The Symbolic Layer of the Lord of The Flies

In reality, common things that are used everyday are often considered given and even uncommon sights, along with concepts, are frequently unacknowledged. Nevertheless, this is seldom the case with comparable objects and ideas that literary characters come across. Numerous authors use apparently ordinary, insignificant objects in addition to distinct aspects to symbolize concepts or concepts that assist to reveal the style of their works. In William Golding’s Lord of the Flies, the kids who are stranded on the island without supervision come in contact with lots of such elements. Through the use of symbols such as the monster, the pig’s head, and even Piggy’s specifications, Golding shows that people, when liberated from society’s guidelines and taboos, allow their natural capability for wicked to control their existence.

One of the most crucial and most obvious signs in Lord of the Flies is the item that offers the novel its name, the pig’s head. Golding’s description of the butchered animal’s head on a spear is really graphic and even frightening. The pig’s head is portrayed as “dim-eyed, grinning faintly, blood blackening in between the teeth,” and the “profane thing” is covered with a “black blob of flies” that “tickled under his nostrils” (William Golding, Lord of the Flies, New York, Putnam Publishing Group, 1954, p. 137, 138). As an outcome of this comprehensive, striking image, the reader ends up being aware of the fantastic evil and darkness represented by the Lord of the Flies, and when Simon starts to converse with the apparently inanimate, devil-like things, the source of that wickedness is exposed. Despite the fact that the discussion may be totally a hallucination, Simon learns that the monster, which has long considering that frightened the other kids on the island, is not an external force. In truth, the head of the slain pig tells him, “Fancy thinking the beast was something you might hunt and kill! Ö You understood, didn’t you? I become part of you?” (p. 143). That is to state, the evil, characterized by the pig’s head, that is causing the boys’ island society to decrease is that which is naturally present within guy. At the end of this scene, the immense wicked represented by this effective sign can as soon as again be seen as Simon faints after looking into the broad mouth of the pig and seeing “blackness within, a blackness that spread out” (p. 144).

Another of the most essential signs utilized to provide the theme of the novel is the beast. In the creativities of much of the boys, the beast is a tangible source of evil on the island. Nevertheless, in reality, it represents the wicked naturally present within everyone, which is causing life on the island to deteriorate. Simon starts to realize this even before his encounter with the Lord of the Flies, and during one argument over the presence of a monster, he attempts to share his insight with the others. Timidly, Simon tells them, “Perhaps, Ö possibly there is a beast Ö What I indicate is Ö perhaps it’s just us” (p. 89). In reaction to Simon’s declaration, the other kids, who had when performed their conferences with some sense of order, right away start to argue more increasingly. The crowd provides a “wild whoop” when Jack rebukes Ralph, stating “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). Plainly, the kids’ worry of the beast and their paradoxical desire to kill it shows that the hold which society’s rules as soon as had more than them has been loosened up throughout the time they have invested without guidance on the island.

The evil within the boys has more impact on their existence as they invest more time on the island, separated from the rest of society, and this decrease is depicted by Piggy’s specs. Throughout the unique, Piggy represents the civilization and the guidelines from which the young boys have actually been separated, and interestingly, as Piggy loses his capability to see, so do the other boys lose their vision of that civilization. When the story begins, Piggy can see clearly with both lenses of his eyeglasses undamaged, and the boys are still relatively civilized. For example, at one of their very first meetings, the young boys choose that they “can’t have everybody talking at once” and that they “need to have ëHands up’ like at school” (p. 33). Nevertheless, after a long time passes, the hunters end up being more concerned with slaughtering a pig than with being saved and going back to civilization. When they return from an effective hunt in the jungle shouting “Kill 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 important as keeping the signal fire burning (p. 69). In a taking place scuffle, Jack knocks Piggy specifications from his face, smashing among the lenses against 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 specs are stolen, leaving him virtually blind (p. 167). On the other hand, Jack goes back to Castle Rock, “trotting gradually, exulting in his accomplishment,” as he has actually virtually abandoned all ties to civilized life (p. 168).

