c
 

 





 
  


The overarching theme of c
 

 is the conflict between the human impulse towards
savagery and the rules of civilization which are designed to contain and minimize it. Throughout
the novel, the conflict is dramatized by the clash between Ralph and Jack, who respectively
represent civilization and savagery. The differing ideologies are expressed by each boy's distinct
attitudes towards authority. While Ralph uses his authority to establish rules, protect the good of
the group, and enforce the moral and ethical codes of the English society the boys were raised in,
Jack is interested in gaining power over the other boys to gratify his most primal impulses. When
Jack assumes leadership of his own tribe, he demands the complete subservience of the other
boys, who not only serve him but worship him as an idol. Jack's hunger for power suggests that
savagery does not resemble anarchy so much as a totalitarian system of exploitation and illicit
power.

Golding's emphasis on the negative consequences of savagery can be read as an clear

endorsement of civilization. In the early chapters of the novel, he suggests that one of the
important functions of civilized society is to provide an outlet for the savage impulses that reside
inside each individual. Jack's initial desire to kill pigs to demonstrate his bravery, for example, is
channeled into the hunt, which provides needed food for the entire group. As long as he lives
within the rules of civilization, Jack is not a threat to the other boys; his impulses are being re-
directed into a productive task. Rather, it is when Jack refuses to recognize the validity of society
and rejects Ralph's authority that the dangerous aspects of his character truly emerge. Golding
suggests that while savagery is perhaps an inescapable fact of human existence, civilization can
mitigate its full expression.

The rift between civilization and savagery is also communicated through the novel's major
symbols: the conch shell, which is associated with Ralph, and The Lord of the Flies, which is
associated with Jack. The conch shell is a powerful marker of democratic order on the island,
confirming both Ralph's leadership-determined by election-and the power of assembly among
the boys. Yet, as the conflict between Ralph and Jack deepens, the conch shell loses symbolic
importance. Jack declares that the conch is meaningless as a symbol of authority and order, and
its decline in importance signals the decline of civilization on the island. At the same time, The
Lord of the Flies, which is an offering to the mythical "beast" on the island, is increasingly
invested with significance as a symbol of the dominance of savagery on the island, and of Jack's
authority over the other boys. The Lord of the Flies represents the unification of the boys under
Jack's rule as motivated by fear of "outsiders": the beast and those who refuse to accept Jack's
authority. The destruction of the conch shell at the scene of Piggy's murder signifies the
complete eradication of civilization on the island, while Ralph's demolition of The Lord of the
Flies-he intends to use the stick as a spear-signals his own descent into savagery and violence.
By the final scene, savagery has completely displaced civilization as the prevailing system on the
island.

Ô


 

£ne of the key concerns of c
 
 is the role of the individual in society. Many of the
problems on the island-the extinguishing of the signal fire, the lack of shelters, the mass
abandonment of Ralph's camp, and the murder of Piggy-stem from the boys' implicit
commitment to a principle of self-interest over the principle of community. That is, the boys
would rather fulfill their individual desires than cooperate as a coherent society, which would
require that each one act for the good of the group. Accordingly, the principles of individualism
and community are symbolized by Jack and Ralph, respectively. Jack wants to "have fun" on the
island and satisfy his bloodlust, while Ralph wants to secure the group's rescue, a goal they can
achieve only by cooperating. Yet, while Ralph's vision is the most reasonable, it requires work
and sacrifice on the part of the other boys, so they quickly shirk their societal duties in favor of
fulfilling their individual desires. The shelters do not get built because the boys would rather
play; the signal fire is extinguished when Jack's hunters fail to tend to it on schedule.

The boys' self-interestedness culminates, of course, when they decide to join Jack's tribe, a
society without communal values whose appeal is that Jack will offer them total freedom. The
popularity of his tribe reflects the enormous appeal of a society based on individual freedom and
self-interest, but as the reader soon learns, the freedom Jack offers his tribe is illusory. Jack
implements punitive and irrational rules and restricts his boys' behavior far more than Ralph did.
Golding thus suggests not only that some level of communal system is superior to one based on
pure self-interest, but also that pure individual freedom is an impossible value to sustain within a
group dynamic, which will always tend towards societal organization. The difficult question, of
course, is what individuals are willing to give up to gain the benefits of being in the group.

 
 

Is evil innate within the human spirit, or is it an influence from an external source? What role do
societal rules and institutions play in the existence of human evil? Does the capacity for evil vary
from person to person, or does it depend on the circumstances each individual faces? These
questions are at the heart of c
 
 which, through detailed depictions of the boys'
different responses to their situation, presents a complex articulation of humanity's potential for
evil.

