Erin Habig

ENG 495: Boren

3/16/17

Final Paper

Progress or Peril: an analysis of the representation of the tripartite model of personality in

Lord of the Flies

William Goldings Lord of the Flies is a book of unsettling possibilities. The nature of

humanity and morality are ubiquitous themes throughout this text; yet, perhaps the most

unsettling is the apparent degradation of the human psyche in which he manifests through a

cast of juveniles left to their own devices, free of the demands and comforts of civilization.

Psychoanalytic theory suggests that the human personality is a tripartite model comprised of

the id, ego and superego. A proper balance of all three aspects of personality leads to a

healthy, functioning individual. By way of gradual and intricate character development,

Golding assigns these three prominent divisions of the psyche to three central characters,

suggesting the necessity for balance among the tenacious aspects of the human mind. Lord of

the Flies depicts a careful dichotomy of human potential and the sectors of the human mind

with which they are aligned is palpable. Diken and Lausten, in their essay From War to

War, insightfully consider the two polarities: The upside consists of the image of society as

rule-governed and institutionalized, the citizens being law-abiding; on the downside, we

encounter fantasies of transgression, potlach, and perversion (431). As the collective psyche

of the young island dwellers becomes increasingly unbalanced, the small populace becomes

divided and the true plasticity of human nature is interpellated. Within each sentient entity

the branches of personality are constantly engaging in a system of checks and balances, and

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in his novel Golding reminds his audience of the potential hazards that may arise when one

structure reigns supreme.

In the model of human personality, the id is uncoordinated and instinctual. It has no

concern for morality or compromise and lacks the restraint necessary to participate in

civilized society. The id is concerned with aggression and sex basic primal instincts. Jack is

the undisputed embodiment of this realm of the human psyche. Golding wastes little time

establishing Jacks character, as he is introduced as a formidable entity, equipped with a choir

of reluctantly obedient steads.

Initially, Jacks character seems somewhat harmless; an insolent boy with a distaste

for authority. Yet as the novel unfolds and the severity of the boys situation becomes

evident, his true nature is revealed. Jack is relentlessly aggressive, acting out in fits of

violence when faced with criticism or embarrassment. He only feels pride or a sense of self-

worth when hunting and playing the role of provider. His bloodlust and primal need to kill is

reminiscent of the most instinctual, animalistic tendencies associated with the id. He wishes

to lead yet lacks the necessary sense of reason to do so, placing the need for fresh meat above

all other components of survival shelter, water, and most significantly, a smoke signal by

which to be rescued. Piggy, the unappreciated voice of reason, keenly asserts that [i]f Jack

was chief wed have all hunting and no fire. Wed be here till we died (Golding 93). Yet, as

the plot begins to unravel parallelly to the boys unraveling psyches, Jack fully embraces his

barbarism. Goldings depiction of him becomes increasingly sinister, reducing his human

qualities to that of an animal in search of prey. This state of being seems so comfortable to

Jack that he hardly recognizes the shift from civilized human to predator. Others, however,

notice the change: a darker shadow crept beneath the swarthiness of his skin; but Jack

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notices nothing. He was eager, impatient, beckoning (Golding 62).

However, despite Jacks insane displays of vulgarity and crudity, any implication that

Jack is the sole embodiment of evil within this novel is a shallow and undeveloped assertion.

Mohammed Rahmans essay Thematic Evaluation of Goldings Lord of the Flies takes this

stance, claiming that Jack is the inarguable representation of evil. While he does exist as a

main contributor to the malevolence of the island, and he certainly fulfills the role of the

villain, the depiction of good and evil within Goldings novel is not as black and white as

Rahman is inclined to suggest. Jack, though fully barbaric at the novels end, is merely a

portrayal of incompletion the epithet of a transformation from human civility (associated

with the superego) to brute indecency (associated with the id). He is the representation of an

imbalanced psychic structure but not the sole representation of evil, as the novel itself

implies that each character (with the possible exception of Piggy) is capable of the same

moral degradation. Towards the end of the novel Jack is in full-form. Haunting, violent,

bloodthirsty; yet now hes banished what little self-awareness and restraint he once

possessed. He does not distinguish his prey - swine or human - all is enemy and all is blood.

Jack becomes completely id, driven only by instinct which fuels him: Kill the beast! Cut his

throat! Spill his blood! (Golding 186). However, Jacks character does not go unchallenged.

Much like the human personality, other forces of opposition exist in attempt to restore and

maintain order.

