LORD%20OF%20THE%20FLIES

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LORD OF THE FLIES

• BY WILLIAM GOLDING

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ABOUT THE AUTHOR

• WILLIAM GOLDING WAS BORN IN CORNWALL, ENGLAND IN
  1911.
• HE LIVED A SHELTERED, ISOLATED LIFE AS A CHILD.
• HE KNEW HE WANTED TO WRITE BY AGE TWELVE.

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ABOUT THE AUTHOR

• GOLDING STUDIED SCIENCE FOR TWO YEARS AT OXFORD
  UNIVERSITY

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ABOUT THE AUTHOR

• BUT HE STOPPED STUDYING SCIENCE AND BEGAN TO POUR
  HIS ENERGIES INTO ENGLISH LITERATURE.

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ABOUT THE AUTHOR

• WWII BROKE OUT AND HE JOINED THE BRITISH NAVY IN
  1940.

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ABOUT THE AUTHOR

• HE PARTICIPATED IN MANY VIOLENT BATTLES INCLUDING
  THE INVASION AT NORMANDY AND BY THE END OF THE
  WAR HE WAS A LIEUTENANT IN COMMAND OF A ROCKET
  WARSHIP.

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ABOUT THE AUTHOR

• HIS WAR EXPERIENCES CHANGED HIS VIEWS ABOUT
  MANKINDS NATURE. HE CAME TO BELIEVE THERE WAS A
  VERY DARK AND EVIL SIDE TO MAN.

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ABOUT THE AUTHOR

• THIS VIEW IS NOT UNIQUE TO MODERN ARTISTS WHO
  REACTED IN THE SAME WAY AFTER WORLD WAR I AND
  CHOSE ART AS THE SALVE WHICH WOULD HEAL MANKINDS
  WOUNDS.
• ARTISTS AFTER WORLD WAR II WERE MORE VAGUE ABOUT
  WHAT WOULD SAVE MANKIND OR IF IT WAS SALVAGEABLE
  AT ALL.

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ABOUT THE AUTHOR

• GOLDING SAID, THE WAR WAS UNLIKE ANY OTHER
  FOUGHT IN EUROPE. IT TAUGHT US NO FIGHTING,
  POLITICS, OR THE FOLLIES OF NATIONALISM,BUT ABOUT
  THE GIVEN NATURE OF MAN.

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ABOUT THE AUTHOR

• HE ALSO REFLECTED, WHEN I WAS YOUNG. . .I HAD
  SOME AIRY-FAIRY VIEWS ABOUT MAN, BUT I WENT
  THROUGH THE WAR AND THAT CHANGED ME.

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ABOUT THE AUTHOR

• GOLDING ONCE SAID,I THINK OF MYSELF AS A
  RELIGIOUS MAN.

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ABOUT THE AUTHOR

• IN 1983 GOLDING WAS AWARDED THE NOBEL PRIZE FOR
  LITERATURE.
• HE DIED IN 1993 AT THE AGE OF 81.

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ABOUT THE NOVEL

• THE NOVEL WAS PUBLISHED IN 1954 AFTER HAVING BEEN
  REJECTED BY MORE THAN TWENTY PUBLISHERS.

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ABOUT THE NOVEL

• IT WAS NOT SUCCESSFUL UNTIL THE 1960S AND EVEN
  NOW THE BOOK IS CRITICIZED FOR BEING DIDACTIC AND
  INFLEXIBLE.

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ABOUT THE NOVEL

• THEMES IN THE NOVEL THE NEED FOR CIVILIZATION
  INNOCENCE AND THE LOSS OF IT THE LOSS OF
  IDENTITY POWER FEAR OF THE UNKNOWN BLINDNESS
  AND VISION. IF YOU WRITE ON THEME, BE SURE TO
  CREATE A STATEMENT FOR THE THEME.

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INTERPRETATIONS

• FREUDIAN ID, EGO, AND SUPEREGO AS DIVERGENT,
  CO-EXISTING FORCES WITHIN A HUMAN BEING FOCUS IS
  ON THE INDIVIDUAL AND THE CONFLICT WITHIN.

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INTERPRETATION S

• FREUD DEVELOPED A THEORY TO EXPLAIN COMPETING
  FORCES WITHIN THE HUMAN MIND OR PSYCHE.

