Lord of the Flies

For the 1963 film, see Lord of the Flies (1963 film). For the 1990 film, see Lord of the Flies (1990 film). For other uses, see Lord of the Flies (disambiguation).

Lord of the Flies

The original UK Lord of the Flies book cover
Author William Golding
Cover artist Anthony Gross[1]
Country United Kingdom
Language English
Genre Allegorical novel
Publisher Faber and Faber
Publication date
 17 September 1954
ISBN 0-571-05686-5 (first edition, paperback)
OCLC 47677622

Lord of the Flies is a 1954 novel by Nobel Prize-winning English author William Golding about a group of British boys stuck on an uninhabited island who try to govern themselves with disastrous results. Its stances on the already controversial subjects of human nature and individual welfare versus the common good earned it position 68 on the American Library Association’s list of the 100 most frequently challenged books of 1900–1999.[2]

Published in 1954, Lord of the Flies was Golding’s first novel. Although it was not a great success at the time—selling fewer than 3,000 copies in the United States during 1955 before going out of print—it soon went on to become a best-seller. It has been adapted to film twice in English, in 1963 by Peter Brook and 1990 by Harry Hook, and once in Filipino (1976).

In 2005 the novel was chosen by TIME magazine as one of the 100 best English-language novels from 1923 to 2005.[3] It was awarded a place on both lists of Modern Library 100 Best Novels, reaching number 41 on the editor's list, and 25 on the reader's list. In 2003, the novel was listed at number 70 on the BBC's survey The Big Read.[4]

Background

The book indicates that it takes place in the midst of an unspecified nuclear war. Some of the marooned characters are ordinary students, while others arrive as a musical choir under an established leader. Most (with the exception of the choirboys and Sam and Eric) appear never to have encountered one another before. The book portrays their descent into savagery; left to themselves in a paradisiacal country, far from modern civilisation, the well-educated children regress to a primitive state.

At an allegorical level, the central theme is the conflicting human impulses toward civilization and social organization—living by rules, peacefully and in harmony—and toward the will to power. Themes include the tension between groupthink and individuality, between rational and emotional reactions, and between morality and immorality. How these play out, and how different people feel the influences of these, form a major subtext of Lord of the Flies. The name "Lord of the Flies" is a literal translation of Beelzebub, from 2 Kings 1:2-3, 6, 16.

The novel is a reaction to the youth novel The Coral Island by R. M. Ballantyne.

Plot

In the midst of a wartime evacuation, a British plane crashes on or near an isolated island in a remote region of the Pacific Ocean. The only survivors are boys in their middle childhood or preadolescence. Two boys—the fair-haired Ralph and an overweight, bespectacled boy nicknamed "Piggy"—find a conch, which Ralph uses as a horn to call all the survivors to one area. Due largely to the fact that Ralph appears responsible for bringing all the survivors together, he is quickly elected their "chief", though he does not receive the votes of the members of a boys' choir, led by the red-headed Jack Merridew. Ralph asserts three primary goals: to have fun, survive, and to maintain a smoke signal that could alert passing ships to their presence on the island. The boys declare that whoever holds the conch shall also be able to speak at their formal gatherings and receive the attentive silence of the larger group.

Jack organises his choir group into a hunting party responsible for discovering a food source. Ralph, Jack, and a quiet, dreamy boy named Simon soon form a loose triumvirate of leaders. Though he is Ralph's only confidant, Piggy is quickly made into an outcast by his fellow "biguns" (older boys) and becomes an unwilling source of laughs for the other children. Simon, in addition to supervising the project of constructing shelters, feels an instinctive need to protect the "littluns" (younger boys).

The semblance of order quickly deteriorates as the majority of the boys turn idle, giving little aid in building shelters, and begin to develop paranoias about the island, referring to a supposed monster, the "beast", which they believe to exist on the island. Ralph insists that no such beast exists, but Jack, who has started a power struggle with Ralph, gains control of the discussion by boldly promising to kill the beast. At one point, Jack summons all of his hunters to hunt down a wild pig, drawing away those assigned to maintain the signal fire. A ship travels by the island, but without the boys' smoke signal to alert the ship's crew, the ship continues by without stopping. Angered by the failure of the boys to attract potential rescuers, Ralph considers relinquishing his position, but is convinced not to do so by Piggy.

