Student Answers lit-skywalker Student The murder of Simon holds many keys to the fate of the boys on the island, however none more important than with the death of Simon, the fate of the boys will be sealed. Since Simon alone knows the truth about the "beast" because of his conversation with the Lord of the Flies, and he knows the moral truth- as he dies so does the truth. Thus the boys are not able to recieve his revelation or message when he is killed by the frenzy of the hunters. The truth he posesses is that the beast lives in all of the boys, and in all of mankind.
Whether or not one agrees with the pessimistic philosophy, the idiocentric psychology or the fundamentalist theology espoused by Golding in the novel, if one is to use literature as a "window on the world," this work is one of the panes through which one should look.
A plane loaded with English school boys, aged five through twelve, is being evacuated to a safe haven in, perhaps, Australia to escape the "Reds," with whom the English are engaged in an atomic war.
Somewhere in the tropics the plane is forced to crash land during a violent storm. All the adults on board are lost when the forward section of the plane is carried out to sea by tidal waves. The passenger compartment, fortuitously, skids to a halt on the island, and the young passengers escape uninjured.
The boys find themselves in a tropical paradise: The sea proffers crabs and occasional fish in tidal pools, all for the taking.
The climate is benign. Thus, the stage is set for an idyllic interlude during which British fortitude will enable the boys to master any possible adversity. In fact, Golding relates that just such a nineteenth century novel, R.
In that utopian story the boy castaways overcame every obstacle they encountered with the ready explanation, "We are British, you know!
As their "society" fails to build shelters or to keep the signal fire going, fears emanating from within—for their environment is totally non-threatening—take on a larger than life reality.
In the initial encounter with a pig, Jack is unable to overcome his trained aversion to violence to even stake a blow at the animal. Soon, however, he and his choirboys-turned-hunters make their first kill.
They rationalize that they must kill the animals for meat. The next step back from civilization occurs and the meat pretext is dropped; the real objective is to work their will on other living things.
Then, killing begins to take on an even more sinister aspect. The first fire the boys build to attract rescuers roars out of control and one of the younger boys is accidentally burned to death.
The next death, that of Simon, is not an accident.
He is beaten to death when he rushes into the midst of the ritual dance of the young savages. Ironically, he has come to tell the boys that he has discovered that the beast they fear is not real. Then Piggy, the last intellectual link with civilization, is killed on impulse by the sadistic Roger.
Last, all semblance of civilized restraint is cast-off as the now-savage tribe of boys organizes itself to hunt down and kill their erstwhile leader, Ralph, who had tried desperately to prepare them to carry on in the fashion expected of upper middle-class British youth.
That Golding intended Lord of the Flies as a paradigm for modern civilization is concretely evident at the conclusion of the work. During the final confrontation at the rock fort between Ralph and Piggy and Jack and his tribe, the reader readily forgets that these individuals in conflict are not adults.
The manhunt for Ralph, too, seems relative only to the world of adults. The reader is so inclined to lose sight of the age of his characters that Golding must remind that these participants are pre-adolescents: The naval officer who interrupts the deadly manhunt sees "A semicircle of little boys, their bodies streaked with colored clay, sharp sticks in hand.
The officer does not realize—as the reader knows—that he has just saved Ralph from a sacrificial death and the other boys from becoming premeditated murderers. Neither is the irony of the situation very subtle: The boys have been "rescued" by an officer from a British man-of-war, which will very shortly resume its official activities as either hunter or hunted in the deadly adult game of war.
Golding, then, in Lord of the Flies is asking the question which continues as the major question haunting the world today: How shall denizens of the earth be rescued from our fears and our own pursuers—ourselves?
While Golding offers no ready solutions to our dilemma, an understanding of his parable yields other questions which may enable readers to become seekers in the quest The entire section is 2, words.Lord of the Flies author William Golding tried to rape a teenage girl when he was a student at Oxford University, according to a biography.
He confessed to the attack in an unpublished memoir. Buy Lord of the Flies by William Golding on Amazon Ralph must hide and run for his life.
Finally, Ralph runs to the beach only to fall at the feet of a British soldier.
Jan 14, · William Golding – Lord of the Flies: Major Themes 1). Civilization vs. Savagery The overarching theme of Lord of the Flies is the conflict between the human impulse towards savagery and the rules of civilization which are .
Simon’s encounter with the Lord of the Flies shows his coming to grips with reality through acceptance of guilt and charity.6 Here is a clear contrast between the beast hunting of Jack and the recognition of Simon—in one case.’3/5(2).
Harold Bloomfield. Download with Google Download with Facebook or download with email. [Harold_Bloom]_William_Golding's_Lord_of_the_Flies(initiativeblog.com) (1).
Oct 16, · The Lord of the Flies Thursday, October 16, Author's purpose In what ways does William Golding try to make the story believable? Is he successful; is the story believable? for example after they kill Simon, it no longer seemed so horrific or unbelievable that the boys would also kill Piggy.