Orwell+-+Q4

**Shooting an Elephant**

For your first assignment, please either answer an essential question, add to someone else's answer and build on it meaningfully, or add two points to the checklist of Orwell's writing style. If you take the second option please include for each point the technique, one or two examples, and the intended effect on the reader. Make sure you include your name. Your post will be graded using the following rubric:

Post makes a meaningful insight into the essay /10 Post is supported by quotations from the essay /5 Post is clearly and accurately written /5

= **Essential Questions** =
 * How does Orwell use literary tools such as symbolism, figurative language, diction and first person perspective to convey his main point, and what is that point?
 * Nafisah: Orwell uses several literary devices in order to convey his points, but seems to contradict himself many times. He uses the first person perspective to draw you into the story. This story is based off what he lived through, and you can tell what he is REALLY THINKING and FEELING inside in comparison to what he SHOWS and ACTS like to other people. The first person perspective allows you to feel sympathy towards him because everyone is so mean to him and mocks him. You can see that he is going through a lot of internal conflict. Example: (page 3) "I was all for the Burmese and all against their oppressors, the British." "In the end the sneering yellow faces of young men that met me everywhere, the insults hooted after me while I was at a safe distance, got badly on my nerves." (page 9) "I often wondered whether any of the others grasped that I had done it solely to avoid looking a fool." These three quotes can show his first person perspective and how he feels about everything, the situation he's in, and how or why he deals with situations.
 * Addition - Shao-Yan: On top of using a first person perspective to emphasise his personal feelings and thoughts, the use of first person perspective also induces sympathy for the reader, and perhaps even persuades the reader to see the Burmese as Orwell does, which is as "evil-spirited little beasts who tried to make my job impossible"(4). At the same time, Orwell also introduces his view on imperialism, and that he "had already made up my mind that imperialism was an evil thing..."(3). Rather than just recounting events, if this narrative was not in first-person, Orwell infuses the essay with his own thoughts, and in the process perhaps alters or affects the reader's own view on imperialism and the Burmese, perhaps to favor and support Orwell's own views. Furthermore, the use of first person perspective adds a lot more meaning to the narrative, since it portrays the events as an interesting story, engaging for the reader, rather than a bland piece of text which simply recounts a British officer shooting an elephant. This adds interest for the reader, and turns this non-fiction recount of events into something more akin to a fiction story. The use of a first person perspective in Orwell's essay "Shooting an Elephant" emphasizes Orwell's thoughts and feelings, as well as the reader's interest for the work, and through this transforms the story of shooting a "must" elephant into an account about the British Raj, imperialism and the local Burmese, and a conflicted British officer, who "was only an absurd puppet pushed to and fro by the will of those yellow faces behind"(6).
 * Emily H: Orwell conveys the immorality and evilness of imperialism by using a lot of symbolisms throughout the essay. The use of symbolism allows him to connect images directly for the mind of the readers and delivers an emotional short-cut. It also generates suspense and ambiguity in the story//.// The symbol of imperialism is omnipotent and is represented by two possible organisms: Orwell and the elephant. In the beginning of the story, Orwell seems to symbolize imperialism to the Burmese because of the way Burmese treated him—“ the sneering yellow faces of young men that met me everywhere, the insults hooted after me when I was at a safe distance”(1) In this case, the Burmese, or the victims who have been maltreated by the British imperialism, is symbolized by the elephant because of the heartless kill they catalyze—“I heard the devilish roar of glee that went up from the crowd”(8). Yet from another perspective, the elephant can also symbolize the imperial power because of its appearance (heavy and clumsy), the way it behaves (killing the innocent people), and Orwell’s action on it (killing the elephant). From these evidence, the elephant is seemed destructive, powerful, and cruel which all matches with the British. And by shooting it, Orwell shows his hatred and wants to destroy the imperial power. Therefore, by using symbolism, Orwell not only shows contradictory of his thoughts, but also portrays imperialism as oppressive and evil.
 * Minsoo : Orwell uses figurative language over and over again to accurately describe how personally felt when he was pushed to shoot the elephant. Until then, he fails to gain the respect from “evil-spirited little beasts” (4), the Burmans, and had tough time trying to keep them in control. However, when he is facing the elephant with a rifle, the crowd watches him as if he is “a conjurer about to perform a trick” (6) and “leading actor of the piece” (6). Orwell precisely depicts how much attention he receives from the crowd and his actions will either satisfy or disappoint the crowd. Nevertheless, he describes himself as “an absurd puppet” (6) because although he doesn’t actually want to kill the elephant that “looked no more dangerous than a cow” (6), he does to please the crowd. From these figurative languages, we can deduce that Orwell did enjoy the crowd’s attention and chose to shoot the elephant only to gain the crowd’s respect. Just like what Nafisah and Shao-Yan wrote, the figurative language used by Orwell shows how Orwell contradicts himself and induces readers’ sympathy to Orwell.

