Yr 10 EOY - LOTF - Evil/Violence

Point

Golding skilfully explores the theme of ______________ in Lord of the Flies, presenting it as a consequence of the breakdown of social order, ultimately revealing humanity’s capacity for brutality through his portrayal of the boys’ descent.

Quote

’The desire to squeeze and hurt was over-mastering

Analysis

• Abstract noun "desire" implies violence/power is not merely instinct, but a craving.

• Writer portrays violence/power as seductive and alluring.

• Verb "over-mastering" suggests desire for violence is overwhelming, dominates thoughts and actions.

• Golding presents evil/power as controlling and subjugating the individual — loss of free will, overpowering primal instincts.

• Juxtaposition of violent, insatiable desire within Ralph (symbol of democracy and civilization).

• Reinforces Golding’s central message: evil exists in everyone.

Pyschological Context

• Golding was influenced by Sigmund Freud's theory of the psyche:

  • Id = primitive instincts (violence, desire)

  • Ego = rational self

  • Superego = moral conscience

• Ralph’s urge to hurt comes from his id — a subconscious, primal drive. The fact that it’s “over-mastering” means his ego and superego are being overpowered.

• This supports Golding’s view that even the most ‘civilized’ minds are fragile and can be overcome by primal instincts.

Historical Context

• Golding served in WWII, particularly in the Royal Navy, where he witnessed horrific violence

• He saw ordinary men commit extraordinary acts of brutality. This deeply influenced his belief that evil is not external — it's within everyone.

• Ralph’s sudden violent urge reflects this: he is not a "bad" boy, yet he experiences an overwhelming desire to harm, which mirrors wartime atrocities committed by everyday soldiers and civilians.

• Like in the Holocaust, many Germans were not fanatics but ordinary people who participated in or tolerated violence. This moment echoes the disturbing idea that “normal” people are capable of monstrous acts when placed in lawless environments.

Writers Intention

• Golding is showing that no one is immune to evil — even Ralph, the symbol of leadership and order, is tempted by savagery.

• He wants to reject the idea of a purely “good” or “bad” person, suggesting instead that evil is part of human nature, even in the most moral individuals.

• He challenges the reader to examine their own impulses, making us ask whether we too would be capable of violence in the same circumstances.

Point

Quote

Maybe there is a beast... maybe it's only us."

Analysis

• The ellipses mimic Simon’s fragmented thoughts, showing he is grappling with an abstract, uncomfortable truth.

• The contrast between “beast” (a monstrous, external creature) and “us” (the boys themselves) reframes evil as internal and psychological, rather than physical or mythical.

• This is a moment of dramatic irony — the reader begins to understand that Simon is right, but the other boys dismiss him, reinforcing the tragic structure of the novel.

• The hesitation implied by the ellipses reveals that Simon is voicing something unspeakable — an uncomfortable truth about human nature.

• The juxtaposition between “beast” (external, mythical fear) and “us” (internal, familiar selves) underlines Golding’s theme: evil is inherent.

• This line introduces allegorical significance: Simon represents a spiritual or prophetic figure, echoing Christ or a moral philosopher like Socrates — both were ignored by society.

• Structurally, this quote is pivotal — it arrives at the midpoint of the novel, functioning as a philosophical turning point where fear becomes introspection.

• The use of ambiguous modal verbs (“maybe”) reinforces how fragile truth and certainty are — Golding leaves it to the reader to confront the terrifying idea that we are the monsters.

Biblical Context

• Simon is often read as a Christ-like figure: he seeks truth, retreats into nature, fasts, and is martyred by those he tries to enlighten.

• Like Jesus, Simon reveals the truth — that evil is within humans, not from an outside force — but he is misunderstood and brutally killed during a frenzied “sacrifice.”

• His death recalls the Passion of Christ — he dies for the sins (violence and fear) of others.

Pyscological Context

• Links to Freud’s theory of the id, ego, and superego. Simon represents the superego — moral conscience — who understands that the "beast" is the boys’ own inner savagery (id).

• His realisation is rejected because it forces the boys to confront their own capacity for evil.

Writer’s Intention:

Probs wrong

• Golding wants to challenge the idea that evil comes from outside sources (monsters, enemies) and instead show that evil lies within all humans.

• Through Simon, he presents a philosophical truth: that fear, violence, and savagery are innate, not external.

• He uses Simon as a moral prophet — a Christ-like figure — to warn that society’s problems can’t be solved until we confront our own inner darkness.

• He also shows that truth-tellers are often silenced — like in war or authoritarian regimes.

Quote

Kill the pig. Cut her throat. Spill her blood

Analysis

• The use of imperative verbs (“Kill”, “Cut”, “Spill”) creates a tone of aggression and commands, dehumanizing the act of violence.

• The repetition and triplet structure mimic a ritualistic chant, showing how violence becomes ceremonial and intoxicating.

• “Her” personalizes the pig, yet the brutality continues, suggesting that empathy is being eroded — they recognize it as a living being and still commit violence.

• The rhythmic chanting echoes mob psychology — individuals surrender responsibility within a group, enabling greater cruelty.

• The alliterative ‘k’ sounds in “Kill” and “Cut” create a harsh, percussive rhythm, mirroring the boys’ violent actions.

• Syntactic parallelism across the three clauses reflects the ritualistic structure of the chant — it becomes an incantation, stripping away reason and making violence sacred.

• Gendered language — “her throat” — subtly links violence with misogyny or domination; the pig becomes a symbol of the vulnerable, foreshadowing what happens to others (e.g. Simon, Piggy).

• The short, declarative syntax reinforces loss of humanity and the rise of instinct. There’s no room for reflection or morality.

• Structurally, this chant recurs and escalates — each time it returns, it is more savage, acting like a refrain of descent into evil.

Biblical Context - Not sure its correct

• This chant mimics pagan sacrifice — particularly Baal or tribal fertility rituals. It shows how quickly the boys revert to pre-Christian, primal belief systems.

• Replaces prayer or hymns with violent ritual — suggesting a devolution into savagery.

Historical Context - Not sure its correct

Historical Context:

• Evokes the war chants and propaganda used in fascist regimes — uniting people through shared hatred or violence.

• Golding shows how language can be manipulated to incite cruelty, as seen in Nazi slogans and military chants.

Writer’s Intention:

Probs wrong

• Golding shows how violence becomes ritualized and even celebrated in the absence of rules — mimicking war propaganda and mob psychology.

• He wants to explore how language can be weaponized — turning moral boys into a murderous mob through rhythmic, hypnotic chanting.

• This is a warning against groupthink, peer pressure, and the loss of individual morality when people are swept up in group violence.

• He’s also drawing parallels to how people commit atrocities during war — not because they’re evil, but because they become desensitized.