Lord of the Flies
GHP Question Packet
Smith
“Maybe there is a beast…maybe it’s only us.” --Simon
“Fear is the path to the dark side. Fear leads to anger.
Anger leads to hate. Hate leads to suffering.” --Yoda
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Table Contents:
1. Annotating Lord of the Flies
2. Questions for chapters 1 & 2
3. Objects of Lord of the Flies
4. Civilization in Chapters 3 & 4
5. Analyzing Henry
6. Continental Drift
7. Processing chapter 5
8. Examining Quotes from Chapters 6 & 7
9. Questions to process Chapter 8
10. Chapter 9 Text Interaction
11. How to Identify a Christ Figure
12. Questions for Chapters 10 & 11
13. Literary Terms and Allusions
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Annotating Lord of the Flies
As always, annotate for these:
 Questions you have about the reading
 To define words
 Shifts in character, plot
 Conflict (person vs. self, person, society, nature)
 Foreshadowing
 Symbolism—the conch, the fire, Piggy’s glasses, clothing, body paint, the Lord of the Flies/the Beast
 Christ Figure Imagery (this will be directly covered later)
 Revelations of theme—there are some places where the author seems to be showing you something very explicit
about his or her thoughts about humans, relationships, society, etc.—catch these. Sometimes, this is revealed through
a piece of dialogue or a description.
 Interpret the significance of chapter titles
 Motifs—ideas that you see presented again and again, e.g. fear, leadership, responsibility, power,etc
You will also focus on noting the ideas presented through Zimbardo’s “Psychology of Evil” TED talk and his
Heroic Imagination Project. Zimbardo ideas should be denoted with a different color than those above.
Look specifically for these:
 The Lucifer Effect
 The Bystander Effect
 Group Conformity
 Evil (Zimbardo’s Definition)
 Perpetrators of evil
 Those guilty of passive inaction
 Heroes
 Dispositional and Situational Factors
 The power of anonymity
 Mindlessly taking the first small step (i.e. “the 15 volts)
 Dehumanization of Others (i.e. one doesn’t see others as people with feelings like oneself,
rather one perceives others as bad, enemies, insects, animals, death, evil, etc.)
 De-individuation of Self (anonymity)
 Diffusion of Personal Responsibility (i.e. one is not entirely or directly responsible,
rather one is acting with a larger group or under others’ orders.)
 Blind Obedience to Authority
 Uncritical Conformity to Group Norms (i.e. One does what the group does without question)
 Passive Tolerance of Evil through Inaction or Indifference (See Bystander Effect)
 Informational Influence
 Normative Influence
 Pluralistic Ignorance
 Minimal Group Paradigm
 Ingroup and Outgroup Biases
 Us. Vs. Them Mentality
Technicalities:
 There are 12 chapters. You should have at least 15 significant* annotations per chapter, of which at least
three of those referencing Zimbardo ideas (highlight in yellow), and another four should be analytic in
nature (symbolism, imagery, theme, characterization)—highlight in pink. You may highlight, but I will
only “count” an annotation as one of your required fifteen if it is a written note. (*intended to further a
deeper analysis of the text.)
 You are expected to complete the annotations as you go along—so, annotations for assigned chapters are
due the day of a reading. Annotations may be graded without forewarning.
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Name: _____________________________________________________ Date: ______________
Questions for Chapters 1 & 2
Directions: Answer the following questions in complete sentences on a separate sheet of paper or on the back of
this paper. Provide textual evidence wherever asked
1. In your opinion, what is the role of the setting in Lord of the Flies? Provide at least two specific reasons from
the text to support your answer.
2. A. Reread the introduction of Jack and his choir to the novel (Golding 19-20) and decide what is Golding’s
tone toward Jack and his boys. Support your answer by referring to at least four specific moments in the text.
B. What mood does this create in the reader?
3. A. Why is Ralph “defeated” when the little boy brings up the beastie (Golding 36-37)?
B. What exactly is the “beastie”?
4. What is revealed about Piggy when he continually mutters, “Like a crowd of kids” (Golding 38)?
5. Read the excerpt below and thoroughly explain what it reveals about the EACH of characters of Piggy, Jack,
and Simon:
“We haven’t made a fire, “ [Piggy] said, “what’s the use. We couldn’t keep a fire like that going, not if we
tried.”
“A fat lot you tried,” said Jack contemptuously. “You just sat.”
“We used his specs,” said Simon.... “He helped in that way.”
“I got the conch,” said Piggy indignantly. “You let me speak!”
“The conch doesn’t count on top of the mountain,” said Jack, “so you shut up.”
“I got the conch in my hand.” [said Piggy.] (Golding 42)
6. When the fire on the mountain breaks out, Golding writes, “Piggy glanced nervously into hell and cradled
the conch” (Golding 44).