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INTERPRETATIONS

• FREUD CALLED THESE COMPETING FORCES THE ID, EGO,
  AND SUPEREGO. HE FELT THAT A MENTALLY HEALTHY
  PERSON WOULD HAVE ALL THREE FORCES BALANCED.

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INTERPRETATIONS

• ACCORDING TO FREUD THE ID WAS A PRIMAL FORCE
  WITHIN US ALL. THE ID IS ENERGY, PASSION, SEXUAL
  DRIVE, VIOLENCE, EMOTION, AND AGGRESSION.

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INTERPRETATION

• IF ONE INTERPRETS LORD OF THE FLIES FROM A
  FREUDIAN PERSPECTIVE, THE CHARACTER WHO BEST
  EMBODIES THE ID PRINCIPLE IS JACK.

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INTERPRETATION

• JACK REPRESENTS THE RESTLESS ID WHO SEEKS
  PLEASURE, HUNTING,
• FORCEFUL SPEECH AND PHYSICAL EXPRESSION. HE IS
  HARD TO CONTROL AND ACTS IMPULSIVELY.

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INTERPRETATION

• THE SECOND FORCE IS CALLED THE EGO. THE EGO IS
  THE CONSCIOUS VOICE OF REASON. THE EGO SEEKS
  INTERACTION WITH OTHERS WITHIN SOCIALLY
  ACCEPTABLE ROLES.

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INTERPRETATION

• THE EGO SEEKS THE APPROVAL OF OTHERS AND IS
  SENSITIVE TO PRAISE AND CRITICISM. RALPH BEST
  FUNCTIONS AS THE EGO FORCE IN LORD OF THE FLIES.

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INTERPRETATION

• THE FINAL FORCE IS THE SUPEREGO. IT IS
  RESPONSIBLE FOR MAINTAINING THE SOCIETAL,
  POLITICAL, AND RELIGIOUS RULES AND NORMS IN AN
  INDIVIDUAL. IT IS NOT INFLUENCED BY IMPULSE OR
  OTHERS.

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INTERPRETATION

• IN THE NOVEL TWO CHARACTERS, WHO ARE BOTH KILLED,
  FULFILL THIS FORCE. THEY ARE SIMON AND PIGGY.
  PIGGY BEST EXPRESSES THE SOCIETAL VALUES OF THE
  BOYS HOME.

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INTERPRETATION

• SIMON REPRESENTS RELIGIOUS ACTION AND VALUES. HE
  DEMONSTRATES QUALITIES WHICH THE SUPEREGO WOULD
  UTILIZE AS GUIDANCE DURING DIFFICULT TIMES.

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INTERPRETATION

• OF COURSE, THE MOST FASCINATING ASPECT OF DOING A
  FREUDIAN INTERPRETATION OF THE NOVEL IS THAT IT
  HELPS TO EXPLAIN THE CONFLICTS BETWEEN THE BOYS.

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INTERPRETATION

• RALPH, AS EGO, IS IN THE MIDDLE OF THE TWO
  EXTREMES HE MUST MEDIATE BETWEEN THE AGGRESSIVE,
  IMPULSIVE JACK AS ID AND THE MORE PASSIVE,
  PRINCIPLED PIGGY AS SUPEREGO.
• BECAUSE THE RULES AND VALUES WE LEARN CAN GET IN
  THE WAY OF THE FUN WE WOULD LIKE TO DO, THE ID
  DOES NOT LIKE THE SUPEREGO.

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INTERPRETATION

• CONVERSELY, THE SUPEREGO CANNOT EASILY TOLERATE
  THE ID SINCE THE ID IS INTENT ON SHATTERING ALL
  THE RULES THE SUPEREGO VALUES.
• RALPH IS VIRTUALLY IN A CATCH-22, A NO-WIN
  SITUATION BECAUSE HE CANNOT CONVINCE THE BOYS TO
  ABANDON THEIR GROWING ID IMPULSES. HIS VALUE AS
  A EGO-DRIVEN LEADER LESSENS.

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INTERPRETATION

• LORD OF THE FLIES DEMONSTRATES JUST HOW DIFFICULT
  FINDING A BALANCE BETWEEN THESE FORCES CAN BE.
  WITHOUT CIVIL RESTRAINTS, WHO ARE WE REALLY?

