MPACKC00¬,&main&book'dscvr(explr)mstr’ž’ž’ž’ž’ž` ĄŹŌŽšś *4FPZdnx‚Œ– Ŗ“¾ČŅÜęš (2<FPZdnx‚Œ– Ŗ¼ĘŠŚäīų (2<FPZdv€Š”žØ²¼ĘŠŚäīų(2<FPZdn€Š”ž°ŗõĄ`````fffŠ3€33€3>`<|fl0fF‰68of;00`0```0`00`Š3€3~00`~`` 0`@ 8````0000`‰00~~‰``nf>ff~fff~~f<flxxlf`````~‰cwkccfv~~nff>``|ff|<```<>ff>>ff>|``|fff0p00x x``lxlfp0000x‰fkc|ffffff>|f```>`<|~ffff>fff<‰ck>6f< x~ 0~‰30|0~```````׊ŠŠŠŠŠŠĆžg’7’ *Ą’’ž’’ž’’ü’’ų’š’ą?’Ą’€‰10# F˜ź<Žą2j¢ŚJ‚ŗFFFFFFFņ4vøś<~œŗŲö2Pž’’’ü’’’ą’’ž’’š’’Ą’’’ż’ü’ü’š’ą’Ą?’ü’€’€’’’ü’’ü’’’ž’’’ü’’ü?’ü’ü’üü’’ßüüüüü’’ųüüü’’ü’’üüüüž’ü’ü’€’€’Ą?’ü?’ü’š’š’ü’ü’ü’ü’ž’üüüü’’ų’’ųž’’ų’’ąüüü’’ü’’žüü’’ą’’Ą’’Ąüü’’ą’’ą’’ą’’ąüüž’’ųüüüü|’’’ą’’’üžü’š’ą’ą’ą’Ą?’ü’Ą’ĄĄ?ĄĄĄĄĄĄ@’’’üÕ€ĄĄĄĄ?ą?ą=Żą=ŻąyÜšxųšxųšxųššpxšpxš xš xšxÕ’’’’’’ąąąą’€’€’€ąąąąą’’’’’’Õ’ą’ų’žąą€ą€ąĄąĄąĄąĄąĄąĄą€ą€ą’ž’ų’ąÕššššššššššššššššššÕ`šųųœœ€€?’Ą?’Ą’ąpąąpąpÕ’š’ü’žąą€ą€ą’ž’ü’žąą€ą€ą€ą€’’’ž’ųÕ?€’€’€€€ų’?€ĄĄĄĄĄ’Ą’€žÕžžž?xpąąąąąąpx?žžžž’’ü’’ü?’’ü’’ü’’’ü’’’ü’€’’’’’’’ž’’’’’’’’€’’’ü’’’ü’’ü?’’ü’’ü’’üž’’’’’’Ą’’’š’’’ų’’’ü’’’ü’€?ü’€ü’€ü’€?ü’€ų’’’š’’’Ą’’ųž’’’Ą’’’š’’’ų’€?ü’€ü’€ü’€ü’€ü’’’ü’’’ų’’’š’’’ą’’’€’’üž’’ü’’ü?’’ü’’ü’’’ü’’’ü’€’’’€’’’€’’’š’’ü’’üž?’’ü’’ü’’ü’’üüüüü’’’ü’’’ų’’’ų’’’š’’’ą’’’€š’šąąą’ąšppppp’š’ąą’šššąpąpąpąpąpąpąpąpšš’šą’€’€ąąą’€’€ąąąąąąą?ų?ų€€€€€€€€€€€€ą8ą8ą8ą8ą8ā8ā8ē8ē8g0wp}šxš0`€€9Ą9Ą9Ąpąpąą’šąpąpąp’Ą’ąąšąpąpąš’ą’ĄįĄąąąąąąąąąp?ą?ą888?ą?ą88888?ą?ą Ą\Ą\ Ą#3p 4 ŠYAB!8(2fG ą[ A:DB~2fą\ ¢²ąį –ąį!–8ąį"Æąį#Æ8ąį$Čąį%Č8ąį&›`ąį'›xąį(›Œąį)›˜ąį)“Œąį*›Øąį*“pąį+“`ąį,“€ąį,“Øąį-“œ¤4€ĄŚ¤FĄŚ¤5TĄŚ¤FŌĄŚąį5*ąąį6>ąąį7+ąį8?ąį9+0ąį:?0ąį;Wąąį<Wšąį=Xąį>Xąį?Xąį@X(ąįAX8ąįBXD¤£¢x€and¤£”ęŲStand by€²¤£THE NOVEL APPROACH£. . . computer games inspired by2the classics of modern literature . . .P`presents£”nLORD OF THE FLIES–x£”by“ William Golding£”ęStand by€²¤£Help is available.£<Do you need operating instructions?d8A. Yesx8B. No £Press ”ESC” to return to the MainŖMenu ”at any point” during the game.”ČxSelect Item€²¤£You can play the game as a(A. DISCOVERERFB. EXPLORERdC. MASTER£(p- if you have not read2p the bookFp- if you know somethingPp about the bookdp- if you have readnp the bookŒ£or you can use the“D. BOOK SCANNER£“x- to learn about the¾x book£”ÜxEnter your choice.€²¤£(CBS SOFTWAREP&xMEDIA BASICS£ has brought you¾THE NOVEL APPROACH€ Ą[ A:F2f Ņ[4A:C2fŅZ“@Zō@ZtĀZ4ĀZ4āZ“@Zō@ZtĀZ4ĀZ“@Zō@Zō@Zō@Zō@ZtĀZ“@Zō@Z ō@Z!ō@Z"t ĄZ#“@Z$ō@Z%t²¤(WHAT WOULD YOU LIKE TO KNOW?<A. What is in The Novel Approach?FB. How do I get started?PC. How do I play as a Discoverer?ZD. How do I play as an Explorer?dE. How do I play as a Master?nF. How do I use the Book Scanner?ŒPress ”ESC” to return to the Main–Menu ”at any point” in the instructions.€²¤(WHAT IS IN THE NOVEL APPROACH?<A. three different gamesFB. the Book ScannerPC. the Player's Handbook€²¤THREE DIFFERENT GAMESDISCOVERER Game(You ”do not have to know” the story2to play this game.FQuestions are based on what youPwould do if you found yourself onZthe island with the boys.nThis game has no right or wrongxanswers. Each response leads you‚in a new direction so you can playŒthe game many times. You'll discover a lot about yourselfŖand the adventures waiting for you in“the book.€²¤EXPLORER Game(Choose this game if you have read the2book . . .F or are reading the book . . .Z or have used the Book Scanner.nYou earn points for every rightxanswer. If you play against the‚clock, you earn higher scores.€²¤MASTER Game(Play this game if you have read the2book . . .F and know it WELL . . .Z and/or know the Book ScannerdWELL.xRight answers in this game earn‚higher scores. Play against the clockŒfor a maximum score.€²¤THE BOOK SCANNER(The Book Scanner is a great source2of information about the book.FIt contains background material asPwell as specific answers to EXPLORERZand MASTER game questions.€²¤THE PLAYER'S HANDBOOK(The Handbook contains complete2instructions for playing the games<and information about the novel.€²¤HOW DO I PLAY AS A DISCOVERER?(Discover your own thoughts and2feelings as you put yourself in<the story and join the boys'Fstruggle for survival.ZThere are no right or wrongdanswers.xEach choice you make will lead‚you down a different path ofŒquestions and options. As you play this game, you learnŖabout the story.€²¤HOW DO I GET STARTED?(After you have booted the disk,2follow the instructions on the<screen.PYour playing options will beZdisplayed at the bottom of everydscreen.€²¤”Playing Options”(1. £”?£”(HAt any point in the game,2Hyou can press this key for‘H(Menu) returns you to the›Hprevious Menu.Ŗ5. ESCŖH(Escape) returns to the Main“HMenu. You can use this key”¾Hat any point” while playingČHthe games or using the BookŅHScanner.€²¤(Most of the time the screens advance2automatically in all three fast-paced<games.€²¤HOW DO I PLAY AS AN EXPLORER?(Play this game if you know the2story or have reviewed the Book<Scanner.PEach game consists of fiveZquestions.nYou can choose questions fromxone of three categories:Œ People– Setting and Action  Ideas€²¤Playing Options(You can play . . .< aloneP against an opponentd against the clock - forn the highest score‚If you play against the clock,Œyou will have four minutes to–complete the five question game.ŖAnswer each question as quickly as“you can. The shortest time earns¾the highest score.€²¤Each right answer is worth ( 100 points - untimed< 200 points maximum - timedxH”UNTIMEDx TIMED”ŒEXPLORERŒH100/quest.Œ 200 max/quest. LEVEL H500 max.  1000 max.€²¤Keeping Track of Your Score(Your score is automatically2recorded.FAfter you answer each question, aPrunning total is posted at the topZof the screen.nYou will always know how well you'rexdoing!€²¤High scorers will see anexciting scene from the story.€²¤What Are The Trouble Spots?(In the EXPLORER and MASTER Games your2errors are identified as Trouble<Spots and stored in memory while youFplay.ZImmediate help is available!nYou can use the Book Scanner toxcorrect your Trouble Spots. If you‚select the Trouble Spotter option,Œthe correct answers will be right–there ”automatically” for your review.€²¤HOW DO I PLAY AS A MASTER?(Play this game when you are ready2for the most challenging exploration<of the book and its themes.PEach game consists of 10 questionsZrandomly drawn from the Masterdfile.€²¤Playing Options(You can play . . .< aloneP against an opponentd against the clock - forn the maximum score‚If you play against the clock,Œyou have 20-60 seconds to answer–a question. (More time is  allotted for longer questions.)€²¤You earn points for right answersand lose points for wrong answers.2Each right answer is worth F 500 points - untimed modeZ 1,000 points maximum - timed modex@”UNTIMEDx TIMED”ŒMASTERŒ@500/quest.Œ 1,000 max/quest. LEVEL @5,000 max.  10,000 max.€²¤(High scorers will see a scene from2the exciting conclusion of the<story.€²¤What Are The Trouble Spots?(In the EXPLORER and MASTER Games your2errors are identified as Trouble<Spots and stored in memory while youFplay.ZImmediate help is available!nYou can use the Book Scanner toxcorrect your Trouble Spots. If you‚select the Trouble Spotter option,Œthe correct answers will be right–there ”automatically” for your review.€²¤HOW DO I USE THE BOOK SCANNER?(The Book Scanner is a complete file2of information about ”Lord of the<Flies”. You can use the BookFScanner in two ways: choose theP”Trouble Spotter” or ”Browser” option.€²¤TROUBLE SPOTTER(The Trouble Spotter calls up2information on your Trouble<Spots - AUTOMATICALLY.PThe Book Scanner providesZspecific information - anddthe answers you need.xTo use the Trouble Spotter:Œ 1. do ”not” turn off your computer– 2. choose the Trouble Spotter  option€²¤BROWSER(The Browser allows you to2access any information on the<Book Scanner.PThe Browser does not have to beZused immediately after playingdthe games. It is always available.xUse the Book Scanner Menu to‚select items of interest to youŒand "browse" at your own pace.€²£SWITCHING DISKS£PInsert the Other Disk to useZthe Book ScannerÜPress the RETURN Key when done.€²£SWITCHING DISKS£PInsert the Other Disk to playZthe Discoverer Game.ÜPress the RETURN Key when done.€²£SWITCHING DISKS£PInsert the Other Disk to playZthe Explorer Game.ÜPress the RETURN Key when done.€²£SWITCHING DISKS£PInsert the Other Disk to playZthe Master Game.ÜPress the RETURN Key when done.€R7M p|&ĆĮ2WøPx°÷Ź‰\¹`aÄŚDÜ#WźB)nsqoMPACKC00w…’ž’ž’ž’ž’žĄZ” Ą[AB2fŅk „A:ZB˜Āk „A:ZB˜@@Ąk „A:Z@€ ą[AB2fBrBr B|B~B‚BxĄ B–’’A( 2–  ą[ A:C2fB~ ĄZ’’ ”@G ĀZ’’ ”@B~H²¤£”Lord of the Flies” is a story ofstruggle and survival.2In this game you can help the<boys survive and bring a rescueFship to the island.ZCan you master the struggle fordsurvival?€²¤£ Enter the number of players in( the game.PHA. OnedHB. Two£”ČxSelect Item€²¤£ Enter the name of the player.¤”<0³ “”d Press RETURN.€²¤£ Enter the name of the ”first” player.¤”20³ “”P Press RETURN.€£”n Enter the name of the ”second”‚ player.¤” 0³ “”¾ Press RETURN.€²¤£%s „( Do you want to play against the< clock?dHA. YesxHB. No£”ÜxSelect Play€²¤£%s „( Good try! Survival isn't< easy, but don't give up.P Play again soon.€²¤£%s „( Well done! You've come a< long way. Good luck theP next time.€²¤£%s „( Excellent! You are meeting the< challenge. Keep trying.€²¤£%s „( Congratulations! You have met the< ultimate challenge. You are nowP master of the game.€²¤£( Would you like toP A. use the Book Scanner tod8find out more about ”Lordx8of the Flies?”Œ B. play another game?  C. return to the Main Menu?€@#r "2‚" ¹ŠZ ”@7 "2‚"qŠZ ”@7 "2‚"#)ŠZ ”@7 ! "2‚"ŻŠZ ”@7 "2‚" ¹ŠZ ”@7 "2‚"•ŠZ ”@7 ąZ ” @#0¼  B¾’’Ą BĄ’’Ā BĀ’’Ä BÄ’’Ę BĘ’’‚ B Š ä B ä ų B ų  B   B  „!B’’"¾¼ ’’‚B ’’"Š¼  „B¼’’¼ `H2@B B B B ąZ”@"ōŠZ”²¤£%s „(You're doing very well!<Would you like to see a scene fromPthe story?n@A. Yes‚@B. No€²¤¢£A Rescue Ship Arrives Congratulations! The rescue ship ishere. You survived this adventure.¢¤Ą38ąį&"2¤PĄ”8¤PĄ2°¤FąĄ(XPøĄ0¤G0ĄP¤PˆĄ ¤F˜Ą 5Ą œ3$Ą ąį-X ą-P“ąĮ*P¤ąį'3ąį*5hą”*AČą”,IDą”,Kōąį,AX0ąį,Aküąį-Uųąį-S@ąį/nŒąį5!(<ą5!8ąį:!RŒąį:RČąį:A…(ąį? āń)ņóŸ/€ÆC¶oDjoŸš’ā"ń*ņó_€æC.oC.oD¾ÆŸš’¢¶˜’ąą8Aąį;!Ņ0„Ų¢“ąą8A“‘˜ą ;!“‘’ąą8A“‘˜ąą;!…€²¤£%s „, when you're READY<press the RETURN key.€²£Last 5 Scores in the MASTER GAME(GAME(0NAME(øSCOREF1F0%s ŠFø99,99z’’¾č(4¼ d2d0%s ädø99,99z’’Ąč(4¼ ‚3‚0%s ų‚ø99,99z’’Āč(4¼  4 0%s   ø99,99z’’Äč(4¼ ¾5¾0%s  ¾ø99,99z’’ʀ²£Last 5 Scores in the EXPLORER GAME(GAME(0NAME(øSCOREF1F0%s Fø99,99z’’öč(4ō d2d0%s dø99,99z’’ųč(4ō ‚3‚0%s 0‚ø99,99z’’śč(4ō  4 0%s D ø99,99z’’üč(4ō ¾5¾0%s X¾ø99,99z’’ž€ @@@@@@@’@ä6@ˆŚ@@@@@@N@@ @ä6@@DRžšž’€?’Ą’ą’ą’’š’’š’’ų’’ų’’ų’’ų’’š’’š’ą’ą?’Ą’€žšžŒĪė€ķ€ēHŁČ¼Ü~æ¶Ļ¾ē4ó8z¼˜ ÜŠ`ĢįĄńęĄūķ€ūĻž Ü0Ü83ģ9üÜxīpīųü |ų?ģt÷4óŌ1<Üģü< žŒDpdŌt¶ō¤ōéĢćpt4/Ģgœ2ēœ4ēĄMļ<Ž<^ø|ü×üž 8hŲŠōr;‚€ÄĄĢpœ<€ŽĒĄ† 0‚ŠGąš0 ž 8Ląhœ0PŁÜšųŠO°Ųń†ŠŲsBhp9ą0ą ĄՀĄąšųüž’’€’Ą’ą’š’ų’ü’ž’’’’€’’Ą’’ą’’šž€Ą’š’ü’ü’’’’’ų’š’×  #ž`’€’€9Ą’’ü’’ü’’ü’’üÕWų’’š’ą?’Ąž|ų?>žgĄsĢĄĄ€ žf8ų p 0`@€€ 0@²¤ DID YOU KNOW that William Goldingdescribed the moral of his story inthese terms:2"The moral is that the shape of a<society must depend on the ethicalFnature of the individual not on anyPpolitical system ..."dGolding places his faith in the in-ndividual, not the system, and hopesxthat each person will do what is right.€²¤ DID YOU KNOW that William Goldingserved in the Royal Navy duringWorld War II?2The horror and violence of the war<haunted Golding for years.PThis novel expresses some of hisZfeelings about that experience.nYou will find more information aboutxGolding's life in the Book Scanner.€²¤ DID YOU KNOW that there are many otherexciting adventure books to read?(”A High Wind in Jamaica” by Richard2Hughes describes the violent trans-<formation of a group of childrenFwho are taken prisoner by a bandPof pirates.dThe Book Scanner lists other goodnbooks you might want to read.€²¤ DID YOU KNOW that Golding has writtenmany other books?”(The Inheritors” is an exciting story2set millions of years in the past when<Neanderthal Man gave way to the moreFintelligent Homo Sapiens.ZThe Book Scanner lists other books bydGolding that you might want to read.€@"˜ŠZœh2 –GŅCALORD OF THE FLIES AS ALLEGORY+ELEMENTS OF THE ALLEGORY,8ĀC”"(<>><><<>ITEMS ASSOCIATED WITH RALPH & JACKiÆĀC4%<DEBACCHAP. 