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CASEBOOK EDITION

TEXT, NOTES & CRITICISM

William Golding's

LORD OF THE FLIES

edited by

James R. Baker

Arthur P. Ziegler, Jr.

A PERIGEE BOOK

This is a work of fiction. Names, characters, places, and

incidents are either the product of the author's imagination or

are used fictitiously, and any resemblance to actual persons,

living or dead, business establishments, events or locales

is entirely coincidental.

A Perigee Book

Published by The Berkley Publishing Group

A division of Penguin Putnam Inc.

375 Hudson Street

New York, New York 10014

Copyright (c) 1954 by William Golding

Purdue Interview copyright (c) 1964 by James Keating &

William Golding

All rights reserved. This book, or parts thereof,

may not be reproduced in any form without permission.

Published simultaneously in Canada by General Publishing Co.

Limited, Toronto.

ISBN 0-399-50643-8

First Perigee edition: September 1988

Fourteen previous printings by G. P. Putnam's Sons

The Penguin Putnam Inc. World Wide Web site address is

http://www.penguinputnam.com

Printed in the United States of America

22 23 24 25 26 27 28

Acknowledgments

A casebook edition of any work of literature is necessarily the result

of work and good will by numerous people. We are deeply indebted to the

writers who contributed the original materials contained in this volume.

We also wish to thank the authors, editors, and publishers who so

kindly granted permissions for use of the previously published materials

collected in this volume. Full acknowledgment for their valuable aid is

printed in the headnote for each of the articles as well as original sources

of publication.

The editors gratefully acknowledge the special courtesies of William

Golding, J. T. C. Golding, Frank Kermode, Donald R. Spangler, Bruce P.

Woodford, A. C. Willers and James Keating. The Introduction to this book

originally appeared in the Arizona Quarterly. It is reprinted here (revised)

by permission of the editor, Albert F. Gegenheimer.

For her expert aid in preparing the manuscript, our thanks to Mrs. Paul

V. Anderson, and our special gratitude to Miss Helen Davidson, who not only

performed routine secretarial duties but offered advice and kept spirits

buoyant with her penetrating wit.

J.R.B.

A.P.Z., Jr.

Contents

Arthur P. Ziegler, Jr.

Foreword

ix

James R. Baker

Introduction

xiii

William Golding

Lord of the Flies

1

James Keating-William Golding

Purdue Interview

189

Frank Kermode-William Golding

The Meaning of It All

197

Frank Kermode

The Novels of William Golding

203

E. M. Forster

An Introduction to "Lord of the Flies"

207

Donald R. Spangler

Simon

211

Carl Niemeyer

The Coral Island Revisited

217

J. T. C. Golding

A World of Violence and Small Boys

225

John Peter

The Fables of William Golding

229

Ian Gregor & Mark Kinkead-Weekes

An Introduction to "Lord of the Flies"

235

William R. Mueller

An Old Story Well Told

245

Thomas M. Coskren

Is Golding Calvinistic?

253

Claire Rosenfield

Men of a Smaller Growth

261

E. L. Epstein

Notes on "Lord of the Flies"

277

Time

Lord of the Campus

283

A Checklist of Publications

Relevant to "Lord of the Flies'

287

Foreword

ARTHUR P. ZIEGLER, JR.

It is most astonishing and lamentable that a book as widely read and

frequently used in the classroom as William Gelding's Lord of the Flies has

received so little analytical attention from the critics. True, it has not

been neglected; this volume attests to that. But despite the profusion of

essays by a number of well-known and worthy critics, few close analyses of

Golding's technique can be found among them, few explications of the

workings of the novel will be discovered.

Indeed, despite a running controversy over the meaning of the novel,

critical articles fall largely into a pattern of plot summary and applause

for the arrangement of the novel's materials followed by observations on

Golding's view of human nature, often embellished with the critic's response

to that view.