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INTERPRETATIONS

• SCIENTIFIC HUMANISM
• GOLDING EXPLODES THE BELIEF THAT MODERN SCIENCE
  WILL SAVE MODERN MAN FROM HIMSELF.

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INTERPRETATION

• THIS CLAIM OF GOLDING IS BEST COMMUNICATED BY THE
  CHARACTERS OF PIGGY AND SIMON.

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INTERPRETATION

• PIGGY SAYS, LIFE IS SCIENTIFIC, THATS WHAT IT
  IS.
• HE CAN ONLY FATHOM WHAT HE CAN OBSERVE AND HE
  DOESNT UNDERSTAND PEOPLE.

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INTERPRETATION

• MORE IMPORTANTLY, HE CANNOT IDENTIFY THE BEAST
  FOR WHAT IT IS, EVEN REFUSING TO ADMIT SIMONS
  DEATH AS A MURDER.

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INTERPRETATION

• PIGGY DENIES THE MORAL IMPLICATIONS OF THE
  COLLECTIVE GUILT. ONE CAN DERIVE THIS FROM THE
  SAME MORAL DEVASTION THRUST UPON THE WORLD AFTER
  THE ATOMIC BOMB.

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INTERPRETATION

• WE NEVER DONE NOTHING, WE NEVER SEEN
  NOTHING.--PIGGY

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INTERPRETATION

• ONE VIEW IS THAT SCIENTIFIC HUMANISM HAS GIVEN
  MAN A FALSE SENSE OF CONFIDENCE IN HIMSELF AND
  HAS STRIPPED AWAY HIS NEED FOR RELIGION.

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INTERPRETATION

• THEREFORE, SIMONS FULFILLS AN ALLEGORICAL ROLE
  OF SPIRITUAL SHAMAN ON THE ISLAND. HE IS THE
  MYSTIC WHO UNDERSTANDS THE BEAST AND THE FALLEN
  NATURE OF MAN.

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INTERPRETATION

• THE TRUTH COMES TO SIMON AS A REVELATION, BUT HE
  DOES NOT HAVE THE WORDS TO COMMUNICATE THE
  HORROR.
• SIMON REPRESENTS A FOIL TO PIGGY HE SEES WHAT
  PIGGYS OBJECTIVE, EMPIRICAL EYE CANNOT.
• TOGETHER, THEY ARE A POWERFUL FORCE.

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INTERPRETATION

• THE IDEA IS THAT IF WESTERN MAN CAN FUSE THE
  TWO--THE SCIENTIFIC AND THE SPIRITUAL THE
  RATIONAL AND THE INTUTIVE-- HE CAN SAVE HIMSELF.
• IN OTHER WORDS, THE PRIEST AND THE SCIENTIST MUST
  WORK TOGETHER.

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INTERPRETATION

• THE PRIEST PROVIDES THE SCIENTIST A MORAL
  COMPASS.
• SCIENCE AND MORALITY SEPARATED WILL NOT SAVE US
  FROM OURSELVES.
• GOLDING WAS CLEARLY DISILLUSIONED WITH MANKINDS
  BLIND RUSH TOWARDS TECHNOLOGICAL PROGRESS.

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INTERPRETATION

• ANOTHER VIEW OF THE NOVEL INVOLVES A CLASSICAL
  APPROACH, HEARKENING BACK TO ANCIENT GREECE AND
  ROME.

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INTERPRETATION

• ONE OF THE FOREMOST CLASSICAL ALLUSIONS IN THE
  NOVEL OCCURS IN THE PAGAN RITUALS AND SACRIFICES.
  ONE ONLY HAS TO THINK OF JACK SURROUNDED BY GIFTS
  OF FRUIT AND THE MOCK PIG-HUNT AND CHANTING TO
  EVOKE THE PAGAN ASPECTS OF THE BOOK.