A. Why does Golding use the word “hell”?
B. Why is Piggy nervous?
C. Why does Piggy “cradle” the conch?
7. What happened to the littlun with the mark on his face?
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Student has thoroughly answered all
questions—this means that student’s
answers are accurate and have been
explained using specific references to
the events and dialogue in the text,
including quotes when the question
calls for them. Also, notes from class
discussions have been added to the
student’s answers in order to correct
misinterpretations or to further
elaborate on student’s original ideas.
9
Student meets
the criteria for
a “10,” except
one answer
must be more
developed.
8
Student meets
the criteria for
a “10,” except
two answers
must be more
developed.
6
Student meets
the criteria for
a “10,” except
five answers
must be more
developed.
Late
60% of earned
score:
6
5.5
5
4
- 3 points for any
missing answers.
5
No Credit
Answers are too
underdeveloped, and
so, sufficient effort has
not been displayed to
receive credit for the
assignment.
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Name: ___________________________________________ Date: _____________________
Objects of Lord of the Flies
1. CONCH
2. FIRE
A. Who owns it?
A. Who owns it?
B. How does it first appear? (Go back and look in the
book if you don’t remember!)
B. How does it first appear? (Go back and look in the
book if you don’t remember!)
C. What are its qualities and general functions in the
world?
C. What are its qualities and general functions in the
world?
D. How is this object used in this book?
D. How is this object used in this book?
E. What does the object mean to its owner?
E. What does the object mean to its owner?
F.
F.
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3. KNIFE
4. GLASSES
A. Who owns it?
A. Who owns it?
B. How does it first appear? (Go back and look in the
book if you don’t remember!)
B. How does it first appear? (Go back and look in the
book if you don’t remember!)
C. What are its qualities and general functions in the
world?
C. What are its qualities and general functions in the
world?
D. How is this object used in this book?
D. How is this object used in this book?
E. What does the object mean to its owner?
E. What does the object mean to its owner?
F.
F.
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Analysis: Civilization in chapters 3 and 4
In chapters three and four, Golding focuses on the effects of the conditioning of the boys’ former “civilization,”
their former society. At times, one can witness examples where the boys are restrained by thoughts and habits
of their former lives at home. But, there are times that a reader can see their former habits falling away.
Assignment: Examine evidence from chapters three and four (though you may dip back into chapters 1
and 2 for an example or two) that show where civilized behavior is wearing away, and where this social
conditioning to be civilized is still strong.
List incidents that show that the
conditioning of civilization is still
strong.
Provide a
quote that evidences this incident.
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List incidents that show the
conditioning of civilization wearing
away.
Provide a
quote that evidences this incident.
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Analyzing Henry
Directions: Examine the quote below and answer the questions that follow in no fewer than
2oo words total.
“[Henry] went down to the beach and busied himself at the water’s edge. . . . There were these creatures that
lived in this last fling of the sea, tiny transparencies that came questing in with the water over the hot, dry sand.
. . .This was fascinating to Henry. He poked about with a stick. . .and tried to control the motions of the
scavengers. He made little runnels that the tide filled and tried to crowd them with creatures. He became
absorbed beyond mere happiness as he felt himself exercising control over living things. He talked to them,
urging them, ordering them. Driven back by the tide, his footprints became bays in which they were trapped
and gave him the illusion of mastery” (61).
1. Looking at this quote, what are Golding’s apparent beliefs about humans and their relationship to
nature? Explain which specific lines or phrases from the quote lead you to believe this.
2. Make a connection between this quote and Jack’s killing of the pig. Find a quote about Jack’s pig
killing to support this connection. Explain how the quote supports the connection.
3. Do you believe this portrayal of human beings to be accurate? What evidence from your life or the
world around you can you offer to confirm or combat the idea that Golding presents?
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Continental Drift: How the great divide between Jack and Ralph came to be
Examine the quotes below that follow Ralph and Jack from the beginning of their friendship to the
moment when the link between them is “snapped.” As you examine these quotes, , develop an
argument for why Jack and Ralph begin to drift apart, what finally makes the link between
them “snap,” and where the link is now “fastened.”
When Simon, Jack, and Ralph are atop the mountain looking around for the first time:
“Eyes shining, mouths open, triumphant, they savored the right of domination. They were lifted
up: were friends” (29).
At the building of the first fire:
“At the return Ralph found himself alone on a limb with Jack and they grinned at each other,
sharing this burden. Once more, amid the breeze, the shouting, the slanting sunlight on the high
mountain, was shed that glamour, that strange invisible light of friendship, adventure, and content.
‘Almost too heavy .’
Jack grinned back.
‘Not for the two of us.’
Together, joined in an effort by the burden, they staggered up the last steep of the mountain.
Together they chanted One! Two! Three! And crashed the log onto the great pile. They stepped
back, laughing in triumphant pleasure…” (39).
