Contents

1.

Who was Sir William Golding?

2.

3.

Chapters Summary

The Dynamics of Power. The

Concept of Society, Savagery,
Civilization.

4. The Book as an Allegory:

Innocence under Siege. The raise
of the instinct.
5.

Symbolic Readings: Fire, The

Glasses, The Beast, ...
6.

Characters, Roles and

significance in the text

7. The Island as a thematized

frame of action: Connection with
Heart of Darkness, Robinson
Crusoe and The Coral Island
8.

Personal Valuation of the Book

English Literature II

1.Who

Lord of the Flies by William Golding

was Sir William Golding?

William Golding was born in Cornwall in 1911 and was educated at Marlborough
Grammar School and at Brasenose College, Oxford. Apart from writing, his past and
present occupations include being a schoolmaster, a lecturer, an actor, a sailor, and
a musician. His father was a
schoolmaster and his
mother was a suffragette.
He was brought up to be a
scientist, but revolted. After
two years at Oxford he read
English literature instead,
and became devoted to
Anglo-Saxon. He spent five
years at Oxford. Published
a volume of poems in 1935.
Taught at Bishop
Wordsworth's School,
Salisbury. Joined the Royal
Navy in 1940 and spent six
years afloat, except for
seven months in New York
and six months helping
Lord Cherwell at the Naval
Research Establishment. He
saw action against
battleships (at the sinking
of the Bismarck),
submarines and aircraft.
Finished as Lieutenant in
command of a rocket ship.
He was present off the
French coast for the D-Day
invasion, and later at the
island of Walcheren. After
the war he returned to
teaching, and began to
write again. Lord of the
Flies, his first novel, was
published in 1954. It was filmed by Peter Brook in 1963. His other books are:

The Inheritors (novel) 1955

Pincher Martin (novel) 1965
The Brass Butterfly (play) 1958
Free Fall (novel) 1959
The Spire (novel) 1964
The Hot Gates (essays) 1965
The Pyramid (novel) 1967
The Scorpion God (three short novels) 1971
Darkness Visible (novel) 1979
Rites of Passage (novel) 1980
A Moving Target (essays and autobiographical pieces)
1982
The Paper Men (novel) 1984

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Lord of the Flies by William Golding

An Egyptian Journal 1985

Close Quarters (novel) 1987
Fire Down Below (novel) 1989
In 1980 he won the 'Booker Prize' for his novel Rites of Passage. He retired from
teaching in 1962. After that, he lived in Wiltshire, listing his recreations as music,
sailing, archaeology and classical Greek.
William Golding died on June 19, 1993.

2.

Chapters Summary

Lord of the flies is divided into 12 chapters. Everyone of them is

characterized for an important event that makes the history gradually more
interesting. The name of the chapters used to be, exactly, the event name. Now, we
are going to show what happen in every chapter and the significance of everyone:

1) The Sound of the Shell

The history begins with two boys, Ralph and Piggy who meet up with each
other after escaping from their shot-down plane. A large scar was made in the
untouched jungle, symbolizing the first of man's destruction on the island. A war is
going on in the outside world, and now for the rest of the book, everyone will be
isolated from it and put into their own "world."
Piggy spots a conch shell, and tells Ralph how to use it to make a noise. Ralph does
so, and calls all of the other boys on the island who crashed down with the plane.
Jack and his Choir, Simon, Sam and Eric, and many other characters join in an
assembly (including the youngest kids at about 6 or 7 years old). Rules are set
down, and Ralph is to be chief. This idea can be ilustrated by the following
quotation:
Ralph found his breath and blew a series of short blasts. Piggy exclaimed: Theres
one! A child had appeared among the palms, about a hundred yards along the
beach. He was a boy of perhaps six years, sturdy and fair, his clothes torn, his face
covered with a sticky mess of fruit... The shouting in the forest was nearer. Signs of
life were visible now on the beach. The sand, trembling beneath the heat-haze,
concealed many figures in its miles of length; boys were making their way towards
the platform through the hot, dumb sand... At last Ralph ceased to blow and sat
there, the conch trailing from one hand, his head bowed on his knees. As the echoes
died away so did the laughter, and there was silence. Within the diamond haze of
the beach something dark was fumbling along. Ralph saw it first, and watched till
the intentness of his gaze drew all eyes that way. Then the creature stepped from
mirage on to clear sand, and they saw that the darkness was not all shadow but
mostly clothing. The creature was a party of boys, marching approximately in step in
two parallel lines and dressed in strangely eccentric clothing... The boy who
controlled them was dressed in the same way though his cap badge was golden.
When his party was about ten yards from the platform he shouted an order an they
halted, gasping, sweating, swaying in the fierce light. The boy himself came forward,
vaulted on to the platform with his cloak flying, and peered into what to him was
almost complete darkness. Wheres the man with the trumpet? Ralph sensing his
sun-blindness, answered him. Theres no man with a trumpet. Only me. The boy
came close and peered down at Ralph, screwing up his face as he did so. What he

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saw of the fair-haired boy with the creamy shell on his knees did not seem to satisfy
him... Ralph spoke to his back: No, were having a meeting. Come and join in
Golding, W. 1965 [1954]:24-27
Lord of the Flies F F

There is no one else on the island but the young boys, so Jack decides to take his
choir out to hunt for wild pigs, although he is unsuccessful in killing a small pig with
his knife.
From my point of view, the significance of this chapter should be Jacks first
attempt to kill the pig, which failed and he said that it wont be so lucky next time.
These Jacks words represent the course change that the history will undergo. At
Golding states:
You should stick a pig, said Ralph fiercely. They always talk about sticking a pig. You
cut a pigs throat to let the blood out, said Jack, otherwise you cant eat the meat.
Why didnt you? They knew very well why he hadnt; because of the enormity of the
knife descending and cutting into living flesh; because of the unbearable blood. I
was going to, said Jack. He was ahead of them and they could not see his face. I was
choosing a place. Next time! He snatched his knife out of the sheath and slammed it
into a tree trunk. Next time there would be no mercy. He looked round fiercely,
daring them to contradict. Then they broke out into the sunlight and for a while they
were busy finding and devouring food as they moved down the scar towards the
platform and the meeting.
(1965 [1954]:41 Lord of the Flies F F)