=Down and Out in Paris and London Study Guide= Chapter 10 pg. 55-60 Chapter 11 pg. 60-66 Chapter 6 p.32-37
 * What is Orwell's argument or message, and what persuasive tools does he use to make it?
 * Justin: Orwell argues the evils of imperialism. He uses the first person narrative form of writing to make the audience sympathize with him. By having self doubt and a personal opinion and appealing to the sympathetic nature of readers, he makes the reader subconsciously agree with him. This appeal to emotions is his main persuasive technique. "I made up my mind that imperialism was an evil thing" (3). He uses his own opinion to sway the reader, and then causes the reader to see the consequences of imperialism, "all these oppressed me with an intolerable sense of guilt" (3). Finally, he uses strong word choice to describe the British Empire such as "unbreakable tyranny" (4) and "white man's dominion" (5). Finally, he symbolically portrays imperialism with his story of the elephant.
 * Is Orwell’s essay a racist portrayal of the Burmese?
 * Bubba: In certain aspects, //Shooting an Elephant// is a racist narrative essay. He uses many negative words, or rather words that provoke negative connotations. For example, he doesn’t call the people “Burmese.” Instead, he uses words such as “sneering yellow faces” (3) or “evil-spirited little beasts” (4). If one saw the essay in a way such that Blair symbolized the British Empire, then he or she will see the shooting of the elephant as a shooting of the Burmese, and the crowd behind Blair will probably be the British Empire crowd pressuring him to kill a Burmese. After shooting the elephant, Blair says that he “heard the devilish roar of glee” (8). This quote implies that the crowd sounded really sinister and evil after seeing the elephant fall. Finally, he says that “an elephant was worth more than any damn Coringhee coolie” (9), implying that a mere animal was more precious and valuable than a human being.
 * William (comment on Bubba) I agree in most terms that //Shooting an Elephant// might be viewed as an essay that consist of racial generalization; however, I believe that Orwell-- not Blair -- does not reflect a person that degrades others based on personal belief. Orwell establishes such racial stereotype such as "the sea of yellow faces above the garish clothes" (6) because that is in fact what he witnesses. To a certain extent Orwell can be judged as an accurate writer who has the tendency to narrate his stories as realistic as possible; through his uses of figurative language, for example his illustration of how the Burmese stared at him as if he is "a conjurer about to perform a trick" (6). Orwell justifies himself as a writer that emphasizes on the realism and accuracy of the story; after all, it is, in fact, a true story. In addition Orwell's comment on the "devilish" (8) behaviors of the "evil-spirited little beasts" (4) derives from his background as a white British police; the British looks down at the Burmese as inferior beings and it would only make sense if Orwell, under the pressure of such a massive empire, complies and conforms with his group unknowingly, he has became one of them. It is only fair to say that Orwell writes his essays in the most personal and the most factual way as possible.
 * < Who ||< Protagonist, Other Waiters, Head Cook, and later, Boris ||
 * < What ||< Boris gets the protagonist a job at Hotel X as a //plongeur//. The protagonist then describes the work life in detail in mostly negative terms and then gets offered a longer job there. ||
 * < Why ||< It contrasts the previous poverty in the book and shows the protagonist's and Boris's life getting better. It also shows how even the worst job is better than poverty. In addition at the end, it develops the character of the protagonist by contrasting him with Boris (Morally Straight and Truthful vs. Lying) "It seemed hardly fair to promise working a month, and then leave in the middle" vs. "Honest! Honest! Who ever heard of a plongeur being honest?" ||
 * < When ||< A day of work ||
 * < Where ||< Hotel X, where Boris had been working. ||
 * < How ||< Uses colloquial French language. Uses superlative negative adjectives to describe the conditions. "Stiflingly hot and very dark" ||
 * < Who ||< Mostly the protagonist with descriptions of his co-workers. ||
 * < What ||< The protagonist describes his work space, his co-workers, his work schedule, and his after-work activities. ||
 * < Why ||< There is development of the move out of poverty. The protagonist shows the audience the hard and easy parts of his day. Perhaps elements of racism shown by the descriptions of the Magyar and the Italian. The theme of capitalism (rich vs. poor) ||
 * < When ||< Random times of different work days. ||
 * < Where ||< Hotel X in the cafeterie, //bistro// ||
 * < How ||< Uses more colloquial French language. Description of the Magyar as compared to the Italian may point out the fact of a dislike towards non-western Europeans. Alludes to culture of that time (Hymn about Greenland, //Rigoletto//). Uses strong adjectives to describe his work day (spasmodic, delirium, pandemonium). ||
 * Who || Protagonist, Boris, Jew(Boris’ roommate) ||
 * What || Protagonist and Boris are still looking for jobs but they almost use up their money. Boris wrote to one of his old mistresses to ask for money but she couldn’t lend him any. Boris’ Jewish roommate stole his remaining two francs from him. ||
 * Why || Boris character development. Social expectations of the Jews ||
 * When || Some days in Summer ||
 * Where || Boris’ room in the Rue du Marche ||
 * How || More characterization on Boris—colloquial language, his personality, and emotions. Historical context of relationship between the Russians and Jews. ||