There are exceptions - they will be found among the essays in this book

- like Claire Rosenfield's psychological study of meaning, Carl Niemeyer's

comparative study of the novel and its antipathetic predecessor The Coral

Island, Donald R. Spangler's penetrating study of the function of Simon, and

William Mueller's discussion of the use of the various hunts.

Further explorations are needed in many areas, however, among them a

careful scrutiny of the opening descriptions of Ralph and Jack in Chapter

One. It is useful, but perhaps not very subtle, to point out that the former

is immediately declared the "fair boy," that he, like the angel Gabriel,

sounds a horn that announces good news - that of survival - that Jack with

his angular frame, black cloak and cap, and red hair is Lucifer-like.

More Biblical parallels must be developed - the paradisiacal setting,

the symbolic nakedness or near nakedness of all the boys except Jack and his

followers - but most especially needed is a study that explains items that

do not comply with the original Biblical pattern but that perhaps serve as

tip-offs to the theme and the ironies that Golding employs without fully

delineating until the last page, for instance the "response" of the paradise

to the boys- first from the heat, then a bird with an echoed "witch-like

cry," then the entangling creepers (more like the Eden of Milton than

Genesis)-together with the important information that Ralph, not Jack, has a

snake-clasp belt, that Jack wears a golden badge. We have implications very

early that Golding's view is not simple, traditionally Christian, or

predictable in spite of the title, that it is a complex rebuttal to the

ever-present faith in man's potential for regeneration and redemption. Here

is a fruitful area of research: do all these elements of the novel, some

seemingly inconsistent, even extraneous, operate in unified support of

theme?

Symbolism is one of the most puzzling aspects of this book. The names

of the four major characters are a perplexing illustration. Simon, the

mystic of the group, has a name clearly linked with an Apostle of Christ,

the one, strange to say, who denied Him three times. (Simon does deny the

objective existence of the beast, but is this a parallel?) Jack also has

such a name, since his first name is a nickname for John, the announcer of

Christ, also a follower of Christ, arid his last name is Merridew, an echo

at least of Mary. Ralph's name, oddly enough, is unrelated to the New

Testament and in fact is said to be akin to the Anglo-Saxon Raedwulf,

"wolf-council." Piggy's nickname appears even more incongruous because it is

Simon rather than Piggy who is slain as a substitute pig. The only instance

in which a name seems incontestably appropriate is that of Roger, where

etymology directs us to the Anglo-Saxon Hrothgar, "spear-fame." ¹

In The Coral Island the three protagonists are named Jack, Ralph, and

Peterkin Gay. Golding claims that he changed the latter name to Simon to

emphasize his priestly qualities²-implying some intention on his

part to make at least one name symbolic-while another critic insists that

Peterkin is altered not to Simon but to Piggy.³ But that is

beside the point. The central question is, "To what extent do the names

function symbolically?" Do we just select Simon and Roger and, because

inconvenient, forget the others? Or is there another more subtle solution?

1.Golding's recorded interest in Anglo-Saxon makes it unlikely that he

should be unaware of this etymology. See E. L. Epstein, "Notes on Lord of

the Flies" below, p. 277.

We are also mystified by the relationship between Lord of the Flies and

The Coral Island. Before undertaking a study of Golding's book, must one

study Ballantyne's? To what degree do details in the former depend upon the

latter, and, more confusing, to what degree do both books contain the same

details because of similarity of setting?

No one has produced a full-scale synthesis of the symbols of the novel

either, nor has anyone prepared a fully adequate study of characterization.

Ralph himself is an enigma. Does he represent the idealist and Piggy the

pragmatist? Or the reverse? Why are Piggy and Jack foes from the start, but

Ralph and Jack friends for a considerable length of time? Is it important

that Ralph disdains Piggy for so long? Why does Ralph the leader have such

difficulties controlling the littluns even though they instantly recognize

him as chief rather than Jack? Why doesn't Ralph establish a closer bond

with Simon? Why does Golding-have Ralph enjoy drawing blood? As one examines

the novel closely, he may find himself confronted with a highly ambiguous

protagonist, and for what purpose? Do these complications help or hinder the

operation of the novel? These are vital matters in evaluating it.

