‘Lord of the Flies’ can certainly be interpreted as a tale about the “vile nature of boys”. For, by temperament and demeanour the boys on which the story is based endorse this statement.

The island that the ‘pack of British boys’ invades naturally resembles ‘some act of God.’ However, by imposing an attitude of ‘this belongs to us,’ the boys succeed in corrupting this into ‘hell.’ In negligence the boys rage an anarchic

Golding succeeds in creating Simon’s ‘view to death’ to be laden with significance, through it’s functional and intensely poetical use of literary contributions. Based on “pathetic fallacy,” the passage succeeds in being passionately emotive. Throughout the scene, the natural phenomena of the turmoil of an impeding storm, ‘sky of thunderous brass that rang with the storm-coming,’ acts as a harbinger to the turmoil of natural humanity below. The atmosphere created as the evening falls ‘not with calm beauty’ but ‘ringing’ ‘with the threat of violence,’ ‘build-up[s]’ both in ambience and in it’s reader’s emotions. This proceeding tone of tension is ominous and intensifies with the chant loosing ‘it’s first superficial excitement’ to become a ‘steady pulse,’ whilst the regular movement of this ‘beat’ creates a ‘drum-roll,’ which comes to race in harmony with its reader’s heart. Amongst this confused atmosphere of escalating foreboding, the reader’s tension and suspense are skilfully amplified. Intimidating is the erratical ‘shatter[ing]’ of the ‘blue-white scar’ ‘upon the group,’ menacing is the chant as it swells with threat to ‘desire, thick, urgent, blind’ The reader becomes gripped in expectance of the inevitable dramatic climax, the ‘explosion.’ Throughout this, the ‘threat’ and heightening of the ‘steady pulse’ to the ‘chant,’ becomes mesmeric, whilst the ‘throb and stamp’ and ‘abominable noise,’ become fearsome. The reader’s ‘terror’ amongst the disorder is such that they too feel an ‘eager[ness] to take a place in this demented but partly secure society;’ intimidated, the reader succumbs to be a part of the ‘single organism.’ The reader is now entirely engaged amongst the ‘dance,’ they are amongst and indeed take on a role in the sacrifice of Simon. As the atmosphere and confusion fades, the sight of Simon’s ‘broken body’ beneath the ‘drip and trickle’ of the clouds that opened upon him creates a dramatic shift in the reader’s emotion, to be a very moving sensation. The actions of the ‘beast’ are so pitifully human as it submits to the violence and brutality of humanity, ‘crying out’ ‘on it’ knees …it’s arms folded over it’s face.’ Golding asserts the pure goodness of Simon, portraying him with ‘soft’ and ‘gentl[e]’ language, ‘seeped’ ‘swelled’ ‘smoothed’ and precious charms of ‘silver’ and ‘pearls.’ We heed his compassion for others, as ‘Simon was crying out something about a dead body on the hill’ even whilst being inflicted by the ‘beast’ of humanity. As ‘the beast lay huddled’ our grief and remorse at his death are enhanced for ‘even in the rain they could see how small a beast it was,’ now even we can see his smallness set against the majesty of the cosmic forces, the huge magnificence of the distant ‘constellations,’ which serves to deepen and enrich the pathos.

The power of a novel resides also in the power of its language, Golding’s language is remarkable for it’s intensity, vividness and impact. ‘Lord of the Flies,’ is thus further a distinguished piece of literature.

William Golding employs a sensitive use of symbolism. Simon, who was passionately responsive to nature, surrenders his identity to nature in death. With its symbolism of eternity, being consigned towards the ‘open sea’ is a fitting end to Simon’s life. The ‘strange attendant creatures,’ like servants to their master, ‘busied themselves’ with silvering the ‘line of his cheek’ whilst a ‘coat of pearls’ transforms him into an effigy of ‘sculptured marble.’ Simon is assimilated to the majestic universe and grandeur of nature’s processes, which holds a web of connection between the ‘grains of sand’ and the ‘steadfast constellations,’ the ‘moonbeam-bodied creatures’ and the gravitational pull of the ‘sun a

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