One night, an aerial battle occurs over the island while the boys sleep, during which a dead fighter pilot is ejected from his plane. His body drifts down to the island in his parachute; both get tangled in a tree near the top of the mountain. Later on, while Jack schemes against Ralph, twins Sam and Eric, now assigned to the maintenance of the signal fire, see the corpse of the fighter pilot and his parachute in the dark. Mistaking the corpse for the beast, they run to the cluster of shelters that Ralph and Simon have erected and warn the others. This unexpected meeting again raises tensions between Jack and Ralph. Shortly thereafter, Jack decides to lead a party to the other side of the island, where a mountain of stones, later called Castle Rock, forms a place where he claims the beast resides. Only Ralph and Jack's sadistic supporter Roger agree to go; Ralph turns back shortly before the other two boys. When they arrive at the shelters, Jack calls an assembly and tries to turn the others against Ralph, asking for them to remove him from his position. Receiving little support, Jack, Roger, and another boy leave the shelters to form their own tribe. This tribe lures in recruits from the main group by providing a feast of cooked pig and its members begin to paint their faces and enact bizarre rituals including sacrifices to the beast.

Simon, who faints frequently and is likely an epileptic,[5][6] has a secret hideaway where he goes to be alone. One day while he is there, Jack and his followers erect a faux sacrifice to the beast nearby: a severed pig's head, mounted on a sharpened stick, and soon swarming with scavenging flies. Simon conducts an imaginary dialog with the head, which he dubs the "Lord of the Flies". The head mocks Simon's notion that the beast is a real entity, "something you could hunt and kill", and reveals the truth: They, the boys, are the beast; it is inside them all. The Lord of the Flies also warns Simon that he is in danger, because he represents the soul and spirit of man, and predicts that the others will kill him. Sure enough, during a ritual dance, the frenzied boys mistake Simon for the beast, attack him, and beat him to death. Ralph, Piggy, Sam, and Eric are overcome with guilt for their participation in the murder.

Jack and his rebel band decide that the real symbol of power on the island is not the conch, but Piggy's glasses—the only means the boys have of starting a fire. They raid Ralph's camp, confiscate the glasses, and return to their abode on Castle Rock. Ralph, now deserted by most of his supporters, journeys to Castle Rock to confront Jack and secure the glasses. Taking the conch and accompanied only by Piggy, Sam, and Eric, Ralph finds the tribe and demands that they return the valuable object. Turning against Ralph, the tribe captures Sam and Eric while Roger drops a boulder from his vantage point above, killing Piggy and shattering the conch. Ralph manages to escape, but Sam and Eric are tortured until they agree to join Jack's tribe.

The following morning, Jack orders his tribe to begin a manhunt for Ralph. Jack's savages set fire to the forest while Ralph desperately weighs his options for survival. Following a long chase, most of the island is consumed in flames. With the hunters closely behind him Ralph trips and falls. He looks up at a uniformed adult - a naval officer whose party has landed from a passing warship to investigate the fire. Ralph bursts into tears over the death of Piggy and the "end of innocence". Infected by his emotion, Jack and the other children, filthy and unkempt but suddenly reverting to their true ages, also spontaneously erupt into sobs. After expressing disappointment that British boys had fallen into such feral behaviour, the officer awkwardly turns away to give them a moment to pull themselves together.

