Creon believes the gods make him suffer the loss of his wife and son as punishment for his pride. He cries to the gods “Oh the dread, I shudder with dread! Why not kill me too? – run me through with a good sharp sword? Oh god, the misery, anguish – I, I’m churning with it, going under” (1432 – 1436).
I’m the reason why it’s no go? Why things are the way they are?” (Golding 143). This once again causes a break in the group which turns the group against Simon because they all think that he is the Beast and leads to the boys killing Simon. This shows that the beast has destroyed the group to the point where the boys are now killing one another. It also brought them all to the point where one of them was willing to murder their peer.
“They might’ve seen us. We might’ve gone home--“ This was too bitter for piggy, who forgot his timidity in the agony of his loss. He cried out, shrilly: “You and your blood Jack Merridew! You and your hunting! We might’ve gone home.” (70) The Beast The Beast in the book symbolizes “the evil in the boys/in humanity”.
He’d never have gotten us meat. He isn’t a perfect and we don’t know anything about him. He just gives orders and expects people to obey for nothing. All this talk-‘”(126). Jack shows this with his obsession of hunting he did it not only because they needed meat but because one day he would use this in his favor to humiliate others and make him look like the powerful one.
One of the most evident themes in the novel would be loss of innocence. It is constant throughout the book that the innocence of the boys is quickly being destroyed. The books obvious context of civilization versus savaging is essential to show where the innocence is lost. But because civilization is lacking, the boys become cruel and barbaric and even kill each other. The loss of innocence is evident in most characters of The Lord of The Flies.
Kristeva's view on abject is that it refers to the human reaction to a threatened breakdown in meaning caused by the loss of the distinction between subject and object or between self and other. (Kristeva). For example, if someone seen a corpse they would be repulsed by it because its something that should be alive but isn't. As Kristeva says, “The corpse, seen without God and outside of science, is the utmost of abjection. It is death infecting life.
Grendel had no hall, no lord, and he disobeyed the laws of warfare by attacking at night. For this, Grendel’s point of view is a little skewed for he has such a burning hatred for men that he murders and eats them. When hearing of Beowulf, he is the shining example of everything that Grendel hates. Over the course of the novel, the reader realizes how much Grendel acts like a human and how his train of thought is more rational than portrayed in Beowulf. This personification is shown throughout because of his complex thought patterns.
I personally believed that Creon had the most moral conflict. He was very cruel and selfish. Ismene and Antigone’s conflict fell more towards whether it was right or wrong to follow the god’s word or the ruler’s word. On pages 1070 and 1071 in our textbook, Antigone and Ismene discuss burying their brother that Creon has sworn no one should bury him. That is the beginning of all the moral conflict throughout this entire story.
In the first stanza, the environment in which the speaker’s father committed suicide is personified as having “lips” that are “dabbled with blood-red heath” and “red-ribb’d ledges”. This violent imagery implies that the speaker is delusional, imagining the landscape as brutal and guilty, culpable for his father’s death. The reference to Greek mythology reinforces the idea of his madness as he imagines “Echo” who replies yet always answers “death”, underlining the stark indifference of nature and its unforgiving constancy. The speaker emphasises the murderous quality of the environment further, describing his father as having been “mangled, and flatten’d, and “crush’d”. The plosives exaggerate his father’s death, making it seem harrowingly painful and harsh.
And he kills an old man for no other reason than because his eye makes “his blood run cold”. The story starts out erratic, “True!—nervous—very, very dreadfully nervous I had been and am; but why will you say that I am mad?”(228). The narrator cannot even speak in complete sentences, or even complete thoughts here and that sends up a red flag that something might be off in his head. He claims his madness is not really madness; it is just his sharpened senses. “The disease had sharpened my senses—not destroyed—not dulled them.