summary of shooting an elephant essay

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

Shooting an elephant by george orwell summary.

The narrator of the essay starts with describing the hate he is confronted with in a town in Burma. He says that he is a sub-divisional police officer and is hated by the locals in “aimless, petty kind of way”. He also confesses to being on the wrong side of the history as he explains the inhuman tortures of the British Raj on the local prisoners.

Consequently, Orwell decides to shoot the elephant or in another case, the crowd will laugh at him, which was intolerable to him. At first, he thinks to see the response of the elephant after slightly approaching it, however, it seems dangerous and would make the crowd laugh at him which was utterly humiliating for him. To avoid undesirable awkwardness, he has to kill the elephant. He pointed the gun at the brain of the elephant and fires.

Shooting an Elephant by George Orwell Literary Analysis

About the author:.

The story is a first-person narrative in which the narrator describes his confused state of mind and his inability to decide and act without hesitation. The narrator is a symbol of British colonialism in Burma who, through a window to his thoughts, allegorically gives us an insight into the conflicting ideals of the system.

Shooting an Elephant Main Themes

Ills of british imperialism:, more from george orwell.

Shooting an Elephant

43 pages • 1 hour read

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Analysis: “Shooting an Elephant”

Orwell’s essay “Shooting an Elephant” paints a graphic picture of British imperialism , especially Britain’s rule over Burma (now Myanmar) which lasted from 1824 to 1948. Orwell served in the British military there from 1922 to 1927. Before writing this essay, he published the novel Burmese Days , which details the dark side of imperialism: corruption and despotism. “Shooting an Elephant” is written in the first person, and many have questioned whether it is nonfiction or fiction, especially since Orwell wrote in both genres. The ambiguity adds to the intensity of the essay; Orwell indeed served in Burma, yet there is no known reporting or documentation of this incident. Nonetheless, he considered the work an essay.

Orwell constructs the essay around juxtapositions: The narrator is a foreigner with authority over the Burmese people; he is an imperial official who distrusts the government he represents; his internal monologue is nearly drowned out by the loud, growing crowd at his heels; and he faces a large, deadly animal that seems to be worth more to the crowd than the man it crushed.

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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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Imperialism and dehumanization, the elephant's rampage, psychological impact of imperialism.

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Shooting an Elephant

George orwell.

Ask LitCharts AI: The answer to your questions

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

By george orwell, shooting an elephant summary and analysis of part two.

The elephant gun arrives and Orwell heads down to see the elephant. As he goes, he realizes that a massive crowd has mobilized. He attributes their interest to the presence of the gun; they want to see the spectacle of the elephant being shot. Orwell remarks that English people would be the same. The Burmese are also interested, he says, in the elephant meat.

Orwell is led down to some paddy fields below, where the elephant is said to be grazing. The excited crowd follows. Orwell feels unsettled by the attention and the idea of the spectacle that’s being created. He says again that he has no intention of shooting the elephant—again, he merely wants to defend himself.

When he sees the massive and remarkable elephant he is even more certain that he doesn’t have any inclination to kill it. The elephant is down in the paddy field grazing, entirely oblivious to the crowd. Orwell analyzes his instinct not to kill the elephant, explaining that the animal is like an elaborate piece of “machinery” and the idea of taking it down is antithetical to his instincts (33). It seems wrong. He analyzes this rationale and considers his resolve as he observes the elephant grazing and looking entirely harmless. He plans to leave it.

But as he turns back he sees that the crowd has grown exponentially. There are now at least two thousand people watching, eagerly waiting for him to shoot the elephant. He describes the feeling of their collective will bearing down on him. He realizes that he has no choice but to shoot the elephant. He feels an obligation to perform for these people.

In explicit terms he describes a revelation that he has about “the hollowness, the futility of the white man’s dominion in the east” (33). He stands with the gun as though he’s the one with power, yet he is entirely swayed by the will of the crowd. He realizes that everything he’s doing and everything “the white man” does in the east, is a performance for them, the colonized people. If he acts as a tyrant, he is, he states, the one who loses his freedom. He becomes a “puppet,” performing power and in that way, “trying to impress the ‘natives’” (33). He will let them down and they will see through his act if he doesn’t follow through with shooting the elephant. Most importantly though, he will give them cause to laugh at him, and as he says, his “whole life, every white man’s life in the East, [is] one long struggle not to be laughed at” (33).

Despite this immense pressure, Orwell feels a strong visceral aversion to killing the elephant. As he watches it graze on the grasses, he sees a beautiful and “grandmotherly” quality in the elephant (34). To kill it, he says, would seem like murder. He claims that at that age he isn’t squeamish about killing. He realizes that the right thing to do would be to test the animal, to see if it’s still mad. He should approach it and if it gets mad, then he should shoot it. But if it doesn’t, then he should leave it. But the soil is very soft and he’s not a good shot, so he doesn’t trust that he wouldn’t fall back in the mud. Again, the thing that scares him most about that is the humiliation to which he would be subjected by the crowd. If the elephant tramples him into the mud, he’s sure that some of the natives would laugh, “and that would never do,” he says (34).

Instead of doing the right thing, then, he puts the cartridges into the rifle, gets himself onto the ground and takes aim. The rifle has cross-hair sights. He aims for the head.

He pulls the trigger and the crowd erupts with glee as he hits his mark. The elephant stays standing, but it seems to age immensely. Orwell describes this chance that comes over it as a kind of “senility” (34). Slowly the elephant begins to sink down to the earth, onto its knees. He fires again and then the animal slowly rises. He describes every movement and shift of the elephant’s expression. He fires again and though the elephant seems to weaken, he also rises, up onto his hind legs, his trunk flinging up into the sky, before he goes down, trumpeting noisily, and thundering onto the earth.

