Tim OBrien The True War Storyteller

In How to Tell a True War Story, author Tim O’Brien directs the reader’s attention to the idea of truth, not simply in the telling and retelling of certain events from the Vietnam War that forms the narrative of the story, but on a deeper, more fundamental level about how reality is constructed, not simply within the context of a war but in general.Advertising We will write a custom research paper sample on Tim O’Brien: The True War Storyteller specifically for you for only $16.05 $11/page Learn More Tim O’Brien’s story simultaneously constructs and deconstructs itself several times over the telling; this action destabilizes the narrative, and gives the reader the sense that the narrative may give way at any time – as indeed it does. The inherent fluidity of the work – this constantly shifting form – positions the story more as an example of a deconstructed text as opposed to the traditional war nar rative, and in this act of deconstruction, we glimpse O’Brien’s larger purpose. Essentially Tim O’Brien’s How to Tell a True War Story asks about the nature of truth itself: is truth that which we experience, or that which we remember, a composite of the two, or something different altogether? The consensus of many critics who have approached this work appears to be that Tim O’Brien’s How to Tell a True War Story endeavors to make plain the distinction between â€Å"story-truth and happening-truth† – truth that is made up or fictionalized, and truth that is unequivocal, or what â€Å"really happened† (Henningfeld n.p.). Critic Rosemary King points to the fact that Tim O’Brien’s title itself has multiple purposes and implications for the readers (King 182) In the first instance, How to Tell a True War Story concerns itself with defining that which is â€Å"true†, yet Tim O’Brien applies two mea nings to the word: one â€Å"he uses alternately throughout the story to mean either factually accurate,† and the other meaning applies to that which is â€Å"higher and nobler† (King 182). Tim O’Brien’s How to Tell a True War Story follows three different narratives: the first concerns the soldier Mitchell Sanders’s recounting of the events surrounding another solider – Curt Lemon’s – death; the second story follows the narrator as he listens and comments on Sanders’s depiction of the events; and the final narrative is the author Tim O’Brien’s explanation and series of tips directed toward the reader detailing how to distinguish a true war story from a false one (O’Brien 174). In each story, each individual narrator takes pains to prove that his version of the story represents the authentic recounting of events exactly as they took place in Vietnam, and all three narrators also declare the validity of their narratives using history as proof (O’Brien 174: King 182).Advertising Looking for research paper on american literature? Let's see if we can help you! Get your first paper with 15% OFF Learn More In King’s opinion, the ultimate marker of a true war story is the one that â€Å"capture[s] the genuine experience of war because truth registers only through gut instinct† (King 183). Through these three narrators, King argues, Tim O’Brien presents the thesis that facts perhaps do not warrant the ultimate measure of authority simply because they happened in someone’s remembered past (King 183). Rather, of more value than the actual â€Å"historical artifact† of the events that occurred is â€Å"the significance, or truth, of the experience† (King 183). In King’s words, Tim O’Brien’s concept of truth as delineated in How to Tell a True War Story â€Å"has deep implications for story telling because he suggests that altering facts may be more significant than clinging to the story of what actually transpired† (King 183). Critic Catherine Dybiec Holm, on the other hand, believes that for Tim O’Brien â€Å"there is no stable sense of truth or reality when it comes to war† (Holm n.p.). In How to Tell a True War Story Holm sees an author who presents his readers with the truth of this statement over and over. O’Brien, in Holm’s understanding, does this both through the straightforward use of passages such as the following: When a guy dies, like Lemon, you look away and then look back for a moment and then look away again. The pictures get jumbled; you tend to miss a lot. And then afterward, when you go to tell about it, there is always that surreal seemingness, which makes the story seem untrue, but which in fact represents the hard and exact truth as it seemed. (O’Brien 176) Or, Tim O’Brien uses â€Å"indirect