2) Fire on the mountain

Ralph calls another assembly, and reminds everyone that they are completely alone
on the island, and there are no adults. Jack recounts his failure in killing the pig, and
reiterates the need for skilled hunters. Several rules are made up, such as "whoever
holds the conch gets to speak." Unexpectedly, an unnamed littl'un with a birthmark
on his face tells about a "beastie" that he saw somewhere on the island. The
general consensus from the others is that there is no such thing, and it must be his
imagination.
Ralph then suggests making a signal fire, which would be necessary if they hope to
get rescued. The boys scramble off to gather wood to build a fire. Unsure of how to
light it, they finally grab Piggy's specs and focus the sunlight to ignite their fire.
They were not careful, however, and soon the fire is engulfing half the forest near
the mountain. The little boy with the birthmark is noticed to be missing, swallowed
up by the raging fire.
In this chapter we could say that the significance is that Piggy is averse to most of
the other boys, who he thinks are acting like little children (they are children,
obviously, but Piggy acts like the adult figure). He cites their irresponsibility in
dealing with the fire. Jack also shows signs of belligerence when he argues with
Ralph about the signal fire, and claims that "The conch doesn't count on the
mountain!" This is quoted in:

Piggy had settled himself in a coign between two rocks, and sat with the conch on
his knees. We havent made a fire, he said, whats any use. We couldnt keep a fire
like that going, not if we tried. A fat lot you tried, said Jack contemptuously. You just
sat. We used his specs, said Simon, smearing a black cheek with his forearm. He

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helped that way. I got the conch, said Piggy indignantly. You let me speak! The conch
doesnt count on top of the mountain, said Jack, so you shut up!
Golding, W. 1965 [1954]:54
Lord of the Flies F F

3)

Huts on the Beach

Jack is busy tracking a pig at the start of this chapter, when he arrives at the
beach where Simon and Ralph are constructing huts. Ralph complains no other boys
are helping them with their shelters, but Jack tries to argue that hunting is more
important; this expands into yet another argument between Ralph and Jack. When
Jack again brings up hunting, Ralph presses that keeping the signal fire is much
more important than hunting. Jack disagrees, and they boys continue on their path
of mutual dislike.
Ignorant to the fussing of the other boys, Simon picks fruit for the littl'uns and
makes his way into the jungle finding a clearing. He climbs onto a mat of creepers,
and remains there; he enjoys the tranquility of this spot, where he can be in touch
with nature.
The significance of this chapter is that Jack is solely concerned with hunting, and
cannot see the necessity of other things that can keep them alive. Ralph and Jack
are really beginning to fight in this chapter, and it foreshadows much more future
conflicts down the line. Simon's actions present him as a very good, peaceful and
helpful character, in contrast with many others. This idea can be ilustrated by the
following quotation:

Paint our faces so they wouldnt see perhaps surround them and them.
Indignation took away Ralphs control. I was talking about smoke! Dont you want to
be rescued? All you can talk about is pig, pig, pig! But we want meat! And I work
all day with nothing but Simon and you come back and dont even notice the huts!
I was working too. But you like it! Shouted Ralph. You want to hunt!

69

4)

Golding, W. 1965 [1954]:68Lord of the Flies F F

Painted Faces and Long Hair

Roger is knocking down sand structures made by littl'uns, and throwing rocks at a
young boy, although intentionally missing. Jack calls Roger away, asking him to
watch him paint his face for hunting pigs.
Ralph and the other boys are swimming in the bathing pool later on, when smoke
from a ship is spotted in the distance. The signal fire was out , not being watched,
obliterating their chances of rescue. Oblivious, Jack and his hunters come proudly
marching carrying their first kill, trying to convey their excitement to Ralph. When

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Ralph yells that a ship passed them by and no fire was going, excuses are made and
Jack tries to say that hunting is of utmost importance. In the ensuing fight, Jack
punches Piggy, breaking and knocking off his specs.
Finally, the fire is lit again, the pig is roasted, and everyone eats. The hunters
reenact the hunt, with a wild tribal dance and one boy being the pig; this is the first
time of many that the dance is performed.
Significance: Roger's first showing of aggression foreshadows his becoming a very
evil and sadistic figure, Jack's invitation to watch him paint his face is the start of
their "evil friendship." Jack's mask of face paint represents a cover that he can hide
behind, which liberates and frees him, allowing him to do anything when wearing it,
without worrying about any important matters. Jack still does not understand
Ralph's concern with the fire, and doesn't seem to care much for getting rescued.
The primal dance performed by the hunters highlights their transition into savagery.

Ralph spoke. You let the fire out. Jack checked, vaguely irritated by this
irrelevance but too happy to let it worry him. We can light the fire again. You
should have been with us, Ralph. We had a smashing time. The twins got
knocked over. We hit the pig. I fell on top. I cut the pigs throat, said Jack,
proudly, and yet twitched as he said it. Can I borrow yours, Ralph, to make a
nick in the hilt? The boys chattered and danced. The twins continued to grin.
There was lashings of blood, said Jack, laughing and shuddering, you should
have seen it!
Golding, W. 1965 [1954]:87
Lord of the Flies F
F

5)

Beast from water

At another assembly, Ralph mentions that work isn't getting done, and rules
aren't being followed. He tries to drive home the fact that "...we ought to die before
we let the fire out."
All the young children, however, are preoccupied with the Beast, which they still
believe in as some kind of animal living on the island. Jack says that he's been
everywhere, and there is no beast, and Piggy says that a beast can't exist in a world
with science. However, a littl'un still steps up and says that he saw something horrid
in the forest (which was actually Simon returning in the dark from his peaceful
area). Another littl'un says that there's a "Beast from the water," which is further
debated. Simon finally tries to settle the matter by saying that there may be a
beast, but that "it's only us." However, this is responded to with mocking and joking,
as it seems a preposterous notion.
During the assembly, Jack tries brings up the fact that Ralph isn't a good chief,
because he can't hunt or sing. Piggy and others are against the idea, but Jack is
starting to become more and more savage and overpowering. The assembly soon
falls apart and the hunters begin to chant and dance.