Just after Jack has returned from hunting, and he and Ralph discuss hunting and building
shelters:
“ [Ralph and Jack] walked along, two continents of experience, and feeling, unable to
communicate.
‘If only I could get a pig!’
‘I’ll come back and go on with the shelter’” (55).
During the fight after the ship has passed, but before Jack hits Piggy:
“’You could have had everyone when the shelters were built. But you had to hunt—‘
‘We needed meat….’
The two boys faced each other. There was the brilliant world of hunting, tactics, fierce
exhilaration, skill, and there was the world of longing and commonsense” (71).
Just after Jack hits Piggy and apologizes and has built a new pile for the fire:
“So Ralph asserted his chieftain ship and could not have chosen a better way if he had thought
about it for days. Against this weapon, so indefinable and so effective, Jack was powerless and
raged without knowing why. By the time the pile was built, [Ralph and Jack] were on different sides of
a high barrier.
When they had dealt with the fire another crisis. Jack had no means of lighting it. Then, to his
surprise Ralph went to Piggy and took the glasses from him. Not even Ralph knew how a link
between him and Jack had been snapped and fastened elsewhere” (73).
Directions: Write at least 200 words explaining your thoughts as to
1. Why Jack and Ralph get along in the beginning,
2. why Jack and Ralph begin to drift apart,
3. what finally makes the link between them “snap,”
4. and where the link is now “fastened.”
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Processing Chapter 5 of Lord of the Flies
1. (Literary response) Explain at least 2 different ways that Ralph, Piggy, and Jack lose the argument
against the beast. Use multiple quotes in your answer.
2. In your opinion, what might Simon mean by “mankind’s essential illness” (89)? Explain why you
think this.
3. A. What do you believe angers Jack, causing him to say “bullocks to the rules” (91)?
B. Explain the deeper significance of this moment for Jack.
4. At the end of the chapter, Piggy confesses to having thought about Jack Merridew, and he seems
to have gleamed some insight into Jack’s character. What does Piggy understand about the
power dynamic between Ralph, Jack, and Piggy?
5. A. WHY is Percival wailing?
B. What is the effect Percival’s wailing on the end of chapter five?
6. Explain why you think that Golding calls chapter 5 “Beast from the Water.”
7. (Literary Response) Describe the image of adults possessed by Simon, Piggy, and Ralph. Use at least one
quote to support your answer.
8. (Literary Response—use the quotes provided) There are moments when Golding invokes the images the
novel’s symbols, particularly the conch and Piggy’s glasses. Take another look at these moments, and explain
why you think Golding references these items at the moments he does...what ideas is he trying to convey
(think about the symbolism of the items)?
Quote 1: (Early in the meeting) “Exposure to the air had bleached the [conch’s] yellow and pink to near-white,
and transparency.”
Quote 2: (In the midst of arguing) “[Ralph] could see a whiteness in the gloom near him so he grabbed it from
Maurice and blew it as loudly as he could. The assembly is shocked into silence.”
Quote 3: Ralph found his cheek touching the conch and took it from Piggy.
“What’s grown-ups going to say?” cried Piggy again. “Look at ’em!”
The sound of mock hunting, hysterical laughter and real terror came from the beach.
“Blow the conch, Ralph.”
Piggy was so close that Ralph could see the glint of his one glass.
“There’s the fire. Can’t they see?”
“You got to be tough now. Make ’em do what you want.”
Ralph answered in the cautious voice of one who rehearses a theorem.
“If I blow the conch and they don’t come back; then we’ve had it. We shan’t keep the fire going. We’ll be like
animals. We’ll never be rescued.”
“If you don’t blow, we’ll soon be animals anyway.
Extra credit (2 points possible):
Apply the following Yoda quote to Lord of the Flies:
“Fear is the path to the dark side. Fear leads to anger. Anger leads to hate. Hate leads to suffering.”
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Examining Quotes from chapters 6 & 7
In the spaces below, do the following for each quote:
1. Explain what is going on literally in the quote.
2. Explain why this is a significant moment for the characters--there may be multiple reasons why this excerpt is important.
Think about the excerpt’s connections to past events, character development, conflict, and its possible implications for future
events.
QUOTE 1
But a sign came down from the world of grown-ups, though at
the time there was no child awake to read it….There was a speck above the island, a figure dropping swiftly beneath a parachute, a figure that
hung with dangling limbs….The figure fell and crumpled among the blue flowers of the mountain-side….till it lay huddled among the
shattered rocks of the mountain-top. Here the breeze was fitful and allowed the strings of the parachute to tangle and festoon; and the figure
sat, its helmeted head between its knees, held by a complication of lines. When the breeze blew, the lines would strain taut and some accident
of this pull lifted the head and chest upright so that the figure seemed to peer across the brow of the mountain. Then, each time the wind
dropped, the lines would slacken and the figure bow forward again, sinking its head between its knees. So as the stars moved across the sky,
the figure sat on the mountain-top and bowed and sank and bowed again. (95-96)
Literal Happening
Significance of the moment
QUOTE 2
Jack called them back to the center.