Chapter 8 p.44-50
 * Who || Protagonist, Boris, Boris’ friend, people in the Russian secret society ||
 * What || Protagonist and Boris have an interest to join the Russian secret society(Communist) to earn some money. They are demanded washing and the protagonist is assigned to write a series of articles with payment. The secret society turns out to be a bluff ||
 * Why || Showing the cunning swindlers who prey upon Russian refugees—reveals the severity of poverty in the country—and it is likely for penniless people like the protagonist and Boris to fall for the trap ||
 * When || Ten days later ||
 * Where || The Russian secret society near the Chamber of Deputies ||
 * How || Description of the protagonist and Boris’ naiveté. Russian words and some cultural reference to the Russian communist party. ||

Chapter 7 p. 37-44

Pawnshop in the Boulevard Port Royal Rue Fondary ||
 * Who || Protagonist, Boris ||
 * What || Boris’ roommate takes Boris’ money and leaves. Protagonist and Boris pawn all their clothes for fifty francs. They went to look for Boris’ friend to ask for the hundred but failed. ||
 * Why || Plot development ||
 * When || Summer morning time ||
 * Where || Protagonist’s room
 * How || Protagonist and Boris’ situation doesn’t get better; they are running out of money but still jobless. ||

Chapter 9 p. 50-55

Restaurant in the Rue du Commerce Hotel X at Place de la Concorde || Chapters 12-17 study guide - Emily Lee and Shao-Yan Chapter 12 pg. 66-69 Chapter 13 pg. 69-75 Chapter 14 pg. 75-83 Chapter 15 pg. 83-88 Chapter 16 pg. 88-92 Chapter 17 pg. 92-96 After the fun is over the narrator said the fun left them only headache and they realized that “We were not splendid inhabitants of a splendid world, but a crew of underpaid workmen grown squalidly and dismally drunk”. The workers swallowed their true feeling by getting drunk and leaving all their thoughts behind. However, when the fun is over they still have to go back to the real world. Here we see the pathetic nature of these people's lives - they have no families or children or hobbies to enjoy in their little free time, but instead drink and fight. Even their leisure time is poor compared to the pastimes of richer people. ||
 * Who || Protagonist, Boris ||
 * What || Protagonist and Boris are guaranteed with jobs at a restaurant in the Rue du Commerce but find jobs at Hotel X ||
 * Why || Changing the situations of two main characters from a poor state into a better state. ||
 * When || Three more days ||
 * Where || Protagonist’s room
 * How || Protagonist and Boris get to choose where they want to work ||
 * Who || George Orwell, Valenti (Waiter), ||
 * What || Orwell’s working time in the hotel, and more specifically the good and the bad parts of it. The good is when the waitress treats him well and tips him. The bad is when he had to wash up the dining room; the work is tedious, the place is filthy and the pay is terrible. ||
 * Why || Orwell brings a new perspective to the reader on the hotels/restaurants in Paris. Not everything is as it seems. For the customers, everything seems clean and neat, but it’s actually the opposite. ||
 * When || Time in hotel ||
 * Where || Hotel X ||
 * How || Descriptive imagery of the condition of his work. H otel X provides a symbol for capitalism. In it the rich sees the image of "a vast, grandiose place", whereas the workers see "a winding staircase into a narrow, deep underground... stiflingly hot and very dark" (55). This imagery provides the reader a visual of society's problem: the rich leads luxurious lives while the poor toils hard to survive. Also, Orwell mentions the chain of order in Hotel X. Without getting into too much detail and losing the point, basically the chain of order in pages 56 to 57 shows class struggle: there is the patron, and then chef du personnel, and plongeurs are the lowest. Essentially, each class has a need to subordinate another one. This illustrates the theme of class struggle in society that Orwell disapproves. The descriptions of the kitchen and the dining room is similar to hell and heaven, respectively. ||
 * Who || Orwell, Chef du personnel, manager, Morandi, kitchen staff ||
 * What || The chef asked Orwell to shave his mustache off. Orwell talks about the inside story of the hotel, describing each job, and their respective status and duties, as well as the respect they are given. ||
 * Why || People are often judged by their appearance, especially when they’re poor. Orwell further expands on the theme that appearance is important, through the chef’s moustache, the waiter’s clothing and hair, and that it is this outer appearance that sets them apart from the rest of the lower-ranked staff; inside, they are all the same. ||
 * When || During Orwell’s time working in the hotel. ||
 * Where || Hotel X ||
 * How || Symbolism of the moustache as a representation of class. Different status, different pay. On a larger scale, moustache and hair as a link to the theme of appearance. Orwell uses the word "caste system" to emphasise the fact that their statuses cannot, change, and that once a plongeur, always a plongeur, and that the could not move up the hierarchy in the kitchen. The term caste system originates from the hierarchy system in India, where one was literally born into their social status and standing, with no chance of improving their social status ||
