CHILDREN’S NOVEL

INTRODUCTION

Golding was mainly inspired by the 19th-century children's book "The Coral Island: A Tale of
the Pacific" (1858) by R. M. Ballantyne. Golding's "Lord of the Flies" shares many situations,
plot points, and even character names with "The Coral Island." Ballantyne's story is about
schoolboys stranded on a deserted island who use courage and resourcefulness to survive,
becoming stronger and more mature. Golding's version is similar but darker and more ironic.
Instead of an ideal ending, the boys' survival in "Lord of the Flies" is uncertain, even after
they are rescued. Golding seems to challenge the Victorian idea that children are pure and
innocent victims of adult society. In his story, the children quickly abandon their "civilized"
ways and become savage. "Lord of the Flies" was groundbreaking in young adult literature
because it used poetic descriptions and drew on modern anthropology and psychology.
While it can be read as an adventure story, the novel's strong themes and symbols have led
scholars to interpret it as a religious, social, or political allegory. .

BODY PART

Golding's novel is an ironic take on R. M. Ballantyne's "The Coral Island," a children's classic
about the romantic adventures of English schoolboys stranded on an idyllic South Sea
island. In Ballantyne's story, the boys use their intelligence and British bravery to defeat evil
forces like pirates and native savages. Golding's island is also a coral island where the boys
initially dream pleasantly, and there are direct references to Ballantyne's work, such as
characters mentioning "Coral Island." At the end of Golding's novel, the naval officer who
rescues Ralph makes a direct comparison to "The Coral Island." Golding uses the same
names for his main characters as Ballantyne’s Ralph, Jack, and Peterkin Gay become
Golding's Ralph, Jack, and Simon. However, Golding's characters are ironic versions of the
ones in "The Coral Island," and their names highlight the contrast between the two works.

Second, the characters in "Lord of the Flies" become symbolic through the connection
between the natural environment and their mental states. As the boys spend more time on
the island, they become more aware of its sinister and hostile aspects. The initially pleasant
Coral Island fantasy quickly turns into images of darkness, hostility, and danger. The boys
enjoy the bright sun and unrestricted play in the morning, but by the afternoon, the intense
sunlight becomes overwhelming. Although dusk provides some relief, the boys are then
threatened by the darkness: "When the sun sank, darkness dropped on the island like an
extinguisher and soon the shelters were full of restlessness, under the remote stars."

The boys' carefree and adventurous attitude changes to a more serious one when they start
believing in the possibility of a beast on the island. The island then becomes a place of
unspeakable horrors. As they worry more about their physical safety, Simon, Piggy, and
especially Ralph start to realize the real evil on the island. The boys mistakenly think their
own savagery is an imaginary beast roaming the island, but Simon suggests, "maybe it's
only us." The others don't understand and look into the dark jungle for the beast. The
darkness seems full of unknown threats. Simon's inner sense, however, tells him that
humans are both heroic and sick. When Simon confronts the Lord of the Flies, the pig's head
on a stick, it tells him (but really he tells himself), "You thought the Beast was something you
could hunt and kill! ... You knew, didn't you? I'm part of you." The hostile island and its dark
mysteries symbolize the savagery, bestiality, and destruction within the boys themselves.

In William Golding's "Lord of the Flies," allegory is deeply woven into the narrative through
various methods, enriching the story with layers of symbolic meaning. One significant
approach is the comparison to external events, such as James Baker's observation linking
the novel to Euripides' "The Bacchae." Both works explore the consequences of unchecked
pride and the imposition of order over chaotic natural forces. Like Pentheus in "The
Bacchae," the boys' hubris leads to tragic outcomes—Simon's accidental killing akin to
Pentheus's death at the hands of Dionysus's followers illustrates this downfall. Further,
biblical analogies underscore the allegorical depth. Ralph's initial conch blowing echoes the
angel Gabriel's proclamation, ironically juxtaposed with the uncertain survival of the boys.
Simon embodies Christ-like attributes through acts of compassion and introspection,
culminating in a tragic martyrdom. The motif of falls—literal and metaphorical—such as the
parachutist, Piggy, and Ralph's descent, reinforces themes of humanity's moral decline.
Another method is the portrayal of symbolic hunts, as noted by William Mueller, which serve
as a metaphor for the boys' descent into savagery. Each hunt marks a step away from moral
order, leading to escalating chaos and brutality. These acts symbolize man's primal instincts
and the erosion of societal norms.Overall, Golding's meticulous structuring of allegorical
elements in "Lord of the Flies" invites readers to contemplate human nature's complexities
and the fragility of civilization, illustrating how primal instincts and societal constructs
intersect in times of crisis.