“This’ll be a real hunt! Who’ll come?”
Ralph moved impatiently.
“These spears are made of wood. Don’t be silly.”
Jack sneered at him.
“Frightened?”
“ ’Course I’m frightened. Who wouldn’t be?”….
Piggy took the conch.
“Couldn’t we—kind of—stay here? Maybe the beast won’t come near
us.”
But for the sense of something watching them, Ralph would have
shoutedn at him.
“Stay here? And be cramped into this bit of the island, always on the
lookout? How should we get our food? And what about the fire?”
“Let’s be moving,” said Jack relentlessly, “we’re wasting time.”
“No we’re not. What about the littluns?”
“Sucks to the littluns!”
“Someone’s got to look after them.”
“Nobody has so far.”
“There was no need! Now there is. Piggy’ll look after them.”
“That’s right. Keep Piggy out of danger.”
“Have some sense. What can Piggy do with only one eye?”
The rest of the boys were looking from Jack to Ralph, curiously.
“And another thing. You can’t have an ordinary hunt because the
beast doesn’t leave tracks. If it did you’d have seen them. For all we
know, the beast may swing through the trees like what’s its name.”
They nodded.
“So we’ve got to think.” (100-101)
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Literal Happening
Significance of the moment
QUOTE 3
Piggy took off his damaged glasses and cleaned the remaining lens.
“How about us, Ralph?”
“You haven’t got the conch. Here.”
“I mean—how about us? Suppose the beast comes when you’re all
away. I can’t see proper, and if I get scared—”
Jack broke in, contemptuously.
“You’re always scared.”
“I got the conch—”
“Conch! Conch!” shouted Jack. “We don’t need the conch any more.
We know who ought to say things. What good did Simon do
speaking, or
Bill, or Walter? It’s time some people knew they’ve got to keep quiet
and leave deciding things to the rest of us.”
Ralph could no longer ignore his speech. The blood was hot in his
cheeks.
“You haven’t got the conch,” he said. “Sit down.”
Jack’s face went so white that the freckles showed as clear, brown
flecks. He licked his lips and remained standing.
“This is a hunter’s job.”
The rest of the boys watched intently. Piggy, finding himself
uncomfortably embroiled, slid the conch to Ralph’s knees and sat
down. The silence grew oppressive and Piggy held his breath.
“This is more than a hunter’s job,” said Ralph at last, “because you
can’t track the beast. And don’t you want to be rescued?”
He turned to the assembly.
“Don’t you all want to be rescued?”
He looked back at Jack.
“I said before, the fire is the main thing. Now the fire must be out—”
The old exasperation saved him and gave him the energy to attack.
“Hasn’t anyone got any sense? We’ve got to relight that fire. You
never thought of that, Jack, did you? Or don’t any of you want to be
rescued?”
Yes, they wanted to be rescued, there was no doubt about that; and
with a violent swing to Ralph’s side, the crisis passed. (101-102)
Literal Happening
Significance of the moment
QUOTE 4
Under Ralph’s direction, they picked up a careful way along the palm terrace, rather than dare the hot sand down by the water. He let Jack
lead the way; and Jack trod with theatrical caution though they could have seen an enemy twenty yards away. Ralph walked in the rear,
thankful to have escaped responsibility for a time.
Simon, walking in front of Ralph, felt a flicker of incredulity—a beast with claws that scratched, that sat on a mountain-top, that left no tracks
and yet was not fast enough to catch Samneric. However Simon thought of the beast, there rose before his inward sight the picture of a
human at once heroic and sick. (103)
Literal Happening
Significance of the moment
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QUOTE 5
Sitting, Ralph was aware of the heat for the first time that day. He pulled distastefully at his grey shirt and wondered whether he might
undertake the adventure of washing it. Sitting under what seemed an unusual heat, even for this island, Ralph planned his toilet. He would
like to have a pair of scissors and cut this hair—he flung the mass back—cut this filthy hair right back to half an inch. He would like to have
a bath, a proper wallow with soap. He passed his tongue experimentally over his teeth and decided that a toothbrush would come in handy
too. Then there were his nails—Ralph turned his hand over and examined them. They were bitten down to the quick though he could not
remember when he had restarted this habit nor any time when he indulged it. “Be sucking my thumb next—” (109)
Literal Happening
QUOTE 6
Ralph was full of fright and apprehension and pride.
“I hit him! The spear stuck in—”
Now they came, unexpectedly, to an open space by the
sea. Jack cast about on the bare rock and looked anxious.
“He’s gone.”