 * Who || The restaurant staff, Mario, the German, Boris, Valenti ||
 * What || This chapter shows the pride and honor of the employees of the restaurants, and how dependant the quality of a hotel is on the individual workers. ||
 * Why || Orwell shows the readers that restaurants and hotels are nothing like they are from the outside; what may seem clean to the customers is actually just a façade, the boulot, “an imitation of good service”(79) put on by the workers. For example, there is a story about how a chef will lick the gravy and use his bare dirty hands to handle a steak, etc. Orwell also states that “the patron swindled the customers wholeheartedly,”(81), mostly through using bad products and making them look fancy on a plate. He further shows how the restaurant staff are very dirty, simply because “We were simply carrying out our duties; and as our first duty was punctuality, we saved time by being dirty.”(80) ||
 * When || Time in Hotel X ||
 * Where || Hotel X ||
 * How || Through the description of dirtiness, and all the adjectives used and the imagery portrayed to display the grimy atmosphere, Orwell fully illustrates this scene to the reader. Through his personal thoughts on punctuality, he also shows to the reader the mentality of a plongeur. ||
 * Who || Valenti, Maria, ||
 * What || Valenti describes his experience of hunger, when he did not eat for 5 days straight ||
 * Why || Once again illustrates the pain of hunger, this time through the eyes of Valenti. This chapter also shows some French beliefs, of praying to “Sainte Eloise”, and could also show the reader that Valenti is not a very honest man, for he did not burn a candle simply because he prayed to the wrong person, even though he was given the money when he prayed. ||
 * When || Valenti’s experiences of hunger, when he was out of work and hungry for 5 days ||
 * Where || Valenti’s hotel, the Hotel Suzanne May ||
 * How || This chapter is told in first person narrative by Valenti, and thus describes a lot of his personal feelings and thoughts throughout the event. A lot of dialogue is used to describe events, and there is use of informal language to describe the events, such as “I tell you, those five days were the devil” (83), “Mad, eh? Still, a man will do anything when he’s hungry.”(84) Valenti's actions mirror the general idea that poor people had very little respect for religion, since they believed that there was very little that religion could do for their social/economic problems. ||
 * Who || Orwell, Boris, patron of the Auberge de Jehan Cottard ||
 * What || Orwell relates his daily life as a plongeur, and how his personality and outlook on life had been adjusted and changed from that lifestyle. ||
 * Why || Through this chapter, Orwell illustrates the lifestyle of a plongeur, and also depicts certain traits of Paris, such as the rush in the Metro in the morning and at night, Raki, the Arab drink, bugs in accommodation, etc. There is also a small description of a murder, and how Orwell is more or less unaffected by it, since “We were working people, and where was the sense of wasting sleep over a murder?”(91). This could suggest the inhumanity of French workers, or simply the huge stress and burden being a plongeur incites, and how they will care for nothing else but sleep. ||
 * When || Orwell’s time at the Hotel X ||
 * Where || Hotel X, the metro, his room, and other places he visited in Paris ||
 * How || Orwell describes his life in the form of a schedule, for example “At a quarter to six one woke with a sudden start,”(89), “For another four hours one was in the cellars,”(90), “One fought another battle in the Metro and was home by ten.”(90). Through this chronological retelling the reader can really see how Orwell lives his daily life as a plongeur, and helps bring the story to life. ||
 * Who || The customers at the bistro, Furex ||
 * What || Orwell recounts his Saturday nights when he was a plongeur, what people did at the bistro, and the times and mood and what took place. ||
 * Why || Illustrates the “social life of the quarter”, and through Furex, shows the theme of French opinion on “Communism vs. Chauvinism”. Orwell also depicts the general cycle of these nights at the bistro, how “For an hour the noise scarcely slackened. Then about midnight there was a piercing shout of ‘Citoyens!’”(93), “By one o’clock we were not happy any longer.”(95), “By half-past one the last drop of pleasure had evaporated, leaving nothing but headaches.”(96)
 * When || Saturday nights Orwell spent at the bistro ||
 * Where || “the little bistro at the foot of the Hotel des Trois Moineaux”(92) ||
 * How || There are a lot of descriptions of people, and their behavior when drunk. For example, “Charlie, drunk, half danced, half staggered to and fro with a glass of sham absinthe balanced in one fat hand, pinching the women’s breasts and declaiming poetry.”(93), “People seized each other by the arm and began long rambling confessions, and were angry when these were not listened to.”(96). These descriptions really help the reader to visualize the atmosphere of the bistro Orwell is trying to describe.battle in the Metro and was home by ten.”(90). Through this chronological retelling the reader can really see how Orwell lives his daily life as a plongeur, and helps bring the story to life. ||

