled on and reduced to a grinning corpse like that Indian up the hill. And if that happened it was quite probable that some of them would laugh. That would never do.

There was only one alternative. I shoved the cartridges into the magazine and lay down on the road to get a better aim. The crowd grew very still, and a deep, low, happy sigh, as of people who see the theatre curtain go up at last, breathed from innumerable throats. They were going to have their bit of fun after all. The rifle was a beautiful German thing with cross-hair sights. I did not then know that in shooting an elephant one would shoot to cut an imaginary bar running from ear-hole to ear-hole. I ought, therefore, as the elephant was sideways on, to have aimed straight at his ear-hole, actually I aimed several inches in front of this, thinking the brain would be further forward.

When I pulled the trigger I did not hear the bang or feel the kick – one never does when a shot goes home – but I heard the devilish roar of glee that went up from the crowd. 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. He neither stirred nor fell, but every line of his body had altered. He looked suddenly stricken, shrunken, immensely old, as though the frightful impact of the bullet had paralysed him without knocking him down. At last, after what seemed a long time – it might have been five seconds, I dare say – he sagged flabbily to his knees. His mouth slobbered. An enormous senility seemed to have settled upon him. One could have imagined him thousands of years old. I fired again into the same spot. At the second shot he did not collapse but climbed with desperate slowness to his feet and stood weakly upright, with legs sagging and head drooping. I fired a third time. That was the shot that did for him. You could see the agony of it jolt his whole body and knock the last remnant of strength from his legs. But in falling he seemed for a moment to rise, for as his hind legs collapsed beneath him he seemed to tower upward like a huge rock toppling, his trunk reaching skyward like a tree. He trumpeted, for the first and only time. And then down he came, his belly towards me, with a crash that seemed to shake the ground even where I lay.

I got up. The Burmans were already racing past me across the mud. It was obvious that the elephant would never rise again, but he was not dead. He was breathing very rhythmically with long rattling gasps, his great mound of a side painfully rising and falling. His mouth was wide open – I could see far down into caverns of pale pink throat. I waited a long time for him to die, but his breathing did not weaken. Finally I fired my two remaining shots into the spot where I thought his heart must be. The thick blood welled out of him like red velvet, but still he did not die. His body did not even jerk when the shots hit him, the tortured breathing continued without a pause. He was dying, very slowly and in great agony, but in some world remote from me where not even a bullet could damage him further. I felt that I had got to put an end to that dreadful noise. It seemed dreadful to see the great beast Lying there, powerless to move and yet powerless to die, and not even to be able to finish him. I sent back for my small rifle and poured shot after shot into his heart and down his throat. They seemed to make no impression. The tortured gasps continued as steadily as the ticking of a clock.

In the end I could not stand it any longer and went away. I heard later that it took him half an hour to die. Burmans were bringing dash and baskets even before I left, and I was told they had stripped his body almost to the bones by the afternoon.

Afterwards, of course, there were endless discussions about the shooting of the elephant. The owner was furious, but he was only an Indian and could do nothing. Besides, legally I had done the right thing, for a mad elephant has to be killed, like a mad dog, if its owner fails to control it. Among the Europeans opinion was divided. The older men said I was right, the younger men said it was a damn shame to shoot an elephant for killing a coolie, because an elephant was worth more than any damn Coringhee coolie. And afterwards I was very glad that the coolie had been killed; it put me legally in the right and it gave me a sufficient pretext for shooting the elephant. I often wondered whether any of the others grasped that I had done it solely to avoid looking a fool.

Published by New Writing , 2, Autumn 1936

This material remains under copyright in some jurisdictions, including the US, and is reproduced here with the kind permission of the Orwell Estate .

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Litinfinite (Dec 2021)

Revisiting Orwell’s “Shooting an Elephant” through the Lens of Post-Colonial Ecocriticism

• Sami Hossain Chisty

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This paper is an attempt to break away from the canonical reading of George Orwell’s most celebrated essay “Shooting an Elephant” and analyze it from the perspective of post-colonial ecocriticism. Ever since its publication, “Shooting an Elephant” has been viewed as a literary work that depicts the disturbing nature of imperialism and the impacts of its byproducts both on the colonized and the colonizer. This paper postulates that employing such an anthropocentric view while reading a text that projects the predicament of an animal and the exploitation of nature can be an intellectual misjudgment. The symbiosis of post-colonialism and ecocriticism ensures a synergy that is essential for contemporary literary criticism.The project of post-colonial ecocriticism is to re-read the canonical texts common to both fields and trace out ecocritical concerns in postcolonial literature and postcolonial aspects of environmental writing. In this paper, the ideas of post-colonialism in “Shooting an Elephant” have been addressed while keeping the environmental concerns into consideration.

