Tegeera Study Track

Generated with Playground AI (https://playgroundai.com)

Animal Farm by George Orwell is a political allegory whose social and political themes are relevant today, including in contexts such as African politics. Power in Animal Farm is manipulated through similar tactics in the same way it is in many countries. Orwell uses animals, objects and events to explain social and political themes such as totalitarianism, abuse of power, betrayal of revolutionary ideals, propaganda, psychological control, class divisions, and the manipulation of the masses. This essay explores the main symbols Orwell uses and how they reflect both historical and contemporary political realities.

Symbolism and the Corruption of Power
Old Major represents Karl Marx and Lenin. His death before the rebellion symbolises how revolutionary leaders often do not live to see how their ideas end up being corrupted by opportunists.  The pigs abuse the rebellion for their gain and begin to resemble the very oppressors they replaced.

The pigs take advantage of the rebellion for their gain. This is seen in the windmill, which was proposed by Snowball.  Although the windmill at first represents progress and industrial development, under Napoleon, it becomes a tool of manipulation and control. It is destroyed and rebuilt several times. This symbolises the illusion of progress and the endless and fruitless labour of the animals. Similarly, another way that shows how the pigs take advantage of the rebellion for their gain is through the farmhouse.  The farmhouse, which was once seen as a symbol of tyranny, becomes the pigs' residence. This shows the pigs' transformation into a ruling class. This transformation is reinforced by the gradual amendment of the Seven Commandments. This can especially be seen in the final version— “All animals are equal, but some animals are more equal than others.” It exposes how those in power use ideology to maintain power.

Language, Propaganda, and Psychological Control
A propaganda machine cannot miss in any dictatorship.  Squealer represents it well because of the way he keeps twisting the truth to justify the actions of the pigs. Slogans such as “Four legs good, two legs bad” and “Napoleon is always right” replace independent thought with obedience. The sheep, who keep repeating these phrases without thinking much about their meaning, symbolise the masses who are easily manipulated by propaganda.

When the revolutionary song “Beasts of England” is banned and replaced with uninspiring anthems, it reflects how regimes suppress public expression and revolutionary spirit. The slow changes of the Seven Commandments demonstrate how language can be gradually reshaped to serve those in power.

Symbols of Class Stratification and Privilege
The milk and apples that are kept only for the pigs, show how leaders find ways to justify why they should be entitled to certain privileges. Orwell critiques inequality and social class through simple symbols. The milk and apples, reserved for the pigs, show how leaders find ways to justify why they should be entitled to certain privileges under the guise of necessity. The dogs which Napoleon raises to serve as his enforcers, represent the secret police or military used to create fear and obedience.

By chapter 3, the pigs see themselves as “brainworkers” while the rest of the animals perform physical labour. This division shows how revolutionary leaders often claim superiority and exploit the very workers they claimed to liberate.

Religion and the Illusion of Hope
Moses the raven and his tales of Sugarcandy Mountain represent religion. In the beginning, he is not taken seriously, but later, when the pigs realise he can be used to keep the animals hopeful and obedient, he is welcomed. Sugarcandy Mountain symbolises how religion can be used to comfort the oppressed while keeping them distracted from their suffering. Orwell is not attacking religion itself, but rather its use as a tool to maintain the status quo.

Blind Loyalty and Maintaining Dictatorship without Realising It
Some of the most powerful symbols in Animal Farm are the animals, such as Boxer, the cart horse, who follow the pigs without question. This is seen in the slogans he believes in.  For example, “I will work harder” and “Napoleon is always right.” However, despite his loyalty and sacrifice, he is sold when he is no longer useful. This shows how the working class is often exploited by the regimes they support.

The sheep are the other animals who chant slogans such as “Four legs good, two legs better” without understanding what they mean.  They represent unthinking masses who follow authority blindly without question and in this way, maintain dictatorship.  This is a relatable example of how authoritarian regimes often rely on fear and passive public acceptance to maintain control, a theme observed in various historical and contemporary contexts.