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The significance here is that Simon is the only one to realize that there really isn't
any "beast," but just a force of evil or savagery inside all of them that can manifest
itself in different ways. The boys are beginning to split into two factions, those that
support Ralph and those that support Jack and his more savage ways. The conflict
between them is continuing to build up. This is quoted in:

Im scared of him, said Piggy, and thats why I know him. If youre scared of
someone you hate him but you cant stop thinking about him. You kid yourself hes
all right really, anthen when you see him again; its like asthma anyou can
breathe. I tell you what. He hates you too, Ralph. Me? Why me? I dunno. You got
him over the fire; anyoure chief anhe isnt.
Golding, W. 1965 [1954]:116
Lord of the Flies
FF

6)

Beast from air

A man from a shot-down fighter plane parachutes down from the sky. The
man is already dead, however, and the body and parachute float up to the island,
eventually snagging on rocks. The wind continually grabs the parachute, lifting the
body up and down, which is seen by Samneric. Terrified, they run to tell about this
"Beast from the Air," and an assembly is called. Most everyone now thinks they are
in grave danger, and Jack suggests they go hunt it.
Jack, Ralph, and a group of hunters set out to get the Beast, while Piggy stays at the
beach with the littl'uns. They first check Castle Rock, where they had never been
before. Although they find nothing, Jack thinks the place would be a great fort, and
he and his hunters heave a large boulder off a ledge. Ralph prods them along, and
they decide to continue to the mountain to look for the Beast.
Significance: The fighter plane being shot down at the beginning symbolizes the
war going on in the real world, and links it to the boys and their island. Jack's
intrigue with Castle Rock foreshadows his future use of the location as a
fortification. This is quoted in:

7)

Shadows and Tall trees

In this chapter, Ralph begins to ponder about their appearance and dirtiness
as they walk to the mountain; he would love to get his hair cut back down to a half
inch. Simon sees Ralph staring out to sea and repeatedly reassures him that they
will get home safely.
Jack, his hunting instincts always engaged, finds traces of a boar which they begin
to hunt. Ralph manages to hit it with his spear, but the animal escapes. Another
tribal dance is formed, with a boy named Robert as the Pig. Unlike before, Ralph
actively participates, and their acting becomes overly realistic, actually striking and
hurting Robert.

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Lord of the Flies by William Golding

Finally, they move on towards the mountain, and send Simon back to tell Piggy they
won't be back soon. Jack scales the mountain and reports a sighting of a moving
creature, initiating a mass climb to the summit. When they see what they believe to
be the Beast (the body being lifted by the parachute), they make haste to leave.
The significance this time would be Simon's reassurance of their rescue strengthens
his position as a positive and good character. Ralph, on the other hand, showed his
faltering in blocking his inherent savagery when he joined in on the pig hunt and
dance. Even to Ralph, "the desire to squeeze and hurt was overmastering." Even the
mock pig hunt is becoming something of danger and greater brutality.This is quoted
in:

Jack shouted: Make a ring! The circle moved in and round. Robert squealed in mock
terror, then in real pain. Ow, stop it! Youre hurting! The butt end of a spear fell on
his back as he blundered among them. Hold him! They got his arms and legs. Ralph,
carried away by a sudden thick excitement, grabbed Erics spear and jabbed at
Robert with it. Kill him! Kill him! All at once, Robert was screaming and struggling
with the strength of frenzy. Jack had him by the hair and was brandishing his knife.
Behind him was Roger, fighting to get close. The chant rose ritually, as at the last
moment of a dance or a hunt. Kill the pig! Cut his throat! Kill the pig! Bash him in!

142

8)

Golding, W. 1965 [1954]:141Lord of the Flies F F

Gift for the Darkness

Piggy is told about the encounter, and everyone tries to decide what to do.
Jack calls an assembly, and insists that the Beast is a major threat that should be
hunted. Ralph upsets him, though, when he calls his hunters cowards. Enraged, Jack
asks if anyone thinks Ralph shouldn't be chief. Nobody responds, so he asks again
for anyone to come with him, then runs off with tears in his eyes. Their signal fire is
being blocked by the Beast, as they believe, so they decide to move the fire to the
beach. When they get there, they notice that most of the older boys did in fact
decide to go off with Jack, except for Ralph, Simon Piggy and Samneric.
Jack's tribe begins to hunt, and they come across a sow and baby piglets in the
clearing near Simon's domain. They attack and kill the mother sow, while the piglets
escape. The head is severed and put on a stick, which is embedded into the ground
as a gift for the Beast. Jack finally realizes that they'll need fire to cook the meat, so
they raid Ralph's camp and steal a flaming log, and invite them to come feast.
Ralph maintains that the fire is more important, but has to be reminded why by
Piggy.

Simon encounters the Pig's head, and manages to start talking to the thing,
although it is mostly in his imagination. The black cloud of flies coating the head
causes it to now be called "The Lord of the Flies." The Lord of the Flies says "I'm part

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of you...We're going to have fun on this island." It continues to say that if Simon
tries to talk to the others about the Beast, that he will be killed by everyone,
including Ralph and Piggy. After taking this all in, Simon feels a faint coming on and
collapses.

From my point of view, the significance here is: Jack's killing of the mother pig
shows his great lack of foresight, as by killing the mother, they were losing all the
other piglets who would've been a future source of food. The events with Simon are
also some of the most important in the book, hence the book's name. Simon's
conversation with it is the basis of the theme of the novel, and is partly his
imagination, and partly some kind of "message" from the unknown. The Lord of the
Flies basically confirms to Simon that the Beast really is "inside" everyone, but says
that everyone would rather have fun than worry about anything else. The threat of
being killed clearly foreshadows the ending of Simon's life. This idea can be
ilustrated by the following quotation:

Simons head was tilted slightly up. His eyes could not break away and the Lord
of the Flies hung in space before him. What are you doing out here all alone? Aren
t you afraid of me? Simon shook. There isnt anyone to help you. Only me. And I
m the Beast. Simons mouth laboured, brought forth audible words. Pigs head
on a stick. Fancy thinking the Beast was something you could hunt and kill! Said
the head. For a moment or two the forest and all the other dimly appreciated
places echoed with the parody of laughter. You knew, didnt you? Im part of you?
Close, close, close! Im the reason why its no go? Why things are what they are?
The laughter shivered again. Come now, said the Lord of the Flies, get back to the
others and well forget the whole thing... Im warning you. I m going to get waxy.
Dyou see? Youre not wanted. Understand? We are going to have fun on this
island. Understand? We are going to have fun on this island! So dont try it on, my
poor misguised boy, or else. Simon found he was looking into a vast mouth. There
was blackness within, a blackness that spread. Or else, said the Lord of the Flies,
we shall do you. See? Jack and Roger and Maurice and Robert and Bill and Piggy
and Ralph. Do you. See? Simon was inside the mouth. He fell down and lost
consciousness.

