Language (Lord of the Flies)

This section explores the language used in the novel Lord of the Flies by William Golding. William Golding’s Lord of the Flies is a novel rich in symbolism, allegory, and a complex use of language. The novel explores themes of civilisation versus savagery, the loss of innocence, and the inherent evil within humanity. Golding's use of language helps to convey these themes, using a variety of literary techniques, narrative style, and imagery.

Symbolic Language

Golding uses symbolic language throughout the novel to convey abstract ideas and underlying themes. Objects, characters, and even the setting take on symbolic meanings that go beyond their literal existence.

The Conch Shell: The conch represents law, order, and civilisation. Initially, it is used to bring the boys together and establish a form of democracy. Golding's description of the conch as "gleaming" and "deep cream, touched here and there with fading pink" highlights its purity and the fragile nature of the societal order it represents.

The Beast: The 'beast' symbolises the primal fear and savagery within the boys. Golding uses the language of fear and superstition when describing the beast, reflecting how fear distorts perception. Phrases like "snake-thing" and "a thing... ever so big" reflect the irrational nature of this fear.

Piggy’s Glasses: Piggy's glasses symbolise rationality, intelligence, and the power of science. Golding’s descriptions of the glasses breaking progressively mirrors the boys' descent into savagery, as their vision (both literally and metaphorically) becomes increasingly impaired.

Descriptive Language and Imagery

Golding’s use of imagery is highly descriptive, often evoking strong sensory reactions from the reader. This not only creates a vivid picture of the island but also reflects the psychological and emotional states of the characters.

The Island: Initially, the island is portrayed as a paradise, almost Edenic, with "the lagoon was still as a mountain lake—blue of all shades and shadowy green and purple." However, as the novel progresses, the island’s description becomes darker, reflecting the boys’ descent into savagery. Golding writes of "creepers that lay across the trail like snakes" and the "skull-like coconuts," imbuing the landscape with a sense of menace.

The Weather: The weather often mirrors the emotional intensity of the novel. During Simon’s death, the storm builds in intensity, described as "the sky was shattered by a blue-white scar." This use of pathetic fallacy enhances the sense of chaos and violence.

Animal Imagery: Golding frequently compares the boys to animals as they lose their civilised behaviour. For instance, Jack is described as "dog-like" and the hunters "wriggled and stamped their feet, as if they were trying to uncoil something on their skin." These images emphasise the regression from human to animalistic behaviour.

Diction and Word Choice

Golding’s word choice (diction) is significant in shaping the mood and tone of the novel.

Formal Language vs. Slang: Early in the novel, Piggy and Ralph often speak in more formal, civilised language, reflecting their ties to the world of adults and rules. Piggy’s dialogue, in particular, is full of logical reasoning. As the boys grow more savage, their language becomes more primal and fragmented. By the end, even Ralph’s speech is broken and desperate, signifying the collapse of rationality.

Violent Lexis: Words associated with violence and destruction become increasingly prevalent as the novel progresses. The chant "Kill the pig! Cut her throat! Spill her blood!" is a powerful example of how language reflects the boys' descent into brutality. The repetitive nature of the chant creates a hypnotic, ritualistic tone that dehumanises both the hunters and their victims.

Euphemism and Understatement: Golding often uses euphemistic language to depict the boys’ actions in a way that diminishes the true horror of their violence. For example, Simon’s murder is referred to as "the dance," a euphemism that disguises the barbaric reality of what occurs.

Narrative Voice and Perspective

The novel is told through a third-person omniscient narrator, allowing Golding to explore the thoughts and feelings of different characters.

Shifts in Perspective: The narrative often shifts between the perspectives of the boys, giving the reader insight into their inner turmoil. Ralph's perspective, in particular, offers a view of someone struggling to maintain order and civility amidst growing chaos. The shift to the perspectives of more savage characters, such as Jack, highlights the contrast between civilisation and savagery.

Use of Free Indirect Speech: Golding occasionally employs free indirect speech, which allows the narrator to slip into the boys' thoughts without direct attribution. This creates a closer identification with the boys’ psychological states, particularly their fears and desires.

Figurative Language

Golding makes frequent use of figurative language to deepen the impact of the novel's themes.

Similes and Metaphors: Similes and metaphors are used to draw comparisons between the boys’ actions and animalistic or destructive behaviour. For example, "the crowd surged after it, thunderous like a herd," vividly compares the boys' behaviour to wild animals, reinforcing their descent into savagery.

Personification: Nature is often personified in the novel to reflect the boys’ emotional states. For example, the sea is described as "boiling," enhancing the sense of impending doom.

Irony: There is a strong use of irony in the novel, particularly in relation to the boys’ perception of the adult world. For example, the naval officer, who ultimately rescues them, is part of a war, representing the very chaos and savagery the boys have descended into on the island.

Tone and Mood

The tone of Lord of the Flies shifts dramatically as the novel progresses, reflecting the characters' movement from innocence to corruption.

Innocence and Hope: At the start of the novel, the tone is hopeful, as the boys attempt to create a civilised society. The conch and assemblies represent this hope for order. However, this tone gradually shifts.

Darkness and Despair: As order breaks down, the tone becomes increasingly dark and ominous. The mood grows tense and foreboding, particularly in scenes like the hunters' "dance" and Simon’s murder. The language becomes more brutal and violent, reflecting the boys' descent into chaos.

Ironic Detachment: The ending of the novel has an ironic tone. The arrival of the naval officer brings rescue but also an indictment of the boys' actions, and by extension, human nature. Golding’s use of an adult figure involved in war reflects the deeper irony that the civilised world is just as prone to savagery as the boys on the island.

To Summarise

Golding’s Lord of the Flies is a masterclass in the use of language to convey complex ideas about human nature, civilisation, and savagery. Through the use of symbolism, imagery, diction, narrative perspective, and figurative language, Golding creates a world that, while removed from reality, speaks deeply to the human condition. The language in the novel not only enhances the themes but also shapes the reader’s emotional and intellectual response to the events unfolding on the island.