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INTERPRETATION

• ANOTHER DEBT THE NOVEL OWES TO THE CLASSICAL
  TRADITION STEMS FROM THE PLAYWRIGHT EURIPIDES. IN
  HIS TRAGEDIES HE OFTEN PORTRAYED THE
  DISINTEGRATION OF SOCIETY DUE TO A TRAGIC FLAW IN
  HUMAN NATURE. IN THIS WAY, MAN FAILS TO
  RECOGNIZE AND THEREBY APPEASE THE IRRATIONAL PART
  OF HIS SOUL

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INTERPRETATION

• MY PERSONAL FAVORITE CLASSICAL CONNECTION IS
  THE BOOKS DEBT TO THE PRINCIPLES OF DIONYSIAN
  AND APOLLONIAN PERSPECTIVES

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INTERPRETATION

• AS YOU SHOULD KNOW, THE GOD DIONYSUS WAS THE GOD
  OF FERTILITY, REVELRY, AND THE GREEKS CELEBRATED
  WILDLY AT FESTIVALS HELD IN HIS HONOR.

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INTERPRETATION

• IN THE LATE 1800S THE GERMAN PHILOSOPHER
  FREDERICK NIETZSCHE DETERMINED THAT THE DIONYSIAN
  FORCE WAS A MOVEMENT TOWARD CHAOS AND VIOLENCE.

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INTERPRETATION

• RATHER THAN CONDEMNING THE VIOLENT SIDE OF MAN,
  NIETZSCHE DETERMINED THAT ALL OF LIFE IS VIOLENCE
  AND THAT IT CANNOT BE REJECTED OR WE WOULD REJECT
  LIFE ITSELF.

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INTERPRETATION

• DIONYSIAN ELEMENTS INCLUDE DARKNESS, FLUIDS,
  DISORDER, DEATH, DIRTINESS, AND SEXUALITY. JACK
  FUNCTIONS ALONG THE LINE OF DIONYSIAN PRINCIPLES.

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INTERPRETATION

• THE OTHER PART OF THIS STRUGGLE IS REPRESENTED BY
  THE GOD APOLLO. REMEMBER THAT APOLLO WAS THE GOD
  OF THE SUN AND AS SUCH REPRESENTS THE CLEAR,
  RATIONAL ASPECT OF MAN.

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INTERPRETATION

• APOLLONIAN ELEMENTS INCLUDE THE SKY, CLEANLINESS,
  REASON, A LACK OF EMOTION, ORDER, AND LIFE, AMONG
  OTHERS. RALPH AND PIGGY REPRESENT THIS CLASSICAL
  FORCE.

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INTERPRETATION

• THE NOVEL MAY ALSO BE DISCUSSED IN RELATION TO
  ITS THEOLOGICAL OR RELIGIOUS ELEMENTS. ONE, OF
  COURSE, IS THE ALLEGORICAL RENDERING OF SIMON AS
  CHRIST.

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INTERPRETATION

• THE NOVEL ALSO EXPRESSES A RELATIONSHIP WITH
  ORIGINAL SIN AND DEPICTS A FALL OF MAN
  ORIGINATING FROM THE SIN OF PRIDE. NOTICE JACKS
  FREQUENT BLUSHING.

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INTERPRETATION

• THE ELEMENTS OF A CORRUPTION OF EDEN, SERPENT AND
  SNAKE IMAGERY, AND FIRE AND HELL IMAGERY ARE
  AVAILABLE TO YOU TO MAKE YOUR CASE FOR THIS
  INTERPRETATION.

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INTERPRETATION

• ANOTHER MAJOR INTERPRETATION OF THE NOVEL
  REVOLVES AROUND GOLDINGS INTEREST IN EGYPTIAN
  MYTHOLOGY. JOHN FITZGERALD AND JOHN KAYSER ARGUE
  THE NOVEL IS BASED ON THE EGYPTIAN MYTH OF OSIRIS.

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INTERPRETATION

• WHAT YOU ARE ABOUT TO HEAR IS THE TELLING OF THE
  OSIRIS MYTH BY ONE SCHOLAR FOR WHOM I HAVE THE
  DEEPEST RESPECT, JOSEPH CAMPBELL. LISTEN
  CAREFULLY FOR CLUES THAT GOLDING USED THE MYTH IN
  THE NOVEL.