The id is in constant conflict with the superego - the part of human psyche that

implements morality and conscience for control over the ego. It is the part of our minds

that desperately desires to adhere toward the norms of civilized life and dispel the societally

unaccepted impulses of the id, like sex and aggression. This supreme structure presses the

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ego for the substitution of moral goals and strives for perfection (Haseenuddin, 66). Piggy is

undoubtedly the portrayal of the superego within Goldings novel. He is the most

intellectually and ethically developed, a fact that not even Jack could attempt to dispute.

Piggy is primarily concerned with upholding the societal values of the life they left behind,

constantly reminding the group of what the grownups would do if they were present. He is

rational and logical, never acting in a rash or impulsive manner that might lead to

consequence. He is chiefly focused on the aspects that relate to civilized life; time, order,

democracy, and reason over imagination. Much like the glasses he wears on his head (a

common symbol of intellect that serves as the boys only source of fire), Piggys aptitude is

an essential part of survival on the island. He exists in a state of constant exacerbation,

attempting to preach insight and common sense to a disinterested audience; chasing down the

band of heathens with the martyred expression of a parent who has to keep up with the

senseless ebullience of the children (Golding 38).

Piggy, however, in all his intellectual glory, is no more fit to lead the group than Jack.

His obsession with morality and what is right is almost a hindrance, as a certain level of

boldness is required if one wishes to survive on an uninhabited island. This, coupled with the

fact that he lacks the physical strength and libido to enforce or provide, makes Piggy

incapable of ensuring the longevity of their tiny society. As a highly emotional character who

is seemingly incapable of defending himself, Piggy ultimately require[s] the sponsorship of

a stronger individual to have any chance of survival (May & Upton, 66). Similar to the

power struggle of the id and superego for control of the ego, Piggy and Jack are in conflict

from the onset of Goldings novel. Piggy relies on Ralph (the elected chief of the group and

one of the alpha males) for protection from Jack and his merciless pack of hunters. Piggys

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timidity in speaking out against the volatile and ill-tempered Jack is observed as Golding

writes, He was intimidated by this uniformed superiority and offhand authority in

Merridews voice. He shrank to the other side of Ralph and busied himself with his glasses

(21). Just as the superego could never completely control the human psyche without the

consequence of creating an automaton, incapable of making any self-preserving action which

may refute the demands of society an individual controlled solely by the id would never

succeed independently in the modern age. Thus, a third party is required to mediate between

these two extremes in order to breed a balanced, fully functioning individual.

This mediating aspect of the tripartite model of human psyche is known as the ego.

The ego is the part of consciousness that an individual recognizes as the self. It is this

division of personality that must serve as the mediator between the primal urges of the id and

the hampering conscience of the superego. In Lord of the Flies, Ralph is the portrayal of the

ego. The ego is not free of error and will unavoidably give in to the demands of the ego at

times, yet the superego makes its presence known by bringing up sensations of guilt and

remorse; feelings of overall uneasiness and moral discomfort. It is then that the ego must

realign itself and regain control of the two forces in attempts to feel normal and complete

once more. Ralph is afflicted with the desire to be accepted by those he leads and the

conflicting responsibility of upholding goodwill and respectful interaction. Although Ralph is

in many ways Piggys protector, his ineffectual presence is ultimately reinforced through

Ralphs complicity in the boys bullying tactics. It is Ralph who reveals Piggys humiliating

nickname to the group (after Piggys insistence that it not be mentioned) and it is Ralph who

ultimately fails to squash the mockery and demand respect on behalf of the disrespected. Had

Ralph done so, Piggys civilized qualities would have likely been recognized and

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appreciated; thus, his beloved smoke signal might not have been neglected, possibly resulting

in an expedited rescue that would have saved Piggy from his tragic and untimely demise. It is

not until the end of the novel that Ralph, the ego who failed at gaining control over the forces

of the id and superego, appreciates Piggys inherent value and understands the impact of his

disregard. Golding heart wrenchingly conveys this delayed and ineffectual realization as he

writes, Ralph wept for the end of innocence, the darkness of mans heart, and the fall

through the air of the true, wise friend called Piggy (202). It is through moments like these

that the error of Mohammed Rahmans assumption that Ralph represents good and

discipline (226) may be fully realized. Ralph is indeed a sympathetic character who, as the

plot unfolds, does grow closer to aligning with his own moral compass; yet, the similarities

he shares with Jack illustrate the possibility of Ralph succumbing to the primordial call of the

id.