means,† such as employing constantly variable narration to recount an event and offering a different take and conclusion on the event with each new version (Holm n.p.). Holm also agrees that the title offers a sense of irony and layered meaning, â€Å"since he suggests that it may actually be impossible to accurately tell a true war story† (Holm n.p.). In How to Tell a True War Story Holm observes the impact of the war itself on all of the narrators as they struggle with the subject matter of their stories. In Holm’s opinion, Tim O’Brien’s goal in the story is to elucidate directly how the monstrous experience inherent to combat can and will affect the discernment of reality, â€Å"even for a narrator† (Holm n.p.). In Holm’s words: O’Brien emphasizes the nebulous nature of truth when it comes to war stories by taking one story and telling it four different ways. Additionally, he starts several of the story versions with statements that make readers question whether the narrator realizes that he has told the story before.Advertising We will write a custom research paper sample on Tim O’Brien: The True War Storyteller specifically for you for only $16.05 $11/page Learn More O’Brien’s device could lead an astute reader to wonder whether the reality of war and the retelling of this particular war story has become confusing, at least in this narrator’s head. And O’Brien’s narrator backs this up with prose that directly questions what is and is not real regarding memories of war (Holm However, as critic Diane Andrews Henningfeld aptly observes, the possibility that Tim O’Brien’s story â€Å"is demonstrating†¦the impossibility of any truth at all† represents an equally legitimate interpretation of the work (Henningfeld n.p.). The affect of war on the perception of reality and truth may certainly be one of the underlying messages of the s tory, however in Henningfeld’s opinion, How to Tell a True War Story is actually about nothing less than how people – soldiers or otherwise – construct meaning through language. â€Å"Rather than being an epistemological tool, this story serves to demonstrate how language only seems to provide knowledge, when all it really provides is more text† (Henningfeld n.p.) The reader witnesses a glimpse of this phenomenon when Tim O’Brien as the narrator warns the reader that â€Å"in many cases a true war story cannot be believed. If you believe it, be skeptical. It’s a question of credibility. Often the crazy stuff is true and the normal stuff isn’t because the normal stuff is necessary to make you believe the truly incredible craziness. In other cases you can’t even tell a true war story. Sometimes it’s just beyond telling† (O’Brien 179). In How to Tell a True War Story, Tim O’Brien seems less interested i n giving the reader a straight answer and more about posing the question in numerous ways. He also challenges the idea that a war story has to mean something, or that it has to make sense on some level. â€Å"A true war story is never moral. It does not instruct, nor encourage virtue, nor suggest models of proper human behavior, nor restrain men from doing the things they have always done. If a story seems moral, do not believe it. If at the end of a war story you feel uplifted, or if you feel that some small bit of rectitude has been salvaged from the larger waste, then you have been made the victim of a very old and terrible lie. There is no rectitude whatsoever. There is no virtue. As a first rule of thumb, therefore, you can tell a true war story by its absolute and uncompromising allegiance to obscenity and evil (O’Brien 174). The fact that story builds itself up and then tears itself apart again several times over the course of the narrative speaks to its proper unders tanding as a text of deconstruction or â€Å"metafictional story† (Henningfeld n.p.). Tim O’Brien in Henningfeld’s opinion â€Å"is a deconstructive master.Advertising Looking for research paper on american literature? Let's see if we can help you! Get your first paper with 15% OFF Learn More While it appears that he is saying one thing about true war stories, what he is really doing is undermining not only the entire quest for truth, but also the possibility of truth existing in any knowable form† (Henningfeld n.p.). It follows then that How to Tell a True War Story has a much broader application than as a â€Å"war story,† but rather a critique of the construction of reality through language, memory and historicity. At no point in any of the three narratives does Tim O’Brien allow the reader to â€Å"forget that the story the reader is reading is a story, not reality,† because he and the other two narrators â€Å"constantly comment on their own construction† (Henningfeld n.p.) Tim O’Brien allows each character in the story to admit that the stories they have told are fictions – some or all of the details have been â€Å"made up† (Henningfeld n.p.). An example occurs when Mitchell Sanders tells a story about his pat rol that climbs a mountain: â€Å"Last night, man, I had to make up a few things.