1: THE SOUND OF THE SHELL3CHAP. 4: PAINTED FACES & LONG HAIR7CHAP. 9: A VIEW TO A DEATH<CHAP. 11: CASTLE ROCK>CHAP. 12: CRY OF THE HUNTERS?SĀCt((KKRKRKTHE BEASTREACTIONS TO THE BEAST‚THE MEANING OF THE BEAST„#ĀC”+(><<<>><>RALPH.JACK/1ĀC.AEX. OF RATIONAL/IRRATIONAL BEHAVIOR†2ĀC”3(><<><>>JACK AT THE BEGINNING AND ENDk&ĀC6BTHE MEANING OF THE BEAST„,ĀC;BRALPH AND JACK AT END OF STORYŠĀC@BCONTROLLING EVILŽ `"0x Š[AB "0f ŠZ”`Bx `"2| Ą B–’’A( 2– G  @"˜ŠZœ h2 – ŅCECRALPH'S GROWTHJcĀCtJ(KKRKRKGOLDING'S ALLEGORY OF EVILGOLDING'S VIEW OF THE WORLDGOLDING'S SOLUTION‘/ĀCMBRALPH'S REACTION TO PIGGY'S DEATH”*ĀCRDRALPH BECOMES PIGGY'S FRIEND¤5ĀCtW(KKRRKKSIMON HEARS THE LORD OF THE FLIES©(ĀCtZ(RRKRKRKRALPH'S "EDUCATION"«+ĀC4]<BCDEARALPH'S GROWTH AS LEADERĄ.ĀC4`<CBAFDETHE HUNTERS BECOME SAVAGESÅ&ĀCcATHE MEANING OF THE BEAST„)ĀC4h<BACEDTHE SEQUENCE OF DEATHSĢ `"0x Š[AB "0f ŠZ”`Bx `"2| Ą B–’’A( 2– G  @"˜ŠZœ h2 – 'ŅCkALAPSING INTO CHILDISHNESSŽ"ĀCpCCIVILIZED VS. SAVAGEį$ĀCuDTHE OFFICER'S REACTIONā&ĀCzCWHY JACK PAINTS HIS FACEćĀCDHOW JACK CHANGESN ĀC„DWAR AND THE ISLANDļĀC‰AJACK'S "RELIGION"ń$ĀCŽBTHE ADULTS SEND A SIGNņ#ĀC“CSIMILE: FIRE/SQUIRREL )ĀC˜DMETAPHOR: CURTAIN FLICKERED `"0x Š[AB "0f ŠZ”`Bx `"2| Ą B–’’A( 2– G  @"˜ŠZœ h2 – -ŅCBMETAPHOR: GLANCED ... INTO HELL"ĀC¢ASIMILE: WORDS/STONESĀC§ATHE USE OF IRONY;+ĀC¬BPARADOX/AN EXAMPLE OF PARADOX=1ĀCt±(RKRRKKSYMBOLISM OF THE BOOK'S TITLE?jĀC4“<DEBACRALPH'S GOALSHJACK'S GOALSMPIGGY'S BELIEFSPSIMON'S MYSTICISMTROGER'S NATUREX;ĀC·DTHE ISLAND AS A MICROCOSMCONTROLLING EVILŽ'ĀC¼BPREDICTING RALPH'S FUTURETĀCĮCTHE NAVAL OFFICER\*ĀCĘBTHE MEANING OF SIMON'S DEATHR `"0x Š[AB "0f ŠZ”`Bx `"2| Ą B–’’A( 2– G  ²¤ In the course of the story theisland becomes a symbol of2A. the adult world.<B. peace and plenty.FC. a refuge from war.PD. the hostility of nature.€²¤“The island is a microcosm¾(a small version) of the adultČworld. The conflict on the islandŅreflects the adults' war.€²¤“Sorry. The island is not very¾peaceful once the boys arrive.€²¤“Sorry. The boys do come to the¾island as war refugees, but theČisland is not a refuge of safetyŅfor them.€²¤“Sorry. Hostility develops only¾after the boys arrive. TheČisland itself is not hostile.€²¤ The items below are associatedwith Ralph or Jack.(Use the left and right arrow keys to2move the items to the correct column.F³RALPH“F³JACK“Z@³ “ZP³signal fire“dP³face paint“nP³spears“xP³huts“‚P³large boulders“ŒP³fruit“–P³ conch“ P³ hambone frill“€²¤“Sorry. Remember that Jack's items¾help support his control of others.ČRalph's items stand for survivalŅand rescue.€²¤“Good thinking! Ralph's items are aimed¾at survival and rescue. Jack just wantsČto exert his authority over others.€²¤ Match each character to the thinghe does in the story.2A. Ralph D. Roger<B. Jack E. SimonFC. Piggyd1. hurts Samnericn2. frees a dead airmanx3. uses face paint first‚4. hides from huntersŒ5. takes names of the littluns€²¤“Oops! There is a problem here.¾Remember, the boys' behaviorČreveals their personalities.€²¤“Yes! You understand each of these¾characters very well!€²¤ Press K to keep all the things theboys believe about the beast.(Press R to remove the others.F@³ “FP³a great snake“PP³a ghost“ZP³a tiger“dP³a squid“nP³enemy soldiers“xP³themselves“€²¤“Sorry. The boys do not agree with¾your listing. You need moreČinformation!€²¤“Yes! At different times, the boys think¾the beast may be any of these.€²¤ Use the left and right arrow keys to describe Ralph and Jack.<³RALPH“<³JACK“P@³ “PP³authoritarian“ZP³a nail-biter“dP³a daydreamer“nP³democratic“xP³experienced leader“‚P³a good singer“ŒP³ uncertain“–P³ a bully“€²¤“Sorry. Your choices do not agree¾with the descriptions in the book.€²¤“Yes, you really know these characters!€²¤ When Jack decides to hunt and kill thebeast, Ralph makes several suggestionsthat show Ralph is<A. sensible and cautious.FB. very brave.PC. strong.ZD. convinced Simon is the beast.€²¤“Ralph's suggestions to keep the¾fire going, explore Castle Rock,Čand make spears show that he isŅa sensible and cautious leader.€²¤“Sorry. Ralph ”is” brave, but his¾suggestions have nothing to doČwith being brave.€²¤“Sorry. Ralph ”is” strong, but his¾suggestions have nothing to doČwith being strong.€²¤“Sorry. Ralph and others mistake¾Simon for the beast later, butČhis suggestions have nothing toŅdo with Simon.€²¤ Use the left and right arrow keysto describe Jack at the beginningand end of the book.F³BEGINNING“F³END“Z@³ “ZP³experienced killer“dP³leader of the choir“nP³Ralph's friend“xP³absolute tyrant“‚P³hopes for rescue“ŒP³is ashamed“–P³ wants to punish“€²¤“Sorry. Remember that Jack is a¾little like Ralph at the beginning.€²¤“Yes! Jack changes in unpleasant ways.¾At first he is a likeable, thoughČbossy, choir leader. In the end heŅis a bloodthirsty savage.€²¤ The voice of the Lord of theFlies is really<A. the beast.FB. Simon's imagination.PC. Jack, who is hidden in the creepers.ZD. the buzzing insects.€²¤“Sorry. The Lord of the Flies is¾a pig's head, but the beastČis something else.€²¤“Simon imagines the conversation¾in which he learns the beast isČ"inside you."€²¤“Sorry. Simon is alone with the¾Lord of the Flies when theČconversation occurs.€²¤“Sorry. Simon does not mistake¾the insects for the beast'sČvoice. He is very sure aboutŅwhat he hears.€²¤ At the end of the story, theofficer asks, "Who's boss here?"(Ralph says, "I am," and Jack2remains silent.FThis means thatZA. Roger has become chief.dB. only Ralph acceptsnresponsibility for his actions.xC. the boys have turned‚against Jack.ŒD. the officer needs the boys'–help to search the island.€²¤“Sorry. The hunters do not try¾to get rid of Jack as theirČleader.€²¤“Ralph is willing to face the¾adult world and takeČresponsibility for his acts.ŅJack hangs back and is silent.€²¤“Sorry. The boys may reject¾Jack later, but there is noČevidence that they have turnedŅagainst him here.€²¤“Sorry. The officer will have to¾search the island, but he doesČnot indicate that he needs theŅboys' help.€²¤ How does the book suggest thatthe evil in human nature may becontrolled?FA. Find the evil people andP"kill the beast."ZB. Make rules to contain the evil.dC. Elect strong leaders tonprotect us from evil.xD. Defeat the evil through‚religion.€²¤“Sorry. Since the book indicates¾we are all evil, we could notČkill everyone.€²¤“Yes! Rules and laws may not always¾work, but they seem to be the bestČweapon against the evil that wouldŅdestroy civilized society.€²¤“Sorry. The strong leader in the¾book, Jack, is as evil as theČothers. The author suggests thatŅwe cannot rely on tyrants.€²¤“Sorry. Jack tries to defeat evil with¾the pig's head, dances, and songs, butČhis "religion" does not defeat theŅevil on the island.€²¤ Both Simon and Ralph reach animportant conclusion.(It is thatFA. the island is just likePthe adult world.ZB. Jack is the source of devil on the island.nC. evil is inherent inxevery person.‚D. rescue is more importantŒthan merely having fun.€²¤“Sorry. Though the reader may¾conclude this, Simon and RalphČhave a different idea.€²¤“Sorry. Ralph comes to fight¾against Jack, but Simon neverČdoes. They do not see him as theŅsole source of evil.€²¤“At the end Ralph weeps "for the¾darkness of the human heart." HeČrealizes what Simon had understood:Ņpeople are capable of great evil.€²¤“Sorry. Ralph always believes¾this, but it is a comparativelyČminor point with Simon whoŅponders larger truths.€²¤ Press K to keep ideas supported bythe book.(Press R to remove the others.Z³ “Z³Conflict is a result of human nature.“d³Power often, not always, corrupts.“n³Evildoers are always punished.“x³True friends may be unattractive.“‚³Nature is hostile and cruel.“Œ³Superstitions come from within.“€²¤“Sorry. Remember the things that¾happen in the book. They illustrateČthese ideas.€²¤“Well done! You realize that the actions¾of the book illustrate these ideas.€²¤ During Ralph's flight from thehunters, his feelings for thedead PiggyFA. remain ashamed and guilty.PB. change from fear to grief.ZC. are forgotten because hedis in danger.nD. reflect Jack's feelingsxabout Ralph.€²¤“Sorry. Ralph feels only momentary¾guilt over Piggy's death. HeČcouldn't have prevented it.€²¤“At first Ralph fears Piggy,¾"everywhere in the dark." AtČthe end he weeps "for the fallŅthrough the air" of his friend.€²¤“Sorry. Ralph does concentrate¾on his own danger, but heČremembers Piggy.€²¤“Sorry. There does not appear to¾be any parallel between the feelingsČof Ralph and Jack in this situation.€²¤ Ralph first begins to preferPiggy over Jack when<A. Piggy votes for RalphFas chief.PB. Piggy refuses to helpZkill Simon.dC. Jack accidentally setsnthe forest afire.xD. Jack's hunters let the‚fire go out.€²¤“Sorry. Ralph does not need¾Piggy's vote. All the boys voteČfor him, except for Jack's choir.€²¤“Sorry. Both Ralph and Piggy are¾in the group that kills Simon.€²¤“Sorry. Ralph knows the fire was¾an accident and still does notČsee Piggy as a friend.€²¤“Yes! When Piggy stands with him¾against Jack and the hunters,ČRalph begins to feel trueŅfriendship for the fat boy.€²¤ Press K to keep those things Simonthinks he hears in the voice of theLord of the Flies.2Press R to remove things he does not<hear.d@³ “dP³mockery“nP³irritation“xP³nostalgia“‚P³fear“ŒP³intimidation“–P³hostility“€²¤“Sorry. Remember, the emotions belong¾to the Lord of the Flies, not Simon.€²¤“Yes! Simon believes the pig's head¾expresses these feelings.€²¤ At the end of the novel Ralph weeps.Press K to keep IMPORTANT reasons(for his tears.<Press R to remove the others.d³ “d³He is wounded and in pain.“n³The officer embarrasses him.“x³He has lost his innocence.“‚³The atomic war has not ended.“Œ³Piggy is dead.“–³The island is ruined.“ ³People can be very evil.“€²¤“Sorry. Ralph has three important¾reasons to weep. You need moreČinformation!€²¤“"Ralph wept for the end of innocence,¾the darkness of man's heart, and theČfall through the air of the true,Ņwise friend called Piggy." Good!€²¤ Events test Ralph's leadership andcharacter.(Arrange these tests in the order they2occur.F³A. He helps kill Simon.“P³B. He reveals Piggy's nickname.“Z³C. He suggests building a signal fire.“d³D. He goes with Jack to find the beast.“n³E. He fights Jack for Piggy's specs.“‚³ “€²¤“Sorry. There is an error in your¾sequence. Remember, Ralph learnsČsomething important from eachŅmistake he makes.€²¤“Yes! At first Ralph betrays Piggy's¾confidence; later he defends Piggy.€²¤ How do Jack and his hunters becomesavages?(Arrange these events in the order2they occur.FA. They offer a pig's head to the beast.PB. They kill a sow that is nursingZpiglets.dC. They paint their faces.nD. Jack fights Ralph for Piggy'sxglasses.‚E. The hunters pursue Ralph.ŒF. Jack steals Piggy's glasses.€²¤“Sorry. Remember, the boys become¾increasingly more violent.€²¤“You're right! As the boys grow more¾savage, they cause more pain.€²¤ In his encounter with the Lordof the Flies, the most important thing Simon learns is(thatPA. the beast cannot beZkilled.dB. the boys will nevernbe rescued.xC. they will be destroyed‚in an atomic war.ŒD. Jack and his hunters–will seize control.€²¤“Simon learns the "beast"¾is "only us" and cannot beČkilled. It represents the evilŅwithin the human heart.€²¤“Sorry. The Lord of the Flies¾says nothing about rescue.€²¤“Sorry. The Lord of the Flies¾doesn't discuss atomic war.€²¤“Sorry. This is implied, but¾Simon learns something moreČimportant in his encounterŅwith the Lord of the Flies.€²¤ A series of deaths makes the boysmore and more callous.(Number the deaths as they occur.FA. Jack's first kill: a pigPB. a littlun with a birthmarkZC. a sow nursing her pigletsdD. PiggynE. Simon€²¤“Sorry. The first death is an accident.¾Then each one that follows is moreČdeliberate and brutal.€²¤“Yes! The first death is an accident.¾Then each one that follows is moreČdeliberate and brutal.