Chapter 18-23. Bubba Yee, William Chen, A. Latorre
Chapter 18 p. 96-99
 * Who || Charlie’s story (Charlie, Yvonne) ||
 * What || He had no money, so he sent his girlfriend to a maternity hospital for free food. Girlfriend stole food for him. ||
 * Why || Shows people would do anything for money. Also shows the social status women are in. ||
 * When || “At a time when I was hard up” (97). Over the course of one year ||
 * Where || Paris ||
 * How || Tells much of this story through dialogue. Shows Charlie’s carefree attitude. “Who cares?” (98). Shows Charlie is willing to do anything as long as he gets what he wants. ||

Chapter 19 p. 99-105
 * Who || Protagonist, Boris, Jules ||
 * What || They leave Hotel X. to //Auberge de Jehan Cottard// but find out that no alterations have been done since their last visit. ||
 * Why || Shows how optimistic Boris is. Introduces character of Jules to the readers to contrast the characters. ||
 * When || After five or six weeks of working at Hotel X. ||
 * Where || //Auberge de Jehan Cottard//, Paris ||
 * How || Introduces other characters, such as Jules and the cook. Jules was a proud person but couldn’t afford such high esteem as a lower caste. The restaurant symbolizes Boris and the protagonist’s current status, both being dirty, unprepared, and always a mess. ||

Chapter 20 p. 105-111
 * Who || Protagonist, Boris, Jules, cook ||
 * What || Talks about the condition of the restaurant to inform the readers of what it is like. Shows the first few days of working in a new environment. ||
 * Why || To show how they work and what kind of stuff happens in the restaurant. Shows “the results of starting a restaurant on insufficient capital” (107). ||
 * When || Over the course of many days after opening up the restaurant. ||
 * Where || //Auberge de Jehan Cottard// ||
 * How || Contrasts the atmosphere between the two different restaurants the protagonist has worked at. Talks about the different people’s habits and personalities. E.g. “The cook would find time to talk about her artistic nature…and sing in a fine soprano voice as she minced beef on the board” (108) ||

Chapter 21 p. 111-115
 * Who || Protagonist, Boris, kitchen staff, B. ||
 * What || Shows popularity of the restaurant growing; kitchen becomes messier as more people come. Protagonist sends B. a letter looking for a job, and B. sends money to the protagonist to come to London, which is his main reason for leaving Paris. ||
 * Why || Sign of turning point in protagonist’s life. From poor to better off. Tells more daily routines in the restaurant. Shows character development and the changes between characters, such as how they interact. ||
 * When || Fortnight after chapter 20 (fortnight + some days after working at the restaurant) ||
 * Where || //Auberge de Jehan Cottard// ||
 * How || Very detailed. They get sensitive, and the working environment is filthy, violent and rude. “Now, you cow… move it yourself.” (113). The protagonist even says that he and Boris “were barely on speaking terms.” (113) Since they are the closest of friends, and if they stopped talking to each other, no one probably talked to each other. ||

Chapter 22 p. 115-121
 * Who || Protagonist ||
 * What || To complain about his life as a //plongeur// and to show what life is like. ||
 * Why || Shows his frustration and attitude towards society and life in general. To inform readers his “thoughts that are put into one’s head by working in a hotel.” (121) ||
 * When || Unknown ||
 * Where || Unknown (his brain??) ||
 * How || Monologue with colloquial language and metaphors. Themes are presented: hope, appearance of men. “The average millionaire is only the average dishwasher dressed in a new suit.” (120) ||