† â€Å"I know that.† â€Å"The glee club. There wasn’t any glee club.† â€Å"Right.† â€Å"No opera.† â€Å"Forget it, I understand.† â€Å"Yeah, but listen, it’s still true. Those six guys, they heard wicked sound out there. They heard sound you just plain won’t believe.† (O’Brien 180) This admission by Sanders â€Å"calls attention to the entire story as a work of fiction† and the fact that all the narrators participate in this seemingly endless revision speaks to Tim O’Brien’s overall point – that reality is what we say it is (Henningfeld n.p.). Tim O’Brien’s How to Tell a True War Story, though it appears to be centered around the events of the Vietnam War from the perspective of the soldiers who fought there, is actually about â€Å"the quest for truth, the use of the imagination in telling the truth, and the art of storytelling in creating the truth† (Henningfeld n.p.). Works Cited Henningfeld, Diane Andrews. â€Å"Critical Essay on ‘How to Tell a True War Story’.† Short Stories for Students. Ed. Carol Ullmann. Vol. 15. Detroit: Gale, 2002. Web. Holm, Catherine Dybiec. â€Å"Critical Essay on ‘How to Tell a True War Story’.† Short Stories for Students. Ed. Carol Ullmann. Vol. 15. Detroit: Gale, 2002.Web. King, Rosemary. â€Å"O’Brien’s ‘How to Tell a True War Story’.† The Explicator 57.3 (1999): 182-184. Web. O’Brien, Tim. â€Å"How to Tell a True War Story.† The Compact Bedford Introduction to Literature. Eds. Michael Meyer and Doug Downs. 8th ed. New York: Bedford / St. Martins, 2008. 174-183. Print. This research paper on Tim O’Brien: The True War Storyteller was written and submitted by user Ariel Pope to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Immortal Gods and Goddesses From Greek Mythology

Immortal Gods and Goddesses From Greek Mythology There are many types of immortal beings in Greek mythology. Some are depicted as humanoid, some as part animal, and some personifications are not readily visualized. The gods and goddesses of Mt. Olympus can walk among mortals undetected. They each tend to have a special area they control. Thus, you have the god of thunder or grain or the hearth. Individual Gods and Goddesses From Mt. Olympus HadesZeusPoseidonApolloAresDionysusHephaestusHestiaDemeterHeraArtemisAthenaAphrodite The Titans are among the more confusing of the immortals of Greek mythology. Some of them are stuck in the Underworld suffering for their misdeeds against the Olympian gods. Special Female Deities: Muses and Nymphs The Muses were considered responsible for the arts, sciences, and poetry and were the children of Zeus and Mnemosyne, born in Pieria. Nymphs appear as beautiful young women. There are several types and some individual nymphs who are famous in their own right. Naiads are one variety of nymphs. Roman Gods and Goddesses When talking about Greek mythology, the Romans are usually included. Although their origins may have been different, the main Olympian gods are the same (with a name change) for the Romans. Even before the Romans started expanding their empire around the time of the Punic Wars, they came in contact with other native peoples in the Italic peninsula. These had their own beliefs, many of which influenced the Romans. The Etruscans were particularly important. Other Creatures Greek mythology has animal and part animal creatures. Many of these have supernatural powers. Some, like the Centaur Chiron, are capable of giving up the gift of immortality. Others can be killed with great difficulty and only by the greatest of the heroes. Snake-haired Medusa, for instance, killed by Perseus aided by Athena, Hades, and Hermes is one of the three Gorgon sisters and is the only one who can be killed. Perhaps they dont belong in a grouping of immortals, but they arent quite mortal, either. Beliefs There were many beliefs in the ancient world. When the Romans started expanding, they sometimes joined together native deities with ones that sounded similar from back home. In addition to the religions with many gods, there were others like Judaism, Christianity, and Mithraism  that were basically monotheistic or dualistic.