Allegorical relationships

Ralph

When he and the others arrive on the island, Ralph quickly becomes the chief of the group, not by any harsh, overt, or physical action, but by being elected.[7] Ralph is described as having "the directness of genuine leadership".[8] Ralph's first big decision is that they have "got to decide if this is an island".[9] After Ralph, Jack, and Simon discover that they are truly "on an uninhabited island",[10] Ralph suggests that a fire be lit because "if a ship comes near the island they may not notice us".[11] However, towards the end of the book he forgets the initial reason for maintaining the fire. This is representative of the debilitating effects corruption has on even the most benevolent of men. Ralph may seem to mean well, but often his obsession with being popular overcomes him and he resorts to bullying Piggy to regain his power. Therefore, Ralph can be understood to symbolize mankind's optimistic ambition to self-govern despite its historical record of failure and abuse of power. Still, in the midst of all the island's chaos, Ralph has a tendency to be polite, selfless and logical in the tensest of moments; for example, when the children are obliged to investigate Castle Rock, Ralph takes the lead despite being afraid of "the beast". Ralph is sometimes perceived as partially being a literary tool to aid the audience's realisation of inner evil throughout the duration of the novel; "Ralph wept for the end of innocence".

Just as mankind has demonstrated its limitations in effective self-governing, Ralph embodies good intentions in the implementation of reason, but ultimately fails to execute these plans soundly. Ralph's refusal to resort to violence throughout the novel is counterpoised by Jack's inherent love of violence.

Piggy

Piggy has poor eyesight and asthma and is overweight.[12] He is the most physically vulnerable of all the boys. He appears to be of working-class background, as evidenced by his non-standard Cockney speech,[13] but he is the most intellectual of the boys, frequently appealing to reason. By frequently quoting his aunt, he provides the only female voice.

Piggy has been described as "the only adult-type figure on the island".[13] His intellect benefits the group only through Ralph; he acts as Ralph's adviser. He cannot be the leader himself because he lacks leadership qualities and has no rapport with the other boys. Piggy relies on the power of social convention. He believes that holding the conch gives him the right to be heard. He believes that upholding social conventions produces results.

Piggy asserts that "Life ... is scientific".[14] Ever the pragmatist, Piggy complains, "What good're you doing talking like that?"[15] when Ralph brings up the highly charged issue of Simon's death at their hands. Piggy tries to keep life scientific despite the incident, "searching for a formula"[16] to explain the death. He asserts that the assault on Simon was an accident, and justifiable because Simon asked for it by inexplicably crawling out of the forest into the ring.[16]

Piggy is so intent on preserving some remnant of civilization on the island that, after Jack's tribe attacks Ralph's group, he assumes they "wanted the conch",[17] when, in fact, they have come for Piggy's glasses[17] in order to make fire. Even up to the moment of his death, Piggy's perspective does not shift in response to the reality of their situation. Because his eminently intellectual approach to life is modelled on the attitudes and rules of the authoritative adult world, he thinks everyone should share his values and attitudes as a matter of course. When Ralph and Piggy confront Jack's tribe about the stolen spectacles, Piggy asks "Which is better—to have rules and agree, or to hunt and kill? ... law and rescue, or hunting and breaking things up?"[18] as if there is no doubt that the boys would choose his preference.

The Conch

When first blown, it calls the children to an assembly, where Ralph is elected leader. They agree that only the boy holding the conch may speak at meetings to forestall arguments and chaos, and that it should be passed around to those who wish to voice their opinion. The conch symbolises effective democracy and, like Ralph, civility and order within the group. When Piggy is killed, the conch is smashed into pieces,[18] signalling the end of order and the onset of chaos. Originally the conch is portrayed as being very vibrant and colourful, but as the novel progresses, its colours begin to fade, the same way society begins to fade on the island.

Jack Merridew

Jack epitomises the worst aspects of human nature when unrepressed or un-tempered by society. Like Ralph, Jack is a natural leader. Unlike Ralph, Jack appeals to more primal desires in the children and relies on his status as leader of the choirboys to justify his authority. Although his way of behaving is neither disruptive nor violent at the beginning of the book, he does, at that time, express an unquenchable desire to hunt and kill a pig and spends hours in solitude traversing the island.

