The Lord Of The Flies Mask Analysis

The painted masks also speared to free the members of the tribe from what could be considered as appropriate behavior. This can include the lack of self discipline in fulfilling assigned tasks as well as disobeying rules and the violent nature adopted in hunting. In spite of the fact that when the boys landed on the island they were naturally freed from all of the laws of the adult world, they still came together to form a tribe. Though some saw this as an important step, such as Ralph, Piggy, Simon and somewhat Jack, many just viewed it as a game to be played whenever they pleased. After Jack began wearing face paint, many of the younger children viewed him as a chief and wanted to follow him over Ralph. As they began following him he, hiding behind the mask, influenced them to do things that they would normally consider wrong, such as adopting such a violent nature when hunting. In hunting they fulfilled their basic need for meat, but they quickly began centering their lives around it, and almost worshiping the hunt through dance and reenactments. This led them to create a tribe centered on their

In the beginning of the novel, a group of boys are stranded on an island resulting in the creation and decline of a civilization, and an uprising of savagery. Fear is an essential element of the story illustrated through foreshadowing, symbolism and diction. The young boys are terrified by a beast on the island. With fear rippling through the group, sheer chaos, savagery, a break in civilization, and a loss of innocence ensues.

In the “Lord of the Flies,” William Golding uses ordinary items to symbolize bigger universal ideas. These symbols can be seen throughout the text and will evolve as the story progresses. In the beginning of the Lord of the Flies, one of the most frequent topic the boys discuss is hunting and their desire to have meat. However, not a single boy is able to hunt successfully as they are all afraid of killing another living thing. The boys only have a successful hunt when they use the mask. The mask in the Lord of the Flies is one of the many symbols used to communicate Golding’s universal ideas. When the mask is used in the Lord of the Flies the mask serves the purpose to hide the boys from the pigs when they hunt. However, when the text is examined in an allegorical means, the mask can be defined as hiding from oneself, strength, and savagery. The allegorical definition of the mask, proves how the mask does not only hide the boys from the pigs, but also hides the boy’s inner connections with their former selves. The mask in the Lord of the Flies initiates as hiding from oneself, evolves to strength, and ends a savagery.

In the beginning of the novel, Jack’s mask represents hiding from himself and to hide from the responsibility of the real world. Jack is standing over the water when he begins to create the mask out of different colors of charcoal. Once he creates his mask, he sees himself in the reflection of the water, “he began to dance and his laughter became a bloodthirsty snarling. He capered toward Bill, and the mask was a thing on its own, behind which Jack hid liberated from shame and self-consciousness” (Golding 64). He becomes a different person and hides from his true self. A sense of anonymity arises to help relieve

Symbols in literature are like the Earth, there are multiple layers until you get to the core meaning. In the novel, The Lord of the Flies, William Golding, utilizes symbols in order to get his deeper meaning across. In a novel about boys isolated on an island during the time period of World War II, Golding shows the outcomes of what isolation can have on a group of people. While trying to get these messages across, the author uses symbols as an aid These symbols range from strength, hope, and fear. One of the most important symbols in the book is Jack’s mask. The mask starts out as a way to help Jack hunt and grows from there. Therefore, Jack’s mask begins as protection from Jack’s own identity, evolves to his strength, and

The “ beastie” represents the effect of fear on the island because the longer they stay on it, the more frightened they become as they can't discover the reason for their fear. This makes more and more of the boys in the group believe that there actually is a “beastie”. The fear builds and builds on the boys until they are super scared of an animal that isn't even real, but they can't solve the problem they're in (getting off the island) so they blame their fear and problems on a situation they can solve. This solution is killing the beast, because it's what they think their main problem is. In chapter seven they go on a large group hunt for the “beastie”, to either kill it or prove that there isn't actually a “beastie”, this shows how much they have been affected by their fears. Another way the “beastie” is a representation of fear on the island is, because it is driven by the lack of confidence. The roots of fear come from the lack of confidence and belief, once you start doubting what you

Gender roles often have disastrous consequences for people who struggle to fill their assigned stereotype. Last Wednesday, Carnegie Mellon had a special showing of a new film, The Mask You Live In, that focuses on how society’s narrow definition of masculinity can cause more harm than good.