Chapter 23 p. 121-125 Amy and Nafisah
 * Who || Charlie’s story (Roucolle, Pole, Jew) ||
 * What || Protagonist is about to leave, runs into Charlie, who tells a story of a series of events that led to Roucolle’s death. ||
 * Why || There are many negative connotations of Jews throughout the book, therefore it is a possible foreshadowing of protagonist’s life in London who might run into a Jew. ||
 * When || A year or two before protagonist went to Paris. ||
 * Where || Paris ||
 * How || Tells a clever story of how a Jew fooled people, which relates to the theme of appearance. Things aren’t what they seem on the outside. The story is a third person view from Charlie’s perspective and “Very likely Charlie was lying as usual, but it was a good story.” (122) ||
 * Chapter 24**
 * Who || Orwell ||
 * What || Arrives in England. He meets a Romanian couple and describes England as a “Paradise.” He was pleased to be back home however his employer is out of town and he will have to live off borrowed money for a month, when they come back. He pawned his second best suit. He then goes to a place called “Good Beds for Single Men” to sleep. ||
 * Why || Shows difficulty of escaping poverty. Even in his home country he is jobless and homeless. The description of the lodging house also shows the kind of living standards homeless people have. ||
 * When || The first day he arrives in England. ||
 * Where || Waterloo Road ||
 * How || Draws in the reader by describing numerous different people he meets at the place he spends the night. ||


 * Chapter 25**
 * Who || Orwell and the fellow lodging house residents ||
 * What || He starts going to a new lodging house because of his bad experience at the last one. He meets a variety of different people in this house. E witnesses an argument between a group of Mormons and a “lame bearded” atheist. ||
 * Why || Reader sees that many different types of people are affected by poverty (old aged pensioners, etc.). In this chapter and the next (when he goes to church) there are incidents where Orwell has an interaction with a religious event. Both times were negative; this shows the lack of faith and hope in the people that are homeless. ||
 * When || His 4th day in England ||
 * Where || Eastward from Waterloo road at a lodging house. ||
 * How || By including the fight between the man and the Mormons he shows how homeless feel about religion. ||


 * Chapter 26**
 * Who || Orwell and Irishman ||
 * What || Orwell meets an Irish “tramp” and they go to a church in order to get a free bun and some tea but are made to stay and prey. ||
 * Why || Homeless perspective on religion. ||
 * When || One morning ||
 * Where || In England ||
 * How || Describes the feeling of the homeless men when they are in the church and the behaviour after they leave the church. ||


 * Chapter 27**
 * Who || Orwell and other tramps, porters ||
 * What || Orwell stays in a “tramp camp” where he is given food and a bed that is quite similar to what you would receive in prison. His bed mate makes a homosexual attempt on him, which he resists and then the man tells Orwell his life story, Everyone is given an inspection the next day to detect any major diseases. Everyone is given meal tickets. ||
 * Why || Shows what tramps are given and how they are treated ||
 * When || While looking for lodging ||
 * Where || In “the Spike” ||
 * How || Describes his experience in the Spike ||


 * Chapter 28**
 * Who || Paddy – Orwell’s “tramp mate” ||
 * What || Paddy is described by physical appearance and also what his personality is like. ||
 * Why || Showing what other tramps in England were like ||
 * When || After spending time in the first Spike, for a Fortnight ||
 * Where || In England ||
 * How || Paddy is described as passionately mean about matches, having self-pity, generous by nature and ignorant. ||


 * Chapter 29**
 * Who || Orwell, Paddy ||
 * What || Orwell and Paddy travel towards a lodging house and stay the night there. Gambling is greatly prohibited in the lodging house. Went to B.’s office to borrow money ||
 * Why || Shows the life of a tramp and how they spend their time; loitering and looking for a smoke and food and lodging. ||
 * When || On the way to London, stopping in Edbury for lodging ||
 * Where || In England, Edbury ||
 * How || The few days are described and show disturbances in the night, and how they acquire more money. ||

Key things to remember: · Adds to the plot to show Orwell’s difficult times as a tramp o Terrible food o Uncomfortable and dirty lodging o Not bathing o Homo sexual attempt on him o Treated as cattle o Also makes tramp friends · Character Development o Shows Orwell’s ability to make due with what he has o Orwell’s pride; will not ask for money from B unless he has to  o Paddy: shows his ignorance and generosity o Orwell embraces being homeless in London and is embarrassed of it in Paris · Themes o Poverty o Homeless o Opinion about Religion o Appearances § Old age pensioners always “got a shave

