Jack swung with his fist at Ralph and caught him on the ear. Ralph hit Jack in the stomach and made him grunt. Then they were facing each other again, panting and furious, but unnerved by each other's ferocity. Different sides of the wood, different continents, different worlds—all these scenes intensify the symbolic as well as physical conflict.
Thus, there is the rational the firewatchers pitted against the irrational the hunters. Jack hates rules, only wishes to hunt, and believes that evil is a mystical, living power that can be appeased by ritual sacrifice p.
William Golding Bibliography 1990–1999
He uses comparisons with excrement and filth to describe his notion of human inner evil. Simon's confrontation with the pig's head on a stick, the Lord of the Flies, is another instance of allegorical dialogue. At first, Beelzebub seems to triumph: Simon is mesmerized by the grinning face p. The entire scene with the pig's head represents the conflict that is occurring within Simon's own consciousness. The Lord of the Flies is only an externalization of the inner evil in all humans. Rather than being destroyed, it ironically has grown. Four patterns of imagery reinforce the symbolism in Lord of the Flies.
Images pertaining to excrement, darkness, falling, and animalism help define the human capacity for evil and savagery. The many references to excrement, and also to dirt, underline thematically the vileness of human nature itself. Images associated with excrement and more generally, dirt are used in a negative sense, depicting human corruption. Pig droppings are closely examined by Jack's hunters to determine how recently the pig has left a particular place; the temperature of feces has become the central subject of interest pp.
Even when Piggy tries to clean his glasses, the attempt is in vain p. Now people seem to use anywhere. Even near the shelters and the platform. Golding uses light-dark contrasts in a traditional way: the numerous images of darkness underline the moral blackness of the boys' crumbling society. The normal associations with the sinister, with death, with chaos, with evil are suggested by this imagery.
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Images of light and brightness are identified with spirit, regeneration, life, goodness. The contrast between the bright, gaudy butterflies and the black flies on the pig's head emphasizes the symbolic conflict between good and evil used throughout the novel.
The bright butterflies are drawn to the sunlight and to open places p.
POLITICS AND HISTORY IN WILLIAM GOLDING: THE WORLD TURNED UPSIDE DOWN - PDF Free Download
But the butterflies represent a more positive force, and significantly they desert the open space dominated by the grinning pig's head. Golding's obsession with the fallen human state permeates the imagery of Lord of the Flies. The opening chapter is typical. Ralph appears amid a background of fallen trees.
He talks with Piggy about coming down in the capsule that was dropped from the plane. He falls down again when attempting to stand on his head p. He pretends to knock Simon down p. Animal imagery reinforces the boys' transformation into savages and subhumans. Predictably, evil is associated with the beast, the pig's head, or a snake, but as the story progresses, the boys themselves are described with an increasing number of animal images.
The boys' disrobing early in the novel at first suggests a return to innocence, but as the hunters become more and more savage, their nakedness merely underscores their animalism. Ralph's transformation is slower than the others, but it is clearly discernible.
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He is caught up in the savage ritual when Roger plays the pig p. In the last chapter, Ralph is little more than a cornered animal. Ralph's transformation is both shocking and saddening. When Ralph is trapped in the underbrush, he wonders what a pig would do, for he is in the same position p. Related to these animal images is the continual reference to the word savage. In Lord of the Flies the distinction between civilized human being and savage becomes increasingly cloudy and a source of further irony. We've got to have rules and obey them. Or animals?
Or savages? First, from a particular psychological viewpoint, the tripartite organization of the human psyche—ego, id, superego—is dramatized symbolically in the characters of Ralph, Jack, and Piggy, respectively. The conflict between Ralph, the level-headed elected leader of the boys' council, and Jack, the self-appointed head of the hunters, corresponds to an ego-id polarity. Ralph realistically confronts the problem of survival and works out a practical plan for rescue. Jack is quick to revert to savagery, dishonesty, violence.