• post-colonial ecocriticism
• imperialism
• anthropocentric

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George Orwell, Shooting an Elephant

• Ed. by Andrew Radford, University of Glasgow
• The Literary Encyclopedia. Volume 1.2.1.08 : English Writing and Culture of the early Twentieth Century , 1900-1945.
• Vol. editors: Chris Baldick (Goldsmiths College, University of London) , Peter Childs (Birmingham Newman University) , Louise McDonald (Birmingham Newman University) , Andrew Radford (University of Glasgow)
• Political Science
• First circulation or publication 1936
• England (Country of Origin)

Genres and Modes

• Essays/ Lectures (any)
• Non-fictional prose
• Orwell's Life
• Orwell's Works
• Recommended Reading

George Orwell’s 1936 memoir-essay, “Shooting an Elephant”, recounts the writer’s killing of an unruly elephant when he was a policeman in colonial Burma. Orwell reflects on the injustice of the British Empire, on his own ambivalence about enforcing imperial rule, and on the quasi-theatrical demands of that enforcement. Critics have praised the prose style of “Shooting an Elephant”, and it often features as a model in post-secondary writing instruction.

“Shooting an Elephant” belongs at the center of any discussion of Orwell’s complex thoughts on imperialism. Interested readers should also consult “A Hanging”, “Marrakech”, “Reflections on Gandhi”, and his 1942 essay “Rudyard Kipling”. Likewise, the novel Burmese Days, and his analysis of the Empire in

Citation: Carson, Robert. "Shooting an Elephant". The Literary Encyclopedia . First published 17 October 2023 [https://www.litencyc.com/php/sworks.php?rec=true&UID=2068, accessed 19 September 2024.]

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22 “Shooting an Elephant” by George Orwell

In “Shooting an Elephant,” author George Orwell finds himself in a position of authority as an Indian community encounters a rampaging elephant.

Click on the link to view the essay:  “Shooting an Elephant” by George Orwell

As you are reading, identify the following:

• The “situation”
• The “complications”
• The “lesson” the author learned from the experience

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Imperialism in Shooting an Elephant: Symbolism & Themes

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Need to analyze a theme of imperialism in Shooting an Elephant by George Orwell? This essay contains the story’s summary and focuses on Shooting an Elephant symbolism.

Introduction

• Imperialism
• Symbolism & Metaphors

Works Cited

“Shooting the elephant” is a story that explores the description of an imaginary encounter of an Englishman working in the Colonial police force in Burma. The story describes an experience with an uncontrollable and deterministic elephant. The narrator shows that he did not want to shoot the elephant but he had to do it by the will of the submissive Burmese people to bring about redemption of the people.

The study gives the breakdown of colonial nations as applied by the actors in the colonised regions. The officer describes his breakdown by expressing the mockery received for the authority. The story captures the violent reality of colonialism as the narrator unfolds the events of the actual shooting and the description of the slow and painful death of the elephant that seemed peaceful in hands of a colonial officer. The above study argues that George Orwell’s “Shooting an elephant” story represents a symbol of imperialism.

Shooting an Elephant Summary

The essay by Orwell describes the narrator’s experience. As a police officer in Burma, he is asked to kill an aggressive elephant. He does the job against his better judgment. His torment is intensified by the slow and painful death of the elephant. As Orwell spent some time in Burma, some researchers think the story may be partly autobiographical.

Shooting an Elephant Analysis

The story of shooting the elephant begins with a thoughtful introduction of the actions where the narrator, Orwell, describes the difficulty of being a colonial police officer, especially, in the middle of the twentieth century in British Burma; where many people hated him. Orwell shows how the anti-Europeans were bitter to an extent of spitting on the European women as they crossed over to the market. The sub divisional police officers would now raise more alarm as the Burmese could yell with revolting laughter.

Orwell therefore understood the hatred and thought was justified, though he admits that he would be happy if he could run through his oppressors. Johnston (375) puts that the event of shooting the elephant begins with a phone call that Orwell received about an elephant ravaging the bazaar. As a police officer and his hunting rifle, he followed the elephant to the village where the Buddhist priests had much hatred and were so many in the streets idle and jeering Europeans.

Runciman (182-183) shows that George Orwell’s book “Shooting an elephant” reflects the author as a socially conscious individual. He also says that the book served as a supplement in the days of the Burmese. Orwell shows his experience as a colonial official to both India and Burma, which were regions in the British Empire (Runciman 82-183). This study involves a colonial officer obligated to shoot a rogue elephant by the crowd from the indigenous residents for not wanting to seem a coward in the eyes of the huge crowd.

Orwell describes the event of shooting the elephant and compares it to the hostility reigning between the British Empire and the administrators, as well as the natives. In this situation, both parties have much hatred, mistrust, resentment and degrade one another and therefore the shooting represents a huge suffering expressed economically (Runciman 82-183).