€²¤ When Ralph thinks, "Be suckingmy thumb next," this suggeststhat heFA. realizes how he is regressing,Pbecoming childish.ZB. wishes he were still adchild without responsibilities.nC. daydreams about the time whenxhe used to suck his thumb.‚D. is mentally unbalanced by theŒresponsibility of being chief.€²¤“Ralph understands the boys are¾regressing. Without the trappings ofČculture and manners, the boys areŅreverting to more primitive behavior.€²¤“Sorry. Though Ralph daydreams¾about returning to civilization,Čhe does not yearn for a returnŅto childhood.€²¤“Sorry. Ralph does daydream,¾but not about sucking hisČthumb.€²¤“Sorry. Despite increasing pressures,¾Ralph remains clear-headed most ofČthe time and understands his ownŅactions and feelings.€²¤ When the boys set out to get Piggy'sglasses back, Ralph suggests they goto the hunters "washed and hair(brushed."<Why?ZA. Cleaning up will make them moredcomfortable.nB. They want to scare the hunters.xC. Their appearance will remind Jack‚that they really aren't savages.ŒD. Piggy feels ill; being clean will–help him feel better.€²¤“Sorry. Though this is true, being ¾clean has a more symbolic meaning Čfor Ralph.€²¤“Sorry. They are outnumbered and¾cannot scare the hunters withČneatness.€²¤“Ralph wants to remind Jack of the¾rules and customs of civilized life.ČHe hopes that neatness will intimidateŅJack and make him behave better.€²¤“Sorry; Piggy has asthma, but nothing¾is said of his illness in this part Čof the book.€²¤ The naval officer believes theboys should have "put up abetter show."2Why?ZA. They should know about thedrules of survival.nB. The island has food and shelter.xC. He mistakenly believes‚they have adults with them.ŒD. The boys are English.€²¤“Sorry. English schoolboys are¾not trained in survival.€²¤“Sorry. The officer has no way¾of knowing about food orČshelter on the island.€²¤“Sorry. The boys have told him that¾no adults are on the island.€²¤“Like Jack at the beginning of¾the book, he seems to think thatČ"the English are best atŅeverything."€²¤ Jack paints his face forseveral reasons.(What is the ”most important”2one?ZA. He wants to scare thedlittluns.nB. He plans to conceal his identityxfrom Piggy, Ralph, and Simon.‚C. He needs to free himselfŒfrom his conscience.–D. He wants to take Ralph's power by frightening him.€²¤“Sorry. Jack doesn't think about¾scaring smaller boys.€²¤“Sorry. Jack couldn't very well¾conceal his identity by paintingČhis face; the others know howŅhe moves and speaks.€²¤“Yes! Jack unconsciously wants to¾free himself from his civilizedČself. The savage mask allows himŅto kill and be more cruel.€²¤“Sorry. Jack is concentrating¾on the hunt, not on seizingČpower.€²¤ "I agree with Ralph. We've got tohave rules and obey them. Afterall, we're not savages. We're(English, and the English are the2best at everything. So we've got<to do the right things."PIronically, the speaker isxA. Roger.‚B. Simon.ŒC. Piggy.–D. Jack.€²¤“Sorry. Roger is a "furtive boy¾... who kept to himself." HeČrarely makes a speech thisŅlong.€²¤“Sorry. Simon is afraid to speak¾in front of people. He could notČmake this sort of speech.€²¤“Sorry. Piggy always agrees with¾Ralph. There would be no ironyČif he said this.€²¤“Ironically, Jack, the leader¾of the savages, at first standsČup for rules and "doing theŅright things."€²¤ When Ralph says of grownups,"They wouldn't set fire to theisland," we can see the(statement asPA. literally true; adultsZwould be better organized.dB. false; adults would panicnif deserted on an island.xC. mocking; Ralph never‚trusts adults.ŒD. ironic; adults are–fighting an atomic war.€²¤“Sorry. Ralph ”does” feel that adults¾would do better, but think aboutČwhat is happening in the worldŅoutside the island.€²¤“Sorry. Adults might or might not¾panic. The better answer takesČinto account what is happeningŅin the world.€²¤“Sorry. Ralph ”does” trust adults.¾The better answer takes intoČaccount what is happeningŅin the world.€²¤“Adults are fighting an atomic¾war. Ironically, they areČbehaving just like the boys.€²¤ Jack says about the beast,"... if he comes, we'll do our ...dance again."2What is the significance of this<remark?ZA. Jack has started his owndreligion with ritual dancing.nB. Dancing boys are too busyxto fear the beast.‚C. The dance will signal othersŒto come and fight the beast.–D. Jack doesn't believe in the beast and is making fun of the others.€²¤“Jack offers a pig's head to the¾beast and does a victory danceČwith the hunters. He has startedŅhis own primitive religion.€²¤“Sorry. Jack thinks the dance¾has more significance.ČYou need more information!€²¤“Sorry, The dance serves a¾purpose, but it is not a signal.ČYou need more information!€²¤“Sorry. Jack thinks the beast may¾be real. He is not joking about it.€²¤ Ralph says, "If only they couldsend us something grownup ...a sign or something."2Why is this comment ironic?ZA. The naval officer isdabout to arrive.nB. The "sign" is a deadxairman.‚C. Jack has already setŒthe island on fire.–D. Ralph is referring to Jack's hunters.€²¤“Sorry. Ralph says this at the end of¾chapter five. The officer will notČarrive until the end.€²¤“The grownups' "sign" is the¾dead airman who will be mistakenČfor the beast. Ironically, theirŅ"sign" only makes things worse.€²¤“Sorry. Jack and his hunters set¾the island on fire much later.€²¤“Sorry. Ralph is speaking of¾adults, not hunters, here.€²¤ When the forest burns, "Onepatch (of fire) touched a treetrunk and scrambled up like a(bright squirrel."<What figure of speech does thisFsentence contain?nA. personificationxB. paradox‚C. simileŒD. overstatement€²¤“Sorry. A personification compares¾an inanimate object to a humanČbeing. The fire is compared toŅa squirrel, not a person.€²¤“Sorry. A paradox is a statement¾that contradicts itself. ThisČstatement is not contradictory.€²¤“A simile compares two unlike¾things. The word "like" showsČthe simile here, comparing theŅfire to a squirrel.€²¤“Sorry. An overstatement¾exaggerates. The sentence isČnot exaggerated.€²¤ When Ralph argues for the signalfire or thinks of the hunters,"a curtain flickered in his(brain."<This metaphor means thatZA. Ralph sees himself as andactor on stage.nB. Ralph imagines himself behindxthe curtains in his room.‚C. the threat of death isŒlike a curtain.–D. Ralph is confused.€²¤“Sorry. Ralph is not posturing¾or acting for the others. He isČserious.€²¤“Sorry. Ralph's mental curtain¾does not mean that he imaginesČreal curtains.€²¤“Sorry. There is no immediate¾threat of death, and Ralph doesČnot think of death as a curtain.€²¤“Yes! Perhaps he is tired of being¾chief. Perhaps he half wants to joinČthe hunters. These thoughts fall likeŅa dark curtain, obscuring his mind.€²¤ As the first fire burns out ofcontrol, Piggy "glancednervously into hell and cradled(the conch."<What does this metaphor imply?ZA. Piggy fears injury from the fire.dB. Piggy has a prophetic glimpse ofnthe evil that will dominate thexboys.‚C. Piggy hallucinates from fear.ŒD. Piggy is angry because the others–have neglected his warnings.€²¤“Sorry. Well above the fire,¾Piggy is safe enough at theČmoment.€²¤“Piggy sees in the fire a¾prophetic glimpse of the "hell"Čthat will overtake the boys.€²¤“Sorry. Piggy is too rational to¾hallucinate, even when afraid.€²¤“Sorry. Piggy is angry, but not¾so furious that he sees "hellfire."€²¤ Ralph learns that, "One had tosit, attracting all eyes to theconch, and drop words like heavy(round stones" among the boys.<What is implied by the image inFthis quote?ZA. The words must be spokendslowly, importantly.nB. The speaker must have axhard, harsh voice.‚C. The words can hurt the boys,Œlike stones thrown at them.–D. Ralph is speaking about Roger throwing stones at Henry.€²¤“Good! Like stones, the words must¾attract attention. They must beČdeliberate and must soundŅimportant.€²¤“Sorry. The simile describes the¾words themselves, not the toneČof voice.€²¤“Sorry. Ralph doesn't want to¾hurt the boys. His concern is toČcommunicate with them.€²¤“Sorry. This is too literal.¾Ralph's words are compared toČstones, not the subject ofŅhis talk.€²¤ The book's ”major” controllingirony lies inFA. the boys' rescue by a navalPwarship.ZB. Ralph revealing Piggy's nickname.dC. Jack's initial failure to killna piglet.xD. Piggy's last defiance of Jack.€²¤“"Who will rescue the officer?"¾Golding later wrote. Ironically,Čthe adults are fighting asŅsavagely as the boys are.€²¤“Sorry. The scene reveals Ralph's¾lack of concern, but it is notČironic in any significant way.€²¤“Sorry. Though the hunter's¾first failure does seem ironic,Čthe irony is not the mostŅimportant one in the book.€²¤“Sorry. Piggy's defiance is¾ineffective, as one mightČexpect. It is not ironic.€²¤ A paradox is a literary devicein which an action or statementseems to contradict itself.2An example of paradox in ”Lord<of the Flies” isdA. Piggy's sharp mind.nB. the boys' search forxthe beast.‚C. the contrast betweenŒRalph and Jack.–D. the shape of the island.€²¤“Sorry; Piggy's intelligence is¾not paradoxical because it doesČnot contradict anything else inŅhis character.€²¤“The Lord of the Flies tells Simon the¾beast is "inside all of you." TheyČsearch the whole island for somethingŅinside each one of them.€²¤“Sorry; Ralph and Jack provide¾the conflict of the story, butČthey do not present a paradox.€²¤“Sorry; the island's shape¾(boat-like) does not contradictČany other element in the story.€²¤ The Lord of the Flies symbolizesevil.(Press K to keep the reasons this2title suggests evil.FPress R to remove the items whichPdo not apply.n³ “n³Most rulers are evil.“x³It suggests dirt and filth.“‚³It is applied to a fly.“Œ³Flies are annoying pests.“–³It suggests power.“ ³It suggests corruption, decay.“€²¤“Sorry; the ideas associated with the¾words "Lord of the Flies" contributeČSPECIFICALLY to the symbolism.€²¤“In the Bible, Beelzebub (the devil)¾is called the Lord of the Flies. ThisČname suggests filth, rot, corruptionŅand evil power.€²¤ The boys themselves become symbolsof important ideas.#Match the boys with the things they-symbolize.<A. Ralph C. Piggy E. RogerFB. Simon D. JackU1. "the brilliant world of hunting_0 tactics"i2. "the possibilities ofs0 irresponsible authority"}3. "the steadfast constellations"‡0 --- man's spiritual side‘4. "the world of common sense"›5. "Life is scientific."€²¤“Sorry. Remember, the symbolic¾values of characters are reflectedČin their words and deeds.€²¤“Yes! The boys represent these symbolic¾values because of what they say,Čhow they think, and what they do.€²¤ Golding wrote about ”Lord of the Flies”,"The moral is that the shape of a (society must depend on the ethical2nature of the individual."PWe may conclude that Golding isdA. a communist.nB. not interested in political systems.xC. expecting a nuclear holocaust.‚D. cautiously hopeful about the future.€²¤“Sorry. This quote would not indicate¾that Golding favors any one politicalČsystem over another. He is sayingŅalmost the opposite.€²¤“Sorry. Golding IS interested in po-¾litical systems. One reason he wroteČthis novel was to examine what happensŅwhen no political system exists.€²¤“Sorry. Golding's view is not really¾so pessimistic. Remember, the boysČare rescued, and the story ends Ņhappily for Ralph.€²¤“Golding is cautiously hopeful about¾the future. He still believes thatČpeople can be good and make a betterŅworld.€²¤ After the rescue, Ralph's major problem will be2A. explaining Piggy's death.<B. adjusting to "the end of Finnocence."PC. living with his guilt and shame.ZD. knowing right from wrong.€²¤“Sorry. This will be painful but is ¾not Ralph's major problem.€²¤“Ralph understands the harsh realities¾of adulthood. Adjusting to his newČknowledge of the world and human na-Ņture will be his greatest challenge.€²¤“Sorry. Ralph is not overwhelmed by¾guilt and shame. The other boys haveČmore reason to feel this way thanŅRalph.€²¤“Sorry. Ralph never really loses his¾sense of right and wrong. But theČother boys might have a problemŅwith this!