Freedom was seen through the boys painted faces – as it liberated them from social conventions and allowed them to become savages. The narrator in the book said in chapter four, “The mask was a thing of its own, behind which Jack hid, liberated from shame and self-consciousness”. The use of personification about the mask gives it a wild, dangerous atmosphere. Jack is seen changing into something more animalistic, too, free from the judgement of adults on the island and Golding conveys this through anthropomorphism. In chapter three the narrator says, “Jack himself shrank at this cry with a hiss of indrawn breath; and for a minute became less a hunter than a furtive thing, ape-like among the tangle of trees.”

The main power of a mask is to change someone’s identity and to transform them into a new person. When Ralph sees Bill, he says that “this is not Bill (183).” The boy behind the mask is Bill, but the mask disguised him and created a new person, a new savage. The mask turns Bill from a normal British boy into a savage. The mask is what Bill uses to become a new person and to disguise himself. The mask gains power because it is removing the boy’s old personality and replacing it with a new, more savage one. When Ralph goes to visit the savages, he sees “Jack, painted and garlanded, sitting there like an idol (149).” Before painting himself, Jack was not chief, but after he masked himself, he is treated like royalty and idolized by all of the other boys. The paint that Jack uses to mask his identity does not change him, but rather creates a new person out of him. He is no longer Jack, but the leader of the group of savages. This is the goal of the mask, to remove civilization entirely. Without

How many books have been written about shipwrecks? Now out of those how many have had all the main characters under the age of twenty? Not many. This is precisely what happens in the riveting novel Lord of the Flies written by William Golding. Although this is an unbelievable work, it is too long. There are many important parts that need to stay, however. Three of these are when Simon is talking with the Lord of the Flies, when Piggy is killed, and when the boys are rescued.

While there are many art forms that I could have chosen to use for my Lord of the Flies Creative Project, I decided to create a visual painting/collage.

Paragraph 1- When the Beast is first introduced, it symbolizes a growing fear that is present in all the boys, and exhibits the potential for savagery that exists in every individual. In the beginning, the majority of the boys burst into “laughter and cheers” when the Beast is first introduced as “the snake-thing” (35). The fact that the boys were laughing exhibits the civil behavior that initially lies within the group. As the story progresses, the Beast starts to become a growing concern to the boys as Ralph notes that “things are breaking up. I don't understand why. We began well; we were happy. And then—. Then people started getting frightened [of the beast]” (88-89). The boys’ fear of the Beast begins to separate them from civilization and exhibits the original loss of the boys’ civil behavior. Soon after, the boys—as a whole—start to suppose that “maybe there is a beast [living on the island]” (95). Their consideration of the Beast’s existence

Not only does the island ruin the boys' life, it wreaks havoc on their clothes, skin and hair. When the choir boys are first introduced, they sport "black cloaks which bore a long silver cross on the left breast," which, with aid from a "hambone frill," hide their bodies "from throat to ankle" (Golding 16). Their elaborate, conservative attire serves as a visual representation of their innocence. Also, the cross means that they idolize God, a symbol of love and peace, which are values that will soon be forgotten. After being immersed in the vicious world of survival, the boys become savage, which the quote, "Each of them wore the remains of a black cap and ages ago they had stood in two demure rows and their voices had been the song of

The group on the island leaded by Ralph state that the beast is a scary snake like creature that haunts them during their time on the island. The hear it and see shadows of this so called beast. However, they never actually see the beast up close. The theme that represents the beast is that the true fear hides in each and everyone of them and that is the true fear. The beast haunts them because of their own fear creating the illusion of something scarier than what is really there.

In the words of the philosopher Jean-Jacques Rousseau, “Our greatest evils flow from ourselves.” In other words, humans harbor an ever present looming evil nature within themselves. Evil is the force in nature that governs and gives rise to wickedness and sin, or the wicked or immoral part of someone. This concept of inner evil rising to the surface permeates William Golding’s dystopian novel Lord of the Flies, that evil exists in every human, proven through the characterization of the marooned boys. There is foreshadowing of the dangers of the boys’ inner immorality from one of the boys, Simon. As the novel progresses, evil starts asserts itself as the boys cast off their innocence and humanity, and turning against each other. Even the