It is important to note that Golding's novel rejects supernatural or religious accounts of the origin
of human evil. While the boys fear the "beast" as an embodiment of evil similar to the Christian
concept of Satan, the novel emphasizes that this interpretation is not only mistaken but also,
ironically, the motivation for the boys' increasingly cruel and violent behavior. It is their
irrational fear of the beast that informs the boys' paranoia and leads to the fatal schism between
Jack and Ralph and their respective followers, and this is what prevents them from recognizing
and addressing their responsibility for their own impulses. Rather, as The Lord of the Flies
communicates to Simon in the forest glade, the "beast" is an internal force, present in every
individual, and is thus incapable of being truly defeated. That the most ethical characters on the
island-Simon and Ralph-each come to recognize his own capacity for evil indicates the novel's
emphasis on evil's universality among humans.

Even so, the novel is not entirely pessimistic about the human capacity for good. While evil
impulses may lurk in every human psyche, the intensity of these impulses-and the ability to
control them-appear to vary from individual to individual. Through the different characters, the
novel presents a continuum of evil, ranging from Jack and Roger, who are eager to engage in
violence and cruelty, to Ralph and Simon, who struggle to contain their brutal instincts. We may
note that the characters who struggle most successfully against their evil instincts do so by
appealing to ethical or social codes of behavior. For example, Ralph and Piggy demand the
return of Piggy's glasses because it is the "right thing to do." Golding suggests that while evil
may be present in us all, it can be successfully suppressed by the social norms that are imposed
on our behavior from without or by the moral norms we decide are inherently "good," which we
can internalize within our wills.

The ambiguous and deeply ironic conclusion of c
 

, however, calls into question
society's role in shaping human evil. The naval officer, who repeats Jack's rhetoric of nationalism
and militarism, is engaged in a bloody war that is responsible for the boys' aircraft crash on the
island and that is mirrored by the civil war among the survivors. In this sense, much of the evil
on the island is a result not of the boys' distance from society, but of their internalization of the
norms and ideals of that society-norms and ideals that justify and even thrive on war. Are the
boys corrupted by the internal pressures of an essentially violent human nature, or have they
been corrupted by the environment of war they were raised in? c
 
 offers no clear
solution to this question, provoking readers to contemplate the complex relationships among
society, morality, and human nature.

  


c
 
 introduces the question of man's ideal relationship with the natural world.
Thrust into the completely natural environment of the island, in which no humans exist or have
existed, the boys express different attitudes towards nature that reflect their distinct personalities
and ideological leanings. The boys' relationships to the natural world generally fall into one of
three categories: subjugation of nature, harmony with nature, and subservience to nature. The
first category, subjugation of nature, is embodied by Jack, whose first impulse on the island is to
track, hunt, and kill pigs. He seeks to impose his human will on the natural world, subjugating it
to his desires. Jack's later actions, in particular setting the forest fire, reflect his deepening
contempt for nature and demonstrate his militaristic, violent character. The second category,
harmony with nature, is embodied by Simon, who finds beauty and peace in the natural
environment as exemplified by his initial retreat to the isolated forest glade. For Simon, nature is
not man's enemy but is part of the human experience. The third category, subservience to nature,
is embodied by Ralph and is the opposite position from Jack's. Unlike Simon, Ralph does not
find peaceful harmony with the natural world; like Jack, he understands it as an obstacle to
human life on the island. But while Jack responds to this perceived conflict by acting
destructively towards animals and plant life, Ralph responds by retreating from the natural
world. He does not participate in hunting or in Simon's excursions to the deep wilderness of the
forest; rather, he stays on the beach, the most humanized part of the island. As Jack's hunting
expresses his violent nature to the other boys and to the reader, Ralph's desire to stay separate
from the natural world emphasizes both his reluctance to tempt danger and his affinity for
civilization.
è 
 
  


In c
 
, one of the effects of the boys' descent into savagery is their increasing
inability to recognize each other's humanity. Throughout the novel, Golding uses imagery to
imply that the boys are no longer able to distinguish between themselves and the pigs they are
hunting and killing for food and sport. In Chapter Four, after the first successful pig hunt, the
hunters re-enact the hunt in a ritual dance, using Maurice as a stand-in for the doomed pig. This
episode is only a dramatization, but as the boys' collective impulse towards complete savagery
grows stronger, the parallels between human and animal intensify. In Chapter Seven, as several
of the boys are hunting the beast, they repeat the ritual with Robert as a stand-in for the pig; this
time, however, they get consumed by a kind of "frenzy" and come close to actually killing him.
In the same scene, Jack jokes that if they do not kill a pig next time, they can kill a littlun in its
place. The repeated substitution of boy for pig in the childrens' ritual games, and in their
conversation, calls attention to the consequences of their self-gratifying behavior: concerned only
with their own base desires, the boys have become unable to see each other as anything more
than objects subject to their individual wills. The more pigs the boys kill, the easier it becomes
for them to harm and kill each other. Mistreating the pigs facilitates this process of
dehumanization.