Historical Parallels
Many characters and events in the story represent historical figures and moments. Napoleon represents Stalin, Snowball represents Trotsky, and Mr. Jones symbolises Tsar Nicholas II. Mollie, who leaves the farm to seek comfort and luxury, represents those unwilling to sacrifice for a cause. Events such as the Battle of the Cowshed represent the Russian Civil War, and the windmill reflects Stalin’s Five-Year Plans.

The renaming of Manor Farm to Animal Farm and then back to Manor Farm symbolises the illusion of change since oppression remains even after the name changes. By the end of the novel, when the pigs walk on two legs and resemble humans, Orwell makes it clear that the new rulers are no different from the old ones.

Conclusion
In Animal Farm, symbolism is both a literary technique and the foundation of Orwell’s political critique. Through animals, slogans, buildings, and events, Orwell warns about the dangers of dictatorship, the weakness of revolutionary ideals, and how power can easily be corrupted. This makes the novel relatable to many undemocratic countries.

Disclaimer: This article provides a literary analysis of George Orwell’s Animal Farm and explores how its symbols reflect historical and fictional political systems. It is intended for educational purposes only and does not target any specific country or government.

References

Albloly, Amir Mohammed, and Hala Salih Mohammed Nour. "The Portrayal of Political Symbolism in George Orwell Writings: With Reference to Animal Farm and Nineteen Eighty-Four." The International Journal of Social Sciences and Humanities Invention 6.9 (2019): 5642-5648.

Fadaee, Elaheh. "Symbols, metaphors and similes in literature: A case study of “Animal Farm”." Journal of English and literature 2.2 (2011): 19-27.

Orwell, George, and Lucy Toop. Animal Farm: GCSE 9-1 Set Text Student Edition. Collins, 2021.

The play “The School for Scandal” by Richard Sheridan is a comedy of manners. A comedy of manners is usually a satirical comedy that points out weaknesses or double standards in social conventions (Hirst). The play uses a variety of dramatic techniques to satirise the corruption, lies, and deceit of 18th-century England. These techniques include dramatic irony, witty dialogue, satire, asides, mistaken identity, stage directions, double entendre, and suspense to contribute to the play's effectiveness.

Image created with Canva AI

Dramatic irony is one effective technique used in "The School for Scandal.” The audience usually has information that the characters do not have. An example is when Sir Oliver Surface disguises himself as a distant relative and as a money lender to find out the character of his nephews, Charles and Joseph. The audience knows Sir Oliver’s identity, while the characters do not know this. This adds humour to the scene.

Generated using OpenAI DALL·E via Playground

Another dramatic technique employed by Sheridan is his use of witty dialogue. The characters in "The School for Scandal" compete in using witty dialogue. They use clever insults and responses. This helps to reveal the nature of the characters. It also helps to provide comic relief.  An example is in Act II Scene I when Lady Teazle uses wit when responding to Sir Peter’s complaints about her behaviour. She reminds him that she married him because she had no better options, and that he should be grateful.

Additionally, the use of satire in “The School for Scandal” is another dramatic technique. For example, the character of Joseph Surface, who outwardly appears to be upright but is secretly manipulative and selfish, serves as a satire of the hypocrisy of the upper class.

Furthermore, the author uses asides when revealing their innermost thoughts or commenting on the actions of others. For example, when Sir Oliver disguises himself before his nephews, he uses many asides to speak to the audience. This helps the audience understand the characters’ intentions and secrets and enhances dramatic irony.

Concurrently, the author uses mistaken identity as a dramatic technique through Sir Oliver whenever he disguises himself before his nephews.  Sir Oliver disguises himself as a money lender called Mr. Premium to Charles and as a distant relative called Mr. Stanley to Joseph. He does this to test the characters of his nephews. This technique creates misunderstandings and reveals the true nature of Charles and Joseph Surface.

