Golding establishes a transition in power from Ralph to Jack, emphasizing Jack’s dominance over others and his implementation of anarchical rule on the island. Jack forms his own tribe, in which he elevates himself to a god-like status. As Ralph and Piggy arrive at Castle Rock, they are greeted by “Jack, painted and garlanded, [sitting] like an idol” (164). He is also surrounded by piles of meat, fruit, and drink filled coco-nut shells. Jack is treated like a king and the boys serve as his pawns. He disregards Ralph’s democratic leadership and establishes a condescending rule over the boys, further adding to his loss of innocence. Golding also elevates Jack’s power by altering his identity. On Castle Rock, “the Chief [sits] there, naked to the waist, his face blocked out in white and red” (176). Golding replaces Jack’s name with Chief within the narration, perpetuating Jack’s fall from innocence. Golding leaves no doubt that anarchy has spread on the island, with Jack becoming a symbol of evil. When Jack is questioned, “a savage raise[s] his hand” (177) to speak. Golding also transforms the identities of the tribe members, establishing their loss of innocence, as well as establishing them as violent, vicious pawns of Jack’s coercive rule. Furthermore, Jack’s use of violence clearly signals the transition of power and the spread of destruction and savagery. His vicious and belligerent ways establish a sense of fear within the boys. Jack sends a strong message to his tribe when “he [gets] angry and [makes] [his tribe members] tie Wilfred up” (176). Jack beats one of the boys for no apparent reason, to strike fear into the hearts of the rest of the tribe, making them conform to his anarchy. Through violence and disorder, Jack further strips away his innocence and embraces his corrupted nature.
Through the use of the beast, Jack forms a religion rooted in ritual and savagery. The foundation of this religion is based on the boys’ deep fear of the beast. Jack’s rise in power and his spread of anarchy on the island correlates to the beast. For the boys, the beast has become a corporeal, violent manifestation. The beast uses Jack as a liaison to spread anarchy on the island, and Jack uses the concept of the beast as a tool to exercise his rule. They give each other strength and this vicious relationship is integral to Jack’s power. Jack has elevated the Beast to a godlike figure in order to control his savages. After brutally slaughtering a sow, Jack impales its decapitated head on a stick, leaving it as a “[gift] for the beast” (151). This ritual offering to the beast exemplifies the boys’ genuine fear. Therefore, the boys have formed a religion founded upon terror, rather than upon morals and principles. Jack and his tribe also create a chant and dance for their hunt. The chant, “Kill the beast! Cut his throat! Spill his blood!” (168) reflects the savage behaviour into which Jack has descended. During the hunt, Jack is lost in the thrill of the ritual, providing his inner savagery free reign and causing him to temporarily lose sight of reality. The formation of a ritualistic religion rooted in manipulation and fear allows Jack to deviate from innocence and embrace his innate savagery.
Golding utilizes Simon’s murder to epitomize the spread of internal evil. Jack has nurtured the boys’ hatred and fear of the beast. Through this hatred and fear, the boys are metaphorically blinded by impulsive and destructive instincts. When Simon “[comes] crawling out of the forest” (168), the boys are too preoccupied with their savage chant to recognize him. At this point, the boys truly believe that Simon is the beast. As savagery begins to consume Jack, “there are no words, and no movement but the tearing of teeth and claws” (169), associating Jack with beast-like features. Golding portrays Jack as a wild animal rather than a human being. Jack violently murders Simon, exemplifying his extreme savagery and completely severing any ties with societal values. Simon’s murder marks Jack’s entire loss of innocence. Once Jack has committed the taboo act of murder, there is no turning back from his corruption. His primary tool to justify Simon’s murder is the beast. He states that the “[beast] came disguised” (177) as Simon. Jack characterizes the beast as an immortal and shape shifting creature. By doing so, Jack is creating an excuse to kill again. Jack does not feel any apprehension about murdering again, continuing his fall from innocence. Simon’s murder ultimately marks the point of no return in Jack’s corruption.
In Lord of the Flies, Jack is stained with the innate evil of humankind, triggering his fall from innocence and journey towards savagery and corruption. Golding portrays Jack’s corruption through his coercive rule where violence, war, and deviance are emphasized. Jack initiates the anarchic lifestyle on the island through the manifestation of the beast and the formation of a cult-like religion. Finally, Golding utilizes Jack to depict the evil within the human soul and its ability to be unleashed if not restrained by the rules of society. An ordered social structure enables civilized behaviour to prevail, whereas the lack of it allows for evil to penetrate the surface of human nature and begin its manifestation.
[1] Golding, William. Lord of the Flies. London: Faber and Faber, 1954. 51.