“I hit him,” said Ralph again, “and the spear stuck in a
bit.”
He felt the need of witnesses.
“Didn’t you see me?”
Maurice nodded.
“I saw you. Right bang on his snout—Wheee!”
Ralph talked on, excitedly.
“I hit him all right. The spear stuck in. I wounded him!”
He sunned himself in their new respect and felt that
hunting was good after all.
“I walloped him properly. That was the beast, I think!”
Jack came back.
“That wasn’t the beast. That was a boar.”
“I hit him.”
“Why didn’t you grab him? I tried—”
Ralph’s voice ran up.
“But a boar!”
Jack flushed suddenly.
“You said he’d do us. What did you want to throw for?
Why didn’t you wait?
He held out his arm.
“Look.”
He turned his left forearm for them all to see. On the
outside was a rip; not much, but bloody.
“He did that with his tusks. I couldn’t get my spear down
in time.”
Attention focused on Jack. . . .
“I hit him,” said Ralph indignantly. “I hit him with my
spear, I wounded him.” (113)
Significance of the moment
Literal Happening
Significance of the moment
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QUOTE 7
Literal Happening
Robert snarled at him. Ralph entered into the play and everybody laughed.
Presently
they were all jabbing at Robert who made mock rushes.
Jack shouted.
“Make a ring!”
The circle moved in and round. Robert squealed in mock terror, then in real
pain.
“Ow! Stop it! You’re hurting!”
The butt end of a spear fell on his back as he blundered among them.
“Hold him!”
They got his arms and legs. Ralph, carried away by a sudden thick excitement,
grabbed Eric’s spear and jabbed at Robert with it.
“Kill him! Kill him!”
Significance of the moment
All at once, Robert was screaming and struggling with the strength of frenzy.
Jack had him by the hair and was brandishing his knife. Behind him was
Roger, fighting to get close. The chant rose ritually, as at the last moment of a
dance or a hunt.
“Kill the pig! Cut his throat! Kill the pig! Bash him in!”
Ralph too was fighting to get near, to get a handful of that brown, vulnerable
flesh. The desire to squeeze and hurt was over-mastering. Jack’s arm came
down; the heaving circle cheered and made pig-dying noises. Then they lay
quiet, panting, listening to Robert’s frightened snivels. He wiped his face with
a dirty arm, and made an effort to retrieve his status. “Oh, my bum!”
He rubbed his rump ruefully. Jack rolled over.
“That was a good game.”
“Just a game,” said Ralph uneasily. “I got jolly badly hurt at rugger once.”
“We ought to have a drum,” said Maurice, “then we could do it properly.”
Ralph looked at him.
“How properly?”
“I dunno. You want a fire, I think, and a drum, and you keep time to the drum.
“You want a pig,” said Roger, “like a real hunt.”
“Or someone to pretend,” said Jack. “You could get someone to dress up as a pig and then he could act—you know, pretend to knock me
over and all that.”
“You want a real pig,” said Robert, still caressing his rump, “because you’ve
Literal Happening
got to kill him.”
“Use a littlun,” said Jack, and everybody laughed. (114-115)
QUOTE 8
“Wait a minute though! Where does the pig-run go to?”
“The mountain,” said Jack, “I told you.” He sneered. “Don’t you want to go to
the mountain?”
Ralph sighed, sensing the rising antagonism, understanding that this was how
Jack felt as soon as he ceased to lead.
“I was thinking of the light. We’ll be stumbling about.”
“We were going to look for the beast.”
“There won’t be enough light.”
“I don’t mind going,” said Jack hotly. “I’ll go when we get there. Won’t you?
Would you rather go back to the shelters and tell Piggy?”
Now it was Ralph’s turn to flush but he spoke despairingly, out of the new
understanding that Piggy had given him. “Why do you hate me?”
The boys stirred uneasily, as though something indecent had been said.
The silence lengthened.
Ralph, still hot and hurt, turned away first.
“Come on.”
He led the way and set himself as by right to hack at the tangles. Jack brought
up the rear, displaced and brooding. (118-119)
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Significance of the moment
Questions to help process the end of Chapter 8 in LOTF
1. What are the ways that Jack tries to discredit Ralph when Jack calls an assembly (125-127). Name at
least 3, and explain how those are meant to discredit Ralph!
2. A. Why does Jack finally say, “I’m not going to play any longer. Not with you” (127). What is it that
makes him say this? Explain.
B. What does the word “play” suggest about Jack? Explain.
C. Why does Jack cry as he leaves? Explain.
3. Why does Simon suggest that they “climb the mountain?” (128). Why do you think that it is Simon who
suggest this? Think about how this fits in with his character.
4. When Jack and the boys kill the “largest sow,” there is the undeniable image of rape. And, as
uncomfortable as this scene is to read, it seems the reader must address it because Golding is so graphic.