Orwell goes toward the elephant and so do the Burmans, who are pleased by the spectacle and ready to get the meat. When Orwell reaches the elephant he realizes that it’s still breathing, totally alive. Orwell fires two shots into the area of its heart, but the elephant remains as it is, calmly breathing, though thick blood pours from the wounds. Orwell fires again and again, multiple shots into the heart and down the throat but the elephant doesn’t flinch and it continues breathing.

In the end Orwell cant’ take it anymore and he walks away. He hears later that it took the elephant half an hour to die. The Burmans, he hears, stripped the bones of all the meat.

Back with the other police officers there’s discussion about whether or not it was the right thing to do. The essay closes with the tellingly racist claim of some of the young officers that it’s wrong to kill such a beautiful creature, just because it killed a Burman.

The essay has a strong narrative element that serves to illustrate Orwell’s critique of British Imperialism. While Orwell presents a candid analysis of imperialist behavior, his ideas are also demonstrated through the events of the narrative. Orwell’s analysis of his own experience of shooting an elephant is simultaneously an analysis of colonial power. In realizing that he has to perform for the people, Orwell realizes the performative aspect of the encounter between colonizer and colonized. The pressure that he feels to perform emerges and is revealed as an essential engine of imperialism. What’s most important is that we see that the pressure the colonizer feels to perform comes down to personal discomfort: specifically, the fear of humiliation. In the climax of the narrative we see that Orwell will go against all of his instincts and better judgments and do something that feels entirely wrong by shooting an animal that he describes as “peaceful” and “grandmotherly,” rather than be laughed at or ridiculed in any way by the Burmese crowd. The fear of humiliation, we thus see, is a powerful motivating force in the policing and upholding of the British Empire. Orwell seems to be suggesting that when imperial power is reduced to individual performers (policemen and military rulers, etc.) the fear of ridicule may be the most pervasive and persistent motivators.

In order for the colonizer to maintain their image of power, they must be decisive. Orwell has the rifle in his hands, so now he must use it. If he hesitates or chooses not to shoot, the crowd will see through his performance of dominance, and in that way they will see through the entire charade of British imperial power.

The fear of being laughed at is the most important aspect of Orwell’s personal fear and this, he suggests, goes beyond himself. The crowd, the people on the streets, the Buddhist priests, etc. all have the power to laugh and to ridicule him. This is something they all deploy, something they make use of. This is where Orwell's personal pride becomes, despite his own wishes, entangled in imperial power.

Orwell despises the British Empire and hates its presence in Burma; he says that he’s on the side of the Burmese. Yet he’s compelled to uphold the imperialist image of power. The thing that drives him isn’t some idea of the importance of the British empire; it’s not for the glory of the empire; it’s the simple fear of looking ridiculous. He is driven out of personal pride, and yet this leads him to further a much larger political project, that of upholding the image of British imperial power. Orwell explicitly attributes this same fear of ridicule to all other white men in the East. He deduces an important motive of imperial power to the single actor’s fear of embarrassment.

His aversion to killing the elephant is vital in the story. Though he doesn’t elaborate on it or break it down beyond the one passage, he explains in simple clear terms that he doesn’t want to do it. Orwell’s lack of affect in his language in the part is important. His language is honest: he is going against his will.

Orwell gives substantial attention to his description of the elephant’s death. In clear prose he moves through every stage and detail of the elephant’s motions from the first shot, when it seems to age “a thousand years,” to the moment when it sinks to its knees, to its slow rise on the third shot, that causes it to go up on its hind legs in slow motion. The attention to descriptive detail in this moment speaks to the value that Orwell puts on the elephant’s life and indeed, the impact of its killing. This is the most dramatic part of the essay, seeing the elephant go down. In giving it this attention, we come to feel the inner conflict at work in the essay, a conflict at the heart of imperialism.

Shooting an Elephant Questions and Answers

The Question and Answer section for Shooting an Elephant is a great resource to ask questions, find answers, and discuss the novel.

According to Orwell, he was “hated by large numbers of people” during his time in Burma. Why was he so hated? Support your answer using textual evidence.

Orwell is a policeman, a representative of the British regime and an occupier of Burma: he was the face of oppression and subjugation.

In Moulmein, in lower Burma, I was hated by large numbers of people – the only time in my life that I have been...

Dilemma of the Narrator

The narrator's dilemma was whether or not he should shoot the elephant. The elephant, which had recently been ravaging the bazaar and had killed a man in its rampage was now calm. Thus, Orwell, was torn between shooting the animal who was deemed...

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 . Please line explanation

The power dynamic of the colonizer-colonized is reversed in this instance as Orwell feels himself, not a puppet of the Empire, so much as a puppet of the crowd. It’s them for whom he must perform. In that way, they are the ones with power. This is...

Study Guide for Shooting an Elephant

Shooting an Elephant study guide contains a biography of George Orwell, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About Shooting an Elephant
• Shooting an Elephant Summary
• Shooting an Elephant Video
• Character List

Essays for Shooting an Elephant

Shooting an Elephant essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Shooting an Elephant by George Orwell.

• George Orwell: Modernism and Imperialism in "Shooting an Elephant"
• Wibbly, Wobbly, Timey, Wimey Paradoxes: Rhetoric and Contradiction in "Shooting an Elephant"
• Shifting the Gaze from the Colonizer to the Colonized in Orwell’s “Shooting an Elephant” and Adichie’s “The Headstrong Historian”

Lesson Plan for Shooting an Elephant

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to Shooting an Elephant
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• Shooting an Elephant Bibliography

Wikipedia Entries for Shooting an Elephant

• Introduction