€²¤ The officer symbolically turned fromthe boys and "waited, allowing hiseyes to rest on the trim cruiser in(the distance."<Golding suggests thatPA. the officer is anxious to avoidZunpleasantness.dB. the boys have made the officer nangry.xC. the officer himself needs ‚"rescue" from the evil of war.ŒD. Ralph will find his father, an –officer who is on the cruiser.€²¤“Sorry. Fighting is the officer's ¾business. He does not shrink from Čthe unpleasant side of life.€²¤“Sorry. The officer is not angry.¾He does not know the full story orČunderstand the significance of whatŅhe sees.€²¤“"But who will rescue the officer?"¾Golding later wrote. His involvementČin the war is as savage as the boys'Ņhunt.€²¤“Sorry. The officer does not know¾Ralph or his father. There is noČindication that Ralph's dad is on theŅship.€²¤ Ralph participates in Simon'smurder.(This means that RalphPA. is a hypocrite for callingZJack a murderer.dB. possesses murderous impulsesncommon to us all.xC. is trying to regain power‚by becoming a hunter.ŒD. should no longer be chief.€²¤“Sorry. Ralph is not a hypocrite.¾He feels guilty and remorsefulČfor his role in Simon's death.€²¤“Like the other boys, Ralph has dark¾impulses. However, he masters hisČfeelings and tries to preserve orderŅon the island.€²¤“Sorry. Ralph is not really shrewd¾and would not help murder SimonČin order to regain power.€²¤“Not really. If this were true, no¾boy could be chief since they allČparticipated in Simon's murder.€”M"Ņ^Tb`f`ZSt¦…uĀ>ż’b^2=+üečf©…IzfƒgDŅYSõP1Ģ‘df~O•§]\]vLP~xz[”Š”a€—E_XšiˆWxékKd„õVI][ž7‚TQHN{DEŪomNœ|Kn_VŸe C\Lu<BƒNmi^xB}{c„Œ]dQ.lŽKCņŠl~TDUZl£tNdKO¤wWcoä…m€]+~˜jh\wšixJ”£„ĪK¤‚‚q„€ m‹jrMPACKC00eF’ž’ž’ž’ž’ž’žA4†Ų*|Ī rÄhŗ ^°T¦ųJœī ^°ž’’Ą’ą’š>ŽP|zĀŠšĄķˆŃaHĮ HŠÅą`P  >@@€~žl š›Ē 8fąx9Ąą ĄÄĮ`€Ąh>K kćI>€>@Üaž?ž’ą P,HF†Ę…ĒC…mCC>~žüüų€š @0ž€€€D „@ d†€ČN2#×B9īę 9ˆ€ķžįŲš8\pg P ž’Ą’š?’üw6`ĻĻĻåR‡ēCƒĄ@@€ `€ č  x4`ĄžžųĆ ƒ׀ö€$o€ īxœ’`sžxp8ž 3Ā3’@Ą@ €€4Žt”ģ Ÿˆ˜œ€˜`@°€A>`Ąž ! ƒü ž8H``AĄĄ‹€Š€„!€Œ‰ų˜8Qą; f`ķ€`ž’ą÷ų?ēüĮž÷~ęȇĆćų$‰½‘Ź„SŹ„S‡Ćį€€$@@~ ’ąž<ō ó€’€Ąš8>gųĄš€€žpqĒqĒsē’’?’’’tD?Ą?šü>üzłrūö{ ö;ö}ł|žž ?€’āż·wū n`8Ā0`€€€! @@ĄĄA€ž’Ąµš’ų7’øoųOĆŠ_€߁ąü0Ü(ŻÄ¼¶€»€ųxšx4ą€ž ąŪ0 ų8$0ą@€`Ep€@88€8€8€8@p`š0ąĄ’üž Ą œĄ}ĄĆĻąæņ8@’ ’’ž`Ą€Į€ƒ† 0 ` Ą8€`Ą6,X0paĄĆ€ž’€’Ą’ų’ü~>ųšó€rš’ĀŠ”Fąa„ą €@ Ą €’ž6ןĄŖą ŪP®Č?W“jś’ˆ€ˆ€ˆ€ˆ€ˆ€ˆˆ€‰H€Ź]€¾žž’€ĄĄąąąĄĄ€üųųpųųųpž€>^\X@„ppPB‚xd„H˜|'6 sšĄūžåž?šž9x€|Įų'ģ'܈ #x0š`šČ°Č¹Ą3ˆ9'˜xł` 0’’’€0 `ž€Ą <`žP&žPdžČHüˆ‰łˆÄ氏ų0@p ąĄ€üžĄ€ šą6?Ÿį€N`Ōx8„Oį¤ $3ĀDŒqĆĄü0x`3ĄĄ€üž€€ĄĄ @@@2@d@Ȁ€€€ō@Z?tĄZ@“@ZAō@ZBt²¤£RALPH£(RALPH, the leader of the boys, is2"twelve years and a few months" old.F"You could see ... that he might makePa boxer, as far as width andZheaviness of shoulders went, but theredwas a mildness about his mouth andneyes that proclaimed no devil."‚He is a "fair" boy -- fair-haired andŒfair-minded.¢ąįAB¢€²¤£RALPH'S GOALS£(RALPH sees two important things for2the boys: "We want to have fun. And<we want to be rescued."PHe has the boys light a signal fire.Z"We've got to make smoke -- or die."nRalph stands for order, common sense,xand fair play.¢ąįAx¢€²¤£RALPH'S CONFLICT£(At first RALPH and Jack are friends,2and Piggy is the outsider.FThe temptation to go savage and be aPhunter is like a "dark curtain"Zthat often appears in Ralph's mind,dconfusing him.xBut he comes to know that "Piggy‚could think." When he rejects Jack'sŒkind of "fun," Ralph becomes Piggy's–friend and protector.¢ąį@¢€²¤£RALPH'S GROWTH£(RALPH grows and changes, becoming2more mature.FAt first a show-off who thinks thePisland will be fun, he becomes one ofZthe only boys who values rescue anddsurvival.xHe learns that evil lives within each‚of us, not in external beasts.–At the end, "Ralph wept for the end of innocence, the darkness of man'sŖheart, and the fall through the air“of the true, wise friend called¾Piggy."¢ąįA€¢€²¤£JACK£(JACK, the chief hunter, first appears2in the black robes and "hambone <frill" of a choirboy.P"... he was tall, thin, and bony: andZhis hair was red beneath the black dcap. His face was crumpled and freck-nled, and ugly without silliness."¢ąįE?¢€²¤£JACK£(He is in favor of "rules, lots of2rules"... as long as he makes them<for others to obey.PJack thinks, "I ought to be chiefZbecause I'm chapter chorister anddhead boy. I can sing C sharp."xThe choir votes for him with "dreary‚obedience." They know what a bullyŒhe is.¢ąįE?¢€²¤£JACK'S GOALS£(For JACK the most important task on2the island is hunting. He has "the<compulsion to track down and kill."FWhen he killed a pig, "madness camePinto his eyes."dJack begins his own kind of primitivenreligion. He paints his face, xencourages dancing and chanting, and‚even offers the pig's head as a Œsacrifice to the "beast." He craves power and stands for dis-Ŗorder, brutality, and savage behavior.¢ąįEt¢€²¤£HOW JACK CHANGES£(At first JACK seems a lot like Ralph.<"We've got to have rules and obeyFthem. After all, we're not savages.PWe're English, and the English are Zbest at everything."nBut when the boys choose Ralph as xchief, Jack says, "I'm not going to‚play any more. Not with you."–By the end of the book, Jack has  become a wild savage.¢ąįEš¢€²¤£PIGGY£(PIGGY is shorter than Ralph and very2fat. He suffers from asthma.F"Can't catch me breath. I was the Ponly boy in our school what hadZasthma. And I've been wearing specsdsince I was three."xPiggy confides his hated nickname to‚Ralph who reveals it to the others.ŒPiggy is a clumsy, pompous loner, the–natural victim and scapegoat of the group.¢ąįI?¢€²¤£PIGGY'S BELIEFS£(PIGGY believes "life is scientific,2that's what it is. In a year or two<when the war's over they'll be Ftraveling to Mars and back."ZResponsible Piggy is the one who dtakes the names of all the boys andntakes care of the littluns.‚Ralph grows to appreciate that he Œcan't think as well as Piggy, who–"could go step by step in that fat head of his, only Piggy was no chief."“Though not a leader, Piggy is loyal¾and always supports Ralph.¢ąįI†¢€²¤£PIGGY'S PROBLEMS£(As the story unfolds, PIGGY suffers a2number of problems.FJack breaks one lens of his glasses.PHe is always the butt of jokes. NoZone pays attention to him.nEventually most of the boys treatxhim with contempt. Only Ralph and‚Simon remain his friends.¢ąįIŽ¢€²¤£PIGGY'S FATE£(PIGGY asks the hunters, "Which is2better -- to have rules and agree,<or to hunt and kill?"PRoger answers by rolling a boulderZdown on Piggy that carries him offda forty-foot cliff to his death.xPiggy, Ralph's "true friend," the‚symbol of logic and thought, has beenŒkilled by the savages.¢ąįIk¢€²¤£SIMON£(SIMON, halfway between being a "big-2un and a littlun," is "a skinny,<vivid little boy with a glance comingFup from under a hut of straight hairPthat hung down, black and coarse."dHis eyes are "so bright they hadndeceived Ralph into thinking him xdelightfully gay and wicked."ŒSimon, a member of Jack's choir, is a–lonely dreamer who is subject to  "fits." Jack says contemptuously, Ŗ"He's always throwing a faint."¢ąįME¢€²¤£SIMON'S MYSTICISM£(As the boys discuss their fears of 2the beast, SIMON says, "... maybe <it's only us."PSimon understandžz#’’’’’’’’’’’’’’’’’’’’’’’’’’’’?’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’s what GoldingZdescribes as mankind's "essentialdillness," the potential for evil.xHe is a gentle prophet. Once he ‚comforts Ralph by telling him, Œ"You'll get back to where you came–from."ŖOnly Simon has the mystic's gift of“understanding. He represents the¾spiritual side of human nature.¢ąįM¤¢€²¤£SIMON MEETS THE LORD OF THE FLIES£(SIMON imagines the Lord of the Flies2is speaking to him.F"Fancy thinking the Beast was some-Pthing you could hunt and kill! YouZknew, didn't you? I'm part of you?dClose, close, close! I'm the reasonnwhy it's no go? Why things are whatxthey are?"ŒSimon realizes that the beast is the–evil part of human nature.¢ąįMż¢€²¤£SIMON'S FATE£(SIMON bravely sets out alone to find2the beast and discovers that it is<only the dead airman.PWhen he tries to tell the others thatZ"the beast was harmless and dhorrible," Jack's hunters kill him.xIn their fear and frenzy they have‚mistaken him for the beast.–Simon becomes a symbol of truth and self-sacrifice.¢ąįMz¢€²¤£ROGER£(ROGER symbolizes the cruel and2sadistic side of human nature.FAt first Roger controls his sadisticPimpulses. When he throws stones at aZlittlun he prevents himself fromdhitting the boy.xLater the restraints of the old way ‚of life weaken. He kills a sow stillŒnursing her piglets. Then he kills–Piggy and plans Ralph's death.ŖHe has about him "the hangman's “horror ... a nameless authority," the¾power of life and death.¢ąįQ9¢€²¤£ROGER'S NATURE£When ROGER joins Jack's group of (hunters, he represents "the possi-2bilities of irresponsible authority."FRoger becomes the executioner of thePgroup. He kills Piggy and hurts theZtwins.nSamneric say, "You don't know Roger.xHe's a terror."ŒIn the end, Roger "sharpened a stick–at both ends," presumably to offer  Ralph's head to the beast.“Roger fails to recognize any¾restraints, and his cruelty becomesČterrible.¢ąįQv¢€²¤£SAM AND ERIC (SAMNERIC)£2The twins, SAM and ERIC (SAMNERIC),<are identical. They think so muchFalike that each finishes the other'sPsentence.dThey and Piggy are the last biguns innRalph's group. When they are forcedxto join Jack's tribe, they still try ‚to help Ralph.–The twins see the dead airman first, and they are the ones who convinceŖthe other boys that the beast is “real.”¢ąįAĮąAÕ¢€²¤£MAURICE AND ROBERT£2MAURICE and ROBERT are two of the<biguns. They desert Ralph's groupFand eventually join the hunters.ZBoth take part in the "kill the pig"dritual.”¢ąįQžąQ“¢€²¤£THE LITTLUNS£(The LITTLUNS are those boys around2the age of six. Piggy tries to take<care of them but finds them tooFlively to control.ZOne of the littluns first dreams of adbeast. Later a second littlun ntells the boys that the beast "comesxfrom the sea."€²¤£THE NAVAL OFFICER£(The NAVAL OFFICER rescues the boys2because he has seen the smoke of the<burning island. This time theirF"signal fire" was big enough to Pattract attention.dThe officer thinks that "a pack ofnBritish boys ... would have been ablexto put up a better show."ŒThis rescuer is himself fighting a –savage war. Golding later asked,  "Who will rescue the officer" and theŖadults like him?¢ąįO!X¢€²¤£RALPH AND JACK£xRALPH JACK2Ralph and Jack are alike at first but<grow to be enemies.PJack doesn't appreciĶĮÉĪ                          .ĶÓŌŅ                          ˆ ĀĻĻĖ                          Jate Ralph's wishZto be rescued. Ralph cannot under-dstand Jack's compulsion to hunt andnkill.¢ąįA‚ąE:¢€²¤£RALPH AND JACK IN CONFLICT£2 RALPH JACKFThe conflict between them grows whenPJack abandons the signal fire to killZhis first pig.nThe fire goes out as a ship passes,xand the boys miss their chance of ‚rescue.–At this point Ralph realizes that  Piggy is a better friend than Jack.¢ąįApąVJąE墀²¤£THE CLIMAX OF THE CONFLICT£(The conflict between Ralph and Jack2comes to a climax when Jack steals<Piggy's glasses, blinding him andFremoving the only source of fire forPRalph's group.dRalph fights Jack for the glassesnbecause Jack is not "playing thexgame," not following the rules of‚behavior that they have alwaysŒaccepted. After this confrontation with Ralph,ŖJack stops acting like a civilized“person and becomes increasingly more¾savage.¢ąįAąK[ąEy¢€²¤£PIGGY AND JACK£€PIGGY JACK2Piggy and Jack are in open conflict<as soon as the story begins.PJack calls him "Fatty," breaks hisZglasses, and says that Ralph isn't d"a proper chief" because he "talksnlike Piggy." Jack wants freedom fromxadult rules.ŒPiggy always measures the boys by–adult standards, calling them "Kids" and scolding, "What would grownupsŖthink?"¢ąįI…ąEü¢€²¤£THE MEANING OF JACK AND PIGGY'SXCONFLICT£2Piggy is puzzled and frightened by<Jack's hostility.PHe says, "He hates me. I dunno why."dThe conflict between Jack, the mostnsavage boy, and Piggy, the mostxrational, becomes a conflict between‚primitive emotion and rational thought.