Beginning with his self nomination as hunter, Jack eventually degenerates into the beast he is consumed with slaying. The first time Jack has an opportunity to kill a pig, he cannot, "because of the enormity of the knife descending and cutting into living flesh; because of the unbearable blood".[19] After this hesitation, for which he is most ashamed, Jack's blood lust grows more and more irrational, to the point where he abandons the fire (and causes the boys to miss a potential rescue) in order to hunt. During Jack's metamorphosis, he begins to paint his face with clay and earth, masking his humanity from the pigs and inspiring terrible awe amongst the boys.

Jack's transition puts him on a collision course with Ralph's elected authority. As Jack leaves and takes the majority of the boys with him, lured by the promises of meat, play, and freedom, there has arisen a clear dividing line between the two. Jack represents the irrational nature of the boys, while Ralph represents rationality. Under Jack's rule, the baseness of human nature is unleashed, and he initiates a period of intertribal violence, punishing other children, inciting the frenzy that leads to the murder of Simon, and torturing the twins until they submit to his authority.

The tale ends with Jack leading many of the boys in a frenzied attempt to kill Ralph. At this time, the last remaining vestiges of civilization are gone, and Ralph's demise is only prevented by the abrupt and unexpected arrival of a naval officer, who is disappointed by the savage nature of the British boys.[20]

Roger

Roger, at first, is a simple "bigun" who is having fun during his stay on the island. Along with Maurice, he destroys the sand castles made by three small children. While Maurice feels guilt for kicking sand into a child's eye, Roger begins to emerge as a sadist as he throws stones at one of the boys. The book states that Roger threw the stones to miss and felt the presence of civilization and society preventing him from harming the children.[21] Later, once he feels that all aspects of conventional society are gone, he is left alone to his animal urges. During a pig hunt, Roger shoves a sharpened stick up the animal's rectum while it is still alive.[22] He kills Piggy with a boulder that was no longer aimed to miss and becomes the executioner and torturer of Jack's tribe. He also tortures Sam and Eric into joining Jack's tribe. In the final hunt for Ralph at the end of the novel, Roger is armed with "a stick sharpened at both ends,"[23] indicating his intentions of killing Ralph and offering his head as a sacrifice to the "beast". He represents the person who enjoys hurting others and is only restrained when the rules of society exist.[24]

Simon

Simon is a character who represents peace and tranquillity and positivity, and perhaps mystic or religious impulses. He is often seen wandering off by himself in a dreamy state and is prone to fits of fainting and hallucination, likely epileptic in nature. He is in tune with the island and often experiences extraordinary sensations when listening to its sounds. He loves the nature of the island. He is positive about the future. He has an extreme aversion to the pig's head, the "Lord of the Flies", which derides and taunts Simon in a hallucination. After this experience, Simon emerges from the forest to tell the others that the "beast" that fell from the sky is actually a deceased parachutist caught on the mountain. He is brutally killed by the boys, who ironically mistake him for the beast and kill him in their "dance" in which they "ripped and tore at the beast". It is implied that Ralph, Piggy, Sam, and Eric partake in the killing. The final words that the "Lord of the Flies" had said to Simon vaguely predicted that his death was about to occur in this manner. Earlier in the novel Simon himself also predicts his own death when he tells Ralph that Ralph will "get back all right",[25] implying that, of the two of them, only Ralph will be saved. Simon's death represents the loss of truth, innocence, and common sense, and along with Piggy's death represents the abandonment of civilization on the island. Simon has also been interpreted as a Christ figure because of his ability to see through misconception, unlike the rest of the boys, and the events he experiences in the book that parallel those of Jesus' life.

Naval officer

Arriving moments before Ralph's seemingly impending death, the Royal Navy officer is surprised and disappointed to learn that the boys' society has collapsed into chaos. He states that he would have expected "a better show"[26] from British children. The sudden looming appearance of an adult authority figure instantly reduces the savagery of the hunt to a children's game. Upon the officer asking who is in charge, Ralph answers loudly, "I am",[26] and Jack, who was previously characterised as a powerful leader, is reduced to "A little boy who wore the remains of an extraordinary black cap on his red hair and who carried the remains of a pair of spectacles at his waist".[26] In the last sentence, the officer, embarrassed by the distress of the children, turns to look at the cruiser from which his party has landed—a symbol of his own adult war.