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INTERPRETATION

• HERE ARE SOME SPELLINGS FOR SOME OF THE WORDS IN
  THE TAPE
• ISIS AND OSIRIS
• NEFTUS
• ENUBUS
• SET-TYPHON
• SARCOPHAGUS
• SYRIA

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INTERPRETATION

• JUST AS THERE IS A BEASTIE SOMETIMES REFERRED TO
  IN LOF AS A SNAKE-THING, IN THE OSIRIS MYTH THE
  EGYPTIAN DAEMON SET-TYPHON IS ALSO REPRESENTED BY
  SNAKES AND WITH THE ASCENT OF CHRISTIANITY HE WAS
  TRANSFIGURED INTO BAAL OR BEELZEBUB.

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INTERPRETATION

• SET-TYPHON IS ALSO ASSOCIATED WITH THE SEA. THE
  BEAST FROM THE AIR COMES FROM A SUDDEN BRIGHT
  EXPLOSION CARRIED FROM THE CHANGING WINDS.
  TYPHON, WHO IS ALSO REGARDED AS FIRE, LATER
  BECOMES THE GOD OF THE WINDS.

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INTERPRETATION

• INTERESTINGLY, THE NARRATOR IN THE NOVEL INFORMS
  THE READER THAT THE BOY ARRIVED ON THE ISLAND BY
  SOME ENCHANTMENT. SOME ACT OF GOD--A TYPHOON
  PERHAPS. ARE NOT TYPHOON AND TYPHON TOO SIMILAR
  IN SPELLING FOR THIS TO BE OVERLOOKED?

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INTERPRETATION

• THE OSIRIS MYTH ACCOUNTS FOR THE EMERGENCE OF
  DISCORD AND WAR. IT DEMONSTRATES THE
  PRECARIOUSNESS OF CIVILIZATION.
• ACCORDING TO THE HISTORIAN PLUTARCH, WHILE
  REIGNING AS KING ON EARTH THE GOD OSIRIS GAVE THE
  EGYPTIANS CIVILIZATION BY INTRODUCING LAWS,
  WORSHIP OF

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INTERPRETATION

• THE GODS, MARRIAGE, AND AGRICULTURE. BEFORE THESE
  WERE GIVEN THE EGYPTIANS HAD BEEN SAVAGES AND
  CANNIBALS. OSIRIS BROTHER, THE DAEMON
  SET-TYPHON, OUT OF ENVY, SOUGHT TO USURP HIS
  BROTHERS THRONE. HE TRICKED OSIRIS AND DROWNED
  HIM. AS CAMPBELL SAID, ISIS FOUND THE

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INTERPRETATION

• BODY AND HID IT IN THE WOODS. TYPHON, WHILE
  HUNTING PIG DURING A FULL MOON, DISCOVERED IT AND
  MUTILATED IT.
• OSIRIS REPRESENTS GOOD IN THE UNIVERSE AND TYPHON
  EVIL, AND PRIDE LEADS TO DISCORD.

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INTERPRETATION

• THE RITUAL SLAUGHTER OF ANIMALS IS ALSO
  IDENTIFIED WITH TYPHON THROUGH THIS MYTH.
• RALPH IS A BETTER THAN AVERAGE HUMAN BUT HE IS
  NOT SYMBOLIC OF OSIRIS BECAUSE HE IS TOO FLAWED
  (RECALL RALPHS FASCINATION WITH KILLING A PIG).

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INTERPRETATION

• OSIRIS IS EMBODIED BY PIGGY AND SIMON, WHO ARE
  BOTH KILLED, LIKE OSIRIS. JUST AS THE SEA CLAIMS
  THEIR TWO BODIES, SO WAS OSIRIS DROWNED IN WATER.
  
• OSIRIS WAS SAID TO POSSESS CREATIVITY AND REASON
  HENCE SIMONS INTUITION AND PIGGYS REASON
  COINCIDE WITH THIS DESCRIPTION OF THE GOD.

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INTERPRETATION

• UNLIKE OUR MODERN SENSIBILITIES, THE ANCIENT
  EGYPTIANS DID NOT SEPARATE REASON AND CREATIVITY
  FROM EACH OTHER. GOLDING, IT WOULD APPEAR,
  INSISTS THAT ART AND REASON OUGHT TO BE
  CONSIDERED AS MUTUALLY DEPENDENT UPON EACH OTHER.