The early episodes in which boys are substituted for pigs, either verbally or in the hunting dance,
also foreshadow the tragic events of the novel's later chapters, notably the murders of Simon and
Piggy and the attempt on Ralph's life. Simon, a character who from the outset of the novel is
associated with the natural landscape he has an affinity for, is murdered when the other children
mistake him for "the beast"-a mythical inhuman creature that serves as an outlet for the children's
fear and sadness. Piggy's name links him symbolically to the wild pigs on the island, the
immediate target for Jack's violent impulses; from the outset, when the other boys refuse to call
him anything but "Piggy," Golding establishes the character as one whose humanity is, in the
eyes of the other boys, ambiguous. The murders of Simon and Piggy demonstrate the boys'
complete descent into savagery. Both literally (Simon) and symbolically (Piggy), the boys have
become indistinguishable from the animals that they stalk and kill.

c  Ô 

At the end of c
 

, Ralph weeps "for the end of innocence," a lament that
retroactively makes explicit one of the novel's major concerns, namely, the loss of innocence.
When the boys are first deserted on the island, they behave like children, alternating between
enjoying their freedom and expressing profound homesickness and fear. By the end of the novel,
however, they mirror the warlike behavior of the adults of the Home Counties: they attack,
torture, and even murder one another without hesitation or regret. The loss of the boys' innocence
on the island runs parallel to, and informs their descent into savagery, and it recalls the Bible's
narrative of the Fall of Man from paradise.

Accordingly, the island is coded in the early chapters as a kind of paradise, with idyllic scenery,
fresh fruit, and glorious weather. Yet, as in the Biblical Eden, the temptation toward corruption is
present: the younger boys fear a "snake-thing." The "snake-thing" is the earliest incarnation of
the "beast" that, eventually, will provoke paranoia and division among the group. It also
explicitly recalls the snake from the Garden of Eden, the embodiment of Satan who causes Adam
and Eve's fall from grace. The boys' increasing belief in the beast indicates their gradual loss of
innocence, a descent that culminates in tragedy. We may also note that the landscape of the
island itself shifts from an Edenic space to a hellish one, as marked by Ralph's observation of the
ocean tide as an impenetrable wall, and by the storm that follows Simon's murder.

The forest glade that Simon retreats to in Chapter Three is another example of how the boys' loss
of innocence is registered on the natural landscape of the island. Simon first appreciates the
clearing as peaceful and beautiful, but when he returns, he finds The Lord of the Flies impaled at
its center, a powerful symbol of how the innocence of childhood has been corrupted by fear and
savagery.

Even the most sympathetic boys develop along a character arc that traces a fall from innocence
(or, as we might euphemize, a journey into maturity). When Ralph is first introduced, he is acting
like a child, splashing in the water, mocking Piggy, and laughing. He tells Piggy that he is certain
that his father, a naval commander, will rescue him, a conviction that the reader understands as
the wishful thinking of a little boy. Ralph repeats his belief in their rescue throughout the novel,
shifting his hope that his own father will discover them to the far more realistic premise that a
passing ship will be attracted by the signal fire on the island. By the end of the novel, he has lost
hope in the boys' rescue altogether. The progression of Ralph's character from idealism to
pessimistic realism expresses the extent to which life on the island has eradicated his childhood.

 
  

In addition to its other resonances, c
 

 is in part an allegory of the Cold War. Thus,
it is deeply concerned with the negative effects of war on individuals and for social relationships.
Composed during the Cold War, the novel's action unfolds from a hypothetical atomic war
between England and "the Reds," which was a clear word for communists. Golding thus presents
the non-violent tensions that were unfolding during the 1950s as culminating into a fatal conflict-
a narrative strategy that establishes the novel as a cautionary tale against the dangers of
ideological, or "cold," warfare, becoming hot. Moreover, we may understand the conflict among
the boys on the island as a reflection of the conflict between the democratic powers of the West
and the communist presence throughout China, Eastern Europe, and the Soviet Union. (China's
cultural revolution had not yet occurred, but its communist revolution was fresh in Western
memory.) Ralph, an embodiment of democracy, clashes tragically with Jack, a character who
represents a style of military dictatorship similar to the West's perception of communist leaders
such as Joseph Stalin and Mao Zedong. Dressed in a black cape and cap, with flaming red hair,
Jack also visually evokes the "Reds" in the fictional world of the novel and the historical
U.S.S.R., whose signature colors were red and black. As the tension between the boys comes to a
bloody head, the reader sees the dangerous consequences of ideological conflict.

The arrival of the naval officer at the conclusion of the narrative underscores these allegorical
points. The officer embodies war and militaristic thinking, and as such, he is symbolically linked
to the brutal Jack. The officer is also English and thus linked to the democratic side of the Cold
War, which the novel vehemently defends. The implications of the officer's presence are
provocative: Golding suggests that even a war waged in the name of civilization can reduce
humanity to a state of barbarism. The ultimate scene of the novel, in which the boys weep with
grief for the loss of their innocence, implicates contemporary readers in the boys' tragedy. The
boys are representatives, however immature and untutored, of the wartime impulses of the
period.