The structure of "Lord of the Flies" allows for a gradual revelation, as Ralph watches his
friends slowly turn into beasts. The significance of the final scene, where a naval officer
restores an adult perspective, is not, as James Gindin argued, a way to lessen the
implications of the boys' society on the island. The officer's presence does not prove that
adult sanity exists, nor is it just a device to reduce the impact of the original metaphor.
Instead, it provides the final ironic comment: Ralph is "saved" by a soldier of war, a man who
fails to see that the boys have symbolically reenacted the situation of all civilized people who
continue to destroy each other. The irony of the final scene matches Golding's sarcastic take
on Ballantyne's work and highlights the universality of Ralph's experience. There is no
difference between children and adults here. The boys' ordeal symbolizes the human
condition. Ralph's journey toward self-awareness ends with his tears: "Ralph wept for the
end of innocence, the darkness of man's heart, and the fall through the air of the true, wise
friend called Piggy" (p. 242). Since Piggy represents the failure of reason, calling him "wise"
adds another layer of irony.

Golding's novel aims to strip away the romanticized allure of earlier adventure stories and
present a grim realism. It both engages with and critiques the tradition of adventure tales,
with Robinson Crusoe being a foundational text in this genre. However, the specific
adventure story that heavily influenced Golding was Robert Michael Ballantyne's 1858 novel
"The Coral Island." This book was among the earliest to feature boys as the main
characters, without any adults present. In children's literature, this narrative approach has
become so commonplace that we might overlook its originality. To illustrate, it's like
imagining an exclusive club for dogs, where pampered pets watch classic films like "101
Dalmatians" featuring their own kind. "The Coral Island" is centered on boys and their
adventures, narrated from the perspective of a boy, or at least someone who vividly
remembers being one.

More than a hundred years after Ballantyne's pioneering success in boys' literature, William
Golding remarked in his 1962 lecture at Berkeley on writing "Lord of the Flies": "Ballantyne's
island belonged to the nineteenth century and was inhabited by English boys; mine was to
be a twentieth-century island inhabited by English boys" ("Fable" 89). Written against the
backdrop of England's decline from global power, "Lord of the Flies" can be seen as a
satirical reinterpretation of Ballantyne's "The Coral Island." The main characters in "Lord of
the Flies"—Ralph, Piggy, and Jack—are exaggerated versions of Ballantyne's three boy
heroes—Ralph, Peterkin, and Jack. In Ballantyne's tale, the boys survive violent encounters
with cannibalistic natives and pirates on an idyllic South Seas island reminiscent of Robinson
Crusoe's adventures. However, Golding transforms this paradise into a hellish place where
his characters are helpless captives, relying solely on hope for rescue rather than mastering
nature with technology as in Ballantyne's narrative.

The author's note in the preface of "Lord of the Flies," dedicated to his parents, suggests that
despite the story mainly involving children and young teenagers, the novel was crafted with
an adult audience in mind. "Lord of the Flies" focuses on a group of school-age children who
find themselves stranded on a remote island after a plane crash. The narrative tracks their
transformation from civilized individuals to ruthless savages. Positioned at the extreme end
of young adult literature, the novel appears to signify a significant developmental shift from
young adulthood to adulthood.

The ending suggests that both Ralph and Jack represent extremes of adult life, highlighting
the good and bad aspects in exaggerated forms. The conclusion of the novel suggests that
young people, although able to survive on their own, do not possess the deep understanding
required to maintain a society for a long time.Younger readers might initially support either
Ralph or Jack completely. However, as readers grow from young adulthood to adulthood,
they should realize that neither of their approaches ensures long-term success. Instead, they
should understand that the boys' actions create more tension and conflict, highlighting the
need for balance and cooperation in society.

Lord of the Flies is often seen as a novel about boys facing challenges on a hostile island in
the Pacific Ocean, blending adventure and survival into a romanticized genre. However, it
goes beyond mere adventure, exploring both positive lessons about morality and negative
insights into human nature. This unique blend makes it a philosophical fiction. The novel
primarily uses allegorical fiction, where the realistic scenario of boys stranded on an island
symbolizes deeper themes like inherent human savagery, mob mentality, and totalitarian
leadership. This approach shapes the main plot and the overall summary of the novel.