Sheridan uses double entendre as a dramatic technique to add humour and depth to a dialogue. For example, in Act I Scene II, Sir Peter says to Lady Teazle, “When an old bachelor marries a young wife, what is he to expect?” This line can mean that he expects her to be unserious and demanding, but it also implies that he might think that he will cheat on him because she is much younger than him.

Stage directions is yet another dramatic technique used by Sheridan in “The School for Scandal.” An example is the “screen scene” in Act IV when Lady Teazle hides behind a screen while Sir Peter unknowingly talks about her. The screen falls, revealing her, causing shock and embarrassment. The stage direction [goes behind the screen] adds to the humour of the play.

Image created with Canva Ai

Suspense is used as a dramatic technique to keep the audience on edge. An example is in Act V when Sir Oliver, who has been pretending to be someone else, finally shows his true identity to Charles and Joseph Surface. The audience is kept guessing about what will happen next as Sir Oliver’s nephews are tested and their true nature is revealed.

Simultaneously, the same scene of Lady Teazle hiding behind the screen and listening to her husband complaining about her is an example of concealment and eavesdropping as a dramatic technique used to increase tension. While hiding, she accidentally becomes part of a secret conversation that she was not supposed to hear, making the situation even more scandalous. This technique helps to reveal secrets in humorous ways.

Foreshadowing, such as the early discussions about the reputations of characters and the information about Sir Oliver’s impending return, is a dramatic technique used to create suspense around later encounters.

In conclusion, Richard Sheridan's "The School for Scandal" is a great example of comedy of manners drama that uses a variety of effective dramatic techniques. These techniques are put together to create a classic and entertaining work that continues to teach people about the dangers of hypocrisy and greed and the destructive power of scandal.

References

Hirst, Dave. “Comedy of Manners.” (1979).

Set Text Guide: The School for Scandal, qualifications.pearson.com/content/dam/pdf/A%20Level/Drama-and-     Theatre/2016/teaching-and-learning-materials/A-level-Set-Text-Guide-The-School-for-Scandal.pdf. Accessed 10 Nov. 2024

Sheridan, Richard Brinsley, and Eric S. Rump. The School for Scandal and Other Plays.   Penguin Books, 1988.

Literature is a strong way to show problems in society and call for change. Chinua Achebe’s Things Fall Apart is a good example because it tells the story of Okonkwo and the Igbo people in Nigeria. Through this story, Achebe fights against the wrong ideas many colonial books had about African culture and shows the real life and traditions of the Igbo community.

Achebe shows that the Igbo people had their own rich culture, history, and way of doing things (Ghani et al.). In Chapter 10, he talks about how they handled justice in the community. Elders, who are represented by masked figures called egwugwu, come together to settle disagreements. In one case, they help solve a problem between a man and his in-laws. They first listen to both sides, then give a fair decision. This shows that the Igbo had a justice system where the whole community was involved, not just one person in charge. It is very different from the strict and top-down British system that came later with colonial rule.

Achebe also criticizes how colonialism and Christianity affected Igbo traditions. In Chapter 22, a man named Enoch, who has become a very fanatical Christian, tears off an egwugwu mask during a ceremony. This is seen as a disrespectful act, and in anger, the community decides to burn down the church in response (Achebe 136-137). This act of defiance is a powerful symbol of resistance. It shows how Achebe is calling for the preservation of African culture in the face of foreign influence.

Another form of protest is shown through Nwoye’s decision to join Christianity in Chapter 17 (Achebe 112). This goes against the expectations in Igbo culture, where young men are supposed to follow their fathers’ traditions. Nwoye refuses to accept certain customs, like the abandoning of twins and the killing of Ikemefuna, who had become like a brother to him (Achebe 44–45, Ch. 7). His decision to follow the new religion shows the cultural conflict brought by European influence and how it divided families and communities (Azad).