Talent Managment Process Essay Example | Topics and Well Written Essays - 500 words

Talent Managment Process - Essay Example An operational talent management is among the most valuable assets an organization can possess and if the processes associated with talent management are performed in a professional manner, it has the capacity to become the driving force of the company towards economic success. Talent management entails three main aspects that include the acquisition of talent, its development and retention once it has already been acquired (Elegbe 24). Nonetheless, numerous other sub-processes are components of talent management that include the identification of talent, its sourcing and evaluation among others. In the cases where the management of talent is implemented in the proper manner, strategic effects can be seen all over the company and an appropriate talent management entails more than merely attracting, nurturing and retaining the employees who are talented. Human resource functions as a framework for a number of specialty well-designed areas in regard to expertise which require proper appreciation and discipline. In most of the cases, these well-designed areas are considered to include workforce and succession planning, the management of performances as well as compensating and giving benefits to the employees who perform exceptionally. In order to be able to manage talent in an efficient and effective manner, all these aspects have to be consolidated fully and they must work together in a smooth manner. In the initial stages, workforce and succession planning maps out the path for future talent requirements by quantity and qualifying requirements in accordance to the strategy of the company. On the hand, management is tasked with the delivery of an overview if the talent that is already in existence while talent acquisition and recruitment is supposed to make sure that the identified gaps has been closed as far as the talent map is co ncerned. Overall, the

Political Media Analysis Project Essay Example | Topics and Well Written Essays - 2500 words

Political Media Analysis Project - Essay Example This would mean that the media grows, or takes new forms so that the previous established media which is radio, television, newspapers and magazines, have to adapt to changes in order to deliver (Nakamura & de Fontenay, 2006). Content, nevertheless may have remained over the decade but reader and audience perspective changed. Bias has been pointed out to the media by both politicians and constituent readers and audience as several studies have pointed out (MRC, 2006). Taking coverage from various media sources, related international topic regarding nuclear weapons and countries in question, national issue on privacy with regards to the war on terrorism, and local issue on Florida's real property taxes shall be discussed in the context that media bias personalization, dramatization, fragmentation, and the authority-disorder exists. Using NPR or National Public Radio as baseline for the international and national topics, this research will proceed with the premise that NPR is backed by public service broadcasting PBS headquartered in Arlington, Virginia with 348 public television stations (PBS, 2006). NPR, undoubtedly provided a wide coverage on most of the international and national topics. An array of personalities are also featured in their interviews giving ample information and sides regarding current events and issues. On the issue of nuclear weapons involving Iran and North Korea, Washington Post writer Colum Lynch went on air with Jacki Lyden (NPR, 2006) in "All Things Considered." The issue on North Korea and Iran were presented in a way broadsheet newspapers would including buzzwords "UN trade sanctions", "nuclear weaponry", "Kim Il-Sung" as they appeared in the Washington Post (Linzer, 2006). In Linzer's report, the US is represented as "the Bush administration" personified by Assistant Secretary of State Stephen G. Rademaker. As noted by most conservative readers (The Pew Research Center, 2006; Media Research Center, 2006; and Groseclose and Milyo, 2005), emphasis was taken away from the issue that "may" have been pushed by the present US administration into neutral i nformation that went, "world leaders attending a nuclear conference seemed to dismiss the U.S. call for punitive measures. Instead, they spoke of incentives and negotiations as a way of encouraging the Islamic republic to give up worrisome aspects of its energy program that could be diverted for weapons work" (Linzer, 2006). "Increase of pressure on Iran" as well as Bush' branding of "axis of evil" and North Korean ambassador's Pak Gil Yon's comments "increased US pressure a declaration of war," (AP, 2006). Both the CNN and the Washington Post posted coverage beyond US and contending countries Iran and North Korea on the issue. Meanwhile, local newspaper Miami Herald cannot be said to be left behind in content as updated coverage on the international issue were churned out, basically from international news agencies such as the Associated Press and Los Angles times Service. Its stories also carried out buzz words, including opinionated "Nut with a Nuke" headlines, "hardliners" and q uotes

