Symbolism in Lord of the Flies by William Golding

Symbolism is the “frequent use of words, places, characters or objects that means something beyond what they are on a literal level” (Wheeler). William Golding uses a huge amount of symbolism to reflect the society of the outer world with the island. Through the use of symbols such as the title, the conch shell, the signal fire, the island, the parachutist, the beast, Piggy’s specs and the main characters in the novel, Golding demonstrates that humans, when liberated from society’s rules and taboos, allow their capacity for evil to dominate their existence.

In this novel, the conch shell is one of the most important symbols. The conch shell is a symbol of authority, democracy and civilized behaviour. C.B.Cox points out that the conch shell is more than “just a symbol of order”(170) . The destruction of the conch shell means the end of all civilized behaviour and discipline. As the island civilization erodes and the boys descend into savagery, the conch shell loses its power and influence among them.

“Because the rules are the only thing we’ve got.

If you don’t blow, we’ll soon be animals anyway.

He can hold it when he’s speaking.”

The fire serves as another symbol. It represents hope, salvation, rescue and therefore a medium of communicate and represents at the same time the origin of mankind. But there is also something negative about the fire. It shows the intention of humans to control nature by destroying it.

“There’s only one thing we can do to get out of this mess.

We can help them to find us.

I wonder how far off you could see that.”

The lord of the Flies represents the beast’s danger and power. It is connected with the symbol of pig’s head. In one chapter Simon believes the Lord of the Flies to speak to him explaining the nature of evil. It is both a physical representation of "the beast", as well as a symbol for Satan himself.  The head is called ‘The lord of the Flies’ which is a translation of the word Beelzebub (name of the devil in the Bible). Golding says, “This head is for the beast. It’s a gift(Golding, 140).”

          The island represents the Garden of Eden, then after the boys arrive, it represents the corrupt nature of mankind. It is also a microcosm representing the world.

“We may stay here till we die.

Perhaps there aren’t any grown-ups anywhere.

Then gradually the almost infinite size of this water forced

Itself on his attention.”

          By the use of the dazzle painting, Jack’s change of character becomes obvious. From now on he is wearing a mask to lay down Jacks Merridew’s responsibility for all the things which happen. The painting is called “war-paint” by Ralph and shows the warrior-like status of the choir group. Like soldiers, Jack’s supporters have to be obedient, respect their leader’s law, and maintain discipline and order. There is no individuality anymore , the boys are only contracted as hunters - “the boys with the stick”. Everybody has to look and to act the same way.

The beast the inner savagery of the boys and all mankind. The boys personify it by calling it a giant snake and mistaking a dead parachutist for it. Simon is the only boy who understands that it’s a dead parachutist.

          The parachutist symbolizes adult evil and is a reminder of war. Cox describes, the dead parachutist as a “symbol of adult evil (171).”

“If only they could send us something grown-up, a sign or something.

But a sign came down from the world of grown-ups,

Though at the time there was no child awake to read it.

The tangle of lines showed him the mechanics of this parody.”

When the boys kill Simon as he attempts to tell them the truth about the beast, they show the “adult evil” as “part of themselves” (Cox, 171). 

          Piggy’s glasses play an important role in the novel. It represents wisdom and knowledge. The boys use it to focus the sunlight and start the fire.

“If the fire’s right out, we’ll need them-

He polished his glass again and went back to his subject.

They blinded me. See?”

          Golding also uses symbolism in the various characters of the story. Golding’s three main characters are Ralph, Piggy, Jack and Simon. Each of these characters plays an important role in the novel.

Ralph represents law, order, organized society and moral integrity. As the story progresses, Ralph emerges as a leader.   “It is he who find that conch and arranges that when there is a meeting he who hold the conch shell speak” (Forester, 228).

          Piggy symbolizes knowledge and morality. As the novel progresses, we learn that Piggy is the “brains of the party” (Forester, 228). When Piggy and Ralph found the conch, it was Piggy that said, “We can use this to call the others.  Have a meeting…”(Golding, 15).  This way of thinking exemplifies Piggy’s intelligence. David Spitz compares Piggy to “Socrates, the voice of reason” (173).

          Jack represents anarchy. Spitz calls Jack “authorian man” and compares him to the dictators “Hitler and Mussolini” (173).  Spitz also discusses Jack’s appearance calling him a “Satanic figure with his red hair and black cape” (173).

Simon represents goodness. In the novel, Simon plays the role of the Christ like figure.  In an interview, Golding himself calls Simon “a saint” (Kermode, 219). When he discovers that the beast is the dead parachutist, “like Moses, then, he comes down from the mountain bearing the truth” (Spitz, 172). 

To sum up, we can say that, William Golding uses so much symbolism in Lord of the Flies that many critics agree that it is an allegory- a writing that has “a double meaning” (Wheeler).These symbols symbolizes different aspects of the inevitable Change from civilization and happiness to primitivism and Instinct that occurs when people are placed in an environment  without direct authority.

Works Cited

Wheeler, Dr. Kip. "Literary Vocabulary." Dr. Wheeler's Homepage . 06 June 2008.              Carson-Newman College. 12 July 2008.

Cox, C.B. “A review of ‘Lord of the Flies.’ ” Critical Quarterly 2.2 (Summer 1960): 112-17. Contemporary Literary Criticism. Ed. Roger Matuz. Vol. 58. Detroit: Gale, 1990. 170-72.

Golding, William. Lord of the Flies: Casebook Edition. New York : Penguin Group, 1988.

Forester, E. M. “Introduction.” Lord of the Flies: Casebook Edition. Ed. James R. Baker & Arthur P. Ziegler, Jr. New York: Penguin Group, 1988.

Spitz, David. “Power And Authority: An Interpretation of Golding’s ‘Lord of the    Flies.’ ” The Antioch Review 30.1 (Spring 1970): 21-33. Contemporary Literary Criticism. Ed. Sharon R. Gunton. Vol. 17. Detroit: Gale, 1981. 172-73.