One could add to this list of needed studies indefinitely: a detailed

look at the use of war and fighting (they are important from the first page

to the last), a discussion of the relationship of nature descriptions and

events, a look at the historical predecessors of the mountain, and how they

bear on the novel (Calvary, Sinai, Ararat, Olympus, to name a few

possibilities), the cause of the evil (Is it really "original sin"?), and so

on.

2.Frank Kermode and William Golding, "The Meaning of It All," Books and

Bookmen, 5 (October 1959) p. 10. See below in this volume p. 199. Note

Golding's statement that the novel was worked out "very carefully in every

possible way."

3.Carl Niemeyer, "The Coral Island Revisited," College English, 22

(January 1961), p. 242. See below in this volume, p. 219.

Yet in spite of the gaps in the criticism, some commendable studies

have been undertaken, and we have tried to assemble the most useful of them

in this book. Supplementing them are two interviews with Golding in which he

discusses both his own conception of the novel and related

matters.⁴

Through our arrangement of and notes to the articles, we have tried to

reflect the intricate texture of the novel as illustrated by the critics and

to point up areas of perplexity and disagreement. The bibliography at the

close of the volume indicates possibilities for further reading and study.

4. The reader, of course, will wish to weigh any artist's view in the

light of the continuing critical dialogue surrounding the "intentional

fallacy." Frank Kermode calls Golding's views in question in "The Novels of

William Golding," International Literary Annual, p. 19. See p. 206 below.

Introduction¹

JAMES R. BAKER

Lord of the Flies offers a variation upon the ever-popular tale of

island adventure, and it holds all of the excitements common to that long

tradition. Golding's castaways are faced with the usual struggle for

survival, the terrors of isolation, and a desperate out finally successful

effort to signal a passing ship which will return them to the world they

have lost. This time, however, the story is told against the background of

an atomic war. A plane carrying some English boys, aged six to twelve, from

the center of conflict is shot down by the enemy and the youths are left

without adult company on an unpopulated Pacific island. The environment in

which they find themselves actually presents no serious challenge: the

island is a paradise of flowers and fruit, fresh water flows from the

mountain, and the climate is gentle. In spite of these unusual natural

advantages, the children fail miserably and the adventure ends in a reversal

of their (and the reader's) expectations. Within a short time the rule of

reason is overthrown and the survivors regress to savagery.

During the first days on the island there is little forewarning of this

eventual collapse of order. The boys are delighted with the prospect of some

real fun before the adults come to fetch them. With innocent enthusiasm they

recall the storybook romances they have read and now expect to enjoy in

reality. Among these is The Coral Island, Robert Michael Ballantyne's

heavily moralistic idyll of castaway boys, written in 1858 yet still, in our

atomic age, a popular adolescent classic in England. In Ballantyne's tale

everything comes off in exemplary style. For Ralph, Jack, and Peterkin (his

charming young imperialists), mastery of the natural environment is an

elementary exercise in Anglo-Saxon ingenuity. The fierce pirates who invade

the island are defeated by sheer moral force, and the tribe of cannibalistic

savages is easily converted and reformed by the example of Christian conduct

afforded them. The Cord Island is again mentioned by the naval officer who

comes to rescue Golding's boys from the nightmare they have created, and so

the adventure of these enfants terribles is ironically juxtaposed with the

spectacular success of the Victorian darlings.² The effect is to

hold before us two radically different pictures of human nature and society.

Ballantyne, no less than Golding, is a fabulist ³ who asks us to

believe that the evolution of affairs on his coral island models or reflects

the adult world, a world in which men are unfailingly reasonable,

cooperative, loving and lovable. We are hardly prepared to accept these

optimistic exaggerations, though Ballantyne's story suggests essentially the

same flattering image of civilized man found in so many familiar island

fables. In choosing to parody and invert this image Golding posits a reality

the tradition has generally denied.