The Study of Simon’s Character in Lord of the Flies

From a Freudian perspective, the tripartite components of the human psyche– id, ego, and superego– are enacted symbolically by Jack, Ralph and Piggy, in the particular order. Simon’s presence in the story serves no function to represent this psychic system whereas the other three main characters wrestle with each other and effort at role balancing in reaction to survival requirement. Jack is the id-ridden one, who follows the primitive impulse of the body, and searching and eliminating to his satisfaction at any cost.

Certainly, even as one of the Hunters, Simon’s apathy about hunting and his abstinence from eating meat evince the dominion of his mind over his body. Considering the superego, readers might puzzle Simon with Piggy and correspond their roles as both of them stand for the ethical voice on the island, attempting to keep ethical standards by which the ego, Ralph, runs. In fact, the attributes had by Piggy are more consistent with the core of superego.

Meaning to be socially standard, Piggy constructs an ethical frame according to the guidelines imposed by grownups, by which he emphasizes their importance whenever in the face of injustice. On the other hand, Simon understands man’s necessary health problem as an outcome of very long time self-questioning, in a natural shelter concealed in undergrowth from humankind. On the other hand, Simon’s altruistic tendency, revealed by his feeding of the starving horde of neglected littluns, magnifies his saintliness, as the divisions of the psyche essentially embody 3 levels of desires.

Recalling the scene when Simon, Ralph and Jack find the candle-like plant, the difference in their interactions with the outdoors world is plainly shown. Ralph denies their illuminating functions and Jack shows contempt for their inedible quality. They associate an external things with its possible practical usage in truth. Simon varies in “seeing” the candle buds, dealing with an experience as a pure communion, through which insights would have developed according to his sense of impression. Such internal individual understanding is restricted to impact his inner world of beliefs, but never the others’.

This represent the fantastic problem Simon encounters when he tries to explain the monster that he “sees”, actually an idea, holds true when those utilitarians can not even understand Piggy’s practical and sensible repercussion. Another item worth discussing is Simon’s disposition to be internally or spiritually pleased– he discovers the candle buds after telling his buddies that he is starving. Candles are a frequently used decor in religious places, normally implying a connection to spirit. Comparable instance happens when the others think that he would be bathing in the lagoon, he looks for solitude– a cleansing of his mind.

Although understanding that the beast-innate evil nature of humanity does exist, Simon is steadfast in his faith in original virtue of mankind, which was once brave and sick. If the island is personified as a woman, Simon is susceptible to embrace its beauty and tranquility, practices meditation alone in a glade surrounded by white glimmering flowers of the candle light buds, which represent humanity’s spiritual pureness. He is never disturbed by the affirmed discovery of the monster, and feels entirely at ease with passing himself throughout the forest to rejoin Piggy’s group.

The other kids translate the island in an opposite way, and end up being more knowledgeable about her threat and hostility as time passes by, providing vent to this uneasyness by declaring the presence of the monster. Throughout an assembly, Simon makes a valiant and unsuccessful effort to indicate the essence of the monster- “perhaps it is just us”, implying that he expects the beast is one of the two measurements of our nature. Then he questions the crowd, asking “what is the dirtiest thing there is? “, presuming mankind’s natural tendency to have an affinity with the tidy- the virtuous side of himself.

This belief is drastically weakened when he witnesses the ruthless killing of a plant with a sense of violent sexual imagery comparing it to a rape, rendering the glade a filthy and bloody place. The concrete ugliness of the body– the spilled guts and the pungent smell, juxtaposes with the abstract one– the hunters’ indulgences to bestial impulse. Nature, which he utilized to hold in regard for her sacred appeal, is tainted with the sin of flesh, where its root is man’s body, an indispensable part because birth.

The pig’s head on a stake, nasty but magnetizing a flock of flies, changes into the Lord of the Flies in Simon’s hallucination, in which he stays mindful, recommended by his talk about the self-proclaimed beast- merely “a Pig’s head on a stick”. The Lord of the Flies is an externalization of human sin imagined by Simon, serving as a medium for presenting his inner conflict with selecting in between compliance and self-preservation, the ignorant lie and the despairing reality, at last the abusiveness of wicked and the fragility of virtue.