The Beast

The Beast represents the latent savagery within all human beings. It is first mentioned by a "littlun," and the notion is immediately dismissed by Ralph. The Beast is thought to be within the water and described by the littluns as such. Soon after the rumours of the Beast begin to flourish, the corpse of a fighter pilot, ejected from his aircraft, falls to the island. His parachute becomes entangled in the jungle foliage in such a way that sporadic gusts of wind cause the chute to billow and the body to move as if still alive. Sam and Eric discover the parachutist in the dark and believe that it is the beast. Ralph, Jack, and Roger search for the Beast and encounter it on the mountain. The reality of the Beast is now firmly established in the boys' minds. Simon discovers the parachutist and realizes that the beast is really only the corpse of a man. Jack's tribe feeds the Beast with the sow's head on a stick. This act symbolizes Jack's willingness to succumb to the temptation of animalism.

Simon is the first child on the island to realize that the Beast is created by the boys' fear. He decides that "the news must reach the others as soon as possible".[27] Meanwhile, the boys have been feasting and begin to do their tribal pig-hunting dance. When "the beast stumble[s] in to the horseshoe",[28] the frenzied, terrified boys "leapt on to the beast, screamed, struck, bit, tore".[29] While this is going on, the pilot's dead body finally falls out of the tree and down the mountain into the sea. It becomes clear that the boys have mistaken Simon for the beast and murdered, with Golding describing "Simon's dead body move[ing] out towards the open sea",[30] and on the morning after when Ralph tells Piggy, "That was Simon .... That was murder".[15]

The Lord of the Flies

The eponymous Lord of the Flies exists physically as a pig's head that has been cut off by Jack, put on a stick sharpened at both ends, stuck in the ground, and left as an offering to the "beast". Created out of fear, the Lord of the Flies is the remnant of a mother sow who, though at one time loving, protective, and innocent, has now become a manically smiling, bleeding image of horror. Endowed with the power of speech, reason, and prophecy, it represents an intelligent, supernatural malevolence with the power to evoke "the beast", or unchecked evil, within all. Near the end of the book, while Ralph is being hunted down, he strikes the now skeletal pig's head in a moment of blind anger, causing it to crack and fall on the ground with a grin "now six feet across".[31] This act demonstrates both mankind's frustration with the manifestation of evil as a consequence of his own course of action as well as his inability to defeat evil. The name "Lord of the Flies" is a literal translation of Beelzebub.

Adaptations

There have been these film adaptations:

Nigel Williams adapted the text for the stage. It was debuted by the Royal Shakespeare Company in July 1996. The Pilot Theatre Company has toured it extensively in the United Kingdom and abroad.

In October 2014 it was announced that the 2011 acclaimed production [32] of Lord of the Flies would return to conclude the 2015 season at the Regent's Park Open Air Theatre ahead of a major UK tour. The production is to be directed by the Artistic Director Timothy Sheader who won the 2014 Whatsonstage.com Awards Best Play Revival for To Kill A Mockingbird.

In June 2013, BBC Radio 4 Extra broadcast a dramatization by Judith Adams in four 30-minute episodes directed by Sasha Yevtushenko.[33] The cast included Ruth Wilson as "The Narrator", Finn Bennett as "Ralph", Richard Linnel as "Jack", Caspar Hilton-Hilley as "Piggy" and Jack Caine as "Simon".

Influence

Many writers have borrowed plot elements from Lord of the Flies. By the early 1960s, it was required reading in many schools and colleges.