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INTERPRETATION

• LASTLY, THE MYTH-NOVEL THEORY CONCLUDES WITH A
  STARTLING COMPARISON BETWEEN JACK AND SET-TYPOHN
  JACK IS RED-HAIRED, FRECKLED, AND PRONE TO BLUSH
  RED WHEN ANGRY OR FRUSTRATED TYPHON IS DESCRIBED
  AS RED AND RUDDY. IN FACT, RED-HAIRED MEN WERE
  BURNED AND BEATEN IN ANCIENT EGYPT BECAUSE THEY

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INTERPRETATION

• LOOKED TOO MUCH LIKE THE DESPISED SET-TYPHON.

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PARODY

• 1. a. A literary or artistic work that imitates
  the characteristic style of an author or a work
  for comic effect or ridicule. See synonyms at
  caricature.

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LOF AND THE CORAL ISLAND

• IT IS NO ACCIDENT THAT THE CORAL ISLAND SHOULD BE
  EXPLICITLY REFERRED TO NEAR THE BEGINNING AND AT
  THE END OF LOF SINCE WILLIAM GOLDING BY INTENTION
  SET HIMSELF TO WRITE AN ISLAND STORY THAT
  DELIBERATELY CHALLENGES BALLANTYNES.

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LOF AND THE CORAL ISLAND

• SINCE IT SO PERFECTLY MIRRORS THE ASSUMPTIONS AND
  VALUES OF ITS PERIOD, VICTORIANS MAY WELL HAVE
  CONSIDERED THE CORAL ISLAND REALISTIC, NOT LEAST
  IN ITS PORTRAYAL OF THE BOYS.
• WITHOUT SOME GRASP OF BALLANTYNES STORY WE
  CANNOT REALLY APPRECIATE HOW EXTENSIVELY GOLDING
  PARODIES

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LOF AND THE CORAL ISLAND

• AND SATIRIZES HIS MODEL. HIS BOYS HAVE NOTHING
  IN COMMON WITH THE IDEALISED BOYS OF THE CORAL
  ISLAND, EXCEPT THEIR INITIAL JOY IN FINDING
  THEMSELVES FREE OF ADULTS ON A TROPICAL ISLAND.

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LOF AND THE CORAL ISLAND

• I WANT US TO THINK ABOUT THE FOLLOWING AREAS OF
  COMPARISON/CONTRAST FOR THESE TWO WORKS
• EVIL
• RELIGION
• BOYS RESOURCEFULNESS
• SCIENCE
• HUMAN RELATIONSHIPS

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DISCUSSION QUESTIONS--1

• SPECULATE WHO WAS THE MAN WITH THE MEGAPHONE.
  WHY IS HE AN IMPORTANT SYMBOL FOR THIS NOVEL?
• WHY DOES RALPH TELL PIGGYS NICKNAME? WHAT DO WE
  LEARN ABOUT RALPH AS A RESULT?
• WHY MIGHT GOLDING HAVE DESCRIBED DEAD TREES LYING
  ABOUT? WHAT IS SUGGESTED?

75
DISCUSSION QUESTIONS--1

• WHY DOES RALPH REFER TO HIS FATHER? DOES HE
  CONVINCE HIMSELF OR PIGGY MORE?
• DESCRIBE THE SHELL. HOW DOES ITS PHYSICAL
  APPEARANCE CORRELATE WITH ITS SYMBOLIC VALUE?
  WHAT DOES MAKING A FARTING NOISE WITH IT SUGGEST?

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DISCUSSION QUESTIONS--1

• ON P. 18 PIGGY HAS A DIFFICULT TIME KEEPING NAMES
  STRAIGHT AND THE BOYS LAUGH AT HIM. WHAT IS
  GOLDING SUGGESTING HERE?
• WHEN WE FIRST MEET SIMON HE HAS LOST
  CONSCIOUSNESS. WHAT IS CONSCIOUSNESS AND WHY IS
  THIS APPROPRIATE FOR SIMON?
• WHY MIGHT IT HAVE BEEN BETTER IF JACK HAD STABBED
  THE PIG?

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DISCUSSION QUESTIONS--2

• WHY WACCO, BONG, DOINK?
• WHY DOES RALPH BRING UP INDIA AND AFRICA?
• BY HAVING THE BOYS VIOLENTLY REMOVE PIGGYS
  GLASSES, WHAT IS GOLDING SAYING?
• WHY DOES JACK WANT RULES?
• WHAT IS THE STRUCTURAL EFFECT OF HAVING THESE
  EVENTS SO SOON?