Contrary to the typical allegorical style found in novels like R.M. Ballantyne's "Coral Island,"
which may have influenced "Lord of the Flies," Golding's novel deviates from this approach
and even satirizes it. A notable difference lies in how both protagonists and antagonists in
"Lord of the Flies" are portrayed as fully developed, conflicted boys who express their
emotions in ways that are sometimes sympathetic and often violent. This novel focuses on a
philosophical allegory that delves into human emotions, interactions, and the complexities of
civilization. This contrasts with Golding's own background as a teacher of philosophy and his
experience in the Royal Navy during his lifetime.

Both "Lord of the Flies" and "Heart of Darkness" share similar themes of civilization versus
savagery. They both suggest that every person harbors a "heart of darkness," an inherent
evil suppressed by civilized norms. When removed from society's constraints, this darkness
can emerge unchecked. In "Heart of Darkness," as Marlow travels up the Thames River, he
moves away from civilization and deeper into a realm devoid of societal morals, where
savagery prevails. Similarly, in "Lord of the Flies," the boys stranded on the island gradually
become more savage the longer they are isolated from civilization. Another similarity is seen
in the characters: both novels feature protagonists and antagonists with parallels. Each has
a character who succumbs to their "heart of darkness" and another who resists, striving to
maintain their morals and return to civilization. For instance, Kurtz in "Heart of Darkness"
embraces his dark impulses, abandoning his moral principles in the wilderness. Marlow,
however, maintains his values despite the journey away from civilization. In "Lord of the
Flies," Jack embodies the character who gives in to savagery, turning against his friends.
Ralph, in contrast, struggles against the darkness within himself and others, ultimately
realizing the extent of savagery around him, particularly in Jack, even as he faces his own
mortality.

Through laws, structure, and general order, goodness typically emerges as the desired
outcome. Conversely, a lack of civility leads to disorder, moral decline, and lawlessness,
allowing chaos to prevail. The deserted island in "Lord of the Flies" symbolizes this lack of
civility. Without parents, lawmakers, or guardians, the darkness within human nature
inevitably surfaces. When Piggy realizes this, he expresses fear, acknowledging the fact that
they are alone on the island without the presence of any adults. It's evident that the structure
of modern civilization is absent on the island. Ralph, who represents order in the story, tries
to establish civility but struggles. He insists, "We've got to have rules and obey them. After
all, we're not savages. We're English, and the English are the best at everything."

Finally, Kurtz and Jack are seen as symbols of true darkness because they not only failed
life's tests but also appeared to accept their situations. The evil within all individuals can
manifest in different ways—through actions taken or actions not taken. Edmund Burke's
quote, "Evil happens when good men do nothing," illustrates this concept (Encarta
Quotations). Jack and his group's dark nature is confirmed by their final actions, particularly
the brutal murder of Piggy, which was unnecessary and symbolic of their rejection of
civilization. This act, along with earlier dismissals of civilization, represents their first acts of
omission. Their descent into savagery demonstrates a disregard for reason and reality,
crucial aspects of maintaining inner goodness. Similarly, in "Heart of Darkness," Marlow and
Kurtz both operate in the dangerous Congo, involved in ivory trade for power and wealth.
Despite their similar greed and stubbornness, their outcomes differ significantly due to their
choices—acts of commission and omission—leading to varied consequences.

In "Lord of the Flies," Golding shows how even innocent children can become savage when
there are no rules from society. Many readers and critics think the main idea of the book is
that humans are naturally evil and that there's little hope for humanity. However, Golding also
explores the conflict between good and evil. While the novel portrays the presence of evil in
human nature through characters like Jack and his savage followers, it also suggests that
goodness exists in people, seen in characters like Ralph, Piggy, and Simon. Piggy, despite
being part of the group that accidentally kills Simon, tries to justify it as a mistake caused by
fear. Conversely, early in the story, Jack struggles with the idea of killing a boar, showing a
hint of goodness despite later becoming more savage. These contrasts highlight the internal
struggle between good and evil within each character. Overall, Golding's novel examines
how both sides exist within human nature, portraying the complex interplay between
innocence and savagery when societal norms are absent. These children bring with them
the knowledge of good and evil from the society they grew up in, where good behavior is
rewarded and bad behavior is punished, shaping civilization. Away from societal rules, the
children lose their individual identities and engage in harmful actions as a group.