Golding, W. 1965 [1954]:177178 Lord of the Flies F F

9)

A view to a Death

A violent storm is raging on the island, while Simon finally wakes up from his
faint. He staggers towards the beach to tell the other boys about his ordeal. Piggy
and Ralph already decided to check out the roasting of the Pig, where Jack then asks
everyone to confirm their loyalty to him. Ralph tries to persuade them to follow
himself and keep the fire alive, but most of the boys are already overcome by Jack's
leadership and ability to tell them what they want to hear.
Insistent, Ralph tries to talk some sense into them, asking them what they will do
without shelters. Jack just orders the boys to begin their dance, oblivious to any
dangers. Roger plays the pig, and as the boys begin dancing, even Piggy and Ralph
feel the strong lure to be part of the group, take part in this primal ritual. As before,
the dance escalates into real attacking, but they are distracted by a figure emerging
from the jungle. They call out that "it's the Beast!" and begin to attack it

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Lord of the Flies by William Golding

relentlessly. The beaten and dead body of Simon is then carried out to the sea by
the current.
Significance: The beating of Simon by all the boys, even Ralph and Piggy who
were caught up in the frenzy, fulfills the Lord of the Flies' "prophecy." Even these
boys were overcome with their savage side when in such close contact with all the
other boys. This is quoted in:
The circle became a horseshoe. A thing was crawling out of the forest. It came
darkly, uncertainly. The shrill screaming that rose before the beast was like a pain.
The beasts stumbled into the horseshoe. Kill the beast! Cut his throat! Spill his
blood! The blue-white scar was constant, the noise unendurable. Simon was
crying out something about a dead man on a hill. Kill the beast! Cut his throat!
Spill his blood! Do him in! The sticks fell and the mouth of the new circle crunched
and screamed. The beast was on its knees in the centre, its arms folded over its
face. It was crying out against the abominable noise something about a body on
the hill. The beast struggled forward, broke the ring and fell over the steep edge
of the rock to the sand by the water. At once the crowd surged after it, poured
down the rock, leapt on to the beast, screamed, struck, bit, tore. There were no
words, and no movements but the tearing of teeth and claws.
Golding, W. 1965[1954]:188
Lord of the Flies F F

10)

The Shell and the Glasses

Samneric are collecting wood for the fire, while Ralph and Piggy discuss the
murder of Simon; the rest of the boys pledge their loyalty to Jack. Piggy claims that
the whole affair was an accident, and that they just got all caught up.
Jack meanwhile is guarding his fort on Castle Rock, where Roger is always ready to
use a lever to drop a boulder on intruders. Jack has a boy tied up and beaten, for no
reason except to show what happens if anyone gets in his way. His savagery is
obvious now, and his face is always painted.
Ralph is still pondering over watching the fire, and he always has to be reminded
that the fire is a necessity. Ralph tries to reassure the twins that what they are doing
is right, and Jack is wrong, in response to their protests. They finally concede to
leave the fire and go to their shelters. They are woken up by unusual sounds, and
fear it may be the Beast, but it turns out to be Jack and tribe searching for fire. They
break into the shelter and begin to fight for Piggy's glasses, cutting and knocking
teeth loose in the process.
Significance: The murder of Simon is somewhat of a wake-up call for Ralph, who
doesn't accept that it was just an accident. The constant need to be reminded about
the fire, though, shows that he is losing touch with civilization, and responsibility.
Roger being ready with the massive boulder foreshadows some future use for it,
undoubtedly to cause harm. The stealing of Piggy's glasses shows a disappearance
of a symbol of order and clear-sightedness, as they unwillingly drift from
civilization.This is quoted in:
Far off along the bowstave of beach, three figures trotted towards the Castle
Rock. They kept away from the forest and down by the water. Occasionally they
sang softly; occasionally they turned cartwheels down by the moving streak of
phosphorescence. The chief led them, trotting steadily, exulting in his
achievement. He was a chief now in truth; and he made stabbing motions with his
spear. From his left hand dangled Piggys broken glasses.

10

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Golding, W. 1965[1954]:207
Lord of the Flies F F

11) Castle Rock

Ralph calls an assembly in worry, and Piggy, the twins and a few littl'uns are
the only ones left to attend. Ralph suggests to the bruised boys that they may be
able to go to Jack and demand the specs back, since they are not savages and
rescue is not just a game. Ralph and Samneric set off carrying spears, leading Piggy
holding the conch.
At Castle Rock, Roger orders the boys to halt, but Ralph blows the conch. Ralph tells
them he is calling an assembly, and Jack steps forward. He laughs at their request
to return the specs, and a fight ensues. Jack then orders his tribe to grab Samneric,
and tie them up. Suddenly, interrupting the fighting, Piggy speaks up, asking
everyone if it is better to have rules and agree, or to hunt and kill. Everyone
remains silent and hears his message. As Piggy continues his preaching of
democracy, Roger slams the lever holding the boulder and it goes careening down.
Ralph dodges the rock, but the unseeing Piggy is struck, sending him flying 40 feet
straight down and shattering the conch. Even Jack is a bit surprised with Roger's
quick and brutal action, but he assures Ralph that it will happen to him next. Ralph
begins to run away, and the tribe eventually gives up pursuit under Jack's order.
Significance: Piggy's willingness to come along for what he believes is right, and
his standing up and speaking out shows that he has gained greater courage and
confidence since the beginning of the novel. His tragic death and the shattering of
the conch represents the disappearance of some of the last remnants of democracy.
With Samneric taken under Jack's control, Ralph is the only one left with the waning
sense of democracy and goodness.This is quoted in:
The rock struck Piggy a glancing blow from chin to knee; the conch exploded into
a thousand white fragments and ceased to exist. Piggy, saying nothing, with no
time for even a grunt, travelled through the air sideways from the rock, turning
over as he went. The rock bounded twice and was lost in the forest. Piggy fell forty
feet and landed on his back across that square, red rock in the sea. His head
opened and stuff came out and turned red. Piggys arms and legs twitched a bit,
like a pigs after it has been killed. Then the sea breathed again in a long slow
sigh, the water boiled white and pink over the rock; and when it went, sucking
back again, the body of Piggy was gone. This time the silence was complete.
Ralphs lips formed a word but no sound came. Suddenly Jack bounded out from
the tribe and began screaming wildly. See? See? Thats what youll get! I meant
that! There isnt a tribe for you any more! The conch is gone

Golding, W. 1965[1954]:222223 Lord of the Flies F F

12Cry of the Hunters

Ralph is huddled in the jungle near Castle Rock, as dusk passes. Samneric,
who are guarding Castle Rock under Jack's leadership, are approached by Ralph.