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DISCUSSION QUESTIONS--3

• HOW DOES GOLDING CHARACTERIZE JACKS PHYSICAL
  PRESENCE? WHAT IS HE SUGGESTING?
• WHAT IDEAS DO PRIMITIVE NEST OF STICKS, ABYSS
  OF AGES,AND APE-LIKE CREATE? HOW DO THESE
  SETTING DETAILS HELP DEVELOP THEME?
• WHAT DOES VICISSITUDES MEAN IN GENERAL? WHAT
  DOES IT MEAN IN RELATION TO JACK? HOW IS THE
  SOUND OF THE WORD APPROPRIATE FOR JACK?

79
DISCUSSION QUESTIONS--3

• REFER TO TWO CDS THAT INDICATE RALPH IS LOSING
  FAITH AND BECOMING DESPAIRING.
• LOCATE A LATER PLOT EVENT AT THE BEGINNING OF
  CHAPTER FIVE WHICH IS QUITE SIMILAR IN THEME TO
  JACKS DIFFICULTY ARTICULATING HIS COMPULSION TO
  TRACK DOWN AND KILL IN THIS CHAPTER. WHAT IS
  GOLDING SUGGESTING ABOUT LANGUAGE AND
  CIVILIZATION?

80
DISCUSSION QUESTIONS--3

• GOLDING WRITES THAT JACK HAD TO THINK A MOMENT
  BEFORE HE COULD REMEMBER WHAT RESCUE WAS. WHAT
  DOES THIS SCENE SUGGEST REGARDING JACKS FUTURE
  ACTIONS?

81
DISCUSSION QUESTIONS--3

• RALPH REVEALS SOMETHING ABOUT HIMSELF WHEN HE
  SAYS, BUT YOU LIKE IT. WHAT IS MOST ALARMING
  ABOUT THIS ADMISSION?
• WHY DO I CONSIDER GOLDINGS USE OF CANDLEBUDS
  IN CH. 1 AND CH. 3 A BRILLIANT USE OF SETTING TO
  CHARACTERIZE SIMON?

82
DISCUSSION QUESTIONS-4

• WHY DO THE LITTLEUNS BUILD SAND-CASTLES?
• WHY DOES GOLDING DEAL WITH MIRAGES AND ILLUSIONS?
• WHAT IS SIGNIFICANT ABOUT HENRY AND THE LITTLE
  ANIMALS?
• JACKS PAINTED FACE ALLOWS WHAT TO HAPPEN? WHAT
  IS SYMBOLIC ABOUT THE COLORS HE CHOOSES?
• INTERPRET THE FIRE WAS DEAD.

83
DISCUSSION QUESTIONS--5

• EXPLAIN RALPHS AWARENESS AT THE BEGINNING OF THE
  CHAPTER. WHAT IS HE BEGINNING TO REALIZE?
• WE KNOW THAT RALPH HAS DIFFICULTY WITH WORDS WHEN
  TRYING TO EXPRESS HIS FEARS. EXTRAPOLATE AND
  DISCUSS THE ASSERTION THAT LANGUAGE IS A RATIONAL
  SYSTEM.

84
DISCUSSION QUESTIONS--5

• WHAT ARE RALPHS SELF-ACKNOWLEDGED LIMITATIONS?
• HOW DOES THE TIME OF DAY FIT THE ASSEMBLY?
• INTERPRET THE CONVERSATION ABOUT WHAT A BEAST
  WOULD EAT.
• WHAT THINGS CONTRIBUTE TO THE BREAKING UP OF THE
  ASSEMBLY?

85
DISCUSSION QUESTIONS--5

• WHAT IS PIGGYS REACTION TO SIMONS STATEMENT
  ABOUT THE BEAST? IS THIS AN APPROPRIATE REACTION
  FOR HIS CHARACTER?
• WHY WONT VOTING OR RULES WORK IN CONVINCING THE
  BOYS NOT TO FEAR?
• ANALYZE THE CONVERSATION ABOUT GHOSTS AND TV.

86
DISCUSSION QUESTIONS--5

• THE TRIO WISHES FOR A SIGN OR A MESSAGE,
  SOMETHING GROWN-UP. WHAT IS IRONIC ABOUT THIS?
• WHAT POINT IS GOLDING MAKING ABOUT PERCIVALS
  INCANTATION OF HIS ADDRESS? HOW DOES THIS HELP
  GOLDING STRUCTURALLY UNIFY THIS CHAPTER?