To delve deeper into Lord of the Flies, it's valuable to view it as a reflection of young William
Golding himself. According to the contributors of the article "William Golding Biography,"
Golding, as a frustrated child, found an outlet in bullying his peers and admitted to enjoying
hurting people. This childhood behavior is mirrored in his novel, particularly through the
character Roger. Early in the story, Roger demonstrates a disturbing enjoyment of power
when he throws stones near another boy, Henry, deliberately avoiding hitting him due to
lingering societal taboos. This act reflects a potential for harm under the guise of boredom or
freedom. As the novel progresses and the constraints of civilization dissolve, the circle of
protection around the children diminishes, allowing readers to contemplate how Golding
might have developed without external constraints. By the end of the novel, Roger's initially
harmless teasing escalates into serious harm, culminating in the fatal attack on Piggy with a
rock. This transformation prompts reflection on how circumstances can influence behavior.
Similarly, the character Jack undergoes significant changes, highlighted when he hesitates
before committing a violent act, suggesting a moment of moral awareness amidst his
descent into savagery.This analysis invites readers, particularly emerging adults, to consider
multiple perspectives and ponder how different choices and circumstances could alter
outcomes, demonstrating the complex themes and character developments explored in
Golding's narrative.

When children play with toys, they often see themselves as powerful creators, much like how
their own lives are influenced by adults and other authorities. William Golding explores this
concept in Lord of the Flies, portraying it through the character Henry, a young boy who
manipulates and controls small sea creatures on the beach as if he were their master (61).
Golding describes this as an "illusion of mastery," reflecting how power dynamics play out in
the novel. Characters like Piggy and Ralph are also examined in terms of their control over
their lives and fate. Despite Piggy's intelligence, he struggles to maintain control, as seen
when he loses his glasses, essential for his vision. Ralph initially appears to wield political
power among the boys, but this authority proves fleeting and ultimately illusory. Even Jack,
who asserts dominance through physical force and charisma, loses his power as soon as
adult authority arrives on the island.Through these portrayals, Golding taps into universal
desires and fears: the desire for personal and social control, and the fear that such control is
fragile and transient.

Fear, according to Darwinian theory, serves a crucial purpose. It prompts creatures facing
danger to either flee, fight, or hide, ensuring their survival and enabling them to pass on this
instinct to future generations. Similar to power struggles, fear can potentially strengthen a
community and contribute to the success of a species. However, when fear surpasses its
beneficial limits, it can turn into a destructive force.The main fear gripping the boys on the
island, which remains unspoken yet deeply felt, is the dread of never being rescued. Despite
their initial excitement about being free from adult authority, this underlying fear haunts them.
The importance of maintaining the signal fire for rescue is emphasized, but only Piggy
openly voices the fear that they could potentially remain stranded there until they perish.
When confronted with this grim possibility, Ralph avoids fully acknowledging it. He insists
that his father will come to rescue them, unable to confront the reality of their situation or to
admit his own fears. In their British boarding-school upbringing, showing fear or longing for
home was considered immature, especially among the older boys who aimed to appear
mature and independent. Unable to confront their deepest fears directly, the boys resort to
imagining and fearing a metaphorical monster lurking in the darkness of their uncertainties.

In safe and civilized societies, people often remain unaware of the true nature of human
beings. This lack of awareness can lead to disaster because those who are naive are more
susceptible to succumbing to evil. In Lord of the Flies, Golding's boys initially start in a state
of innocence, viewing others as well-meaning and kind-hearted. They behave like obedient
children who want to cooperate to be rescued, spending their time innocently swimming in
the lagoon. However, their innocence erodes quickly as they transform into ruthless hunters,
roaming the jungle to hunt and torment pigs. They become so obsessed with hunting that
they neglect to maintain a signal fire for their rescue. Golding illustrates that people must
confront their darker inclinations to mature. By the novel's end, Ralph undergoes this painful
process of growth, symbolized by his tears for the loss of innocence, the revelation of
humanity's dark side, and the tragic death of his wise friend, Piggy.

CONCLUSION

In William Golding's "Lord of the Flies," the journey from innocence to savagery serves as a
stark exploration of human nature's complexities. Beginning with hopeful naivety, the boys'
descent into darkness reflects a broader commentary on societal fragility and the hidden
depths of human behavior. Through their transformations, Golding challenges the simplistic
views of childhood purity, urging readers to confront the darker aspects within themselves.
This narrative, rich with allegory and symbolism, underscores the fragile balance between
civility and chaos, offering a sobering reflection on the consequences of unchecked fear and
the loss of moral compass in the face of adversity.