€²¤£RALPH'S ROLE£(Ralph likes Jack's sense of freedom2and fun, but he comes to appreciate<Piggy's loyalty.PIn the end Piggy, not Jack, is ZRalph's one "true friend."¢ąįAt¢€²¤£RALPH AND SIMON£ˆSIMON RALPH2Ralph and Simon share many feelings<but are really very different.¢ąį]GąM•¢€²¤£RALPH£(Ralph is a good swimmer and a2natural leader.FHe mocks Piggy at first but laterPlearns to value the fat boy'sZfriendship.nAlthough Ralph is basically good,xhe participates in Simon's murder.¢ąįA<¢€²¤£SIMON£(Simon is a mystic who has fainting2spells.FA loner by nature, he is usually tooPshy to speak at meetings even thoughZhe has a lot to say.¢ąįM@¢€²¤£BOTH BOYS£XSIMON RALPH2Ralph and Simon both tend to daydream<and are allied against Jack and allFthat he represents.¢ąįMbąA¢€²¤£TWO KINDS OF LEADERS£°RALPH JACK2Jack and Ralph are very different<kinds of leaders.PRalph prefers to discuss problems,Zallowing everyone to have a say. Hedlistens to suggestions, makes com-npromises and leads the boys in axdemocratic way.ŒWhen risks come -- for example, when–Castle Rock must be explored -- Ralph takes the lead.¢ąįA°ąDĀąE&ąP}¢€²¤£JACK'S IDEAS£(Jack compares Ralph to Piggy, saying2that Ralph "isn't a proper chief."FJack thinks leaders should act, notPthink. In his view, a leader is aZ"chief" who gives orders that must bedobeyed.xJack is a tyrant. In his view, the‚best leader is the one who isŒstrongest.¢ąįEsąPš¢€²¤£ITEMS ASSOCIATED WITH RALPH AND JACK£(Because Ralph and Jack are such2different kinds of leaders, certain<items are associated with each boyFand represent the differences in Ptheir leadership.nRALPHnJACK‚signal fire‚face paintŒhutsŒspears–fruit–large boulders conch shell a hambone frill“(The hambone frill is part of Jack's¾choir costume.)¢ąįDe“ąPdā¢€²¤(Ralph's items represent efforts to2survive on the island and be rescued.FJack's items represent strict (author-Pitarian) control over others and theZviolence of the hunt.€²¤£JACK AT THE BEGINNING AND END£(As the story develops, Jack changes2in several unpleasant ways.FAlthough he seems too overbearingPand bossy, he is a likeable boy atZfirst.nAt the end he is a bloodthirsty andxsavage tyrant. Yet when he is ‚confronted with adult authority, JackŒseems ashamed of all he has done.€²¤£JACK AT THE BEGINNING AND END£(Jack could be described at the2beginning and end of the story in<these ways.PBEGINNINGPˆENDdleader of a choirdˆexperienced killernRalph's friendnˆabsolute tyrantxwants powerxˆis ashamed‚hopes for rescue‚ˆwants to punish¢ąįEVąT1ąK*8¢€ĄZG“@ZHō@ZIō@ZJtĄZK“@ZLō@ZMō@ZNtĄZO“@ZPō@ZQō@ZRtĄZS“@ZTō@ZUō@ZVtĄZW“@ZXtĄZY4ĄZZ4ĄZ[4ĄZ\4ĄZ]“@Z^ō@Z_tĄZ`“@Zaō@ZbtĄZc“@Zdō@Zeō@ZftĄZg“@Zhō@Ziō@ZjtĄZk“@Zlt²¤£LOSS OF INNOCENCE£(An important theme in ”Lord of the2Flies ”is the loss of innocence and<understanding of evil.PAt first the island is like paradise:Z"the least energetic could find an deasy ... meal ... everywhere was thenscent of ripeness."‚However, the boys bring evil to thisŒtropical Garden of Eden.¢ąįJœ¢€²¤£THE BOYS LOSE THEIR INNOCENCE£(Ralph and Piggy argue for the "rules2of the game," for creating a civil-<ized society on the island.PJack and his hunters, driven by a madZ"compulsion to kill," become more anddmore savage. Killing is "like a longnsatisfying drink" to them.¢ąįJś¢€²¤£SIMON'S ROLE£(Simon, the dreamer, can free the boys2from their fear of the beast.FWhen he tries to bring "the goodPnews" that the beast is "horribleZand harmless," the frenzied hunters, djoined even by Piggy and Ralph, nmistakenly kill him.‚Simon's sacrifice is the first delib-Œerate killing of a human being and –marks the end of all innocence on the island.¢ąįMu¢€²¤£THE CLIMAX£(Later Roger deliberately kills Piggy,2and the hunters try to track down and<kill Ralph. They are consumed byFtheir own evil.ZIn the end the rescued Ralph weeps d"for the end of innocence, the dark-nness of man's heart."‚The island is a microcosm (a smallŒversion) of the real world, and the–boys repeat the failures and mistakes of the adults.¢ąįAgąI—ąE}ąQūąEŹąQ²ą@䢀²¤£SURVIVAL£”(Lord of the Flies ”can be seen as a2story of survival. The boys learn to<make spears, hunting camouflage, a Ffire-starter, and even huts.ZSignificantly, their greatest successdis in hunting and killing. The hutsnare less successful.‚As the adventure continues, the boysŒcannot preserve the rules of civil-–ized behavior.¢ąįKO¢€²¤£SIGNIFICANCE OF THE SURVIVAL THEME£(Golding suggests that the struggle2for survival leads to savagery and<a loss of civilized values.PThis breakdown leads to the rise ofZprimitive passions and hostility, anddthese eventually destroy the island.¤¾Have you begun reading the book?ČThis would be a good time to start.¤€²¤£THE BEAST£(An important theme in the story is 2the shadowy existence of the beast.FA littlun first dreams of a "beastie,Pa snake-like thing" in the forest.ZThe others laugh at him, but laterdanother littlun says the beast "comesnfrom the sea."‚Ralph says it might be a giant squidŒor other sea-beast.¢ąįC[¢€²¤£REACTIONS TO THE BEAST£(The boys vote on their belief in2ghosts. Most of them believe that<ghosts exist.PPIGGY, the intellectual, deniesZthe beast's existence. He does notdbelieve in anything so "unscientific."nHe says the only thing they havexto fear is people.ŒJACK, the bully, vows to find the–beast and kill it. Hunting the beast satisfies his violent nature.¢ąįCÅ¢€²¤£REACTIONS TO THE BEAST£(SIMON, the mystic dreamer, speaks to2the spirit of the beast and is the<only one who understands that it isF"only us."ZRALPH, the leader of the boys, wantsdto organize them to discuss thenproblem and decide what to do.¢ąįCÅ¢€²¤£THE MEANING OF THE BEAST£(Simon has the right idea about the 2beast.FLater he has what Jack calls one ofPhis "fits" and imagines he hears theZvoice of the Lord of the Flies.‚The evil figure says, "Fancy think-Œing the Beast was something you –could hunt and kill! ... I'm part of you."“Evil - the beast - comes from within¾the "darkness of the human heart."ČEach individual must struggle againstŅit if society is to survive.¢ąįCŅąBeĄ¢€²¤£RATIONALITY VS. IRRATIONALITY£20RALPH2ˆJACKFThe struggle between rationality andPirrationality -- sanity and insanity --Zis an important theme in the story.nRalph represents rationality and xJack, irrationality. This difference‚creates the conflict between them.¢ąįA½ąV^ąE’¢€²¤£AN EXAMPLE OF RATIONAL AND IRRATIONALpBEHAVIOR£<Ralph and Jack have very different Freactions when Samneric tell themPabout the beast.dJack leaps up to find it and kill itnimmediately. But Ralph makes somexsensible and cautious suggestions‚before rushing off to confront an Œunknown danger.€²¤£RALPH'S SUGGESTIONS£(Ralph says, "This is more than a 2hunter's job because you can't track<the beast."PThen he urges Jack to think of placesZhe has not yet explored.xBefore leaving for Castle Rock he ‚suggests that they all take spears.¢ąįA©ąK]5ąPlz¢€²¤£SUMMARY OF THIS THEME£2(RALPH JACKFIn order to kill the beast and lightPthe signal fire again, the boys mustZact in an organized and rational way.nHere Ralph embodies the importantxnotion of human rationality and ‚common sense.–Jack is all emotion. He embodies the irrational impulse to act withoutŖthinking.¾Eventually Jack dominates in theČstruggle between rational thought andŅirrational impulses.¢ąįAńąEąDąP¢€²¤£FREEDOM AND RESPONSIBILITY£(At first the boys love the idea of2being alone on a tropical island.FThey see it as an adventure, a chancePto do anything they want without Zadult supervision.nHowever, this freedom becomes theirxundoing. Roger satisfies his ‚sadistic impulses, and freedomŒbecomes deadly anarchy (lawlessness).¢ąįH JąG¼ąV!¢€²¤£RALPH AND JACK AT THE END OF THE STORY£2pRALPH JACKFAt the end of the book the officerPasks, "Who's boss here?"dRalph steps forward and says, "I am."xSignificantly, Jack remains silent,‚even though he has actually seizedŒpower. Ralph is mature enough to acceptŖresponsibility along with freedom.¾Jack does not feel responsible and isČstill only a boy despite his blood-Ņthirsty deeds.¢ąįAxąEķ¢€²¤£INTERNAL AND EXTERNAL DANGERS£<The boys must fight many dangers onFthe island.ZSome are external threats: illness,dstorms, the threat of starvation, andnwild beasts, like the boar.‚Others are internal: fear, lack ofŒexperience, selfishness, hostile–rivalry, and feelings of aggression.¢ąįCąJnąB™¢€²¤£GOLDING'S VIEW£(Golding suggests that the external2dangers are relatively easy to over-<come.PThe internal flaws springing from theZheart are the ones that will wreckdthe boys' hope of doing things "thenright way."€²¤£THE ISLAND AS A MICROCOSM£<The island is a microcosm or smallFversion of the adult world.ZGolding's view is that each person dhas the potential for evil.xThis evil is part of human nature.ŒWe cannot ignore it; for it is always–there.¢ąįA+ąEFąIdąMAąQ\ąExąImąA”¢€²¤£CONTROLLING EVIL£(Though the potential for evil is2within everyone, it can be controlled.FPeople must agree to cooperate, bePresponsible, and follow the rules ofZsociety.nGolding does not believe that thexhuman race is doomed to destroy ‚itself, but he is not very optimisticŒeither. "I can see man's balance is about Ŗfifty-fifty, and his chances of “blowing himself up are about one to¾one."¢ąįB¢€²¤£GOLDING'S ALLEGORY OF EVIL£”(Lord of the Flies ”contains many of2Golding's ideas about mankind and the<world.PHe believes that people's deepestZfears and greatest troubles aredcaused by the flaws in human nature.¢ąįBŁ¢€²¤£GOLDING'S VIEW OF THE WORLD£FGolding's world is a neutral one, Pwith nature indifferent to humans.dNo power assures us that sinners arenugly and will always be punished orxthat the good are handsome and will ‚always be rewarded.¢ąįH'ąL[ąL4ąH'*ąH&ąL ąH&ąL"ąH$ō¢€²¤£GOLDING'S SOLUTION£(In this uncertain world, people must2cooperate. They must also be able to<see the good, even in unattractiveFindividuals and causes.ZGolding believes that government isdnecessary but reminds his readersnthat power can corrupt those whoxgovern.ŒPeople can avoid trouble only by–making laws and following them!¢ąįG›¢€²¤£GOLDING'S MORAL£(In discussing this novel Golding 2wrote, F"The theme is an attempt to trace Pthe defects of society back to the Zdefects of human nature. The moraldis that the shape of a society mustndepend on the ethical nature of thexindividual not on any political ‚system..."¢ąįG‰¢€ĄZ{“@Z|ō@Z}ō@Z~tĄZ“@Z€tĄZ“@Z‚ō@Zƒō@Z„tĄZ…“@Z†ō@Z‡ō@ZˆtĄZ‰“@ZŠtĄZ‹“@ZŒtĄZ“@ZŽtĄZ“@Zō@Z‘ō@Z’t²¤£GENERAL MOOD£(The mood of ”Lord of the Flies ”is one2of horror and deep pessimism.FAt first the boys are sure they canPtriumph and "do the right things"Zbecause "the English are best at deverything."xBut the mood turns dark, and the ‚island can seem dangerous and threat-Œening. Their fears and conflicts grow untilŖall of the rational characters are“either dead, enslaved, or under ¾attack.¢ąįCr¢€²¤£CLIMAX OF MOOD AND EMOTION£(The movement from hope to despair2is complete when Ralph finally has<"nowhere to run" from the savages.PDeath is everywhere.dThe sow is killed in a grotesque andnpainful way.¢ąįBę¢€²¤£CLIMAX OF MOOD AND EMOTION£(Simon is murdered in a savage frenzy.2Piggy's head is broken open in a <terrible fall.PThe dead parachutist decays in a tree.dAnd the horrible Lord of the Flies nrests on a stick, gloating over allxthat happens.¢ąįBę¢€²¤£PIGGY'S SHAME£(Piggy is often a victim of embarrass-2ment.FAt first, he tells Ralph, "I don`t Pmind what they call me, so long as Zthey don't call me what they used todcall me at school."xHe hates the nickname "Piggy," and‚when Ralph thoughtlessly reveals it,ŒPiggy is crushed with shame and –embarrassment.¢ąįIv¢€²¤£REACTIONS TO SIMON'S DEATH£(Each character reacts differently to2Simon's death.FRalph feels guilty and ashamed. ZPiggy feels guilty too but cannotdquite bring himself to admit whatnhe has done.‚Although they insist it was anŒaccident, Ralph and Piggy agree not–"to let on that we was in that dance."