87
DISCUSSION QUESTIONS-6

• WHAT DOES RALPHS DREAM ABOUT PONIES, SUGAR, AND
  TEA TELL US ABOUT HIM?
• INTERPRET JACKS WORDS, ITS TIME SOME PEOPLE
• ALTHOUGH RALPH AND JACK ARE UNITED, DO THEY SHARE
  THE SAME MOTIVE FOR HUNTING THE BEAST?

88
DISCUSSION QUESTIONS-7

• WHAT DOES RALPH MEAN BY BE SUCKING MY THUMB
  NEXT?
• TRANSLATE THE ENCHANTMENTS OF MIRAGE.
• DESCRIBE GOLDINGS PHYSICAL DESCRIPTION OF SIMON
  IN RELATION TO RALPHS POSITION AS THEY TALK
  TOGETHER. WHAT IS SYMBOLIC?
• HOW IS PRIDE ADDING TO CONFLICT?

89
DISCUSSION QUESTIONS-8

• WHAT EVENT LIBERATES PIGGY AND THEN DISCUSS HOW
  HE SPECIFICALLY ACTS UPON THIS NEW FREEDOM.
• WHAT IS THE STRUCTURE OF THE CHAPTER? HOW IS IT
  PUT TOGETHER? WHY DOES GOLDING DO THIS?
• PIGGY SAYS WHEN I SAW JACK I WAS SURE HED GO
  FOR THE CONCH. WHAT DOES THIS REVEAL ABOUT BOTH
  OF THEM?

90
DISCUSSION QUESTIONS-9

• HOW DOES SETTING RELATE TO PLOT AT THE BEGINNING
  OF THIS CHAPTER?
• GOLDING DESCRIBES JACK SITTING ON A LOG IN HIS
  CAMP. TO WHAT IS JACK COMPARED AND TO WHAT
  APPROACH TO THE NOVEL DOES IT REFER?
• GOLDING CLEARLY CREATES A LINK BETWEEN THE BOYS
  AND THE

91
DISCUSSION QUESTIONS-9

• BEAST AS HE DESCRIBES THE BOYS KILLING SIMON.
  FIND THIS AND DISCUSS HOW THIS PASSAGE
  ACCOMPLISHES THIS CONNECTION.
• EVALUATE THE APPROPRIATENESS OF GOLDINGS
  DESCRIPTION OF SIMONS DEAD BODY GOING OUT TO
  SEA.
• DISCUSS HOW SIMONS AND THE PARACHUTISTS DEATHS
  ARE RELATED.

92
DISCUSSION QUESTIONS-10

• CITE EXAMPLES OF THE RUTHLESS NATURE OF JACKS
  TRIBE
• JACK AND PIGGY BOTH DENY THE KILLING ON THE
  BEACH. DISCUSS THEIR MOTIVES FOR DOING SO.
• HOW IS JACK LIKE HITLER? THINK CRITICALLY ABOUT
  THIS WITH REGARD TO THE BEAST AND THE JEWS.

93
DISCUSSION ?S-11 AND 12

• WHY IS THE DESCRIPTION OF PIGGYS DEATH
  APPROPRIATE TO HIS CHARACTER? (11)
• WHY DOES ROGER SEE RALPH AND PIGGY AS A SHOCK OF
  HAIRA BAG OF FAT?
• DISCUSS THE DESCRIPTION OF THE SKULL AS WHITE AS
  EVER THE CONCH. WHAT IS GOLDING DOING?
• ARE THE BOYS RESCUED?
• WHY DO SAMNERIC HOLD OUT SO LONG?
• WHY IS JACK REFERRED TO AS A LITTLE BOY?

94
Group Skits10 pts. per person,performed
Mondayeach skit must be 5-10 minutes in length

• A ships psychologist on the return home
  interviews Jack and Ralph.
• Jack on trial for murder
• Roger 10-15 years later
• Jack and Ralph meet 20 years later
• Jack explains the events to his 12-year-old son
• Ralph talks to Piggys aunt
• The boys teachers discuss them
• The naval officer does not arrive