The novel also shows how colonial rule weakened the Igbo’s traditional way of leadership, which was based on shared power and respect for elders. In Chapter 20, Achebe explains how the District Commissioner and the foreign courts begin to take control, ignoring the authority of the local leaders (Achebe 127). Later, in Chapter 23, the colonial officers arrest and embarrass the village elders, showing that the new system depends more on force than on fairness or dialogue. Finally, when Okonkwo dies, the District Commissioner does not see the pain or meaning behind the act. Instead, he simply thinks about writing it into his book (Achebe 151, Ch. 25). This shows how the colonial government failed to understand or respect Igbo culture and unity.

Achebe also shows that colonial education was used as a way to control and change the minds of the people. In Chapter 20, the missionary Mr. Brown starts a school that teaches Western values. While this may seem helpful, it slowly pushes aside Igbo ways of learning. As more people focus on reading and writing in English, they begin to forget traditional knowledge like storytelling and learning from elders. The oral tradition—which was very important in Igbo life—starts to lose its place. This is seen clearly in Chapter 1, where Achebe says that the Igbo value conversation and use proverbs to pass on wisdom: “Proverbs are the palm-oil with which words are eaten” (Achebe 6).

The novel also questions traditional gender roles by showing strong female characters like Ekwefi. She is not like the typical woman in Igbo society, where women were expected to stay quiet and follow their husbands. For example, she makes a bold choice to leave a child marriage (Achebe 80, Ch. 11). Her deep love for her only surviving daughter, Ezinma—after losing nine other children—also shows her strength (Achebe 55–56, Ch. 9). When Ezinma falls sick, Ekwefi is brave enough to knock on Okonkwo’s door in the middle of the night to wake him up. This act shows that she is willing to stand up for what matters to her. Through Ekwefi, Achebe shows that women, too, had voices and could push back against a society that expected them to be silent and submissive.

Okonkwo also represents both the strengths and weaknesses of Igbo society. He is known as a great wrestler and a hardworking farmer, which reflects the community’s respect for masculinity, personal success, and effort. These are the values that gave him honour. But at the same time, his fear of being seen as weak—like his father—leads him to make poor decisions. In the end, this fear plays a big role in his downfall. His death in Chapter 25 is not just about him as a person; it also shows how colonialism destroyed the traditional Igbo way of life. Okonkwo’s refusal to accept the new colonial system and his final actions highlight the pain of losing cultural identity, leadership, and freedom under foreign rule.

The novel also talks about social classes and inequality within Igbo society. The richer men and the elders are the ones who make important decisions (Achebe 6, Ch. 1), while poorer people and those who are looked down on don’t get a say in these matters (Achebe 114–115, Ch. 18).

In conclusion, Achebe shows the rich and complicated culture of the Igbo people to fight against wrong ideas that Western writers had about Africa. Through the struggles of his characters and their fight against changes brought by colonialism, Achebe uses Things Fall Apart as a way to protest social injustice. He calls for protecting African culture and standing strong against colonial rule.

References

Achebe, Chinua. Things Fall Apart. Penguin Classics, 2001.

Arya, Sunita. “Literature as Weapon of Protest: A Comparative Approach.” The Global Journal of Multidisciplinary Studies, 2015.

Azad, Md Jahidul. "The Colonized Fall Apart: A Postcolonial Analysis of Achebe’s Things Fall Apart."

Ghani, Mamuna et al. “Things Fall Apart: Chinua Achebe Writes Back to the Centre." Journal of Educational Research, 2013.

Although set in the 1970s and 1980s, Christine's experience remains relatable to today’s university students in Uganda. The average Ugandan student is between 19 and 24 years old, and to be honest, those are the years when someone is likely to “kiss some frogs," for it is the stage in life when many young women feel most attractive and vulnerable.

Life After Amin: A Country in Crisis

Life in post-Amin Uganda was full of hardships and contradictions. The country was trying to recover from the trauma of violence, economic collapse, and social dislocation brought by Idi Amin’s regime.

Many people lost loved ones in the war that ousted Amin. Families were separated, with some going abroad for greener pastures, while others simply “disappeared.” The Ugandan middle class almost vanished, and many youths grew up with no clear mentors.

