Quotes From Lord Of The Flies Chapter Summaries

The boys become accustomed to the pattern of their days on the island although it is impossible to adjust to the new rhythms of tropical life, which include the strange point at midday when the sea rises and appears to contain flickering images. Piggy discounts the midday illusions as mere mirages. While mornings are cool and comfortable, the afternoon sun is oppressively hot and bright, which incites fatigue among many of the boys. The northern European tradition of work, play, and food right through the day is not forgotten, making the transition difficult.

As the boys settle into life on the island, factions develop. The smaller boys are now known by the generic title of "littluns," including Percival, the smallest boy on the island, who had previously stayed in a small shelter for two days and had only recently emerged, red-eyed and miserable. The littluns spend most of the day searching for fruit to eat, and since they choose it indiscriminately they suffer from chronic diarrhea. They cry for their mothers less often than expected, and they spend time with the older boys only during Ralph's assemblies. The littluns occupy themselves

by building castles in the sand, complex structures whose fine details are only noticeable from close range. The littluns remain collectively troubled by nightmares and visions of the "beastie" described at the first meeting. They fear that the creature hunts the boys after nightfall.

Two older boys, Roger and Maurice, come out of the forest for a swim and, expressing their superiority over the littluns, begin to kick down the sand castles on the shore. Maurice, remembering that his mother chastised him for such behavior, feels guilty when he gets sand in Percival's eye. While this conflict unfolds, Henry-a littlun who is related to the boy who disappeared-is preoccupied by some small creatures on the beach, which he finds fascinating. Roger picks up a stone to throw at Henry but deliberately misses him when he throws it, recalling the taboos of earlier life.

Jack thinks about why he is still unsuccessful as a hunter. He believes that the animals see him, so he wants to find some way to camouflage himself. Jack rubs his face with charcoal and laughs with a bloodthirsty snarl when he sees his reflection in a pool of water. From behind the mask, Jack appears liberated from shame and self-consciousness.

Piggy thinks about making a sundial so that they can tell time and better organize their days, but Ralph dismisses the idea. The idea that Piggy is an outsider is tacitly accepted. Ralph believes that he sees smoke along the horizon coming from a ship, but there is not enough smoke from the mountain to signal it. Ralph starts to run to the up the mountain, but he is too late. Their signal fire is dead. Ralph screams for the ship to come back, but it passes without seeing them. Frustrated and sad, Ralph places the blame on the hunters, whose job it was to tend the fire.

From the forest, Jack and the hunters return covered in paint and humming a bizarre war chant. Ralph sees that the hunt has finally been successful: they are carrying a dead pig on a stick. Nevertheless, Ralph admonishes them for letting the fire go out. Jack, however, is overjoyed by the kill and ignores Ralph. Piggy begins to cry at their lost opportunity, and he also blames Jack. The two argue, and finally Jack punches Piggy in the stomach. Piggy's glasses fly off, and one of the lenses breaks on the rocks. Jack eventually does apologize about the fire, but Ralph resents Jack's misbehavior. Jack considers not letting Piggy have any meat, but he orders everyone to eat. Maurice pretends to be a pig, and the hunters circle around him, dancing and singing, "Kill the pig. Cut her throat. Bash her in." Ralph vows to call an assembly.

Analysis

Golding begins the chapter by describing a sense of order among the boys on the island, and he concludes it by describing the order's disintegration.

Even the smallest boys appear to have accepted their fate on the island, and they have developed strategies, such as the building of sand castles, to minimize and contain their anguish. The key to the initial tranquility on the island is the maintenance of customs from the society in which the boys were raised. Yet, as the chapter's opening passages imply, these customs are threatened by the natural forces at work on the island. The regular schedule of work, play time, and meal time is impossible in the volatile tropical atmosphere. That the boys do not know whether the movement of the mid-afternoon sea is real or a "mirage" indicates how ill-adjusted to the island they still

are.

We begin to focus on the boys'-particularly Jack's-transgression of the ordered rules of their invented society. Golding highlights how life on the island has begun to mirror human society, with the boys organizing themselves into cliques according to age and placing these cliques in a social hierarchy. The littluns have their own routines and separate themselves from the older boys. The intricate sandcastles the littluns build on the shore represent their continued respect for-even idealization of-human civilization, and their continuing presence at Ralph's meetings signals the littluns' investment in ordered island life, even though they do not contribute directly to the group's survival. Golding employs the littluns as symbols for the weak members of society that a successful democracy strives to protect.

The episode with Roger and Maurice kicking down the sandcastles thus signals the disintegration of ordered life on the island, and it foreshadows the end of Ralph's democratic plans. The sandcastles are a miniature civilization on the shore. By destroying the sandcastles, Roger and Maurice not only express an abusive power over the younger boys but indicate their increasing disrespect for civilized order and human institutions. Still, Golding suggests, they have not yet devolved into complete savagery. Maurice, remembering his mother's discipline, feels guilty about kicking sand into Percival's eye, and Roger refrains from throwing a stone at Henry. The implication is that the influences of human society are difficult to erase from the human psyche; they remain internalized even in the absence of rules, and conscience retains its hold. Whatever lessons the boys' past had instilled in them prove critical to maintaining some semblance of peace on the island. Despite the stirrings of anarchy, the boys obey notions of appropriate behavior without any real external authority to determine what they can and cannot do. It is only when the boys completely transgress these civilized norms that they suffer.

Jack is the first to seriously overstep the boundaries of civilized society. His attempts to become a successful hunter are in effect attempts to succumb entirely to his animalistic nature. His painted face, reminiscent of some less developed societies, supposedly makes him indistinguishable from the animals of the forest. When Jack finally does kill a pig, as he has intended to do since the beginning of the novel, he fulfills a violent blood-lust that, until then, had remained frustrated. The other hunters share this quality; when they dance and sing about killing the pig, they show that they have succumbed to the thrill of violence. They relish the slaughter, an enjoyment that transcends pride and signifies pure lust. As they cheer on the means by which they mutilate the pig, their painted skin, chanting, and frenzy suggest they have developed their own sub-society, one based on rituals and an almost spiritual worship of blood, violence, and slaughter.