€²¤£REACTIONS T fearsFPiggy's haunting presence, "terriblePin darkness and death ... with his Zempty head."nHowever, Ralph ultimately remembersxhis friend's good qualities, and by‚the end of the book Ralph weeps forŒthe death of his "true friend."¢ąįAń¢€²¤£FEAR OF THE BEAST£(In the darkness the boys see<"something like a great ape ...Fasleep with its head between itsPknees. Then the wind roared ...Zand the creature lifted its head."nThe beast, an unknown threat, is xfeared by almost all the boys.ŒWhen Jack, Ralph, and Roger find the–dead body of a parachutist, they  believe they have seen the beast.¢ąįCœ¢€²¤£FEAR OF THE BEAST£(The wind lifts the parachute, and the2dead man, looking "like a great ape,"<raises his "ruined face" to them.PThe boys flee in terror. Only PiggyZsteadfastly refuses to believe in dits existence.¢ąįCœ¢€²¤£RALPH BECOMES PIGGY'S FRIEND£28RALPH2pPIGGYFA moment of crisis occurs when Jack'sPhunters let the signal fire go out.dPiggy angrily stands up to Jack, whonbreaks Piggy's glasses. ‚When Ralph says, "That was a dirtyŒtrick," he acknowledges Piggy's –friendship for the first time.¢ąįAwąI¬¢€²¤£RALPH BECOMES PIGGY'S FRIEND£28RALPH2pPIGGYFGolding says that Ralph himself doesPnot know at first how large a changeZhas taken place.nBecause Jack has been disloyal to thexwhole group while Piggy remains ‚loyal, Ralph "detaches" his friend-Œship from Jack and gives it to Piggy–instead.ŖHe can never be friends with Jack“again. From now on he will be ¾Piggy's friend and defender.¢ąįAwąI¬¢€²¤£THE BOYS' FEARS£(Though the book is set on an imaginary2island in wartime, Golding makes the<boys' fears seem realistic.PThey are afraid of things that allZyoung people might fear: wild beasts,dthe dark, the unknown. On the islandntheir fears become more powerful andxintense - especially at night.ŒThey are less afraid of things they –can deal with, like the ocean or  abstract ideas like breaking rules.“The most fearful thing in the world,¾atomic war, is so remote to them thatČthey don't think of it at all.¢ąįH†ąJ²ąCÜ¢€²¤£THE HUNTERS' FRENZY£("Kill the pig! Cut her throat! Spill2her blood!"FThe boys repeat this chant many times.ZWhen the hunters kill the sow they dare excited, frenzied. They laugh atnthe death and regard the kill as a xtriumph.ŒLater they kill Simon in the same–kind of excitement and frenzy. But this time they kill out of fear andŖfeel guilty later.¢ąįEÓąQģąEąQąE3¢€²¤£JACK'S FIRST ATTEMPT AT HUNTING£(Jack first attempts to kill a pig2when he explores the island with <Ralph and Simon.PWhen they find a piglet tangled inZthe creepers, Jack raises his knife dbut cannot strike.xLater he claims that he was "looking‚for a place," but in truth he wasŒimmobilized by the "enormity" of –death.ŖJack and the others come to see life“as worthless, and death loses its¾terrible importance.¢ąįE±¢€²¤£SIMON HEARS THE LORD OF THE FLIES£(Simon imagines that the Lord of the 2Flies speaks to him.F"... silly little boy ... Aren't youPafraid of me? ... I'm going to get Zangry ... we shall do for you."nSimon hears mockery, rising anger, xand intimidation in the voice of the‚Lord of the Flies.¤¾This is a very powerful scene in theČbook. Have you begun reading it?¤¢ąįMwąBƒā¢€²¤£SIMON REACTS TO THE LORD OF THE FLIES£<The voice is very authoritative andFfrightening to Simon. It is "the Pvoice of a schoolmaster."dSimon has been taught to obey and nfear such voices of authority. Whenxhe refuses to give in, he acts with‚great couraget mostly for what he has learned.PHe has suffered "the end of Zinnocence, the darkness of man's dheart, and the fall through the airnof the true, wise friend called xPiggy."ŒRalph weeps for the pain of growing–up and the discovery of evil in the human heart.¢ąįA£¢€²¤£JACK'S TEMPER£(Jack's moods are dominated by anger.<When the boys elect Ralph as chief,FJack is frustrated and angry.ZHis anger grows when:n1. The boys refuse to vote Ralphxout as chief.Œ2. Piggy calls the hunters–savages.Ŗ3. Ralph accuses him of stealing“Piggy's glasses.¢ąįE}¢€²¤£JACK'S TEMPER£(Jack's hostility and anger are part2of the reason he resorts to murder<and savagery.¢ąįE}¢€²¤£HOW THE BOYS BEGIN AND END£<In the BEGINNING, the boys want to F"have fun and be rescued."ZRalph turns cartwheels, swims, and denjoys himself. Although he and thenothers feel homesick, their excite-xment and curiosity about the island‚relieve this feeling.¢ąįA;ąE/ąIąMįąQĒąIŽąE«ąQ‹¢€²¤2By the END of the book, "it's all <gone wrong."PJack and Roger show great hostilityZtoward the others, beating or killingdthem.xRalph flees the hunters in fear of‚his life. He is driven to despairŒover "the darkness of man's heart." The hunters have given in to theŖsavage excitement of the kill.¾When the naval officer arrives,ČJack and his hunters feel ashamedŅof what they have done.€ĄZ›“@Zœō@ZtĄZž4ĄZŸ“@Z tĄZ”4ĄZ¢“@Z£tĄZ¤“@Z„tĄZ¦4ĄZ§“@ZØtĄZ©“@ZŖtĄZ«4ĄZ¬“@Z­tĄZ®“@ZÆt²¤£MAJOR EVENTS IN THE STORY£(Many exciting things happen in”2Lord of the Flies.”FWatch for these important events.Z1. The plane crashes on the island.n2. Ralph is elected chief of thexboys.Œ3. The boys agree to keep a signal–fire.Ŗ4. Jack lets the signal fire go out.¾5. The boys begin to fear a beast.¢ąįTM>ąAi鹁D‡÷ąE¤»ąCĮt¢€²¤(6. Jack forms his own tribe.F7. Jack leaves a pig's head as anPoffering to the beast.n8. Simon talks to the Lord of thexFlies and learns the truth.¢ąįE ąQ%ąQ ąE%ąE sąQ&tąBFģąMmµ¢€²¤£MAJOR EVENTS IN THE STORY£(9. Simon is killed when he tries to2tell the boys what he knows.P10. Roger rolls a boulder down on Piggy.n11. The hunters pursue Ralph.Œ12. The naval officer arrives.¢ąįP'µąI]yąAiŌą”O!ŒÜ¢€²¤£GROWING FEAR£(These events reveal the boys' growing2fear.F1. A littlun dreams of a "snake-Pthing, a beastie."n2. Jack kills a sow and offers thexhead to the beast.–3. Simon learns from the Lord of the Flies that the beast "is us."¾4. The boys mistake Simon for the Čbeast and kill him.¢ąįJAėąBgtąC üąMĮt¢€²¤£RALPH'S GROWTH AS LEADER£Ralph grows and changes as the story(develops.<1. At first he is thoughtless andFreveals Piggy's nickname.Z2. He is resourceful and thinks of dbuilding a signal fire.x3. He is brave, going with Jack and‚Roger to find the beast.–4. However, he shows he is weak when he takes part in Simon's ritualŖmurder.¾5. Then he matures; siding withČPiggy for the good of all, heŅfights Jack for the glasses.¢ąįAĶ¢€²¤£MAJOR AND MINOR EVENTS£(Some major events are:<1. Ralph finds the conch shell, theFsymbol of leadership.Z2. A littlun dreams of the beast,dthe beginning of fear and nanxiety.‚3. Simon finds the airman and Œdiscovers the truth about the–"beast."¢ąįG1¹ąCR4ąM|Æ¢€²¤(4. Piggy falls from the cliff, in2a deliberate act of violence<by the hunters.P5. The island burns, the lastZirrational act of the huntersdand the "signal" for rescue.¢ąįI&lą”O!c ¢€²¤(Some minor e.¢ąįDJ¶ąE‰!ąQ‡ś¢€²¤(3. The hunters roll rocks at Ralph.2This is only one event in <their "hunt."Z4. Ralph spears a hunter. This, dtoo, is only one event in nthe clash between Ralph and xthe hunters.¢ąįA5qąP_ė¢€²¤£THE HUNTERS BECOME SAVAGES£(The hunters become more and more 2savage.FTheir increasing violence occurs in Pthis order:d1. They paint their faces, freeingnthemselves from restraint.‚2. They kill a sow.–3. They offer the pig's head to the beast.¢ąįELąQeąE|¢€²¤£THE HUNTERS BECOME SAVAGES£(4. Jack steals Piggy's specs.<5. Jack fights Ralph over the specs.P6. The hunters pursue and try to Zkill Ralph.¢ąįELąQeąE|¢€²¤£THE BREAKDOWN OF CIVILIZED BEHAVIOR£2xCASTLE ROCKFWhen the boys neglect to use the Pdesignated lavatory, Ralph scolds Zthem.n"... It's dirty," he says.‚Their casual attitude about the Œlavatories is an ominous first sign–of the breakdown of order and civilization among the boys.¢ąįK”¢€²¤£2xCASTLE ROCKFUsing the lavatory is one of the mostPbasic rules of civilized behavior.dPerhaps Ralph understands that bynignoring this rule, the boys havexturned their backs on civilization.¢ąįK”¢€²¤£BURNING THE ISLAND£(The burning of the island at the end2is catastrophic.FOnly Ralph understands that the boysPare fools; they have destroyed theirZonly source of food.nIf the smoke had not attracted a ship,xthe boys would have quickly died of‚exposure and starvation.–Ironically, if the boys had not acted like savages and set fireŖto the island, the naval ship“probably would not have seen¾them and come to their rescue.¢ąįD °ąĮDžąĮDĆąD«ąĮD ĻąĮD“¢¤€²¤£RALPH'S LOSS OF CONTROL£(Ralph grows desperate as he loses 2control of the boys.F1. At the first assembly he is Pelected chief. He is in control.d2. He orders a signal fire lit. Hisndesire for rescue is a high xpriority, and the others agree‚with him.–3. Jack takes the boys hunting and  lets the fire go out. ThisŖdirectly challenges Ralph's “authority.¢ąįAČ¢€²¤£RALPH'S LOSS OF CONTROL£(4. Ralph and Jack fight after Jack2forms his own group. Ralph is <chased away.P5. Samneric, Ralph's former friends,Zwarn him away. He has become a dfugitive.x6. Ralph flees the hunters who mean‚to kill him. His control has Œvanished.¢ąį@Č¢€²¤£THE SEQUENCE OF DEATHS£(Many deaths occur in the story.<The last few deaths become increas-Fingly deliberate and brutal. PFinally, the hunters plan Ralph's Zcold-blooded murder.nThe deaths occur in the following xorder:Œ1. The birthmarked littlun –disappears in the fire and is presumably killed.“2. Jack kills a pig.Č3. The hunters kill a sow nursingŅher piglets.¢ąįBĒ¢€²¤£THE SEQUENCE OF DEATHS£(4. Simon is killed when the boys 2mistake him for the beast.F5. Piggy is killed when Roger rollsPa boulder down on him.¢ąįBĒ¢€ĄZ¼“@Z½ō@Z¾tĄZæ4ĄZĄ4ĄZĮ“@ZĀō@ZĆō@ZÄtĄZÅ“@ZĘtĄZĒ“@ZČtĄZÉ4ĄZŹ“@ZĖtĄZĢ“@ZĶt²¤£THE LURE OF HUNTING£(Ralph argues passionately that 2"Anyone can play at hunting ... we've<got to make smoke."PBut the boys prefer hunting. They Zsee building shelters and tending dthe fire as hard work.xHunting offers excitement, thrilling‚power over life and death, and aŒrelease for their aggression and fear.¢ąįBØ¢€²¤£THE ABSENCE OF ADULTS£(Golding implies that some adults were2on the plane with the boys.FBut the "man with the megaphone" andPthe pilot are nowhere to be found Zafter the plane crash.nPresumably they have been killed.¢ąįTa fire.¢ąįDÓ¢€²¤£STARTING THE SIGNAL FIRE£(Ironically, Piggy, the outcast and2scapegoat, possesses the one item <necessary to all the boys.¢ąįDÓ¢€²¤£SIMON'S DEATH£("A thing was crawling out of the 2forest. It came darkly, uncertainly."FThe "thing" is Simon. In the dark ofPthe storm, the boys think he is the Zbeast, and they kill him.nWhen they see what they have done,xthey run away.¢ąįM‚¢€²¤£THE MEANING OF SIMON'S DEATH£(Simon is coming to tell the boys that2there is no beast on the island.FHe wants to alleviate their fear, butPthey kill him without learning theZtruth.nSimon dies for the truth and becomesxa martyr. His sacrifice is meaning-‚less to all the boys except Ralph andŒPiggy.¢ąįMų¢€²¤£FIVE BOYS LEFT£20RALPH PIGGY SIMON SAMNERICFJack takes the hunters away to formPhis own tribe.dPiggy tells Ralph, "We'll live on ournown, the four of us."‚Ralph replies, "Four of us. We Œaren't enough to keep the fire burn-–ing."ŖEven before Simon's death, the five“of them could not keep a fire burn-¾ing for twenty-four hours, especiallyČsince Samneric would not take Ņseparate turns.¢ąįAxąI¢ąM ”ąA9ąA”¢€²¤£LAPSING INTO CHILDISHNESS£(Ralph, worried and fretful, begins 2his "old habit" of biting his nails.F"Be sucking my thumb next," he Pthinks.dRalph suddenly realizes that the boysnare regressing in their behavior andxappearance.ŒAs the restraints of civilized life–are loosened, the boys become more primitive and childish.€²¤£WHY RALPH IS LEADER£(Ralph uses the conch to call the 2first meeting.FThe boys come asking, "Where's the Pman with the trumpet?"d"... there was a stillness about nRalph that marked him out; there wasxhis size, and attractive appearance;‚and, most obscurely, yet most power-Œfully, there was the conch."