Christine’s story reflects this environment, especially how young women were navigating a society full of inequality, cultural confusion, and shifting values.

Power Imbalance and Cultural Confusion

One strong theme in the chapter is the power imbalance between Ugandans and foreigners. The “Bazungu,” as they are called in East Africa, often enjoy more privileges than Ugandans in their own country.

Christine struggles to find her place in a society that treats whiteness as superior. This was common in Kampala after Amin’s fall, where foreign aid workers and investors lived in posh areas like Muyenga — just like Peter did.

Even today, these power dynamics still exist, especially in business, employment, and even romantic relationships.

Christine is also torn between traditional Ugandan expectations and Western influences. She lacks proper guidance and role models.

This confusion is still faced by many Ugandan youths, especially in urban areas. Social media, global pop culture, and studying abroad make it hard for many to balance traditional values with modern trends.

There is pressure to “look modern” and “make it in life,” and like Christine, many young women find themselves making uncomfortable choices to survive or fit in.

Love, Comfort, and Survival

Christine depends on Peter for financial support and emotional comfort — a form of survival, not love.

This scenario is still common. Many students or young professionals in Uganda today enter relationships for financial stability, especially with older, wealthier partners.

Social media often reflects this, with memes and comments mocking men who cannot afford transport for their girlfriends. One common phrase is: “Omwavu tafumita ku lindazi” (a poor person does not poke a doughnut) — meaning, “You’re broke, so don’t expect anything from me.”

Finding Yourself in a Changing World

Christine’s self-discovery reminds me of Kirabo in Jennifer Makumbi’s The First Woman. While Christine travels abroad and struggles to fit in upon her return, Kirabo’s journey is about searching for her mother and learning about Buganda-style feminism (omwenkanonkano).

Both characters deal with complicated family ties and societal expectations before they can truly understand who they are. 

Baingana shows racial and economic inequality not through big drama, but through emotional tension and quiet reflection.

Unlike Makumbi or Okot p’Bitek, who use strong criticism and historical references, Baingana’s power lies in simple, emotional moments. She paints an honest picture of life in Uganda, where inequality silently shapes people’s relationships and decisions.

Storytelling Techniques That Stand Out

One technique I admire is Christine’s introspective and observant voice — it brings you close to her thoughts.

Baingana’s vivid descriptions and use of similes make the story more real. For example, Deo’s feet are described as “boats,” and Christine’s emotions as “a clean open hanky wandering in the wind.”

Her description of Kampala is powerful too:
 “The hot, dusty air blown up by the noisy, rushing traffic filled my head like thunder.” (p.93)

And in the taxi park:
“The conductor screamed for more, for more people, ordering us to move over, squash up; we all wanted to get home, didn’t we?” (p.94)

These images bring the setting to life.

A Quiet but Powerful Voice

Baingana writes in a calm but deep way that shows real Ugandan life, especially for young women. Her style is subtle, like someone telling you a secret, but her messages are strong.

She tells stories about family, faith, love, and growing up in a world full of changes. The emotions are honest, and the settings are recognisably Ugandan, yet universal.

So, Did Christine Make the Right Choices?

Christine made choices that many would call wrong — dating a white man for comfort or going abroad and ending up feeling lost.

But given the tough life she faced, those choices were her way of surviving and finding herself. They weren’t perfect, but they were real.

She did what she felt was right at that time, and that honesty is what makes her story powerful.

Tropical Fish left me deeply reflective. It shows how life is full of tough decisions, especially for young women. It does not offer happy endings, but it opens your eyes to the quiet struggles many people face.

Baingana’s story still resonates loudly with our Uganda today — and that is why it deserves to be read and discussed.

Excerpts from Doreen Baingana’s Tropical Fish (Chapter 6) are used here under fair use for educational and literary commentary. Source: Baingana, Doreen. Tropical Fish. Oshun Publishing, Cape Town, 2005.