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They inform him that Jack's tribe will be out hunting him the next day, and they
have "sharpened a stick at both ends." Ralph tells Samneric of his hiding spot, and
proceeds back to it. Scared by Jack's power, Samneric tell Jack about Ralph's hiding
spot the next morning. Another boulder is rolled down, but misses smashing Ralph.
Other attempts of getting Ralph from his hiding spot are unsuccessful, so they set
the entire area on fire in desperation.
Ralph begins to run from the advancing fire, making his way to Simon's mat of
creepers where he hides and lays low. The savages advance with the fire, searching,
hunting for Ralph. They finally reach Ralph's hiding spot, and Roger looks in. Ralph
attacks him, knocking him over, and continued running to the beach. Running
wildly, he almost crashed into a Naval officer standing at the beach, who was
attracted by all the fire and smoke. He assumes that their stay on the island
must've been all "fun and games," but is surprised at the spears and face paint on
many of the boys. Some are crying, many are confused. The officer is told that two
boys were killed, and everyone is taken to a Navy cruiser.
Significance: The "stick sharpened at both ends" is a reference to what they did
with the Lord of the Flies, impaling one end in the head and the other in the ground.
This shows the brutality of what they planned to do to Ralph, who indeed felt like a
pig being hunted by the savages. The fire set on the entire island shows the tribe's
complete lack of foresight, as if they were not rescued, they would have no food or
shelter. Ironically, the fire meant for evil started by Jack turned out to be what got
the boys saved. The arrival of the Naval officer thus seems like a happy and ironic
ending, but if one digs deeper it is just a continuation from one war to another. Once
all the boys get on the Navy cruiser, they'll most likely just be subjected to more
battle and fighting, this time on a worldwide level, due to the war taking place in
the outside world. This idea can be ilustrated by the following quotation:
Ralph looked at him dumbly. For a moment he had a fleeting picture of the
strange glamour that had once invested the beaches. But the island was scorched
up like dead wood Simon was dead and Jack had... The tears began to flow and
sobs shook him. He gave himself up to them now for the first time on the island,
great, shuddering spasms of grief that seemed to wrench his whole body. His
voice rose under the black smoke before the burning wreckage of the island; and
infected by that emotion, the other little boys began to shake and sob too. And in
the middle of them, with filthy body, matted hair, and unwiped nose, Ralph wept
for the end of innocence, the darkness of mans heart, and the fall through the air
of the true, wise friend called Piggy. The officer, surrounded by these noises, was
moved and a little embarrassed. He turned away to give them time to pull
themselves together, and waited, allowing his eyes to rest on the trim cruiser in
the distance.

Golding, W. 1965[1954]:248
Lord of the Flies F F

3.The Dynamics of Power. The Concept of

Society, Savagery, Civilization
William Golding presented numerous themes and basic ideas that give the
reader something to think about. One of the most basic and obvious themes is that
society holds everyone together, and without these conditions, our ideals, values,
and the basics of right and wrong are lost. Without society's rigid rules, anarchy and
savagery can come to light.

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The central concern of Lord of the Flies is the conflict between two competing
impulses that exist within all human beings: the instinct to live by rules, act
peacefully, follow moral commands, and value the good of the group against the
instinct to gratify ones immediate desires, act violently to obtain supremacy over
others, and enforce ones will. This conflict might be expressed in a number of ways:
civilization vs. savagery, order vs. chaos, reason vs. impulse, law vs. anarchy, or the
broader heading of good vs. evil. Throughout the novel, Golding associates the
instinct of civilization with good and the instinct of savagery with evil.
The conflict between the two instincts is the driving force of the novel, explored
through the dissolution of the young English boys civilized, moral, disciplined
behavior as they accustom themselves to a wild, brutal, barbaric life in the jungle.
Lord of the Flies is an allegorical novel, which means that Golding conveys many of
his main ideas and themes through symbolic characters and objects. He represents
the conflict between civilization and savagery in the conflict between the novels
two main characters: Ralph, the protagonist, who represents order and leadership;
and Jack, the antagonist, who represents savagery and the desire for power.
As the novel progresses, Golding shows how different people feel the influences of
the instincts of civilization and savagery to different degrees. Piggy, for instance,
has no savage feelings, while Roger seems barely capable of comprehending the
rules of civilization. Generally, however, Golding implies that the instinct of
savagery is far more primal and fundamental to the human psyche than the instinct
of civilization. Golding sees moral behavior, in many cases, as something that
civilization forces upon the individual rather than a natural expression of human
individuality. When left to their own devices, Golding implies, people naturally revert
to cruelty, savagery, and barbarism. This idea of innate human evil is central to
Lord of the Flies, and finds expression in several important symbols, most notably
the beast and the sows head on the stake. Among all the characters, only Simon
seems to possess anything like a natural, innate goodness.
There are several quotations that could reflect the conflict between savagery
and civilization, for example this one:
Roger gathered a handful of stones and began to throw them. Yet there was a
space round Henry, perhaps six yards in diameter, into which he dare not throw.
Here, invisible yet strong, was the taboo of the old life. Round the squatting child
was the protection of parents and school and policemen and the law.

Golding, W. 1965[1954]:84
Lord of the Flies F F

This quotation describes the beginnings of Rogers cruelty to the littluns, an

important early step in the groups decline into savagery. At this point in the novel,
the boys are still building their civilization, and the civilized instinct still dominates
the savage instinct. The cracks are beginning to show, however, particularly in the
willingness of some of the older boys to use physical force and violence to give
themselves a sense of superiority over the smaller boys. This quotation shows us
the psychological workings behind the beginnings of that willingness. Roger feels
the urge to torment Henry, the littlun, by pelting him with stones, but the vestiges
of socially imposed standards of behavior are still too strong for him to give in
completely to his savage urges. At this point, Roger still feels constrained by
parents and school and policemen and the lawthe figures and institutions that
enforce societys moral code. Before long, Roger and most of the other boys lose
their respect for these forces, and violence, torture, and murder break out as the
savage instinct replaces the instinct for civilization among the group.

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Lord of the Flies by William Golding

The book as an allegory: Innocence

under siege. The raise of the instinct.