Explain what reasons Golding might have for portraying the killing of the sow as such a defilement.
5. Starting on page 132 until the end of the chapter, there is repeated mention of butterflies and flies.
Explain what you think Golding is doing with the butterflies and the flies? Why are they there? Why
does he switch? Why does one go away and the other appear?
6.
At the beginning of chapter 8, the conch is described as a “white blob” (Golding 124), and later in the
chapter, the sow head is describes as a “black blob” (138). Repetition of this sort is not accidental on an
author’s part, whether consciously or unconsciously, and so, what might this mean?
A. Often times, these two colors indicate opposing energies (considered the yin yang symbol), so
how are these two things, the conch and the sow’s head, opposites?
B. Also, why do you think that Golding refers to both of these items as “blobs?” Be super sure to
explain your answers.
7. There are many theories and questions in this section of the book regarding “what makes things break up
like they do?” (139). When Ralph asks this question of Piggy, Piggy says, “I dunno Ralph. I expect it’s
him.” Referring to Jack.
However, when Simon is alone in the forest and the severed pig head speaks to him, it says, “Fancy
thinking the Beast was something you could hunt and kill! . . .You knew, didn’t you? I’m part of you?
Close, close, close! I’m the reason why it’s no go? Why things are the way they are?” (143).
A. What is it that Simon “knows” and believes about the Beast? (He has come out and said it before, and
pondered his images of the beast—in chapters 5 and 6.)
B. Knowing what Simon believes about the Beast, explain why it’s a “no go” and why “things are the way they
are.”
C. It is commonly thought by those who study this book, that the term “Lord of the Flies” is a translation of the
word Beelzebub, which is one of the accepted names for the devil. Explain why Golding might be making
such a clear connection between “the Beast” and “the devil.” What might Golding be trying to say about
humans and/or human society?
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8.
Finally, Golding writes:
Simon found that he was looking into a vast mouth. There was blackness within, a blackness
that spread.
“Or else,” said the Lord of the Flies, “we shall do you?” See? Jack and Roger and Maurice and
Robert and Bill and Piggy and Ralph. Do you. See?”
Simon was inside the mouth. He fell down and lost consciousness.
Here, there is clear foreshadowing about Simon’s fate. What is it?
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Chapter 9 Text Interaction
Directions: Either make note of the following on a separate sheet of paper, or mark them in your book.
1. Write down at least 3 quotes with page numbers that track the storm in chapter 9.
Find quotes that show
* that a storm is building
* that lightning and thunder have begun
* that it has started to rain
2. At the end of chapter 8 it reads, “Simon was inside the mouth [of the Lord of the Flies]. He fell down and lost
consciousness” (Golding 144). The image of this portrays Simon falling into the mouth of the beast, i.e. Simon
being swallowed by the beast. This "mouth" imagery is very important.
Find (Write down? Highlight in a special color?) as many quotes as you can find that refer to mouths and what
mouths do in chapter 9. Mouths yawn and bite and chew. Mouths are round. (Min 3 quotes with page
numbers.)
I know it's weird. Just trust me.
3. In chapter 9, the group of boys become the beast. Together they ARE the beast. Find at least 3 quotes (with
page numbers) that show that the group of them together work like a single beast. At least one quote should
have the word "pulse" in it. Perhaps highlight this in a separate color.
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How to Identify a Christ Figure
A “Christ Figure” is a character who possesses qualities or experiences events similar to those of Jesus Christ, as he is portrayed in the
New Testament of the Bible. Some times, the term martyr or the phrase “martyr archetype” is used as an alternative to “Christ
figure,” but this alternative term removes much of the Christian context. It is necessary to be able to identify a “Christ Figure”
because, most times, an author does not employ a character in this manner accidentally—rather, the author is trying to say something
deeper about the character’s personality, relationship to other characters, and relationship to the overall themes. Frankly, being able to
identify such an archetype is one more way to be literate in the ways of literature.
Essentially, the way to recognize a Christ figure in literature, is to find a number of parallels between Jesus Christ and the character.
Below are some possible attributes you might find in a character that make him or her “Christ-like.”
Ideas surrounding birth:
 The character is born in a unique manner. Perhaps to a woman named Mary, or some version of Mary like Maria. The
mother is considered very virtuous or self-sacrificing.
 The character has a divine or royal father.
 The character has a name with the initials J.C., or may be named Christopher.
 There is little known about the character’s childhood—generally until the character is in his or her 30’s. Or the character
only lives until s/he is in their 30’s (specifically 33).
 The character is only there temporarily; is considered away from home.
Ideas surrounding qualities:
 The character is misunderstood by many; is considered to be crazy or odd.
 The character is sensitive or sympathetic to people, often times people who are poor, desperate or hungry.
 The character often sees the “truth” that no body else can.