English Proverbs Essay Example for Free

English Proverbs Essay A Ability can take you to the top, but it takes character to keep you there. Zig Ziglar, in See You at the Top (1975), p. 380 Absence makes the heart grow fonder. From Isle of Beauty by Thomas Haynes Bayly Absence makes the heart grow fonder but makes the mind forget. The acorn (apple) never falls far from the tree. Act today only, tomorrow is too late Action is the proper fruit of knowledge. Actions speak louder than words. (a common English saying) Advice most needed is least heeded. After dinner sit a while, after supper walk a mile. All cats love fish but hate to get their paws wet. All flowers are not in one garden. Clothes make the man. A coin of gold is delighting in a bag of silver coins Cometh the hour, cometh the man. (Some information about the phrase and about its use by a 1940s cricketer) A constant guest is never welcome. A coward dies a thousand times before his death. The valiant never taste of death but once. From William Shakespeares Julius Caesar[1] The cure is worse than the disease. The customer is always right. Cleaning the house when kids are growing, is like shoveling snow when its still snowing. [edit]D Damned if you do, damned if you dont. Lorenzo Dow (d. 1834). [2] Desperate times call for desperate measures. The difference between a man and a cat or a dog is that only a man can write the names of the cat and the dog. Different strokes for different folks. Discretion is the better part of valor. Derived from The better part of valour is discretion, in the which better part I have saved my life. Falstaff in Shakespeares Henry IV, Part 1. Does a one-legged duck swim in circles? alternate saying for Does a bear shit in the woods and a common response to an obvious answer yes to a silly question. Do it today, tomorrow it may be against the law. Dont bark if you cant bite. Dont bite off more than you can chew. Dont bite the hand that feeds you. Dont bring a knife to a gun fight. Dont burn your bridges. Dont burn the candle at both ends. Dont count your chickens before theyre hatched. Dont cross a bridge before you come to it. Dont cry over spilt milk. Dont cut off your nose to spite your face. Dont dig your grave with your own knife and fork. Dont enter your nose in the affairs of others. Dont fall before youre pushed. Dont have too many irons in the fire. Dont judge a book by its cover. Dont judge a man by the size of his hat, but by the angle of his tilt. Dont let procrastination eat your own clock.

Against Happiness by Jim Holt Essay -- Against Happiness, Jim Holt

Jim Holt fails to label happiness as yet another social evil in "Against Happiness", an essay in the sunday magazine of the New York Times from June 20, 2004. In this essay Holt argues that: "Sad people are nice. Angry people are nasty. And, oddly enough, happy people tend to be nasty, too." This presents an intriguing, counterintuitive arguement to his readers, and while this is definately an intresting arguement to engage in, Holt falls short of convincing me of happiness' darkside. Sometimes he seems to just be rambling- this piece feels more like a discussion than an arguement, many times in the essay he reports evidence which may be convincing, if it wasn't immediately deflated by counter evidence or the author's own cautiousness, and worst of all, the report used to support his otherwise irresitable thesis, doesn't support it at all. The appeal in "Against Happiness" seems to be purely emotional. It seems that Holt belives that if the reader questions happiness enough, and gets sideways enough about the definition of happiness, they might be confused and paranoid enough to start beliving that maybe, possibly, if happiness were like that, and if happy people might do that, then I guess it may be possible that happiness could be bad in a certain circumstance. According to Holt's research, happiness is: a mood, an "'everything is fine' attitude that reduces motivation for analytical thought", "positive affect" (Holt