MJ, Howard and Chris

Chapter 30 Bozo- curious, educated, atheist, places himself above other screevers, “I’m a free man in here”-he tapped his forehead- “and you’re all right” (pg.165) || Chapter 31 Chapter 32 Chapter 33 Chapter 34 Chapter 35 Chapter 36 Layer B Glossary Bubba
 * Who || Paddy and Orwell meets Bozo, detailed characterization of Bozo ||
 * What || Orwell explores the life of Bozo, learns the trade of screeving and Bozo’s past history ||
 * Why || Orwell is very interested in Bozo “Bozo seemed an interesting an interesting man, and I was anxious to see more of him” (pg.163) ||
 * When || Happens throughout couple of days ||
 * Where || Bozo’s lodging house at the south of the river ||
 * How || Integration of Orwell’s personal voice and quoting of Bozo’s voice. Orwell mostly acts as the listener in this chapter to highlight Bozo’s development of characterization.
 * Who || Orwell and Bozo ||
 * What || Orwell meets people in Bozo’s lodging house, learns the technique of begging from Bozo, describes the different types of beggars in London, explains the powerless beggars against the law and justifies how beggars are equal workers like others. ||
 * Why || After exploring London beggar’s life and status with Bozo, Orwell presents his belief of how “A beggar, looked at realistically, is simply a business man, getting his living, like other business men, in the way that comes to hand” (pg.174) ||
 * When || Happens throughout couple of days ||
 * Where || Bozo’s lodging house at the south of the river and streets of London ||
 * How || Orwell’s use of visual imageries, anecdotes from Bozo, observations of other characters and his personal reasoning of comparing the “respectable people” and beggars ||
 * Who || Orwell ||
 * What || Orwell explains the London slang and swearing ||
 * Why || In order to enhance reader’s understanding of the colloquial language of London so that Orwell’s messages would be delivered more effectively ||
 * When || Not applicable ||
 * Where || Not applicable ||
 * How || Simply listing terms and providing a definition for each of the terms. Orwell then discusses the rapid change of the colloquial language and his inquiries about such language. Comparison of swear words in French and English to depict the mystery of swearing words ||
 * Who || Paddy, Bozo and Orwell ||
 * What || Orwell runs out of money, looks for jobs, faces an incident with the slummers, goes to a church to get free tea and experiences the ignorance of tramps towards religion, goes to the Embankment to receive a meal ticket. ||
 * Why || Orwell is broke and needs to find ways to relieve hunger ||
 * When || Happens throughout about 2 weeks ||
 * Where || Lodging house, church near King’s Cross Station, the Embankment ||
 * How || Effective sketch of the specific scenes such as looking for jobs and the slumming-party. Phrases such as “peacefully ignoring it” reveal the attitude of tramps towards religion. Use of juxtaposition (tramps vs. Christians) to illustrate the disgusting scene at the church. Also, depicts the desperate situation Orwell, Paddy and Bozo are facing by describing the incident when Bozo laughed after selling his razor without shaving. ||
 * Who || Paddy and Orwell ||
 * What || Paddy and Orwell heads to a spike at Cromley and listens to ghost stories from other tramps. After spending a night at Cromley they head to Lower Binfield and find some work. ||
 * Why || As a tramp, Paddy and Orwell have to keep moving on to find different places to sleep and find work to get paid. “We could not go to a London spike, for Paddy had been in one recently and did not care to risk going again” (pg.187) ||
 * When || Happens throughout couple of days ||
 * Where || Cromley spike, Lower Binfield ||
 * How || This chapter mostly consists of anecdotes that people share with Orwell such as the ghost story and Paddy’s story of Irishman theft. Along with personal observations, Orwell uses imageries such as “It was jolly autumn weather” to illustrate the setting. ||
 * Who || Paddy, Orwell and several minor characters such as William, Fred and “the woman” ||
 * What || Orwell meets a woman who refuses to be mixed with tramps like him, receives special care from the Tramp Major such as finding a work in the kitchen. ||
 * Why || Orwell intimately experiences what it is like to be treated as a tramp. The “respectable widow woman” (pg.194) refuses to talk to him because Orwell’s a tramp. He also receives special care from Tramp Major because he indicated that he’s a journalist which the Tramp Major interpreted as a sign of gentlemen. ||
 * When || Happens throughout couple of days ||
 * Where || Lower Binfield ||
 * How || Similar to previous chapters, casual tone with quoting other people Orwell meets. Orwell’s comment “I imagine there are quite a lot of tramps who thank God they are not tramps” (pg.199) is interesting because throughout the novel he always put himself in a more superior position than other people he interacts with. Does Orwell consider himself as a true tramp? ||
 * Who || Orwell ||
 * What || Orwell discusses about tramps’ existence, challenges and possible solutions ||
 * Why || By devoting a whole chapter about tramps, Orwell reveals how tramps are not the monstrous figures that people usually perceive as, but are simply victims of unemployment and the illogical laws. He claims that hunger, lack of woman and the enforced idleness are the biggest challenges of living as a tramp. Orwell also suggests possible solutions such as having tramps work in farms to at least produce food for them and provide minimum power to sustain their own life. ||
 * When || Not applicable ||
 * Where || Not applicable ||
 * How || Orwell first describes the stereotypes and prejudices about tramps such as “the idea that every tramp, is a blackguard” (pg.200) Then Orwell reasons that it’s not tramp’s own will to live how he lives but instead there’s “a law compelling him to do so” (pg.201). Then he lists the major challenges and solutions for tramps. The message is clear and straightforward because Orwell writes to the readers directly. ||