 The character is surrounded in or associated with light.
Ideas surrounding actions:
 The character performs “miracles” such as curing the sick, feeding the hungry.
 The character is celibate.
 The character possesses a dual identity: generally one of the common man, and one greater identity.
 The character is persecuted or punished for his or her ideals, which generally are connected with love or truth.
 The character represents hope to other characters.
 The character converses with a Devil, or other evil force. This evil force tries to tempt the character away from his/her ideals.
 The character is betrayed by those close to him or her; is denied by others who know him.
 The character has a “cross to bear,” whether this is a physical item that resembles a cross, or is an emotional or psychological
issue that the character must “put up with.”
 Characters around him will utter “Jesus,” “Christ,” “Jesus Christ,” “My God!” or “Oh God,” around the character.
Ideas surrounding appearance:
 The character receives injuries on the forehead, the palms of the hands and feet, or the breast.
 The character appears poor: tattered clothes, barefoot
 The character is portrayed with arms spread (essentially, like a cross)Ideas surrounding death:
 The character dies in a way associated with his or her ideals.
 The character dies unjustly.
 The character is reborn, or returns from death—either physically or emotionally.
If you want to practice identifying Christ figures, consider the characters from the following movies:
 Superman from Superman I or Superman 2
 James Cole from 12 Monkeys
 Andy from the Shawshank Redemption
 Neo from The Matrix;
 E.T.
 John Coffey from the Green Mile
 John Connor from Terminator 2
Assignment: (In no fewer than 200 words) Fully explain 8 ways that Simon fits the criteria of Christ Figure (please feel free to
supplement the ideas above with any additional knowledge you may have.). Use very specific event and/or quote references
throughout your explanations. At the end of your writing, explain why you are persuaded or not persuaded that Simon fits
this archetype.
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Questions for chapters 10 & 11 in LOTF
Answer all questions in literary response form.
1. Explain how Ralph and Piggy react to and cope with Simon’s murder. Cite at least
2 quotes in your answer.
2. Describe Jack’s style of leadership. Refer to at least four specific occurrences in
the novel in the course of your answer.
3. Tie together Simon and Piggy’s death with the stealing of the glasses and the
destruction of the shell. In other words, how do these four events relate? Use at
least two quotes in the course of your answer.
4. How is Piggy a tragic hero? Be very specific. Use the definition below.
Tragic Hero-- A tragic hero has the potential for greatness but is doomed to fail. He is
trapped in a situation where he cannot win. He has some sort of tragic flaw, and this
causes his downfall. Even though he is a fallen hero, he still wins a moral victory,
and his spirit lives on.
5. Explain Roger’s role in Jack’s tribe? Refer to at least two specific occurrences.
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Helpful Literary Terms and References for Lord of the Flies
Allegory (AL-eh-GOR-ee):
 a narrative that serves as an extended metaphor.

Purpose of an allegory is to tell a story that has characters, a setting, as well as other types of symbols
that have both literal and figurative meanings.

The difference between an allegory and a symbol is that an allegory is a complete narrative (story) that
conveys abstract ideas to get a point across, while a symbol is a representation of an idea or concept that
can have a different meaning throughout a literary work (A Handbook to Literature).
Bildungsroman (bill-doongs’-ro-man)is a big, scary, German word for something that is actually pretty
familiar: a coming-of-age story. A bildungsroman charts a protagonist's development from childhood to
adulthood, from innocence to experience. In short, bildungsroman is concerned with the education and progress
of its main character.
Microcosm as defined by Merriam-Webster Dictionary online:
1. a little world; especially : the human race or human nature seen as an epitome of the world or the
universe
2. a community or other unity that is an epitome of a larger unity The suburb has been the microcosm of
the city.
3. something (such as a place or an event) that is seen as a small version of something much larger
Background to the “Garden of Eden”--as it appears in the King James Bible
GOE indicator—Anytime you encounter a paradise setting in literature produced from typically Christian area,
one should consider whether or not it is a biblical Garden of Eden reference, the main elements of which are a
paradise setting, a “seductive” evil force, a devil/evil figure, and knowledge gained at a cost.
Genesis CHAPTER 2
THUS the heavens and the earth were finished, and all the host of them.
2. And on the seventh day God ended his work which he had made; and he rested on the seventh day from all
his work which he had made.
3. And God blessed the seventh day, and sanctified it: because that in it he had rested from all his work
which God created and made.
4. These are the generations of the heavens and of the earth when they were created, in the day that the
LORD God made the earth and the heavens,
5. And every plant of the field before it was in the earth, and every herb of the field before it grew: for the
LORD God had not caused it to rain upon the earth, and there was not a man to till the ground.
6. But there went up a mist from the earth, and watered the whole face of the ground.
7. And the LORD God formed man of the dust of the ground, and breathed into his nostrils the breath of life;
and man became a living soul.