later comments that "Elaborate scales have been invented to measure individual happiness, but researchers admit that difficulties remain), "well feeling", "a shallow and selfish goal", "a psychiatric disorder" (although Holt rebuffs by saying "that may be going a bit far"), and "An agreeable sensation arising from contem plating the misery of another" (Holt again steps back, "theres no need to be that cynical"). Thats a confusing combination that leads to a very loose definition of happiness, which makes this a difficult arguement to follow. The evidence Holt uses might work if he didn't undermine it by questioning it or prividing a counterpoint. He seems to be overly cautious, almost like he's having a hard time believing it. On one hand, "the United States consist... ...al. Maybe it was just an overlooked mistake by Holt, but considering that NYT's fact checking department was involved, and considering Holt writes in trusted, widely circulated publications like The New Yorker, The New York Times, and Slate, this is a mistake he simply should not make. Holt's misuse of evidence, poor use of other evidence, lack of support, lack of definition, and almost neutral stance make his arguement impossible to get behind. His message comes across unclear, and I'm still not sure what to think of it. It lacked the power to illicit an immediate response from me, and I'm sure many other readers. Please do your readers a favor Mr. Holt- next time you decide to kick an idea around, don't stake your claim in bad science, don't convince by confusion, and please use less "journalistic caricature". DeSteno, David, Dasgupta, Nilanjana, Bartlett, Monica Y. & Cajdric, Aida (2004) Prejudice >From Thin Air. Psychological Science 15 (5), 319-324 Misreporting Science in the New York Times: Against Happiness By Martin E. P. Seligman July 29, 2004 http://learnv.ycdsb.edu.on.ca/lt/FMMC/hpteacher.nsf/Files/mcmanad/$FILE/auth2.html

Followers and Leaders of Animal Farm

Animals on Manor Farm over throw their mean and evil rulers who have overworked and mistreated them. Once the animals get control over the farm they set up slogans and rules the animals must follow in order to have equality and justice on the new farm.The farm is mainly ran by the pigs, who are considered the most intelligent, and also the two main ruler pigs named Snowball and Napoleon. Napoleon uses dogs he took away as pups and trained them to follow his words and also uses them to chase Snowball off the farm. Now Napoleon has complete control over the farm along with the other pigs and the dogs.Napoleon’s number one pig who helps him run the farm the way he likes is named Squealer. Squealer is very persuasive and can manipulate any animal he needs to. The author of the book Animal Farm is named George Orwell and he wrote this story to have a allegorical representation of the Russian Revolution. Orwell shows in this piece of writing that both leaders and followers in a soci ety can act in ways that destroy certain rights such as freedom and equality. One of the followers name is Boxer and this horse believes that everything the pigs say about napoleon is always right.Overall, Napoleon’s right hand pig, Squealer, uses persuasive wording and powerful speeches to manipulate other animals on the farm that Napoleon is always right. In Animal Farm one of the leaders name is Squealer and he is a pig who is very persuasive.The text states, â€Å"The others said of Squealer that he could turn black into white. † (pg:16) When George Orwell describes Squealer as being able to â€Å"turn black into white†, he is in fact referring to Squealer's persuasive skill. In other words, Squealer has enough persuasive talent to be able to convince the animals in Animal Farm that black is white or vice-versa.Squealer uses his wonderful way of talking persuasively towards the other animals on the farm. When Squealer does this he is being manipulative words to make the animals think what he wants them to.This effects the equality on the farm because the animals may not realize that they are being cheated out of their rights they originally fought for when they ran the original farm hands off the farm. Squealer’s persuasion is powerful because he influences the animals into thinking only positive ideas about Napoleon. This shows that Squealer is very manipulative and takes advantage of his power of manipulation.Squealer keeps his power throughout the novel is by staying as an important aspect to Napoleon. Napoleon uses Squealer to go out and persuade the animals on the farm that the pigs aren’t doing anything wrong or against the rules. This is very relevant