Piggy, the fat, bespectacled rationalist, reminds Ralph of his responsibilities, makes judgments about Jack's guilt, and generally represents the ethical voice on the island. A second level of symbolism emerges from the archetypal patterns in the novel. The quest motif is represented by Ralph's stumbling attempts at self-knowledge. His is literally an initiation by fire. Ironically the knowledge he acquires does not allow him to become an integrated member of adult society, but rather it causes him to recoil from the nightmare world he discovers. He is a scapegoat figure who must be sacrificed as atonement for the boys' evils.
Simon and Piggy are also variants of the scapegoat symbol. Simon is most clearly the saint or Christ figure. The Dionysian myth is also reworked, as the boys' blindness to their own irrational natures leads to their destruction. On still another level, Lord of the Flies accommodates a political allegory in which Ralph represents democracy and Jack totalitarianism. It is bad enough to say that so many Jews were exterminated in this way and that, so many people liquidated—lovely, elegant word—but there were things done during that period from which I still have to avert my mind lest I should be physically sick.
They were not done by the headhunters of New Guinea , or by some primitive tribe in the Amazon. They were done, skillfully, coldly, by educated men, doctors, lawyers, by men with a tradition of civilization behind them, to beings of their own kind…. When these destructive capacities emerged into action they were thought aberrant.
Social systems, political systems were composed, detached from the real nature of man. They were what one might call political symphonies. They would perfect most men, and at the least, reduce aberrance. Such statements not only define Golding's own social background but also illuminate his use of the microcosmic island society in Lord of the Flies. Golding's own comments about Lord of the Flies continually focus on the potentials and the limitations of the democratic ideal.
It's not a question with me as to whether democracy is the right way so much, as to whether democracy can survive and remain what it is. It is only by first recognizing these dark powers that democracy can hope to control them. The fourth level of meaning is the moral allegory, which focuses on the conflicts between good and evil, and encourages philosophical or theological interpretations.
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Golding is defining the nature of evil. Whether it is embodied in a destructive, unconscious force, a mistaken sacrifice that unsuccessfully atones for the boys' collective guilt, or a dictatorial power opposing the democratic order corresponding to the psychological, archetypal, and politico-sociological levels, respectively , the problems of moral choice, the inevitability of original sin and human fallibility, the blindness of self-deception create a fourth level of meaning in the novel.
The island is not only a stage on which characters must make crucial moral decisions but also a microcosm for the human mind, in which ethical conflicts similarly occur. However, because Golding complicates the characterization and shows Ralph to be susceptible to evil forces and at times paradoxically sympathetic to Jack, the reader recognizes ambiguities not easily compatible with a neat but rigid system of symbols. But it does not close the door on that man; it entreats him to know himself and his Adversary, for he cannot do combat against an unrecognized force, especially when it lies within him.
Babb, The Novels of William Golding, p. Clive Pemberton, William Golding, p. William Golding, Lord of the Flies, p. Subsequent references are to this edition, and hereafter page numbers will be indicated in the text. Also see Robert J. Baker, Golding, p. Also see Dick, Golding, pp.
Lord of the Flies
Also see Douglas M. Beetz and Suzanne Niemeyer, pp. Washington, D. He lived an isolated life with his parents and nurse in a gloomy house situated next to a graveyard, and the nearness of this burial ground gave rise to a terrifying fear of death and the unknown. The chestnut tree in the garden, however, provided refuge for Golding, and his vocation as a writer began to take shape there as he sat reading or gazing at his surroundings. At Brasenose College, Oxford University , Golding tentatively planned to complete a degree in the natural sciences, in accordance with his parents' wishes.
Two years later he switched to English, a field more compatible with his temperament and ambition to write. Before earning his bachelor's degree at Oxford, as well as a diploma in education, Golding published his first book, a volume of poems. After graduating he began a career as a social worker while he continued to write, act in, and produce plays for a small London theater. Upon marrying Ann Brookfield, an analytical chemist, in , Golding followed a family tradition and embarked on a teaching career.
Golding served on many different vessels, finally becoming the commander of a rocket-launcher. When the war ended he resumed his teaching career and began to write again.