Lord of the Flies is an allegorical novel in that it contains characters and

objects that directly represent the novels themes and ideas. Goldings central point
in the novel is that a conflict between the impulse toward civilization and the
impulse toward savagery rages within each human individual. Each of the main
characters in the novel represents a certain idea or aspect of this spectrum between
civilization and savagery. Ralph, for instance, embodies the civilizing impulse, as he
strives from the start to create order among the boys and to build a stable society
on the island. Piggy, meanwhile, represents the scientific and intellectual aspects of
civilization. At the other end of the spectrum, Jack embodies the impulse toward
savagery and the unchecked desire for power and domination. Even more extreme
is Roger, who represents the drive for violence and bloodlust in its purest form.
Furthermore, just as various characters embody thematic concepts in the novel, a
number of objects do as well. The conch shell, which is used to summon the boys to
gatherings and as a emblem of the right to speak at those gatherings, represents
order, civilization, and political legitimacy. Piggys glasses, which are used to make
fire, represent the power of science and intellectual endeavor. The sows head in the
jungle, meanwhile, embodies the human impulse toward savagery, violence, and
barbarism that exists within each person. Throughout Lord of the Flies, Golding uses
these characters and objects to represent and emphasize elements of the themes
and ideas he explores in the novel.
Loss of Innocence
As the boys on the island progress from well-behaved, orderly children
longing for rescue to cruel, bloodthirsty hunters who have no desire to return to
civilization, they naturally lose the sense of innocence that they possessed at the
beginning of the novel. The painted savages in Chapter 12 who have hunted,
tortured, and killed animals and human beings are a far cry from the guileless
children swimming in the lagoon in Chapter 3.
But Golding does not portray this loss of innocence as something that is done
to the children; rather, it results naturally from their increasing openness to the
innate evil and savagery that has always existed within them. Golding implies that
civilization can mitigate but never wipe out the innate evil that exists within all
human beings. The forest glade in which Simon sits in Chapter 3 symbolizes this
loss of innocence. At first, it is a place of natural beauty and peace, but when Simon
returns later in the novel, he discovers the bloody sows head impaled upon a stake
in the middle of the clearing. The bloody offering to the beast has disrupted the
paradise that existed beforea powerful symbol of innate human evil disrupting
childhood innocence. At Golding states: His mind was crowded with memories;
memories of the knowledge that had come to them when they closed in on the
struggling pig, knowledge that they had outwitted a living thing, imposed their will
upon it, taken away its life like a long satisfying drink (1965 [1954] : 88 Lord of
the Flies F.F)
This quotation explores Jacks mental state in the aftermath of killing his first
pig, another milestone in the boys decline into savage behavior. Jack exults in the
kill and is unable to think about anything else because his mind is crowded with
memories of the hunt. Golding explicitly connects Jacks exhilaration with the
feelings of power and superiority he experienced in killing the pig. Jacks excitement
stems not from pride at having found food and helped the group but from having
outwitted another creature and imposed his will upon it. Earlier in the novel,
Jack claims that hunting is important to provide meat for the group; now, it becomes
clear that Jacks obsession with hunting is due to the satisfaction it provides his
primal instincts and has nothing to do with contributing to the common good.
When Ralph sees the officer, his sudden realization that he is safe and will be
returned to civilization plunges him into a reflective despair. The rescue is not a

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moment of unequivocal joy, for Ralph realizes that, although he is saved from death
on the island, he will never be the same. He has lost his innocence and learned
about the evil that lurks within all human beings. Here, Golding explicitly connects
the sources of Ralphs despair to two of the main themes of the novel: the end of
innocence and the darkness of mans heart, the presence of savage instincts
lurking within all human beings, even at the height of civilization. This idea can be
ilustrated by the following quotation:

And in the middle of them, with filthy body, matted hair, and unwiped nose,
Ralph wept for the end of innocence, the darkness of mans heart, and the fall
through the air of the true, wise friend called Piggy. The officer, surrounded by
these noises, was moved and a little embarrassed. He turned away to give them
time to pull themselves together, and waited, allowing his eyes to rest on the trim
cruiser in the distance.

Golding, W. 1965[1954]:248
Lord of the Flies F F

5. Symbolic Readings: Fire, the Glasses,

the Beast...
William Golding uses several symbols, which are objects, characters, or
other things to represent concepts or abstract ideas. For example:
The Conch Shell:
Ralph and Piggy discover the conch shell on the beach at the start of the
novel and use it to summon the boys together after the crash separates them. Used
in this capacity, the conch shell becomes a powerful symbol of civilization and order
in the novel. The shell effectively governs the boys meetings, for the boy who holds
the shell holds the right to speak. In this regard, the shell is more than a symbolit
is an actual vessel of political legitimacy and democratic power. As the island
civilization erodes and the boys descend into savagery, the conch shell loses its
power and influence among them. Ralph clutches the shell desperately when he
talks about his role in murdering Simon. Later, the other boys ignore Ralph and
throw stones at him when he attempts to blow the conch in Jacks camp. The
boulder that Roger rolls onto Piggy also crushes the conch shell, signifying the
demise of the civilized instinct among almost all the boys on the island.
Piggys Glasses
Piggy is the most intelligent, rational boy in the group, and his glasses represent the
power of science and intellectual endeavor in society. This symbolic significance is
clear from the start of the novel, when the boys use the lenses from Piggys glasses
to focus the sunlight and start a fire. When Jacks hunters raid Ralphs camp and
steal the glasses, the savages effectively take the power to make fire, leaving
Ralphs group helpless.
The Signal Fire:
The signal fire burns on the mountain, and later on the beach, to attract the
notice of passing ships that might be able to rescue the boys. As a result, the signal
fire becomes a barometer of the boys connection to civilization. In the early parts of
the novel, the fact that the boys maintain the fire is a sign that they want to be
rescued and return to society. When the fire burns low or goes out, we realize that
the boys have lost sight of their desire to be rescued and have accepted their
savage lives on the island. The signal fire thus functions as a kind of measurement

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of the strength of the civilized instinct remaining on the island. Ironically, at the end
of the novel, a fire finally summons a ship to the island, but not the signal fire.
Instead, it is the fire of savagerythe forest fire Jacks gang starts as part of his
quest to hunt and kill Ralph.
The Beast:
The imaginary beast that frightens all the boys stands for the primal instinct
of savagery that exists within all human beings. The boys are afraid of the beast,
but only Simon reaches the realization that they fear the beast because it exists
within each of them. As the boys grow more savage, their belief in the beast grows
stronger. By the end of the novel, the boys are leaving it sacrifices and treating it as
a totemic god. The boys behavior is what brings the beast into existence, so the
more savagely the boys act, the more real the beast seems to become.
The Lord of the Flies:
The Lord of the Flies is the bloody, severed sows head that Jack impales on a
stake in the forest glade as an offering to the beast. This complicated symbol
becomes the most important image in the novel when Simon confronts the sows
head in the glade and it seems to speak to him, telling him that evil lies within
every human heart and promising to have some fun with him. (This fun
foreshadows Simons death in the following chapter.) In this way, the Lord of the
Flies becomes both a physical manifestation of the beast, a symbol of the power of
evil, and a kind of Satan figure who evokes the beast within each human being.
Looking at the novel in the context of biblical parallels, the Lord of the Flies recalls
the devil, just as Simon recalls Jesus. In fact, the name Lord of the Flies is a literal
translation of the name of the biblical name Beelzebub, a powerful demon in hell
sometimes thought to be the devil himself.
The platform:
The platform may represent Parliament or Congress, for meetings and
assemblies are held here. It is where the rules are created and where Ralph is
elected by the boys to be their chief. There are many ties between the platform, as
a place for speaking and debate, and the conch, which gives one the right to speak.
Another symbolism involving the platform is the unsteady branch. This represents
the unstable and shaky nature of the group and hints at the later development of
instability in the island society. This may be an allusion to the war Golding fought in,
showing his own point of view that when, in the wild, people find themselves in
unstable situations and will most likely choose dissention than making hard
decisions for themselves.
The killing of the sow:
The sow is a mother: "sunk in deep maternal bliss lay the largest of the lot
the great bladder of her belly was fringed with a row of piglets that slept or
burrowed and squeaked." The killing of the sow is done through bestiality and
murder, referring to its driving force of sexuality, especially among the half-grown
and prepubescent boys.
They remove the head of the sow and place it onto a stick that is jammed
into the ground as a gift for the Beast, which seems to be lurking on the island. This
shows their own irrational fears and blind terrors of the island and beast release the
forces of death and the "devil" on the island.
The most symbolic incident of this is that of Simon and the sow head. To Simon, the
head seems to be saying "Everything was a bad business... The half shut eyes that
were dim with the infinite cynicism of adult life." Simon fought against what the
head was saying. "Fancy thinking the Beast was something you could hunt and kill!"
said the head. For a moment or two the forest and all the other dimly appreciated