//Madame (page 5): //Madam //Salope (page 5): //Slut //Putain (page 5): //Whore //Vache (page 5): //Cow //Bistro (page 6): //Bar //Patron/Patronne (page 6): //Landlord //Crédit est mort (page 9): //Credit is dead <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Apéritifs (page 10): //Appetizers <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">L’amour (page 10): //Love <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Messieurs et dames (page 10): //Ladies and Gentleman <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Raffiné (page 11): //Refined <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Vicieux (page 11): //Vicious <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Bordels (page 12): //Whorehouse <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">En smoking (page 12): //In a tuxedo <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;"><span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">À l’américaine (page 12): //In the US <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Voilà (page 13): //There it is / Ta-da <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Forcément (page 13): //Necessarily <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Car en réalité (page 15): //Because in reality <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Monsieur (page 18): //Mr. <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Merde (page 19): //Shit <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Liberté (page 21): //Freedom <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Égalité (page 21) : //Equality <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Fraternité (page 21): //Brotherhood <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Numéro (page 21): //Number <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Tiens (page 23): //An expression to show surprise <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Maître d’hôtel (page 23): //Butler <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Mon ami (page 24): //My friend <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;"><span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Ç a reviendra (page 25): //It will return <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Plongeur (page 25): //Dishwasher <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Garçon (page 25): //Male <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;"> <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Layer B Plot <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Bubba <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">//<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">Down and Out in Paris and London //, a book written by George Orwell in the early 1930s, describe the life of poverty in Paris and London. In the first half of the book, he describes the poverty life in Paris, specifically about working in the kitchens of restaurants. The book starts off by giving a general setting of Orwell’s life: a man who can pay his rent by working as an English teacher. After he loses his students, he is forced to pawn his clothes and live in a miserable condition for weeks. Then he goes to see Boris, a Russian friend, for help, but realizes that Boris is in a same, if not worse, condition. Together, they look for jobs at restaurants, and they work at Hotel X. Working as a dishwasher in Hotel X., Orwell implies that the kitchen is hell. He works at Hotel X. as a dishwasher until the restaurant that he has been waiting for, called Auberge de Jehan Cottard. He complains about his work, and says that a //<span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;">plongeur // is like a slave. He sends a letter to his friend in London for a better job, and his friend sends him money to come to London. <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;"> After arriving in London, he dresses up as a tramp. He ends up in a spike, which is described like a prison, after a few days. He meets a guy named Paddy, and they move to another lodging house. They then meet Bozo, who teaches a lot about begging, and is somewhat of an expert on begging. They run out of money, and are forced to beg. They manage to find some work, and Orwell meets a woman, who declines him for being a tramp. <span style="background-color: transparent; color: #000000; font-family: serif; font-size: 16px; text-align: start; text-decoration: none; vertical-align: baseline;"> Throughout the book, Orwell uses first person narrative to describe the lives of people in poverty in both Paris and London. However, in contrast to other first person narratives, we, as readers, don’t truly understand how Orwell feels, and it is hard to have feelings for him. In other words, he is just a spectator observing all the events, and retelling them. The purpose of this was probably just to inform the readers what life of poverty was like, instead of telling the readers what his personal life was like. However, he manages to maintain the readers’ focus in numerous ways. One method he uses is by personally involving the readers into the book. Another method is by having a quick-paced structure, the readers don’t get bored much.