8. And the LORD God planted a garden eastward in Eden; and there he put the man whom he had formed.
9. And out of the ground made the LORD God to grow every tree that is pleasant to the sight, and good for
food; the tree of life also in the midst of the garden, and the tree of knowledge of good and evil.
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10. And a river went out of Eden to water the garden; and from thence it was parted, and became into four
heads.
[Description of 4 rivers]
15. And the LORD God took the man, and put him into the garden of Eden to dress it and to keep it.
16. And the LORD God commanded the man, saying, Of every tree of the garden thou mayest freely eat:
17. But of the tree of the knowledge of good and evil, thou shalt not eat of it: for in the day that thou eatest
thereof thou shalt surely die.
18. And the LORD God said, It is not good that the man should be alone; I will make him an help meet for
him.
19. And out of the ground the LORD God formed every beast of the field, and every fowl of the air; and
brought them unto Adam to see what he would call them: and whatsoever Adam called every living creature,
that was the name thereof.
20. And Adam gave names to all cattle, and to the fowl of the air, and to every beast of the field; but for
Adam there was not found an help meet for him.
21. And the LORD God caused a deep sleep to fall upon Adam, and he slept: and he took one of his ribs, and
closed up the flesh instead thereof;
22. And the rib, which the LORD God had taken from man, made he a woman, and brought her unto the
man.
23. And Adam said, This is now bone of my bones, and flesh of my flesh: she shall be called Woman,
because she was taken out of Man.
24. Therefore shall a man leave his father and his mother, and shall cleave unto his wife: and they shall be
one flesh.
25. And they were both naked, the man and his wife, and were not ashamed.
CHAPTER 3
NOW the serpent was more subtil than any beast of the field which the LORD God had made. And he said unto
the woman, Yea, hath God said, Ye shall not eat of every tree of the garden?
2. And the woman said unto the serpent, We may eat of the fruit of the trees of the garden:
3. But of the fruit of the tree which is in the midst of the garden, God hath said, Ye shall not eat of it, neither
shall ye touch it, lest ye die.
4. And the serpent said unto the woman, Ye shall not surely die:
5. For God doth know that in the day ye eat thereof, then your eyes shall be opened, and ye shall be as gods,
knowing good and evil.
6. And when the woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree
to be desired to make one wise, she took of the fruit thereof, and did eat, and gave also unto her husband with
her; and he did eat.
7. And the eyes of them both were opened, and they knew that they were naked; and they sewed fig leaves
together, and made themselves aprons.
8. And they heard the voice of the LORD God walking in the garden in the cool of the day: and Adam and
his wife hid themselves from the presence of the LORD God amongst the trees of the garden.
9. And the LORD God called unto Adam, and said unto him, Where art thou?
10. And he said, I heard thy voice in the garden, and I was afraid, because I was naked; and I hid myself.
11. And he said, Who told thee that thou wast naked? Hast thou eaten of the tree, whereof I commanded thee
that thou shouldest not eat?
12. And the man said, The woman whom thou gavest to be with me, she gave me of the tree, and I did eat.
13. And the LORD God said unto the woman, What is this that thou hast done? And the woman said, The
serpent beguiled me, and I did eat.
14. And the LORD God said unto the serpent, Because thou hast done this, thou art cursed above all cattle,
and above every beast of the field; upon thy belly shalt thou go, and dust shalt thou eat all the days of thy life:
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15. And I will put enmity between thee and the woman, and between thy seed and her seed; it shall bruise
thy head, and thou shalt bruise his heel.
16. Unto the woman he said, I will greatly multiply thy sorrow and thy conception; in sorrow thou shalt
bring forth children; and thy desire shall be to thy husband, and he shall rule over thee.
17. And unto Adam he said, Because thou hast hearkened unto the voice of thy wife, and hast eaten of the
tree, of which I commanded thee, saying, Thou shalt not eat of it: cursed is the ground for thy sake; in sorrow
shalt thou eat of it all the days of thy life;
18. Thorns also and thistles shall it bring forth to thee; and thou shalt eat the herb of the field;
19. In the sweat of thy face shalt thou eat bread, till thou return unto the ground; for out of it wast thou taken:
for dust thou art, and unto dust shalt thou return.
20. And Adam called his wife's name Eve; because she was the mother of all living.
21. Unto Adam also and to his wife did the LORD God make coats of skins, and clothed them.
22. And the LORD God said, Behold, the man is become as one of us, to know good and evil: and now, lest
he put forth his hand, and take also of the tree of life, and eat, and live for ever:
23. Therefore the LORD God sent him forth from the garden of Eden, to till the ground from whence he was
taken.
24. So he drove out the man; and he placed at the east of the garden of Eden Cherubims, and a flaming
sword which turned every way, to keep the way of the tree of life.
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