Lord of The Flies
‘Lord of the Flies’ is frequently checked out as the story of altering identities. The plot gives an opportunity to trace the process, in which a number of kids become savage monsters on an isolated island. These modifications do not happen overnight, however are accompanied by a series of extensive implications, that make the story extremely reasonable and teaching. In this essay I will turn my attention to exploring this process of losing identity and ultimate human destruction. ‘Lord of the Flies’ is the narrative about the 3 identities, lost through violence, savageness, and inner moral conflict.
Identity loss as the leading style of the book
The loss of identity amongst young boys and their ultimate ethical devastation is the significant dispute of the book. Golding was extremely thinking about examining the inner causes and complications of such identity loss. It is hard to justify these irreversible changes by external conditions in which the boys found themselves, yet for someone this justification may seem possible. The fight in between their liberty and self-discipline has become the most significant difficulty the young boys had to face. In this battle self-discipline was tragically defeated, offering location to wildness, cruelty, desolation and violence. The human beings are weak under the rays of liberty which are colored with unreason and the desire to injure. Those kids have ended up being the brightest depiction of the traditional human identity, routinely exposed to temptations which it can not stand.
Ralph and his altering identity
‘Ralph too was fighting to come up to, to get a handful of that brown, susceptible flesh. The desire to squeeze and hurt was over-mastering.’1 Ralph’s existence on the island led him to the state when he could not control his premature impulses anymore. The outstanding function of Ralph’s personality in this story is that he experienced the loss of his identity twice: the very first took place when he appeared on the island, and the 2nd occurred after he was chosen the leader and might not effectively hold that position. The modification which occurred to Ralph might be connected to some magic spell of the island, but unfortunately this change found its affordable explanation.
Ralph was a well-bred and disciplined young kid, however being on an island with no grownups considerably contributes into his identity loss. He might not carry out the function of the leader and reasonably recognized the problems of lacking parents. The loss of his leadership identity made him understand his ineffectiveness which he tried to compensate through cruelty and violence. ‘Ralph went for completion of innocence, the darkness of male’s heart, and the fail the air of a real, smart good friend called Piggy.’2 The moment when Ralph sees the officer and understands that his life is conserved, ends up being the conclusion of his destruction: he concurrently perceives the irreversibility of his change and the power of evil which exists in every human soul.
Jack as the sign of release from previous identities
Jack is entirely different from Ralph; he is exempt to contemplating the anguish of his identity loss. ‘I’m terrified of him, and that’s why I understand him. If you’re frightened of somebody you hate him but you can’t stop thinking about him. You kid yourself he’s all right truly, an’ them when you see him again; it’s like asthma an’ you can’t breathe.’3 In his identity loss and devastation Jack has actually exceeded sensible procedures, making the other kids scared of him.
He has demonstrated his ill nature to the maximum. Through his example, the reader exposes the terrible fact: human evil does not have any steps. The mask which he utilized in hunting, in reality was ‘a thing on its own, behind which Jack hid, freed from pity and self-consciousness.’4 He was unreasonable sufficient to require disregarding his leadership, which broke among the major human principles, and resulted in condition and freedom to eliminate with each other.
Piggy: a tragic victim of his identity loss
Out of the 3 major characters, Piggy is the most civilized, and the most significant victim of the identity loss amongst the young boys. This may put a contradictory tint onto the whole conversation: the reader risks thinking that factor can not result in any favorable outcomes. Yet, this assumption is deceptive. Piggy’s age and appearance (glasses, in particular) turn him into an outcast from the start. His identity is lost through the efforts of others: he is called fatty, and he is buffooned on for wearing glasses. These glasses are inseparable from his identity, as they let him see the world in its real colors.
As quickly as they are taken by other kids to make the fire, he recognizes that blindness and identity loss are synonymic. The loss of his identity has actually not caused devastation: it has actually resulted in his death which made him the victim of those who had actually lost their identities previously. ‘How can you anticipate to be rescued if you don’t put very first things initially and act correct?’5 The tragic character of Piggy’s identity loss is that it did not stem from Piggy’s character but was advised by other’s cruelty. He was the only person who lost his identity through his death.
The process of identity loss resulting in destruction begins with the minute boys appear on the island. They do not show any strivings towards rescuing themselves, but choose swimming in the lagoon. They hide their faces behind the masks, and hide from consciousness, pity, and factor. Their education is turned into primitiveness– the brightest sign of identity loss. Trying to eliminate the boar and dancing around it in the blood dance is the scene at which change into savages and as a result, identity loss is completed. There is no other way back towards being civilized. The progressive deterioration which all boys experienced broke all connections with their previous world. The look of the officer on the island has suggested total destruction of the boys’ moral identity.
GOLDING, William, Lord of the Flies, Penguin Non-Classics, 1999.
1 W. Golding, Lord of the Flies, Penguin Non-Classics, 1999, p. 103.
2 W. Golding, Lord of the Flies, Penguin Non-Classics, 1999, p. 184.
3 W. Golding, Lord of the Flies, Penguin Non-Classics, 1999, p. 83.
4 W. Golding, Lord of the Flies, Penguin Non-Classics, 1999, p. 55.
5 W. Golding, Lord of the Flies, Penguin Non-Classics, 1999, p. 38.