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The novel Lord of the Flies tells the narrative of a group of young boys who become shipwrecked on an island and are forced to rethink the nature of their relationships while there. There are numerous themes that go throughout the book.
The novel's subject of leadership is realized when the conch mirrors an organization that is supervised by the conch's leader, Ralph. As a result, "(the conch): And once more, a note is heard and returned, this time closer. Again and again. The note is then taken up by additional voices. A real professional chord sound” (Golding 6).
From the allusion to the organization of the conch, the audience is provided with a realistic insight into the influence of leadership in the community. As a relevant intervention, the allusion to the conch and professional chord serves to excite the audience given the ongoing within the text.
Notably, the frenzy reflected by the Conch is transmitted into the audience who reflect the excitement that is captured by the characters in the setting.
Stage direction captures the immensity of leadership in the text. Essentially, the act provides insight on the various manifestations of leadership within the novel. An Example of stage direction in the text is manifested in the statement “Hunt! Hunt! Hunt! And he leads them round and off towards the side of the stage. As they chant behind him, Ralph is left alone with Piggy, Simon, Sam, Eric and Perceval. He is holding the shell.” The statement captures the element of leadership in the text as reinforced by the author. Jack is shown to be a leader given his ability to influence the outcomes and decisions of the individuals around him.
The intervention is important because it serves to augment the audience’s curiosity and suspense regarding the activities that are taking place within the text. Reading the words uttered by Jack reveals the sense of urgency that underlines his leadership and hence providing a platform through which future events in the narrative can be inferred.
Symbolism has also been used in the text to reinforce the element of leadership. As a tool of leadership, the conch signified the influence that an individual had in the narration. Thus, upon arrival in the island, the boys contend that “we can use this (the conch) to call the others. Have a meeting. They’ll come when they hear us”. From the reference, the author succeeds in capturing the immensity of leadership through the conch given that it is considered to be a symbol of civilization and a source of hierarchy within the community of boys in the island.
The allusion to the conch creates a sense of concern and attention among the audience. The tool is thus used to inspire further curiosity and attention from the audience. From the approach, the author succeeds in conveying his theme while appealing to the audience’s sense of curiosity.
Violence and Death
The set of the drama reveals the element of violence and death that pervades narrative. The set alludes to the spectacle that is overseen within the text. From the set, the author is often inspired to reveal the real-life events that are transpiring within the text. The set in Lord of the Flies captures the element of death and violence that is reflected in the text. Thus, “Silence over the whole darkened stage. Then, from above, high up from the left, we see something drifting down. The dead parachutist” (Golding 47). The text is important because it reflects the sense of death that underlines the experiences of the characters in the text.
The use of set to reflect violence and death facilitates creation of a frenzy within the audience. It also succeeds in reinforcing the element of anxiety that should rightfully be felt by the audience. The vivid description that is achieved in the set captivates the audience into following the revelation that surrounds the text and narrative.
Stage direction has also been used in the drama to reflect the element of violence and death that is captured in the text. An instance of stage direction that points towards violence is reflected in the text “They are pushing him now, kicking and shoving Simon. Simon, badly wounded, staggers toward the fire” (Golding 82). Essentially, the stage direction reveals an instance of grievous harm that was suffered as a result of the violence that prevailed in the island.
The use of stage direction to reflect violence is a culmination of the need to create a sense of apprehension within the audience. When the audience are exposed to such an instance of violence, they engage deeper with text given the sense of disgust that is fueled by the instance of violence within the text. From being disgusted, the audience will also be more likely to develop curiosity over the next set of events that transpire in the drama.
Fear of the Unknown
Symbolism was used in the drama to capture of the fear of the unknown that defined the experiences of the children in the island. Accordingly, Golding sought to make use of nature to convey the sense of restlessness that affected the children and their fear for tomorrow given their precarious situation. Symbolism in the drama is captured in the statement by Simon, when he moves away from the group, who contends that “the sun’s going down, it’s getting colder. (Golding 32). The statement captures the sense of foreboding and restlessness that encumbered the children in their new situations.
The use of symbolism to describe fear of the unknown also inspires fear within the audience. From the approach, the audience asks themselves questions such: “what will happen?” “who will die?” “Could it get any worse?”. Overall, the allusion to uncertainty within the text creates restlessness in the audience as well as they seek to establish the next events that will take place in the text.
Lighting has also been used in the drama to capture the fear of the unknown that was reflected by the characters in the text. From the initiative, the author is able to guide the reader’s movement towards the event that transpired towards the text and inspire fear. The element of fear in reinforcing fear is captured in the text “Darkness. The only real light source down front. The huge stage is otherwise all shadows” (Golding 43). The importance of the allusion is found in its ability to capture the importance of light in reflecting hope.
The audience’s response to the use of lighting entails hopelessness and fear. Essentially, human beings are inclined against darkness. Accordingly, the mention of the darkness in the text will serve to negate the comfort that the audience has in the text.
The element of costume in reinforcing fear is captured in the statement “And, behind the two leaders, in equally bizarre and tattered clothes, come Maurice, Bill and Henry, all with spears” (Golding 51). The statement is important because it reflects how costumes inspire fear.
The audience will respond to the text in fear and anxiety. They will seek to understand how and why the three individuals have the attires that they have donned.
Peer Pressure and Danger of Mob Mentality
Peer pressure and the danger of mob mentality was reflected extensively in the text. To infer on the extent and dangers of peer pressure and the danger of mob mentality, Golding made use of stage direction. Accordingly, “They are pushing him now, kicking and shoving Simon. Simon, badly wounded, staggers toward the fire” (Golding 82). Overall, the statement captures the prevalence and immensity of peer pressure and the dangers that it poses to the characters within the novel.
Stage direction in the capture of peer pressure and the resultant detrimental outcomes is captured in the statement “All the boys are now stamping across the back of the stage. All that is, apart from Piggy” (Golding 29). Basically, the fact that they follow each other prevents them from fully accessing freedom that would have significantly redefined their scope of life.
Stage direction in reflecting peer pressure includes “Jack: Where’s the man with the trumpet? In a line! Come on! In a line!
But the line breaks up as they come on’ (Golding 7). The statement assumes that the subject needs continuous alee attention for her to thrive.
An appropriate response to the instances of peer pressure and dangers of mob mentality, the audience is likely to become apprehensive and less disposed towards the characters that foster peer pressure. The sections also foster indifference within the audience given the repeated instances of violence that are manifested in the narration.
The text also makes use of sound effect to reflect the element of peer pressure within the text. Based on the narrative, Golding proclaims that “(the conch): And once more a note is sounded and answered, nearer this time. And again. And then the note is picked up by other voices. A real professional chord sound” (6).
From the chants, the audience is expected to reflect fear and apprehension towards the events that are transpiring within the setting. The chants seek to redefine the experiences of individuals in the setting.
Man Is Inherently Savage
Stage direction can also be used to infer on the inherent savagery that defines man. Accordingly, “Jack: Who was blowing the trumpet?
Jack and Ralph face each other” (Golding 7). Despite their shared history, the two main characters revert back to savagery in engaging each other. The commitment to instinct above reasons reflects savagery.
From the allusion, the audience is likely to develop a sense of indifference towards the tribulations that the characters are facing within the novel.
Golding, William. Lord of the Flies. Penguin, 1987.
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