Imperialism in Shooting an Elephant

“Shooting an Elephant” has created much criticism in the British literature, and especially in the political environment of modern criticism. This is because it has generated a debate on whether Orwell was legally right to condemn imperialism. Critics show insufficient condemnation and that the narrator is an agent of the British Empire who denounces the presence of the British who were corrupting their regions.

To begin with, it is important to analyse the historical background of the colonisation of Burma and describe the people of Burma. It is also necessary to provide the biography and bibliographical experience of George Orwell. This is because the author focuses on the relationship between the natives and the government. The breakdown of colonial rhetoric linking theory and practice shapes some of the phrases used by Orwell, for example, Orwell used the sea of yellow faces to display the idea of racism from the colonising people.

The author also looks at the Burmese villagers as the same people with no distinct characteristics. He describes the unplanned scattering of their houses and the palm-leaf thatched huts, marking them with yellow color create the difference between the white man’s power and the Burmese. This also describes poverty and foulness within the neighborhood.

On the other hand, the narrator is afraid of the Burmese and their forces and he describes them as a sea of people. The officer also offers the people presence and much more force than his. He also realises that he is one person among a “sea” of many others.

The colonial officer notices that though he is legally powerful and has a rifle, the events of the day remain dictated by the people behind him who would see him as a fool if he did not shoot the elephant in spite of having the weapon amidst many helpless Burmese. The author also uses words such as magical, conjurer and absurd puppet to show he is against the British colonial powers. The words take the fear of the colonised people that the British people criticise.

Orwell uses un-scientific words when describing the event. The use of diction displays a corrupt British influence to the colonized people and reflects the degradation of the style of the colonising powers. This study therefore shows the moving symbol of the colonial experience.

The view of British imperialism is more reflected where the colonial officer shows that he is against the oppressors and their evil deeds. Though he is a British officer and has much authority among the Burmese people, he has some build up hatred and remorse towards himself and his empire, as well as to the Burma people whom he refers to as evil spirited little beasts.

The essay therefore does not only show the personal experience with the elephant, but also uses metaphors to show the experience with the imperialism and his views towards the colonial rule.

Orwell expresses hostile feelings towards the imperialism, British justification for taking over the powers of the Burma people and the entire British Empire. Orwell has set the mood of the essay by illustrating the climate to be cloudy and stuffy morning at the beginning of the rain. This shows that Orwell has established that his character is weak and discomforting especially by describing how the Burma people laughed and mocked him.

According to Adas & Peter (54-58) imperialism has been a cause for the poor relationship between the Burma people and police officers. The breakdown brings the beliefs of imperialism in practical application. This is shown by how the British came to power and the history of the Burma and how the society had been exploited.

Orwell gives his experience in Burma and the story shows the mood and feeling of a person experiencing British imperial break down. Orwell realised that though he is the authority in the region, the Burmese people had control over his actions. This shows that there was a poor relationship between the coloniser and the colonised. The officer describes his nature of authority as derived from the people as opposed to self-designed force.

He states that he stood with a rifle in his hands and thought of the hollowness and ineffectiveness of the power of the white man in the East. With much power between citizens and political leaders in England over the Burmese people, the people using the authority had also recognised the poor relationship between the colonised and the colonisers.

It is therefore clear that the buildup of the story of finding the elephant serves a metaphoric force to illuminate on the imperialist powers that usurps the rights of the people. The narrator shows that the elephant’s rampaging destroyed homes, food shelves and worse of all, it killed a man described as having an unbearable agony on his face. Upon finding the elephant, the narrator also describes that he knew for sure that he had no right to shoot him.

This shows that as a colonial officer, he ought not to kill his ruling government but support it (Barbara 46). The narrator also says that when he laid his eyes on the huge mass of Burmese behind him, he changed his attitude towards shooting the elephant. He continually says that he did not want to shoot the elephant and this explains that the narrator understands the guilt of shooting an elephant that seemed so peaceful from a distance.

The narrator also gives various reasons why he did not want to shoot the elephant, for example, he states that an elephant was worth more alive than it dead. He also states that he is bad at shooting, and he would not want to miss the target, as he never wanted the crowd to laugh at him and make him seem defeated. This shows that the colonial police officer fell to the expectations of the Burmese. He went against his will and moral belief and decided to shoot (Barbara 46). This describes how the British people would never want to seem less powerful than the natives as the colonisers in the story did. The death of the elephant metaphorically represents the British Imperialism in Burma. This is because before the British expansion came to Burma, it was a free kingdom and the Burmese and the British oppressors fought three wars. Barbara (2006) describes that the first was the Anglo-Burmese War fought in 1824 and the other was in 1852. The third war was in 1855 where the British took over Burma.

Orwell states that he did not hear the bang or kick of the first trigger, and he had to fire again at the same spot between the ears where it was easier to kill the elephant. The third firing illustrates the final shot to the elephant, as it showed the agony that jolted its whole body. The elephant knocked its last strength from his legs.