to the story because if Napoleon didn’t have Squealer to help him run the farm than Napoleon wouldn’t have too many supporters and without his supporters he wouldn’t have any power. In Animal Farm, Orwell chose the characteristics of the animals t o allegorically represent people or groups from the Russian Revolution.Napoleon plays Stalin who was a cruel ruler who used military tactics to enforce his rules. This overall represents how in Animal Farm Orwell used all of the characters to have an allegorical meaning. Squealer is a representation of the Propaganda Department, and Napoleon represents the Russian Revolutions cruel leader. Squealer’s overall goal is to persuade all of the animals to becoming loyal to Napoleon like how the propaganda department was a way of persuading the people of the Soviet Union to become loyal to Stalin.Squealer is reaching his goal one by one and gains support every time he talks to the animals. Next, in Animal Farm one of the animals who follow Napoleon and Squealer’s words is a very strong and hardworking horse named Boxer. At first, things seem to be going well. He's a hard worker, making â€Å"I will work harder† into his personal motto (ch-3). He's a brave fighter, and the narrator tells us that, during the Battle of the Cowshed, â€Å"the most terrifying spectacle of all was Boxer, rearing up on his hind legs and striking out with his great iron-shod hoofs like a stallion† (ch-4).But it's not enough to keep him safe. At the beginning of the novel, Old Major warns Boxer that he's disposable: â€Å"the very day that those great muscles of yours lose their power, Jones will send you to the knacker, who will cut your throat and boil you down for the fox-hounds† (ch-1). Boxer can see that—but once Jones is forced off the farm, Boxer thinks the threat is gone. He's just not smart enough to see that he's got a whole new species to worry about. Boxer worries about the farm, but he's not smart enough to figure things out on his own.Instead of thinking for himself, he decides to be loyal no matter what—to follow the Party (as in, Communist Party) line. Like, after Snowball is sent into exile, Boxer tries to think things over for himself, but all he can come up with is, â€Å"If Comrade Napoleon says it, it must be right,† and he takes up a new personal motto: â€Å"Napoleon is always right† (ch-5). Boxer is one of the animals who is easily persuaded and this is why the pigs think of him as a powerful disciple. Boxer absorbs everything the pigs tell him.Boxer would work so hard that it would influence the other animals to want to start and work also. This is not a good thing that is happening because when they are working on different projects on the farm they are taking orders from Napoleon and if they do that than there isn’t equality because this means that Napoleon is of a higher authority. If Napoleon is a higher rank in the social class than there isn’t equality. Boxer does not realize that he is giving up his freedom and he certainly doesn’t know that he is causing the other animals to also.He doesn’t realize this because all he does is follow Napoleons rules and work as hard as he can. Boxer motivates the other animals to work harder when the animals see him trying so hard to work. Boxer’s behavior is not typical of the animals on Animal Farm because he doesn’t ever question Napoleon like some of the other followers on the farm have. Also Boxer is not like the other animals because even though he is a follower he influenced other animals to follow in his footsteps and work harder.This shows that because Boxer is listening to Squealer he worked harder and that influences the other animals to work but also to give away their right to freedom and equality. In Conclusion, Napoleon’s second in command, also known as Squealer, persuades the animals on Animal Farm into thinking he is a wonderful leader. One of Squealer’s followers is a very work dedicated horse named Boxer. The author of this story is name Orwell and his purpose of writing this piece was to have the allegorical purpose of symbolism of the Russian R evolution.Orwell may have written this as a warning to the readers about how human behavior is when they get to much power. When someone gets too much power it goes to their head and they can’t function like they use to and may make bad decisions. From this novel the reader has learned that society is always adjusting itself. Not every situation is perfect nor can one expect perfection. However, the reader also learned that people have morals by which they hold themselves. Any leader who pushes his morals upon a group does not deserve power.