Humanity and Barbarism in Lord of the Flies
William Golding’s “Lord of the Flies,” is a dystopian story of a group of English school children stranded on a separated island throughout wartime. Informed through an omniscient point of view, the unique clarifies on both the ideas and actions of the young boys. With the majority of the constraints of society eliminated immediately, the kids go back into a state of savagery, extirpating any rules and guidelines for living. Ultimately, the idea of civilization and order in the group of kids ends up being chimerical in their savage state, and the few boys who refuse to succumb to savagery are completely murdered by their peers. Through his ocular descriptions of his characters, his usage and juxtaposition of the meaning of the conch shell and the Lord of the Flies, and the advancement of the “Lord of the Flies” itself, Golding establishes humanity as intrinsically barbaric and our inherent savagery as the real flaw of mankind.
A contrast of Golding’s descriptions of the eyes of his characters and the actions of his characters themselves manifest the barbarism of mankind. The very first description of Jack, the ultimate leader of the savages, portrays Jack’s eyes as protruding “out of [Jack’s] face, and turning, or prepared to turn, to anger” (20 ). In even the first description of Jack, there is a significant distinction between his eyes and the eyes of the other at first innocent littluns, and this variation is reflected in Jack’s savage actions as well. When Jack fails to slay a pig, he glances “round fiercely, bold them [the boys] to oppose” (31 ). Jack’s savage actions are shown in his eyes, suggesting that savagery is intrinsic in humanity. In addition, Ralph’s eyes, which declare “no devil” (10 ), parallel Ralph’s innocent and beneficent actions to arrange and carry out rules in the group. When the kids go wild and check out the island like savages, nevertheless, Ralph’s eyes are “shining” (27 ). By suggesting that the eyes of someone as at first beneficent as Ralph are shining as he is participating in barbaric acts, Golding shows that humankind is naturally savage. A lot of significantly, Simon, the only fundamentally and truly innocent and caring littlun, is described as having “eyes so bright they deceived Ralph into thinking [Simon] wonderfully gay and wicked” (55 ). Simon’s actions show the “brightness” of his eyes, as he feels likely to help the littluns select fruit. When Simon satisfies the Lord of the Flies, however, the symbol of intrinsic evil in the novel, the “typical brightness” (146) of his eyes disappears. Golding’s parallelism of the eyes and actions of his characters show that, like what is behind one’s eyes, barbarism is intrinsic.
When the significance of the conch shell throughout the unique as an item representing order and rules is juxtaposed with the increase of the significance of the Lord of the Flies later on in the unique, the ruthlessness of natural mankind is more asserted. When the boys find the conch shell, Piggy is referred to as having a “decorous excitement” (15 ), and Piggy informs Ralph that the shell is “valuable” (15 ). With a reasonably short hiatus in between civilization and the deserted island, the boys are still bound by the guidelines of civilization, and their synthetic, civilized habits causes their wonder for the conch. Before the boys decide to hunt, the conch is a considerable sign of order and Ralph is able to use it to get the attention and regard from the littluns. However, as the kids hunt and enable their natural instincts to take control of their actions, not just does the order installed in the young boys’ group stop working, but also the “deep cream” (16) quality of the conch fades to “near-white and openness” (78 ). In truth, when Piggy, one of the last few kids who still value order, dies, the conch” [explodes] into a thousand white pieces and [stops] to exist” (181 ). By selecting to have the conch fade and ultimately be obliterated simultaneously with the fall of the kids’ order, Golding suggests that the civilized part of humankind is superficial and can not and will not hold against real humankind when a structured government is eliminated. Additionally, the production of Lord of the Flies by Golding’s characters themselves at the pinnacle of the collapse of the order amongst the kids to even more convey the defects of mankind in his message. By using a littlun to recommend the idea of a “beastie”, along with using Simon to communicate with this pictured animal, Golding recommends that the beast exists inside mankind naturally and is not something that is introduced. In reality, “Lord of the Flies” is a subtle message in itself it is a literal translation of the scriptural name Beelzebub, which is the name of the devil. Golding programs that, when civilization falls, the Beelzebub within humankind will rise, through images and contrasting. When Ralph is the last boy to not have caught savagery, the Lord of the Flies shines “as white as ever the conch had actually done” (185 ). Golding finishes his message in these sentences as he states that the transformation and takeover of the barbarism of mankind finishes. As the Lord of the Flies takes full control over the young boys on the island, anarchical, abominable savagery takes full-fledged guideline.
The development of the Lord of the Flies from a simple idea of a littlun to a concrete item is Golding’s method to suggesting that the only “beastie” in mankind is the dark side of humankind itself. The monster is presented by a little littlun, who describes it as “ever so big … in the woods … can be found in the dark” (36 ). Worry of a monster on the island instantly gets rid of the smaller littluns, and the meeting point is described as having “no laughter at all now and more severe enjoying” (36 ). The concept of the beastie itself originates from the thoughts of a littlun, suggesting that there is a “Lord of the Flies”, or a driver of intrinsic savagery, within humanity itself. Moreover, as the monster develops and handles a physical symptom in the Lord of the Flies, Jack recognizes that he can utilize the beast to control the hunters of his group through worry. Golding exposes, however, that the kids, in dim lighting, mistake a dead pilot for the dreadful beast from which their fear originates. When the pilot is blown away by gusts of wind so that the kids will never ever know what the true “beastie” is simply as Jack is finishing the deification of the beast to a godlike figure, Golding utilizes the plot of his story to parallel his message– the true problem of humanity is not something tangible, rather, it is our innate savagery. When Golding gets rid of the concrete “monster” by blowing it away with wind, he not just avoids the boys from ever knowing what its real kind was, but he also uses a concrete idea that tangibility has no connection with the flaws of humanity. Moreover, as Jack manipulates the young boys through worry of the monster as the antagonist of the novel, Golding shows through Jack’s actions that savagery is the real flaw of humanity in that a beast is not what plummets the group into chaos, rather, it is the intrinsic savagery of humanity that Jack reverts to and uses to control the boys that eventually leaves 2 of the littluns dead.
As Ralph stumbles onto the beach, about to be slain by Jack’s savages, a British Navy Officer arrives. Ironically, his ship was not enticed a signal fire which Ralph and Piggy demand earlier in the novel, however it is rather enticed by the savage fire that Jack and his savages utilize to tempt Ralph out of his hiding area. Golding selects to end his novel with a powerful description– “Ralph wept for the end of innocence, and the darkness of male’s heart and the fail the air of the true, sensible friend called Piggy” (202 ). With these words, Golding finishes his masterpiece through simple, yet powerful restatement of his own thesis.