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places echoes with laughter. "You knew, didn't you? I'm part of you? Close, close,
close! I'm the reason why it's no go? Why things are the way they are?"
The pig's head tries to tell Simon that he cannot avoid the recognition of human
capacities for evil and the superficial nature of human moral systems. It is the
acknowledgment of the end of innocence.
The Head is also the one who finally convinces Simon that the beast is not a
physical manifestation, instead it originates from within the boys.

Masks:
In the book, masks are used to represent identity, and the super ego's
control of the id. By wearing masks, the characters are able to forget the rules
imposed on them by society (the super ego), and act according to their desires (the
id); often submitting to a mob mentality (the loss of self). This is demonstrated by
the face paint, that is increasingly used throughout the book. At first, the paint was
only worn by the hunters during hunts (everyone still trying to behave as they were
taught), but was progressively worn by more of the tribe for longer periods of time.
As the hunters wore their paint, they would lose their memories of civilization, and
surrender to their own savage urges (the id), or the will of the group. This could be
seen when Ralph first went hunting: while he was hunting, he forgot about the fire
(a symbol of civilization), and began to submit to his own feelings of the hunt. He
gradually stops behaving according to his memories of home, and the advice of
Piggy (the super ego), but according to Jack and the feel of the group; until he
reverts to pure savagery, nearly killing a boy. This is again seen during the great
feast, the tribe, masked in darkness, dances in a frenzy. The tribe loses all sense of
rationality and civilization, and acts as a single savage entity, acting on impulse.
The frenzied tribe then killed Simon, unable to hear his appeals to logic and unable
to control themselves. From this point on, many of the characters ceased to take the
paint off their faces and acted sole on animal instinct.
The boy with the mulberry coloured birthmark:
At one of the earlier assemblies, a scared boy came forward to ask about the
'beastie.' He had a mulberry coloured birthmark. He is sometimes seen as the devil
as he introduces something for the boys to direct their fear towards. Another
possibility is that he represents the False Prophet mentioned in the book of
Revelation who paves the way for the coming of the Antichrist, just as the boy's tale
of the Beast in some ways gives birth to Jack's main source of fear and power. He is
never given a name and is always referred to as the boy with the birthmark, which
can also be the mark of the devil. After the forest fire, he is never seen again, and it
is believed that he burned to death. Ralph suggests, "Perhaps he went back to the,
the --," but no one has an answer for where he may have gone.

6.Characters, roles and significance in the text

Ralph
Ralph is the athletic, charismatic protagonist of Lord of the Flies. Elected the
leader of the boys at the beginning of the novel, Ralph is the primary representative
of order, civilization, and productive leadership in the novel. While most of the other
boys initially are concerned with playing, having fun, and avoiding work, Ralph sets
about building huts and thinking of ways to maximize their chances of being
rescued. For this reason, Ralphs power and influence over the other boys are
secure at the beginning of the novel. However, as the group gradually succumbs to

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savage instincts over the course of the novel, Ralphs position declines precipitously
while Jacks rises. Eventually, most of the boys except Piggy leave Ralphs group for
Jacks, and Ralph is left alone to be hunted by Jacks tribe. Ralphs commitment to
civilization and morality is strong, and his main wish is to be rescued and returned
to the society of adults. In a sense, this strength gives Ralph a moral victory at the
end of the novel, when he casts the Lord of the Flies to the ground and takes up the
stake it is impaled on to defend himself against Jacks hunters.
In the earlier parts of the novel, Ralph is unable to understand why the other boys
would give in to base instincts of bloodlust and barbarism. The sight of the hunters
chanting and dancing is baffling and distasteful to him. As the novel progresses,
however, Ralph, like Simon, comes to understand that savagery exists within all the
boys. Ralph remains determined not to let this savagery -overwhelm him, and only
briefly does he consider joining Jacks tribe in order to save himself. When Ralph
hunts a boar for the first time, however, he experiences the exhilaration and thrill of
bloodlust and violence. When he attends Jacks feast, he is swept away by the
frenzy, dances on the edge of the group, and participates in the killing of Simon.
This firsthand knowledge of the evil that exists within him, as within all human
beings, is tragic for Ralph, and it plunges him into listless despair for a time. But this
knowledge also enables him to cast down the Lord of the Flies at the end of the
novel. Ralphs story ends semi-tragically: although he is rescued and returned to
civilization, when he sees the naval officer, he weeps with the burden of his new
knowledge about the human capacity for evil.