¢ąįA«ąGŅ¢€²¤£THE MEANING OF THE CONCH£(Ralph's possession of the conch 2symbolizes his leadership of the <boys.PIt stands for order, rules, and Zcivilized behavior.nSince Ralph uses the conch to call xthe boys together, they acclaim him‚leader.¢ąįGÕ¢€²¤£CIVILIZED VS. SAVAGE£CONCH CASTLE ROCK<After the hunters steal Piggy's Fglasses, Ralph thinks they ought to Pclean up, "go looking like we used Zto, washed and hair brushed."nHe hopes that their neatness will xremind the hunters of the old rules‚of behavior.–Their only hope lies in acting "according to the rules."¢ąįGąK&ąV ¢€²¤£THE OFFICER'S REACTION£(The officer says, "I should have 2thought that a pack of British boys<... would have been able to put up aFbetter show than that."ZLike Jack much earlier in the book,dthe officer simply assumes that "thenEnglish are best at everything."¢ąįO!A¢€²¤£WHY JACK PAINTS HIS FACE£(Jack paints his face to conceal him-2self from the pigs, but his painted<mask makes him "an awesome stranger."PHe dances, "and the mask was a thingZon its own, behind which Jack hid, dliberated from shame and self-nconsciousness."‚Jack has freed himself from hisŒcivilized identity. In doing this he–is free from the demands of his  conscience.¢ąįEŻ¢€ĄZ×4ĄZŲ4ĄZŁ“@ZŚtĄZŪ“@ZÜtĄZŻ4ĄZŽ4ĄZß“@ZątĄZį4ĄZā4ĄZć4²¤£A STICK SHARPENED AT BOTH ENDS£("Roger sharpened a stick at both 2ends," Samneric tells Ralph toward<the end of the book.PRalph does not understand until heZfinds a pig's head resting on a stickdsharpened at both ends.xThen he realizes the hunters mean to‚kill him and offer his head to the Œbeast. Angry and afraid, he takes the sharp-Ŗened stick anda few on the disland.‚Ironically, the grownups have set Œfire to their own "island." They are–waging an atomic war that drove the boys to the island in the first Ŗplace.¢ąįT§¢€²¤£WARNING OF THE LORD OF THE FLIES£(Simon imagines the Lord of the Flies 2saying, "I'm warning you ... You're<not wanted. Understand? We're goingFto have fun on this island."ZThis figure of evil proclaims thedterror of the coming days.xThe "fun" will include torture, the ‚burning of the island, and the deathsŒof Piggy and Simon.¤¾This is a very chilling scene in theČbook. Have you begun reading it?¤¢ąįB¶¢€²¤£JACK'S "RELIGION"£(Jack initiates a kind of pagan 2religion among the boys.FWhen he cuts off the sow's head, hePsays, "This head is for the beast.ZIt's a gift." He begins a ritualdof sacrifice.xLater the chant of "Kill the pig" ‚and what Jack calls "our dance"Œbecome other rituals in this savage–and violent "religion."¢ąįE˜¢€²¤£THE ADULTS SEND A "SIGN"£(Ralph asks for a "sign or something"2from the world of adults.FHe has no idea that his request willPbe answered.dThe "sign" is the body of a pilotnwho was killed in an air battle tenxmiles above the island. The body falls‚and is caught in one of the trees.–This "sign" makes things worse for the boys, not better.¢ąįCŅ¢€ĄZī4ĄZļ4ĄZš4ĄZń4ĄZņ4²¤£MIMICRY£(MIMICRY is "the art or practice of 2imitation." FIt comes from the word MIMIC, whichPmeans "to imitate another's speechZand gestures, as in mockery."€²¤(Ralph calls out, "Jack!" And Jack2imitates his tone of voice in bitter<MIMICRY. He is making fun of Ralph.€²¤(Golding may be using the word MIMICRY2to show that Jack is jealous of<Ralph's authority. PBy imitating Ralph, Jack tries to Zmake him look ridiculous to the dother boys.€²¤£VULNERABLE£(VULNERABLE means "easily injured;2unprotected from harm." FAn unarmed man would be VULNERABLE ifPhe were on a battlefield in wartime.€²¤(When Robert pretends to be a pig, 2Ralph finds himself wanting "to get a<handful of that brown, VULNERABLEFflesh."ZIn his excitement, he wants to hurtdRobert.€²¤(Golding uses this moment to remind us2that all the boys are vulnerable -- <susceptible to harm.PRalph, usually a peacemaker, gives inZto this savage impulse and is as dcruel as the others.xHe, too, is VULNERABLE to savagery.€²¤£TABOO£(A TABOO is a ban placed on some2activity or attitude. TABOOS are <imposed by social custom.PFor example, in our society thereZis a TABOO against appearing indpublic without any clothes.€²¤(At first Roger will not harm a 2smaller boy because of the TABOO of<the old life, "invisible but strong."PThe ban temporarily keeps his crueltyZin check. When he becomes more dsavage he will overcome this TABOO.xThe boys create another TABOO after‚Simon's death.–Their shame is so great that Piggy  and Ralph cannot mention his name.ŖIt has become TABOO.€²¤(TABOO is very appropriate in this 2book.FIt comes from Tahitian, a language Pspoken on other Pacific islands.€²¤£MORTIFICATION£(MORTIFICATION is "keen embarrassment2or humiliation." It is a feeling of<shame deeper than the usual kind of Fembarrassment.ZA man might feel MORTIFICATION if hisddeepest secrets became known.€²¤(Jack loses the election to Ralph and2blushes in MORTIFICATION.FHe is used to winning and being the Pleader, and his shame is very deep.€²¤(MORTIFICATION comes from a Latin word2meaning, "to die."FGolding knew that people often sayPthey "could have died of shame."dThe word is appropriate to Jack whosenMORTIFICATION leads him to revolt andxsavagery.€²¤£LEVIATHAN£(A LEVIATHAN is "a huge sea monster."<In the Bible, a LEVIATHAN appears inFthe book of Job as a symbol ofPmonstrous size and power.€²¤(Golding compares the sea itself to a 2"sleeping leviathan" which breathes <in and out.PHe suggests that the motion of the Zwaves resembles the breathing of a dhuge beast.€²¤(LEVIATHAN is an appropriate word2for an island setting.FLike a monstrous beast, the sea is Phuge, powerful and potentially deadly.€²¤£EFFIGY£(An EFFIGY is "an image of a person,2usually a crude image of a despised<person."PThe dead airman is a sort of EFFIGYZof the beast, and the pig's head on adstick becomes an EFFIGY of the Lord nof the Flies.€²¤(As Percival begins to cry, his 2distorted face is an EFFIGY of <sorrow. It is like a crude Frepresentation of the emotion.€²¤(Golding uses EFFIGIES -- such as the2dead airman and the pig's head -- to <stand for various ideas.PThe airman represents the cruel Zresult of war, and the pig's headdstands for human evil.€²¤£EFFULGENCE£(EFFULGENCE is "blinding radiance;2resplendent shining."FThe sun on a bright summer day shinesPwith EFFULGENCE.€²¤(Golding says the lagoon "attacked2them with a blinding EFFULGENCE."FThe tropical sun reflecting from thePwater strikes the boys with a Zradiance that is blinding.€²¤(The unusual word EFFULGENCE stresses2the unusual climate of the tropical<island.PThe boys are in a very alienZenvironment and are not used to suchdheat and light.€²¤£SIMILE: FIRE/SQUIRREL£(A SIMILE is a comparison of two 2unlike things using the words, ”like”<or ”as.”P"Your eyes are like your mother'sZeyes," is NOT a simile because the dsame types of things are being ncompared.‚"Your eyes are like stars," IS a Œsimile because eyes and stars are –two different things.€²¤(Golding's description of a patch of2fire climbing a tree "like a bright<squirrel" is a good example of a Fsimile.ZThe comparison implies the swiftnessdwith which the fire spreads.€²¤(Vivid use of similes helps a writer2create pictures in the reader's mind.FYou can find many similes in ”Lord ofPthe Flies. ”Look for the especiallyZmemorable descriptions.¤“If you haven't already started¾reading the book, isn't this aČgood time to begin?¤€²¤£METAPHOR: CURTAIN FLICKERED£(A METAPHOR is an indirect comparison2of two unlike things.FExample:Z"Your eyes are stars."nYour eyes are compared to starsxby making a direct statement about‚the two.€²¤(Often when Ralph argues for law and2order, "that curtain flickered in his<head and he forgot what he had beenFdriving at."ZRalph is tempted to be savage anddfree like the hunters.xThis metaphor compares Ralph's‚desire to a curtain.–A curtain covers or conceals, and Ralph's half-conscious desire Ŗ"covers" or confuses his plan for“rules and order.€²¤(Golding's use of METAPHORS often2reinforces the themes of the book.FThis one shows us how even a decentPboy like Ralph can be confused by hisZdesire for complete freedom.€²¤£METAPHOR: GLANCED ... INTO HELL£(A METAPHOR is an indirect comparison2of two unlike things.FExample:Z"Your eyes are stars."nYour eyes are compared to starsxby making a direct statement about‚the two.€²¤(As the forest fire burns, Piggy2watched it and "glanced nervously<into hell."PAlthough this fire is much smallerZthan the one that burns at the enddof the book, Piggy sees it as annomen of the "hell" which the boysxwill live in later.€²¤(Golding foreshadows both the final2burning of the island and the coming<of the Lord of the Flies -- theF"devil" within each human heart.€²¤£SIMILE: WORDS/STONES£(A SIMILE is a comparison of two 2unlike things using the words, ”like”<or ”as.”P"Your eyes are like your mother'sZeyes," is NOT a simile because the dsame types of things are being ncompared.‚"Your eyes are like stars," IS a Œsimile because eyes and stars are two–different things.€²¤(Ralph reflects that a leader "had to2sit ... and drop words like heavy<round stones" to his listeners.PIn this SIMILE Ralph is comparing Zwords to heavy stones.€²¤(This SIMILE emphasizes the gravity2and deliberateness of Ralph's speech.FHe must choose his words carefullyPand "drop" them correctly in order toZconvince the others.nIt suggests how resistent the boys xare to reasonable discussion and how‚difficult it is to be a democraticŒleader.€ĄZų“@Złō@ZśtĄZū“@Züō@ZżtĄZž“@Z’ō@ZtĄZ“@Zō@ZtĄZ“@Zō@ZtĄZ“@Zō@Z tĄZ “@Z ō@Z tĄZ “@Zō@ZtĄZ“@Zō@ZtĄZ“@Zō@ZtĄZ“@Zō@Zt²¤£THE CONCH SHELL£(Certain items have symbolic value in 2the book.FRalph's conch shell, with its com-Pmanding tone, becomes the symbol ofZleadership.nOnly the boy holding the conch has xthe right to speak.ŒWhen the conch is broken in Piggy's–fall, it symbolizes the end of  Ralph's enlightened rule.“Jack cries, "There isn't a tribe for¾you anymore! The conch is gone!"¢ąįG‡¢€²¤£PIGGY'S SPECS£(Nearsighted Piggy's glasses --- his2"specs" --- are a product of civili-<zation and allow the boys to startFfires.ZThe fires serve two purposes: theydcook meat, and they signal fornrescue. Piggy's specs thus symbolizexthe civilizing gift of fire.ŒSignificantly, they are first broken, –then stolen, by the savage Jack.¢ąįIx¢€²¤£JACK'S KNIFE£(Jack, the hunter, has a knife with2him.FWhen he first finds a piglet caught Pin some creepers, he raises the knifeZbut hesitates. The "enormity of the ddownward stroke" is too much for him.xLater, he fashions spears using the‚knife. The knife comes to symbolize Œthe desire to hunt and kill.¢ąįEo¢€²¤£THE BOULDER£(Roger uses a lever to roll a huge2rock down on Piggy and kill him.FThe action marks Roger with theP"hangman's horror," identifying him asZthe executioner of the savage group.nThe crushing pink rock comes toxrepresent the implacable movement of ‚the savages, destroying everything inŒtheir path.¢ąįQg¢€²¤£THE MULBERRY BIRTHMARK£(Perhaps it is significant that the2first boy to die is a littlun with a<mulberry colored birthmark.PHe disappears in the first fire.ZHe seems to be "marked" for death.€²¤£FIRE AND HUNTING£(The signal fire and the hunt have 2special meaning.FHunting is associated with freedomPfrom rules, savagery, and the dom-Zination of an absolute leader, Jack.nThe signal fire comes to symbolizexcooperation, order, discipline, rescue,‚and Ralph's democratic rule.¢ąįDąPĒąV,¢€²¤£FIRE AND HUNTING£(As Jack faces Ralph, "There was the 2brilliant world of hunting, tactics,<fierce exhilaration, skill; and thereFwas the world of longing and baffledPcommon-sense."dRalph's orderly, democratic worldncannot cope with a savage rebel likexJack.¢ąįDąPĒąV,¢€²¤£”LORD OF THE FLIES” AS ALLEGORY£(An ALLEGORY is a story with2two meanings, one real and<the other symbolic.”PLord of the Flies” can be read as anZadventure story and as an allegorydabout human nature.