The Symbols Used by William Golding in "Lord of the Flies"

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LITERATURE ASSIGNMENTS
EXPLAIN THE USE OF IMAGERY IN WILLIAM GOLDING’S “LORD OF THE FLIES”

“Lord of the flies” by William Golding, is a book filled with terrifying truths and unhidden disclosed secrets that have gone too far not to be acknowledged. The writer perspicuously reveals the role of the society in suppressing the minds of its followers to the extent that even the most savage of all creatures if allowed, “man” is beguiled into reflectively presuming himself at the very peak of morality and the vision of civilization; as said, the hidden truths cannot remain so eternally; and thus Golding advances to fill “the lord of the flies” as a depiction of what lies beneath the barricade of lies and pretension. He sets his book based on the most thought ‘civilized’ society, the British, using English school boys to buttress his points. Even amongst the symbolisms and the significances of the prose, there is a nature to which the book lies, a feature that makes it so further distinguishable from other books; a realized attribute that is passionately attained in this book, that is the ‘IMAGERY’. Golding’s ‘Lord of the flies’ is emphatic in nature and is an imagery of the reality of the scenes of its own. The descriptive and metaphorical diction of the prose was advancement even in the times of Golding himself. In the book, Golding ensures the usage of imagery, one way or another at ever nook and cranny of his book. At a peak where Golding lays close realization between actual reality and his diction; it lies so close that one can almost see the scene. His words are so emphatic, they portray pure descriptive genius and they buttress the true beauty of nature. Golding’s use of imagery sets us to realize the actual exquisiteness of the panorama, where the senses of the reader are so heightened that an awareness to the paradisiac essence of the book is established that even the task of discernment of reality from the book becomes arduous; where one can in actuality, practically feel, taste, touch and see the very essence of the island itself; even right from the beginning of the novel. This therefore leaves the diction used in the prose’s imagery to the reader to be bordering between sheer reality and fiction segregated by a mere thin diaphanous sliver or thread. With imagery, Golding amplifies the sheer potency (effects) of several scenarios in the novel. Just like Michelangelo, the artist, Golding paints his artwork that is the novel; with scintillatingly vivid yet arrestingly dramatic colorful and picturesque scenes that one can only define as intense, passionately ardent and vibrant; but using his mere diction as the instrument culpable of the brilliance he smears his book with remorseless reality and intense vivacity. It is blatant that if the imagery of ‘lord of the flies’ is removed then the book will become just ordinarily plain and boring, like a vacuum. It is now conspicuous the fact that the emphasis of this alluring book falls thoroughly on the paradisiac landscape of the cryptic island. Theological overtones are constantly elaborated in references to the island as a tropical haven: “the candle-buds open their wide white flowers glimmering under the light that pricked down from the first stars. Their scent spilled out into the air and took possession of the island” (page 74) a potent quotation, just a hay in the haystack barn of such assorted quotes from the book of ‘ lord of the flies’; vividly gives the reader an exclusive insight on the addictive allure of the flower. Golding uses a sundry of approaches to detail the very nature within the nature of the flowers; but all of these quotes and sentences prove the beauty of the fiction in relation to actual reality, because of Golding’s creative disposition that beguiles and lures the reader deeper into the appearance of the panorama. Golding’s imaginative and innovative touches adds flare here and there throughout the novel. The sun and the thunder, for instance, in...
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