In reality, typical objects that are utilized daily are frequently considered approved and even unusual sights, as well as concepts, are frequently unacknowledged. Nevertheless, this is rarely the case with similar items and ideas that literary characters experience. Many authors use apparently normal, minor things in addition to unique elements to represent ideas or concepts that help to expose the style of their works. In William Golding’s Lord of the Flies, the kids who are stranded on the island without guidance been available in contact with lots of such components. Through using signs such as the beast, the pig’s head, and even Piggy’s specifications, Golding shows that people, when liberated from society’s rules and taboos, allow their natural capability for evil to dominate their existence.
One of the most essential and most obvious symbols in Lord of the Flies is the object that gives the novel its name, the pig’s head. Golding’s description of the slaughtered animal’s head on a spear is really graphic and even frightening. The pig’s head is depicted as “dim-eyed, grinning faintly, blood blackening between the teeth,” and the “obscene thing” is covered with a “black blob of flies” that “tickled under his nostrils” (William Golding, Lord of the Flies, New York City, Putnam Publishing Group, 1954, p. 137, 138). As an outcome of this in-depth, striking image, the reader ends up being aware of the great evil and darkness represented by the Lord of the Flies, and when Simon begins to speak with the apparently inanimate, devil-like things, the source of that wickedness is revealed. Even though the discussion may be entirely a hallucination, Simon learns that the beast, which has long since frightened the other kids on the island, is not an external force. In fact, the head of the slain pig informs him, “Fancy thinking the beast was something you might hunt and eliminate! Ö You knew, didn’t you? I become part of you?” (p. 143). That is to state, the evil, exemplified by the pig’s head, that is triggering the kids’ island society to decrease is that which is naturally present within guy. At the end of this scene, the tremendous evil represented by this effective sign can as soon as again be viewed as Simon faints after looking into the large mouth of the pig and seeing “blackness within, a blackness that spread” (p. 144).
Another of the most crucial signs utilized to provide the style of the novel is the beast. In the creativities of much of the kids, the monster is a concrete source of evil on the island. Nevertheless, in reality, it represents the wicked naturally present within everybody, which is causing life on the island to deteriorate. Simon starts to realize this even prior to his encounter with the Lord of the Flies, and throughout one argument over the presence of a monster, he attempts to share his insight with the others. Timidly, Simon informs them, “Possibly, Ö perhaps there is a monster Ö What I mean is Ö possibly it’s only us” (p. 89). In action to Simon’s statement, the other young boys, who had when conducted their conferences with some sense of order, right away begin to argue more fiercely. The crowd gives a “wild whoop” when Jack rebukes Ralph, saying “Bollocks to the rules! We’re strong ó we hunt! If there’s a monster, we’ll hunt it down! We’ll close in and beat and beat and beat!” (p. 91). Clearly, the young boys’ worry of the beast and their paradoxical desire to eliminate it reveals that the hold which society’s rules as soon as had more than them has been loosened during the time they have invested without guidance on the island.
The evil within the kids has more result on their existence as they spend more time on the island, isolated from the rest of society, and this decline is represented by Piggy’s specifications. Throughout the unique, Piggy represents the civilization and the guidelines from which the young boys have actually been separated, and remarkably, as Piggy loses his capability to see, so do the other kids lose their vision of that civilization. When the story starts, Piggy can see clearly with both lenses of his eyeglasses undamaged, and the kids are still fairly civilized. For example, at one of their first conferences, the young boys decide that they “can’t have everyone talking at the same time” and that they “need to have ëHands up’ like at school” (p. 33). Nevertheless, after some time passes, the hunters end up being more concerned with butchering a pig than with being saved and returning to civilization. When they return from an effective hunt in the jungle shouting “Eliminate the pig. Cut her throat. Spill her blood,” Ralph and Piggy effort to explain to the hunters that having meat for their meals is not as essential as keeping the signal fire burning (p. 69). In an ensuing scuffle, Jack knocks Piggy specs from his face, smashing one of the lenses versus the mountain rocks and greatly impairing his vision. Lastly, after Jack forms his own people of savages, he and 2 of his fans assail Ralph, Piggy, and Samneric, and in the middle of “a vicious snarling in the mouth of the shelter and the plunge and thump of living things,” Piggy’s specifications are taken, leaving him practically blind (p. 167). On the other hand, Jack returns to Castle Rock, “trotting gradually, exulting in his accomplishment,” as he has practically deserted all ties to civilized life (p. 168).