Jack
The strong-willed, egomaniacal Jack is the novels primary representative of
the instinct of savagery, violence, and the desire for power-in short, the antithesis of
Ralph. From the beginning of the novel, Jack desires power above all other things.
He is furious when he loses the election to Ralph and continually pushes the
boundaries of his subordinate role in the group. Early on, Jack retains the sense of
moral propriety and behavior that society instilled in him-in fact, in school, he was
the leader of the choirboys. The first time he encounters a pig, he is unable to kill it.
But Jack soon becomes obsessed with hunting and devotes himself to the task,
painting his face like a barbarian and giving himself over to bloodlust. The more
savage Jack becomes, the more he is able to control the rest of the group. Indeed,
apart from Ralph, Simon, and Piggy, the group largely follows Jack in casting off
moral restraint and embracing violence and savagery. Jacks love of authority and
violence are intimately connected, as both enable him to feel powerful and exalted.
By the end of the novel, Jack has learned to use the boys fear of the beast to
control their behavior-a reminder of how religion and superstition can be
manipulated as instruments of power.
Simon

Whereas Ralph and Jack stand at opposite ends of the spectrum between
civilization and savagery, Simon stands on an entirely different plane from all the
other boys. Simon embodies a kind of innate, spiritual human goodness that is
deeply connected with nature and, in its own way, as primal as Jacks evil. The other
boys abandon moral behavior as soon as civilization is no longer there to impose it
upon them. They are not innately moral; rather, the adult worldthe threat of
punishment for misdeedshas conditioned them to act morally. To an extent, even
the seemingly civilized Ralph and Piggy are products of social conditioning, as we
see when they participate in the hunt-dance. In Goldings view, the human impulse
toward civilization is not as deeply rooted as the human impulse toward savagery.
Unlike all the other boys on the island, Simon acts morally not out of guilt or shame
but because he believes in the inherent value of morality. He behaves kindly toward
the younger children, and he is the first to realize the problem posed by the beast
and the Lord of the Fliesthat is, that the monster on the island is not a real,
physical beast but rather a savagery that lurks within each human being. The sows

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head on the stake symbolizes this idea, as we see in Simons vision of the head
speaking to him. Ultimately, this idea of the inherent evil within each human being
stands as the moral conclusion and central problem of the novel. Against this idea
of evil, Simon represents a contrary idea of essential human goodness. However, his
brutal murder at the hands of the other boys indicates the scarcity of that good
amid an overwhelming abundance of evil.
Piggy

Piggy is a short and overweight boy who wears glasses and represents order
and democracy. He is afflicted with asmtha and doesn't care to do strenuous work
on the island. He tries very hard to cling to civilization, and tries his best to keep
peace. While probably the smartest boy on the island, he lacks any social skills
whatsoever, and has trouble communicating or fitting in with the others. His glasses
are a very important part of the book, as they are used over and over to start fires.
Piggy's constant polishing of them shows his desire for clear-sightedness and
civilization.
Roger
Hes a small boy with dirty and shaggy black hair, Roger represents pure evil
and wrongness, moreso even than Jack. He has no mercy, and is the first one to
intentionally kill another boy on the island when he smashed Piggy with a boulder.
He gets sadistic pleasure from torturing a pig and other boys on the island. Roger is
one of Jack's most loyal helpers, and gladly carries out his orders.
Samneric
Sam and Eric are two young twins who always travel and do everything
together. Without each other, they are incapable of very much. They represent
reliance and unity, and because of this become like one person referred to as
Samneric. While seemingly loyal to Ralph, they eventually give in to Jack's threats
and join his tribe. While Ralph hoped otherwise, the twins in the end disclose
Ralph's hiding spot to Jack. The loss of civilization led them to lose any real sense of
loyalty to others.

7. The Island as a thematized frame of action:

connection with Heart of Darkness, Robinson
Crusoe and The Coral Island.
In 1857, R.M. Ballantyne wrote a book called The Coral Island. It portrayed three
boys: Ralph, Peterkin and Jack (two of these names are transferred to Golding's
book; Peterkin is altered to Simon, which is an allusion to the Bible "Simon called
Peter") landing on an island, much like that in Lord of the Flies. They have great
adventures, typical of much children's fiction written during the period of the British
Empire the book is not a realistic projection of what boys on a deserted island
would do. However, it was very successful.
A number of references to The Coral Island are made in Lord of the Flies, as Golding
wrote it as an indirect response.
Golding read The Coral Island as he was growing up, and thought of Ballantyne as
racist, since the book teaches that evil is associated with black skin and is external.
It is somewhat ironic then, that in Chapter 11 of Lord of the Flies, Piggy calls Jack's
tribe "a pack of painted niggers." The term was not viewed as offensive in 1950s
British society as it is today, being seen as a descriptive (rather than abusive) term
for people of dark skin. (For instance, the word "nigger" played a prominent role in
the 1954 British film The Dam Busters). In any case, the word was changed to
"savages" in some editions and "Indians" in the Mass Media publication.

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To a certain extent it can be said that Golding wrote this book as a response to The
Coral Island, to show what boys would truly do if left alone on an island. In Chapter
2 the boys compare to what will happen "like in a book", saying it will be like
"Treasure Island", "Swallows and Amazons" and "The Coral Island". Golding sets this
to deliberately compare the two books, two different versions of boys activities
when left on their own. When the officer is on the island at the end he says "like the
coral island". This is once again comparing them, showing what would really
happen.

Goldings book is also in connection with other book since after Simon
finishes talking with the Lord of the Flies, he imagines he is looking into a vast
mouth. "There was blackness within, a blackness that spread Simon was inside
the mouth. He fell down and lost consciousness."
The mouth also seems to be a reference to Conrad's Heart of Darkness: "I saw (the
dying Kurtz) open his mouth wideit gave him avoracious aspect, as though he
wanted to swallow all the air, all the earth all the men before him".
E.L. Epstein wrote, in a critical note regarding the Lord of the Flies which appears at
the end of certain editions, that this mouth "seems to represent a ravenous,
unreasoning and eternally insatiable nature. This appears again in Golding's novel
Pincher Martin, in which the development of the theme of Nature inimical to the
conscious personality of man is developed in a stunning fashion."
He has also had influence from the likes of Edgar Rice Burroughs and Jules
Verne. Golding, however, held a much more negative outlook on human nature,
which he expressed in his works, beginning with Lord of the Flies.

8.Personal Valuation of the Book

From my modest point of view, this allegorical novel of William Golding is just
amazing. Personally, I had never read the book before, I meant at the high school,
so my surprised has been great. I choosed this book because my classmates
recommended it to me. I loved how William show us the instinctive behaviour of
men which can prompt either a war or an almost perfect world.
I think this is the main reason why nowadays, there still are wars at the
world. Because of some people think with a good purpose whereas, other ones just
act instintively without worring about consequences. In the book happened
something similar and it is very socking how a group of boys, with no more than 12,
can be like authentic murderers.
I am also very impressed by the symbols that Golding uses in his book, such
as the conch, the fire, the Piggys glasses and others.
Fnally, Im really glad to have read this book since I have learned about a
very important author who was unknown for me till now, and just hope to otherwise,
it serves me to pass English Literature II.

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References
- Golding, W. 1965 [1954]Lord
of the Flies F.F
- Hook, H. (1990) Lord of the
Flies DVD (Subtittled)
- Golding, W. 1972 [1954] El
Seor de las Moscas Ed.
Alianza
- www.wikipedia.org
- www.novelguide.com/lordofthe
flies
- www.gerenser.com

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