Film

Stephen King's fictional town of Castle Rock, inspired by the fictional mountain fort of the same name in Lord of the Flies, in turn inspired the name of Rob Reiner's production company, Castle Rock Entertainment, which produced the film Lord of the Flies (1990).[34]

Literature

Stephen King got the name Castle Rock from the fictional mountain fort of the same name in Lord of the Flies and used the name to refer to a fictional town that has appeared in a number of his novels.[35] The book itself appears prominently in his novels Hearts in Atlantis (1999), Misery (1987), and Cujo (1981).[36]

Stephen King wrote an introduction for a new edition of Lord of the Flies (2011) to mark the centenary of William Golding's birth in 2011.[34]

The novel Garden Lakes by Jaime Clarke is an homage to Lord of the Flies.

Music

The final song on U2's debut album Boy (1980) takes its title, "Shadows and Tall Trees", from Chapter 7 in the book.[37]

Iron Maiden wrote a song inspired by the book, included in their 1995 album The X Factor.

See also

References

  1. ↑ "Bound books – a set on Flickr". Retrieved 10 September 2012.
  2. ↑ "100 most frequently challenged books: 1990–1999". American Library Association. 2009. Retrieved 16 August 2009.
  3. ↑ Grossman, Lev; Lacayo, Richard (6 October 2005). "ALL-TIME 100 Novels. Lord of the Flies (1955), by William Golding". Time. ISSN 0040-781X. Retrieved 10 December 2012.
  4. ↑ "BBC – The Big Read". BBC. April 2003, Retrieved 18 October 2012
  5. ↑ James Rupert Baker and Arthur P. Ziegler, eds. (1983). William Golding's Lord of the Flies. Penguin. p. xxi.
  6. ↑ Rosenfield, Claire (1990). "Men of a Smaller Growth: A Psychological Analysis of William Golding's Lord of the Flies". Contemporary Literary Criticism 58 (Detroit, MI: Gale Research). pp. 93–101.
  7. ↑ Golding, p. 19.
  8. ↑ Golding, pp. 21–22.
  9. ↑ Golding, p. 20.
  10. ↑ Golding, p. 31.
  11. ↑ Golding, p. 37.
  12. ↑ Golding, p. 3.
  13. 1 2 http://www.nubuk.com/literature/lotf01.pdf
  14. ↑ Golding, p. 90.
  15. 1 2 Golding, p. 172.
  16. 1 2 Golding, p. 173.
  17. 1 2 Golding, p. 186.
  18. 1 2 Golding, p. 200.
  19. ↑ Golding, p. 29.
  20. ↑ Golding.
  21. ↑ Golding, pp. 64–65.
  22. ↑ Golding, p. 149.
  23. ↑ Golding, p. 211.
  24. ↑ Kelly, Maureen. "Character Analysis: Roger." CliffsNotes on Lord of the Flies. Web. 8 Mar 2011. http://www.cliffsnotes.com/study_guide/literature/id-64.html
  25. ↑ Golding, p. 121.
  26. 1 2 3 Golding, p. 224
  27. ↑ Golding, p. 162.
  28. ↑ Golding, p. 168.
  29. ↑ Golding, p. 169.
  30. ↑ Golding, p. 170.
  31. ↑ Golding, p. 206.
  32. ↑ "Lord of the Flies, Open Air Theatre, Regent's Park, review". The Telegraph. Retrieved 26 May 2011.
  33. ↑ http://www.bbc.co.uk/programmes/b02x5ksf
  34. 1 2 King, Stephen (2011). "Introduction by Stephen King". Faber and Faber. Retrieved 2011-10-12.
  35. ↑ Beahm, George (1992). The Stephen King story (Revised ed.). Kansas City: Andrews and McMeel. p. 120. ISBN 0-8362-8004-0. Castle Rock, which King in turn had got from Golding's Lord of the Flies.
  36. ↑ Liukkonen, Petri. "Stephen King". Books and Writers (kirjasto.sci.fi). Finland: Kuusankoski Public Library. Archived from the original on 10 February 2015.
  37. ↑ Bailie, Stuart (13 June 1992). "Rock and Roll Should Be This Big!". NME. UK. Retrieved 28 November 2007.
  38. ↑ Cohen, David (2006). The Simpsons The Complete Ninth Season DVD commentary for "Das Bus" (DVD). 20th Century Fox.

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