The story’s setting presents two more signs that help in showing the decrease of civility on the island. A bulk of the island is taken up by the jungle, which is utilized by many authors as an archetype to represent death and decay. In reality, considering that the jungle is the lair of the beast, it, too, represents the darkness naturally present within people that is capable of ruling their lives. This wicked ultimately spreads to practically every kid on the island, simply as in the jungle, “darkness put out, submerging the ways between the trees till they were dim and unusual as the bottom of the sea” (p. 57). At one end of the island, where the airplane carrying the boys probably 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 triggered to the island (p. 1, 2). Symbolically, this scar represents the damage that man is naturally capable of causing and can be related to the damage the kids eventually cause to one another, including the deaths of three young boys, before they are rescued.

The degeneration of the kids’ way of life is also very apparent through the symbolic masks. When concealed by masks of clay paint, the hunters, particularly Ralph, appear to have new personalities as they forget the taboos of society that when restrained them from succumbing to their natural urges. For instance, when Jack initially paints his face to his satisfaction, he suddenly becomes a brand-new, savage individual. “He started to dance and his laughter became a savage snarling. He capered towards Costs, and the mask was a thing of its own, behind which Jack concealed, liberated from pity and self-consciousness” (p. 64). Definitely, Jack would not have acted in such a way if he had remained in his home society, however behind the mask of paint, Jack does not hesitate to imitate a savage. It is also notable, that the first mask that Jack produces is red, white, and black. These colors archetypically symbolize violence, terror, and evil, respectively, and in this novel, Golding utilizes these colors to highlight those attributes that are naturally present in human beings.

The feeling of freedom that results from using the masks enables many of the kids to take part in the barbaric, inhumane pig hunts. Those hunts can be translated as representing the boys’ primal prompts or perhaps anarchy. In fact, much of the young boys end up being so engulfed in their quest for the blood of a pig that they seem to forget about their hopes of returning to civilization and overlook to keep the signal fire burning. When Ralph attempts to describe how important the signal fire is, Jack and the other hunters are still inhabited with ideas of the effective, gruesome hunt in which they just participated. “ëThere was lashings of blood,’ stated Jack, chuckling and shuddering, ëyou must have seen it!'” (p. 69). Also, during a later celebration over another effective hunt, the boys end up being brought away while reenacting the slaughter. However, the kids have actually become so much like savages that they are unable to manage themselves, and for a moment, they error Simon for the monster. “The sticks fell and the mouth of the circle crunched and screamed. The beast was on its knees in the center, its arm folded over its face” (p. 152). As an outcome of their unrestrained prompts, the young boys soon eliminate one of their own.

Finally, one of the most memorable signs that is used to show the violence and darkness which concerns rule life on the island is the rock, which Roger releases to kill Piggy. As an archetype in literature, a rock can represent strength and power, and given that this rock is red, it also represents violence. It is Roger who feels strong and effective as he bases on the ledge above Piggy. “High overhead, Roger, with a sense of delirium abandonment, leaned all his weight on the lever” (p. 180). When the rock lands listed below, it not just strikes Piggy, but it likewise shatters the conch shell. As much as that point, Piggy and the conch had been two of the couple of representations of civilization and good sense on the island. Nevertheless, when the rock causes both of these to cease to exist, all order on the island is given an end, and the boys, who reveal no remorses over the death of Piggy, have actually completely become savages.

In conclusion, Lord of the Flies is a story that represents the dark, degrading life that results from humanity’s inherent capability for evil, which is permitted to control humans when they are freed from the guidelines of society. Throughout the novel, Golding utilizes many different things as symbols to illustrate this style. Some of those things would be irrelevant in reality and would most likely be considered granted. Nevertheless, in Lord of the Flies, each of the formerly pointed out signs is important to the story’s theme.

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