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The Spire Love Triangle

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Explore the ways Golding presents the relationship between Goody Pangall, Roger Mason and Jocelin. Throughout the novel Golding expresses different levels of emotional bonds, especially through the characters of Goody, Roger and Jocelin in The Spire. It is apparent that Jocelin's love and infatuation with Goody is unrequited; whereas the thesis-antithesis axis of faith and reason is represented by the battle of wills between Roger and Jocelin. The reader's impression of Goody come through Jocelin himself; first of her 'long, sweet face', her sweet singing inside the Kingdom, her youth, and then the dark eyes in her pale, frightened face as she passes close to Roger. What continues to distress Jocelin is drawn after the harassment of Pangall. She is stranding with her hair hanging down, her hands clutching the pillar behind her, and her dress torn, and he knew that there was 'nowhere else she could turn that white, contracted mouth, but towards Roger on this side of the pit, his arms spread from his side in anguish and appeal, in acknowledgement of consent and defeat'. ...read more.


His distress with Roger becomes clear, and at the end of the novel Goody is included into a blazing constellation. Roger falls into Jocelin's trap in the sense of him saying, 'You took my craft, you took my army, you took everything' could suggest Roger 'taking away' Roger's sanity and belief into building the Spire, and the hope of the workmen, who he 'brainwashed' into believing that the construction of the spire will in fact be a success when Roger is aware of the disastrous consequences. There is no doubt of Roger's skill of architecture, and Jocelin correctly predicts that he delights in finding solutions to new problems. Throughout the novel Roger's practical sense of what is logically possible to do with materials is balanced against Jocelyn's faith in miracles,, but Jocelin has little faith in Roger, so he uses him simply as a tool to carry out his own will and proceed with the completion of the spire. Roger is undeniably relieved when the earth moves and he feels he has a genuine excuse to leave work, but the trap of his love for Goody ends as he appeals, 'Make me go' and thus falls into the trap of Jocelin. ...read more.


Rachel (Roger's wife) is attentive to Roger, follows him around the country and worries about him being exhausted, yet he betrays her with Goody- even though she looks after him when he becomes an invalid. Goody is also abused by a male-dominated world, married off to the powerless Pangall, sexually exploited by Roger, shamed, and maybe frightened into dying in childbirth. Readers and Feminists can question how far Golding is portraying gender inequalities that were all more drawn in the fourteenth century, and how far he contributes to them himself, as we have a very limited view of Rachel and Goody. Goody is only seen though his deluded idealism and sexual repression, and is not allowed to speak for herself, emphasised by Goody's faceless humming when she appears in Jocelin's vision (Chapter 9, P 178). This acts as evidence that Jocelin was only ever interested in her as a sex object, and his love for her was physical rather than emotional. Golding illustrates the love triangle that comprises of Jocelin, Roger and Goody to somewhat perverse and complex which ultimately result in the unanticipated deaths of Goody and Jocelin. ?? ?? ?? ?? Camilla Anderson ...read more.

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