Date of publication: 2017-08-13 09:15
Just like The Hunger Games , Lord of the Flies was a great success—although we're not convinced that Suzanne Collins is going to follow in William Golding's steps by winning a Nobel Prize for Literature for "illuminat[ing] the human condition of the world today." (Love ya, Suze.)
6. How does Golding change his boys from savages back to little boys in the eyes of the reader?
7. What is the purpose of the naval officer's presence in the surrounding waters, and what is the irony of this in the light of his reaction to the "fun and games" of the boys?
For Regent's Park as Director or Co-Director: Peter Pan, The Tempest, Into the Woods (Laurence Olivier Award, Best Musical Revival also at Public Theatre, Central Park, New York), Lord of the Flies.
If you've ever been to middle school, you can probably guess what happened. The "guards" started to think of themselves as real guards—and the prisoners as real prisoners. Things got way out of hand way too fast, with "prisoners" suffering abuse, degradation, and humiliation from the newly sadistic "guards." There were hunger strikes and restrictions to solitary confinement. It got so bad that Zimbardo ended the experiment early.
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.
The paradox of this passage is that although the Beast insists that it's not a material thing at all, it is a material thing in the passage--it's a head on a stick. It would be a huge mistake to take the passage too literally. Simon is horrified by the sight of the pig's head, but he understands that the head itself is only a form that the Beast takes in his imagination. In reality, the Beast has no form whatsoever--it's the "heart of darkness" that lies inside all human beings.
At the end of Lord of the Flies , 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.
In this passage, Jack engages in another hunt--one that's depicted in heavily sexualized language. Jack and his followers pursue a pig, but not just any pig--a sow (., a female pig). By any rational measure, it's a bad idea for Jack to kill a sow--if the boys want to eat, then they should let the sow live to give birth to more pigs. But of course, Jack and his followers aren't entirely concerned with eating, or any other practical issue for that matter. They want to savor the feeling of murder.
Dance includes: No Man's Land (English National Ballet) Hansel and Gretel, Ghosts (Royal Opera House) Scribblings (Rambert) Blood Wedding (Finnish National Ballet) Carmen, Firebird (Norwegian National Ballet.
In the final chapter of Lord of the Flies , the boys are faced with a surprising rescue. Confronted with a grown-up for the first time in weeks, the boys suddenly realize how far they've fallen. In no time at all, the boys have become bloodthirsty murderers, savoring murder and violence of all kinds. The evidence of their barbarism is visible everywhere--their island itself is in ruins, burning to ashes by fire.
Finally, it's interesting to note that the little boy isn't speaking directly--he's actually using Piggy as a correspondent when addressing Ralph. Piggy, the intellectual of the group, is something of a spokesman for society's problems: it's his job to listen to the "little guy" and plead his case before the authorities (., Ralph).