€²¤£ELEMENTS OF THE ALLEGORY£(As an allegory, the island symbolizes2or stands for the real world of adults.FRalph's election as chief representsPdemocracy and representative govern-Zment.nJack's tyranny over the hunters xrepresents absolute rule or dicta-‚torship.¢ąįG’ąB„¢€²¤£PARALLELS IN THE ADULT WORLD£(The boys' actions on the island 2are not very different from the<behavior of adults in the outsideFworld.”ZThe boys vote” for a chief. Their delection parallels the adult worldnof politics.”‚Ralph organizes groups” of boys toŒdo different jobs. His actions–imitate the orderly rules of a civilized society.¢ąįGY·ąAt¢€²¤”(Jack offers a pig's head” to the beast.2His actions are a primitive and<childish version of religion.”PThe hunters burn the island.” ThisZevent parallels the destructive atomicdwar taking place beyond the island.¢ąįB5uąDuļ¢€²¤£THE ROLE OF EVIL£(At first the boys (people in general)2try to build an orderly society,<making rules and living by them.PThen the beast (human evil) makes Zthem afraid.nThey become savages, glorying in xtheir freedom from restraint.¢ąįCŒ¢€²¤£THE MEANING OF THE ALLEGORY£(By the end of the story, the boys 2are so driven by mindless hate that <they destroy the island to find oneFboy.ZIn allegorical terms, the moral is:nIf human beings cannot learn toxcontrol their evil impulses, they may‚destroy themselves and the wholeŒplanet.¢ąįS^ąSLąSpąS¢€²¤£THE PROTAGONIST£(Ralph is the main character or 2PROTAGONIST.FHis struggle for survival is thePcentral focus of the book.dReaders are most interested in how thenexperience on the island will affectxand change him.ŒJack is Ralph's opponent, the–ANTAGONIST of the novel.ŖAs the major rival, he has an“important role in the story.¢ąįA‡¢€²¤£SIGNIFICANCE OF THE SETTING£(The island setting creates a closed,2self-contained environment for the<story.PIn this limited space Golding canZconcentrate on the characters and dtheir problems. There are no otherndistractions to divert the charactersxor the reader.¢ąįLąL'ąL>ąH ĪąH `ąH tąH ?¢€²¤£SET IN THE FUTURE£(The story is set in the near future2when an atomic war threatens the <existence of the whole world.PIf Golding wrote the book today, heZwould use the term, ”nuclear war.€²¤£FORESHADOWING MAIN EVENTS£(FORESHADOWING occurs when one event2suggests or predicts another, later<event.PExamples from the story are:d1. Simon tells Ralph, "You'll get nback." He foreshadows Ralph'sxrescue.Œ2. The accidental fire at the begin-–ning foreshadows the deliberate  fire at the end.¢ąįO!sćą”D™y¢€²¤(3. Roger throwing rocks at the 2littlun foreshadows what he<does to Piggy with the boulder.P4. Jack killing the first pig fore-Zshadows Simon's death at thedhands of the hunters.x5. The pig's head offered to the ‚beast foreshadows the hunters'Œplan for Ralph's death.¢ąįI(ļąB|¶ąMP÷¢€²¤£BUILDING SUSPENSE£(SUSPENSE occurs when we are uncertain2of the outcome of events.FDangerous situations, foreshadowing,Prepetition of phrases, and a sense ofZforeboding all heighten suspense indthis story.¢ąįSŒąSžąS±ąSĆąSÕąSę¢€²¤£BUILDING SUSPENSE£(1. Ralph's escape from the fire is 2suspenseful because he is in <danger.P2. The hunters' chant becomes Zsuspenseful because it is repeateddover and over.x3. The sharpening of a stick is ‚suspenseful because it foreshadowsŒdeath. 4. The Lord of the Flies says, "We'reŖgoing to have fun." This ominous“warning foreshadows more death.¢ąįSąSžąS±ąSĆąSÕąSę¢€²¤£THE STRUCTURE OF THE NOVEL£(The book is divided into two 2sections. The first deals with <Ralph's leadership, the second withFJack's.ZGolding contrasts democracy and dtyranny in these two sections.€²¤£RALPH'S RULE£(Ralph's rule is marked by:<1. finding the conchP2. establishing rules of conductd3. building a firex4. building hutsŒAlthough troubling things happen (the–forest catches fire; the littlun dis- appears) Ralph's rule is constructiveŖand beneficial to the boys.¢ąįG6]ąAIpąD_•ąRpõ¢€²¤£JACK'S RULE£(Jack's rule is marked by:<1. sacrifices to the beastP2. the rise of Roger, the executionerd3. the theft of Piggy's glassesx4. the creation of the fortŒThese destructive and violent actions–reflect Jack's savagery and cruelty.¢ąįB2æąQ:ąI^ŸąKqD¢€²¤£IRONY IN THE STORY£(IRONY occurs when we see or hear the2opposite of what is expected.FThe boys' rescue is a good example ofPirony.dThe officer saves the boys, but he isna member of a military force that mayxbe destroying the world.ŒWe expect rescuers to provide safety,–but this rescuer is placing the boys -- and the whole world -- inŖgrave peril.¢ąįO"`¢€²¤£ANOTHER EXAMPLE OF IRONY£(Ralph and Piggy hope for a "sign" 2from the adult world.FThe only "sign" that arrives is thePdead parachutist who hangs in a treeZand is mistaken for the beast.nThe boys expect help from adults butxget only more trouble.¢ąįCĪ¢€²¤£PARADOX IN THE STORY£(A PARADOX is a statement or action 2that ”seems” to contradict itself.FFor example:ZThomas Gray said, "Where ignorance isdbliss, 'Tis folly to be wise."xThis is a paradox because he states‚that it is foolish to be wise.–A paradox is used to emphasize a  point.¢ąįSØąS¹ąSŹąSŚąSźąSś¢€²¤£EXAMPLE OF PARADOX FROM THE STORY£(In ”Lord of the Flies”, the boys look2for a beast.FThe beast turns out to be somethingP"inside you. Close, close, close!"dThe paradox is that they cannot findnsomething already inside themselves.xThey cannot kill something that is a ‚part of them.€²¤£SYMBOLISM OF THE TITLE£(Beelzebub was a pagan god long known2as the Lord of the Flies.FChristian writers like John MiltonPregarded Beelzebub as a devil.d"Lord" suggests great influencenand power.‚"Flies" suggest filth and decay.–Thus the name, Lord of the Flies,  evokes a strong feeling of evilŖpower and corruption.¢ąįBĄ¢€ĄZ$4ĄZ%4ĄZ&4ĄZ'4ĄZ(4ĄZ)“@Z*tĄZ+“@Z,ō@Z-ō@Z.ō@Z/ō@Z0tĄZ14ĄZ2“@Z3tĄZ4“@Z5tĄZ6“@Z7tĄZ8“@Z9ō@Z:tĄZ;“@ZtĄZ?4²¤£UNDERSTANDING THE NAVAL OFFICER£(The naval officer who rescues the 2boys does not understand what has<happened.PHe thinks the boys are having "fun Zand games." He compares them to thedboys in ”Coral Island,” the classic nadventure story about British boys onxa tropical island.¢ąįO" #¢€²¤£THE OFFICER'S ROLE£(The officer is blind to the fact that2modern war -- which is his <business -- is even more savage thanFthe boys' behavior.ZThis lack of understanding strikes andominous note; for if adults cannotnrecognize evil, they will not be ablexto control it.¢ąįO"„¢€²¤£RALPH'S FATE£(The novel builds to a very suspense-2ful climax as the hunters chase Ralph<through the burning island.PThey do not capture him, but if they Zhad, Ralph would have met a terribledfate. The hunters would have killednhim.¤¾This is a very exciting scene in theČbook. Have you read it yet?¤¢ąįAs¢€²¤£THE MEANING OF SIMON'S DEATH£(Ralph is subject to fear and frenzy2like any of the other boys.FHe participates in the dance that Pleads to the ritual of Simon's death.dThe storm, the darkness, and the nchanting work on him, allowing hisxdarker impulses to take control.¢ąįM÷¢€²¤£RALPH PREVAILS£(Simon's death dramatizes Golding's 2point: we are all capable of evil.FRalph does not succumb to evil but Pgoes on to fight for order and Zrescue.nHe has grown into his role asxleader and can overcome his human‚weaknesses.¢ąįA‡¢€²¤£PREDICTING RALPH'S FUTURE£(Ralph's experience on the island has2been devastating.FHe has a new awareness of the harshPrealities of the adult world.dOnce back in civilization, Ralph willnhave to learn to cope with his know-xledge of evil and his disillusionment‚with people.¢ąįAÖ¢€ĄZO“@ZPtĄZQ4ĄZR“@ZStĄZT4²¤£A BRIEF BIOGRAPHY£(William Golding was born in Cornwall,2England, in 1911.FHe wanted to be a scientist but Pchanged his study to English while heZwas at Oxford.nHe enlisted in the Royal Navy in xWorld War II and served in several‚battles.¢ąįO!„×¢€²¤(Golding credits World War II with2changing him from an idealist to a <pessimist.PFollowing the war, he became a Zteacher in England. He also toured anddlectured widely in the United States.€²¤”(Lord of the Flies”, published in 1954,2was Golding's first major novel.FIt achieved remarkable popularity andPbecame an instant modern classic.dHis reputation has grown steadily nsince this first book.‚In 1984 Golding won the Nobel PrizeŒfor Literature in recognition of his–achievement as a writer.€²¤£OTHER BOOKS BY GOLDING£(Golding has written many other 2interesting books.FSome of them have the same themes andPideas as ”Lord of the Flies.dThe Inheritors” describes early man'snloss of innocence as the Neanderthalsxsuccumb to modern man in the process‚of evolution.”–The Spire” examines a churchman's  attempt to glorify God by building aŖmagnificent church, but pride and“ambition corrupt his original aims.€²¤”(Free Fall,” as its title indicates,2considers the fall of man. Rich in<symbolism, this book, like ”Lord of Fthe Flies,” examines the origin of Pevil.d”The Paper Men” is the story of annEnglish writer and an Americanxcritic who wage a "war of words."‚This novel explores the nature ofŒreality.€²¤£BOOKS ABOUT GOLDING£(You may want to read other books 2about ”Lord of the Flies.”FThe following books examine the Pmeaning and importance of this novel.dAmis, Kingsley. ”NEW MAPS OF HELL.”xKermode, Frank. ”PUZZLES AND ‚ EPIPHANIES.”–Nelson, William. ”WILLIAM GOLDING'S  THE LORD OF THE FLIES: A SOURCEŖ BOOK.”€²¤2The casebook edition of ”LORD OF THE<FLIES” edited by Baker and ZieglerF(New York: Putnam, 1964), containsPmany helpful short essays about theZnovel.nIn 1983 Golding won the Nobel Prizexfor Literature, and many articles ‚were written about him in magazinesŒand periodicals. Consult your librarian or the ”ŖReader's Guide to Periodical Litera-“ture” for a listing of these articles.€ĄZY“@ZZō@Z[tĄZ\“@Z]tĄZ^“@Z_t²¤£BOOKS ABOUT ISLAND ADVENTURE£(Ballantyne, R.M. ”THE CORAL ISLAND”2 tells of three boys who use their< traditional values to civilize theF natives of a tropical island. It isP a romantic contrast to ”LORD OF THEZFLIES.”nHughes, Richard. ”A HIGH WIND IN xJAMAICA” is about seven children‚ who are kidnapped by pirates andŒ reveal that they are not as – innocent as they seem.¢ąįHXąH$ąHrąH~¢€²¤£BOOKS ABOUT ISLAND ADVENTURE£(Nordhoff, C., and J.N. Hall.” THE2BOUNTY TRILOGY,” based on actual< history, tells of how the men of F the ”BOUNTY” mutiny and try to formP their own civilization on a remoteZ island.nStevenson, R.L. ”TREASURE ISLAND” is x the classic adventure tale of Jim‚ Hawkins who vies with pirates toŒ recover buried treasure.¢ąįHXąH$ąHrąH~¢€²¤£BOOKS ABOUT SURVIVAL£(Defoe, Daniel. ”ROBINSON CRUSOE”2 recounts the adventures of a young< Englishman stranded on an island F for twenty-eight years.ZDickey, James. ”DELIVERANCE” tells ofd four men who test their ability ton survive during a canoeing trip inx rural Georgia.ŒFisher, Vardis. ”THE MOTHERS” is a– gripping story about a group of  women who struggle to save theirŖ children during a blizzard in the“ Sierras in 1846.¢ąįD°¢€²¤£BOOKS ABOUT SURVIVAL£(Hemingway, Joan and Paul Bonnecarrere.2”ROSEBUD” is an exciting story about< a group of girls who are kidnappedF in a plot to disrupt the balance ofP power in the Middle East.dWyss, J.R. ”THE SWISS FAMILY ROBINSON”n tells how an ingenious familyx survive a shipwreck and create a‚ new life on a desert island.¢ąįD°¢€²¤£BOOKS ABOUT LOSS OF INNOCENCE£(Butler, William. ”THE BUTTERFLY2REVOLUTION” is set in a boys' camp,< where a "revolution" takes placeF which reflects adult conflicts andP tensions.dKnowles, John. ”A SEPARATE PEACE” isn the vivid story of friendship andx betrayal in a New England private‚ school during World War II.–Swartout, Glendon. ”BLESS THE BEASTS AND CHILDREN” compellingly presentsŖ six young misfits who are rejected“ by their parents. At an Arizona ¾ camp they earn their adulthood.¢ąįJö¢€ĄZc“@ZdtĄZe“@ZftĄZg4ŌMV²zDn[a2h€,&&K‰ų’“µĖ"½y~įĻ©žŅŽ«ƒgéO'­zžņ²«9SÖAų³r8ĆĒ7±%Ņ®ś,]ZyĆ>Ń„‘ū9[ŚÓŠtäę¹Ó"Ćłjü„5ʈīµŸH–½W4 c9™³€_Yœā:E ßzŗTō5¾’3xFĄńbNŖpžF¶A„Ń¢Ŗ’?„M„    sŌö[Ü+Ķ-Ś*¹Cßū˜1¢²  f›XŃe`v-¤   ¼‹Čp‚ øz橳÷Ż‚~ģ˜é„æ“óŒŅ’µ·^Č į|½å™[³5¢}^`ŁM7ķ4Ž\xRŲ\; ¬āL&Žd?l ,  D7\5<  ŅKĖNs§Č¬ł‡8