Though Ralph does possess some redeeming qualities, he is far from fulfilling the role

of a hero. In an essay by Dell and Smith titled Wilderness and Delinquents, notions of

commendable leadership are explored as they explain that a leader will diffuse the volatile

interplay of personalities and deflect or restructure patterns of unwanted behavior or

pending violence (19). In this sense, Ralph fails as a true leader. Jacks manipulation proves

exceedingly influential and his fear of being ostracized alongside Piggy prevents him from

thwarting the groups antics antics that ultimately supersede his authority and leave him

just as helpless as his deceased superego, Piggy. His inability, or rather his reluctance, to

address the social disorder and stand against the savage juveniles descent into brutality

emphasizes the true connection between Jack and Ralph and insinuates the difficulty in

resisting the pleasure-driven motivations of the id.

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 Much like the ego, Ralph is continuously torn between the instinctual appeal of Jacks

barbaric and primitive world and Piggys realm of civilization, order and politics. He

discovers, while on his first pursuit, just how seductive the desire to kill is and finds he could

eagerly align himself with Jacks brute tribe of hunters. He discovers that he is genuinely

competing for the opportunity to inflict bodily injury, that the desire to squeeze and hurt

was overpowering (Golding 115). Unlike Jack, however, Ralph possess a good deal of self-

control and does not let his cruel, vicious inclinations overpower the logic and reason that

Piggy so emphatically champions. Ralphs most dazzling displays of character typically stem

from his disputes with Jack. While he irrefutably sees the attraction of Jacks feral methods,

he realizes that his insubordination and refusal to adhere to their attempts for social and

political order jeopardizes the communitys chance for rescue and ensured survival. As time

passes Jack becomes increasingly comfortable in their collective solitude, seeking not rescue

but authority a role he was initially denied. The final straw that at last divides the group is

Jacks ultimate rejection of the conch, the only symbol of civilized order that was

acknowledged and undisputed by all. It is then that Jack fully embraces the qualities of the

id, and that Ralph finally identifies with the values of the superego and begins to recognize

Piggy as an equal. The distinction between the realms of the psyche are now clear as day.

Though Piggy rejoices in Jacks decision to separate himself from their group, finding the

sudden inspiration to help with physical tasks from which he previously abstained, Ralph is

slightly less enthused. He is painfully aware of Jacks contribution to the group, despite his

proclivity toward the sadistic and nefarious. Jacks affinity for hunting and slaughtering the

islands less sophisticated inhabitants, though dangerous and unpredictable, provided the

sustenance of meat that neither Ralph nor Piggy could deliver. While notions of democracy,

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logic, order and rules are arguably necessary to thrive in a modern, civilized environment,

any human that is displaced from the comforts of society and lacks the nascent survival drive

of the id is at a severe disadvantage.

Just as the ego attempts to satisfy the primal desires of the id, Ralph is subject to fall

to the thrill of chaos. Yet he never lets himself go so far as to forget the charm and comfort of

the civilized life he left behind and often calls upon Piggy the superego to help guide him

back to a rational plane of thought. This mediation is often rough and the ego struggles

relentlessly for control. Similarly, Ralph becomes aware of this burden, understanding the

wearisome of this life, where every path was an improvisation (Golding 76). Yet it is a role

that must be fulfilled and he is begrudgingly aware of this fact. Neither Jack nor Piggy;

neither the id nor the superego; are fit to lead anyone to anything but destruction. Ralph the

ego must maintain the balance that is so crucial to a functioning society; the balance that is

so crucial to survival, even if he himself knows that he is not entirely capable.

The effect of allocating the intangible concepts of human personality to Goldings

characers places ultimate responsibility regarding notions of right and wrong directly on

the shoulders of humanity. The overarching symbolism is that,

Golding utilizes his three most prominent and influential characters Jack, Ralph and

Piggy in an effort to parallel the three divisions of the human psyche; the id, ego and

superego. The nature of humanity that these characters come to represent directly correlates

to the way in which Golding unfolds his plot. As he transforms the boys perceived utopia

into dystopia, the true nature of humanity is interpellated. Without the wherewithal to utilize

individual strength for the common good the hope for rescue transforms into a desperate

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attempt to survive, not the island, but each other. The same is true for the human psyche; if

one aspect of personality gains too much control over consciousness then the real struggle

becomes surviving and overcoming ones self. Balance and moderation of the varying aspects

of the self are essential for humanity to retain its civilized form, for humans can be

dangerous and destructive creatures when left to exist without fear of repercussion or

consequence.

Works Cited

Golding, William. Lord of the flies. New York, NY: The Berkley Publishing Group, 1954. Print.