Through the monologue in a type of phantasm, Simon refutes his previous concept of human nature and brings a new meaning to it– the beast is part of us instead of remaining in dichotomy; “Fancy believing the Monster was something you might hunt and kill!” he stated to himself. He pertains to acknowledge his own predicament which of the island, having a premonition of death as the Lord of the Flies guarantees to have “enjoyable” on the island. Awake, Simon defies the hazard and accepts his fate, as “What else is there to do? “.

He undergoes a physical and spiritual improvement-“The normal brightness was gone from his eyes and he strolled with a sort of glum decision like an old man”. The unmasking of the expected beast on the top of the mountain which he discovers to be a dead parachutist, validates his belief- the monster is within us. Before climbing up down the mountain to make public the fact, he releases the remains of the fallen guy from the chains in empathy, with a significance of “dust thou art, to dust returnest”, making it possible for nature to purge the sin from the body.

In his last and desperate attempt in liberating humanity from sin, Simon stops working, albeit his love and steadfast faith in humanity, thinking that challenging the truth would accomplish them a conversion into goodness. His death is unavoidable, as a testimony to his hypothesis– he stumbles into a circle of insanity before he can describe the nonexistence of the beast, then being torn apart by a group of dancing and shouting “monsters” that have their predatory impulse unleashed and their identities lost. In the arms of the sea, an indication of life’s eternality, Simon discovers the homeland of his soul.

The ‘strange, moonbeam-bodied animals with fiery eyes’ that forms a halo around his head give a little alleviation to his death, however they are actually low kind of life similar to flies, which are visually accepted by no one. It is Simon’s noble spirit, under that decaying body, makes them radiance. Simon’s death produces no corrective impact on the boys’ lack of knowledge of their inner beast, as ironical as his death, most of the boys give in to such bestiality afterwards so regarding get a mentally completeness of the cruelties that they have actually devoted, and the island soon ends up being an earthly hell in blaze.

The participation of Ralph and Piggy in Simon’s murder, driven by the requirement to join the “lunatic but partially secure society”, indicates the irreversible loss of the boys’ innocence to animality, as the two are the only left on behalf of rationality, yet being insensible to the internal beast, thinking that ‘evil is somewhere else’. Even for Piggy, who reasons scientifically, has his own limitation to reach the understanding of their flaws by nature, and merely concludes Simon’s death as a mishap when he ants to exculpate himself. This discusses the futility of Science when tackling with the dark side of mankind. The story itself is a miniature of humanity history, and the factor for the collapse of a society can be presumed- neither identified by the fire nor the conch. The previous represents technology– can be the first trigger ever fired up but likewise a harmful atomic bomb, helps, at the same time, completely ruins civilization.

And the latter describes a democratic parliamentary system which Golding had actually elaborated on in his speech-“The moral is that the shape of a society should depend upon the ethical nature of the individual and not on any political system however obviously rational or reputable.” For that reason, Simon is the last resolution for all mayhem, who exhibits the ideal ethical that person must have- he is temperate in sensual desire, sacrifices for mankind’s welfare expecting nothing in return, sees through man’s latent ill nature but martyr for a faint possibility of healing it.

Nevertheless, here comes the paradox- Simon is not a convincing character that can come to life. The author had him idealistically created and endowed him a tendency to put excessively the spiritual above the product: essentially, he does not express the typical desire to survive, neither in a primitive society nor a civilized one, for the structural design of mind is inapplicable to him. Once again, he spontaneously has an insight into humanity with a hidden thinking procedure, most likely to produce an ill-founded result for his dependence on idealism (of approach) if remaining in truth.

Rather than calling him an optimistic thinker, he suits much better to the function of a visionary, having a supernatural instinct that Ralph might go house ultimately. Therefore the only way to justify for his inspirations is that he is deliberately intended to be a Christ figure, confessed by Golding in an interview, in which he also said, “What numerous smart people … find, is that Simon is incomprehensible. … a person (Simon) like this can not exist without a great God.

For that reason the illiterate person discovers Simon exceptionally simple to comprehend …” In “Lord of the Flies”, Simon is created to be a sign of religion, because of the parallelism between his fate and Jesus’s which is found by many critics. Unlike Jesus, Simon’s death is not redemption of the world from sin. It undoubtedly coincides with an assertion made prior to the break out of World War II, by a German thinker, Friedrich Nietzsche–“God is dead”, actually meaning that the traditional Christian God is no longer a feasible source of any absolute ethical principles.

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