The three wars therefore represented the three shots. Hobson (2005) puts it that the elephant represented Burma and its unyielding struggle to remain powerful over the colonisers (5-7). This can be compared to how the elephant had tried to remain alive after the third shot.

By staying down after the third shot, the elephant is still alive, just like the Burmese people who were still there, powerless and helpless once the three wars. Orwell (1936) explains that the Burmese are now under the control of the British, and the death of the elephant is a metaphor showing the British rule and how it has declined against Burmese as some went away and others died (67).

Orwell reflects guilt by stating that seeing the elephant lying so powerless on the ground unable to move and yet powerless to die. The narrator shows that he is guilty being a colonial police officer who fought in the war against Burma. Beissinger (294-303) shows that Britons were also doubtful of their right to rule others in their territory.

This mounted much hatred and resentment from the Burmese. By killing the elephant, Orwell justifies himself for having the right to shoot and that it was legal. He justifies this using the fact that a mad elephant deserves being killed just as a mad dog is once the owner does not control it (Beissinger 299). He also admits being glad for the elephant had killed a villager and legally that justifies a legal act. However, Orwell realises the truth to be false in the wake of the efforts to save the elephant.

Shooting an Elephant Symbolism & Metaphors

Orwell uses the metaphors; for example, by comparing himself to a magician and the huge masses of villagers was his audience. He also compares himself to a lead actor and as an absurd puppet. Orwell states that he represents a posing dummy and that he looked like a person wearing a mask. This is because by holding the rifle, the Burma people expected to see the elephant down. John (2008) describes that though he was a white man and more so, in the authority, it was more expected that he had to kill the elephant.

This describes George Orwell’s realisation of the position of the whites in the East and the negative contribution of imperialism. Orwell also realised that once a white man became a tormenter, he destroyed his own freedom. He says that white men should constantly do what the natives expect from them and impress them as they have control over the white man. Orwell completes his role and realises that throughout his rule in Burma, he is the Burmese victim.

Shooting an Elephant Conclusion

Shooting the elephant is a clear depiction of the imperialist powers that wok to the detriment of the subjects. In his metaphoric epresentations, Orwell manages to demonstrate in clear terms the immense negative images portrayed by the inhibiting powers of the colonial masters.

By mentioning himself as an actor in the play, the narrator realised that he had to impress his audience who were people from Burma, and says that by aiming at the elephant’s head, the people behind him felt as if the curtains from the theatre were finally opened for the audience to view the play. These descriptions show his weaker character of submission to the crowd, which defines the order of the day through control of his actions.

However, he had to wear a mask and act like a powerful white man. The examples show the double-edged sword of imperialism and its misrepresentation of the people. The personal experience shows a moral dilemma reflecting the evils influenced by the colonial politics and imperialism.

Orwell represents an anti-imperialist writer that promotes this through the story of shooting the elephant. This is because, in this case, both the colonisers and the colonised are destroyed at the end. He detests the tethering effects of the colonial Britain and the story shows that the conqueror does not control the situation, but the expectations of the people guide him.

Adas, Michael. & Peter, N. Turbulent passage a global history of the Twentieth Century. New York : Pearson Education, Inc. 2008. Print.

Barbara, Bush. Imperialism and Post colonialism, History: Concepts, Theories and Practice, Longmans, 2006. Print.

Beissinger, Mark. “Soviet Empire as Family Resemblance,” Slavic Review 65 (2006): 294-303.

Hobson, Atkinson. Imperialism: a study. Cosimo , Inc. New York : 2005. Print.

John, Darwin. After Tamerlane: The Rise and Fall of Global Empires, 1400–2000. New York : Penguin Books, 2008. Print.

Johnston, Ronald. The Dictionary of Human Geography. eds. New York: Wiley-Blackwell, 2000, Print.

Orwell, George. “ Shooting an Elephant ” The Literature Network , 1936. Web.

Runciman, David. Political Hypocrisy: The Mask of Power, from Hobbes to Orwell and Beyond . New York: Princeton University Press, 2010. Print.

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"Imperialism in Shooting an Elephant: Symbolism & Themes." IvyPanda , 25 Oct. 2018, ivypanda.com/essays/george-orwells-shooting-an-elephant-is-a-symbol-for-imperialism/.

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IvyPanda . 2018. "Imperialism in Shooting an Elephant: Symbolism & Themes." October 25, 2018. https://ivypanda.com/essays/george-orwells-shooting-an-elephant-is-a-symbol-for-imperialism/.

1. IvyPanda . "Imperialism in Shooting an Elephant: Symbolism & Themes." October 25, 2018. https://ivypanda.com/essays/george-orwells-shooting-an-elephant-is-a-symbol-for-imperialism/.

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