The story’s setting provides 2 more signs that assist in showing the decrease of civility on the island. A majority of the island is used up by the jungle, which is used by many authors as an archetype to represent death and decay. In reality, because the jungle is the lair of the beast, it, too, represents the darkness naturally present within human beings that can ruling their lives. This wicked ultimately infects almost every young boy on the island, just as in the jungle, “darkness put out, submerging the ways in between the trees till they were dim and weird as the bottom of the sea” (p. 57). At one end of the island, where the plane bring the kids more than likely crashed, there is a “long scar smashed into the jungle” (p. 1). While Golding does not include a large amount of description about the scar, the image of “broken trunks” with “rugged edges” suffices to offer the reader an idea of the damage caused to the island (p. 1, 2). Symbolically, this scar represents the damage that guy is naturally capable of causing and can be related to the damage the kids ultimately trigger to one another, including the deaths of three boys, before they are saved.
The degeneration of the boys’ way of life is also extremely obvious through the symbolic masks. When hidden by masks of clay paint, the hunters, especially Ralph, appear to have new personalities as they forget the taboos of society that when restrained them from succumbing to their natural prompts. For example, when Jack first paints his face to his satisfaction, he all of a sudden becomes a brand-new, savage person. “He started to dance and his laughter ended up being a bloodthirsty snarling. He capered towards Bill, and the mask was a thing of its own, behind which Jack concealed, freed from shame and self-consciousness” (p. 64). Definitely, Jack would not have acted in such a method if he had remained in his home society, however behind the mask of paint, Jack feels free to imitate a savage. It is likewise notable, that the first mask that Jack develops is red, white, and black. These colors archetypically signify violence, horror, and evil, respectively, and in this unique, Golding uses these colors to show those attributes that are naturally present in humans.
The feeling of liberation that results from wearing the masks permits many of the kids to take part in the barbaric, inhumane pig hunts. Those hunts can be interpreted as symbolizing the kids’ primal prompts or perhaps anarchy. In truth, a number of the young boys become so engulfed in their quest for the blood of a pig that they seem to ignore their hopes of returning to civilization and neglect to keep the signal fire burning. When Ralph attempts to discuss how important the signal fire is, Jack and the other hunters are still occupied with thoughts of the successful, gruesome hunt in which they simply got involved. “ëThere was lashings of blood,’ said Jack, laughing and trembling, ëyou needs to have seen it!'” (p. 69). Likewise, throughout a later event over another effective hunt, the kids end up being brought away while reenacting the slaughter. Nevertheless, the kids have actually ended up being so much like savages that they are unable to control themselves, and for a minute, they error Simon for the monster. “The sticks fell and the mouth of the circle crunched and shouted. The beast was on its knees in the center, its arm folded over its face” (p. 152). As an outcome of their unrestrained advises, the boys quickly kill one of their own.
Finally, one of the most remarkable symbols that is utilized to reveal the violence and darkness which pertains to rule life on the island is the rock, which Roger launches to kill Piggy. As an archetype in literature, a rock can represent strength and power, and considering that this rock is red, it also represents violence. It is Roger who feels strong and powerful as he bases on the ledge above Piggy. “High overhead, Roger, with a sense of delirium desertion, leaned all his weight on the lever” (p. 180). When the rock lands listed below, it not just strikes Piggy, but it also shatters the conch shell. As much as that point, Piggy and the conch had been two of the couple of representations of civilization and sound judgment on the island. However, when the rock causes both of these to disappear, all order on the island is brought to an end, and the boys, who express no regrets over the death of Piggy, have fully ended up being savages.
In conclusion, Lord of the Flies is a story that depicts the dark, weakening life that arises from mankind’s inherent capability for evil, which is permitted to control humans when they are freed from the rules of society. Throughout the unique, Golding uses many different things as symbols to illustrate this theme. Some of those objects would be irrelevant in real life and would probably be taken for approved. However, in Lord of the Flies, each of the formerly discussed signs is crucial to the story’s theme.