Fiery Personality


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fiery personality Lord of The Flies

Lord of The Flies

At the start of the novel, there has been
an atomic explosion, and the children have been evacuated in an aircraft
with a detachable passenger tube. The aircraft has been attacked and released
the tube while flying over tropical seas. The tube has crash landed in
the jungle of a tropical island, and the plane has flown off in flames.

This is the point when the novel starts. There are four main characters
in the book Ralph, Piggy, Jack and Simon. Simon is part of the choir,
which is led by Jack, but Ralph and Piggy are not members of the choir,
and are in no way related. There are no adults "There arent any grown
ups" (P.43)

Ralph has found a "conch" (P.21), and has
used it to call all the boys on the island together. This is where Jack
is introduced into "Lord of the Flies"

"Something dark was fumbling along" (P.26).

This refers to the choir walking along the beach in the distance. This
use of language shows us that the choir is dark, evil, and sinister, and
immediately Golding tells us that this group will not be a "good" force
on the island. The choir are a militaristic group "marching approximately...with
a hambone frill" (P.26). This shows us that their leader is in total control
of the group. This leader is Jack "The boy who controlled them...his cap
badge was golden" (P.26) This shows the authority and status that Jack
has over the choir. When the choir reach the platform, Jack shows off

"swaying in the fierce light...his cloak flying" (P.27). This is an attempt
to impress the group, create a good impression, enough so he commands their
respect as well as the choirs, enough so that he can eventually control
them as well as the choir. Jack does not introduce himself to everyone;
he first words to the group are "Wheres the man with the trumpet?" (P.27).

He just gives out demands, and expects the group to answer him. This is
what he is used to. Jack is a direct contrast with Ralph "peered down
at Ralph...(the conch) did not seem to satisfy him" (P.27) This shows us
that he believes no-one is as good a leader as him, and that the conch,
which called the group together, is below him. This is "simple arrogance"
(P.29) on the part of Jack. He uses his cloak as a prop "Inside the floating
cloak he was tall, thin, and bony" (P.27). He uses the cloak (a sign of
power) to make him into something hes not, he uses it to gain authority.

"His hair was red beneath the black cap" (P.27). The colour of his hair
shows signs of a fiery temper, and the colour of his cap reinforces his
sinister side.

Jacks main aim of the assemblies in the
novel are to first become chief, and then control the group. He says on
page twenty-nine with "simple arrogance", "I ought to be chief." Jack believes
that no-one else has the right to control him, and he should be in control
of everyone. During the assemblies, he rejects Piggy "Shut up, Fatty"
(P.28). He has no respect for Piggy (due to his appearance), even though

Piggy could be a very useful asset to the group. He takes control of the
assembly "Weve got to..." (P.29). Jack does this because he wants to decide
and be in control of what the group does. When the boys on the island say
they want to vote on a chief, Jack "started to protest" (P.30). This is
because Jack knows that he is not in control of the boys on the island
who are not in the choir, which is the majority, and therefore they will
not vote for him. He also believes that he should be proclaimed the leader
of the group without voting, because in his opinion, no-one has the right
to be in control of him. This is because he is a natural leader, and has
never been in a position without control. This is born out when Ralph is
voted chief "and the freckles...a blush of mortification" (P.30). Jack
is very embarrassed when he is, for the first time in his life, not in
total control.

Jacks personality makes him use violence
to command respect "Jack snatched from behind him a sizeable sheath-knife
and clouted it into a trunk" (P.32), "Jack slammed his knife into a trunk
and looked round challengingly" ... more

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13. Were the Elizabethans more bloodthirsty or tolerant of                
violence on stage than we are? In addition to the visible                  
bloodletting, there is endless discussion of past gory deeds. Offstage      
violence is even brought into view in the form of a severed head. It's      
almost as though such over-exposure is designed to make it ordinary.        
At the same time, consider the basic topic of the play, the usurpation      
of the crown of England and its consequences. These are dramatic            
events. They can support the highly charged atmosphere of bloody            
actions on stage as well as off. By witnessing Clarence's murder,          
which has been carefully set up, we develop a greater revulsion for        
its instigator. And even though we are spared the sight of the slaying      
of the young princes in the Tower, Richard's involvement before and        
after is carefully exploited. Every drop of blood referred to on stage      
or in the speeches helps build the effect Shakespeare wishes to            
achieve. The peace which comes after Richard's death is both a              
relief and a reward.                                                        
-                                                                          

14. The Elizabethan audience knew from the start that Richmond was        
to become Henry VII, the first Tudor king of England and the                
grandfather of their own queen, Elizabeth I. As such, he had only to        
appear victorious at the play's conclusion. By the time he shows up,        
matters have progressed to a point where Richard's downfall is              
inevitable. But what good would victory be if the opposition had            
merely caved in? Shakespeare had to build Richmond's importance not        
only to satisfy history but to fulfill the dramatic development of the      
plot. By sprinkling his name into the preceding scenes, Shakespeare        
makes Richmond's arrival a matter of importance. Once Richmond appears on stage, he never makes a false step or says the wrong thing. If          
his dialogue sounds slightly flat, it may be a deliberate contrast          
to that of the fiery, passionate Richard. Here is a man of reason          
who makes his mark with heroic action rather than words. In the duel        
scene, Richmond has an opportunity to achieve the stature denied him        
in speech.                                                                  
-                                                                          

TEST 2                                                                    
-                                                                          
 1. B     2. A     3. B     4. A     5. B     6. B     7. C                
 8. A     9. C    10. B                                                    
-                                                                          

11. From the start, Buckingham is only too willing to provide his        
support for Richard's schemes. He immediately allies himself with          
Richard by scorning his exemption from Margaret's curse. From then on,      
he willingly shares the risk for his share of the spoils. Remember,        
patronage is an important issue. During Edward IV's reign, Queen            
Elizabeth saw to it that her relatives and supporters were taken            
care of. Buckingham saw Richard as his key to prosperity. His              
insistence on his reward in the face of his hesitation to                  
participate in the killing of the princes leads to his loss of              
Richard's trust- and to his final destiny.                                  
-                                                                          

12. The actor playing the role of Richard must have great strength        
to endure the demands of being on stage in so many different                
situations and for such a long time. But what of the character              
Richard? Could he have been the successful warrior he is credited with      
being in the past if he were seriously crippled? Could he have              
performed the physical demands required by the battle in the final          
scenes? If he is "unhorsed," surely he is capable of riding. And            
what about his rapid, sudden turns throughout the play? Review the          
physical action that must accompany so much of his dialogue and see if      
you think his deformity was as much a handicap as a convenient excuse.      
The judgment of Hastings is one place where he certainly exploits          
it, but see if you can find others.                                        
-                                                                          

13. From the beginning, Richard develops an intimate association          
with the audience as he shares his innermost thoughts. Couched as a        
sort of "confessional," he confides that he is going to behave              
wickedly. As such, he virtually invites the audience to come along          
with him as he proceeds with his business. Periodically, he reviews        
and recaptures that spirit. Margaret, on the other hand, treats the        
audience as more of a witness than a partner. She speaks less in            
soliloquies ... more

fiery personality

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