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Pacing GuideChapter 1: The Sound of the Shell (pp. 7-31).
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Guiding QuestionsDiscuss the early relationship between Ralph and Piggy. Why do you think Ralph chooses to tell everyone Piggy's nickname? What do you think this says about Ralph? Do you think Ralph's compunction to immediately tell Piggy's name to the others and laugh along with the others at Piggy says something about us as human beings? Do you believe that Ralph is Piggy's friend? (Consider the conversation between Ralph and Piggy on p. 25.)
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Chapter 2: Fire on the Mountain (pp.32-47).
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What is the significance of the chapter's title, "Fire on the Mountain"? Consider the different ways in which fire might be a symbol in this novel.
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Chapter 3: Huts on the Beach (pp. 48-57).
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The last line in chapter 3 says "Their scent spilled out into the air and took possession of the island," referring to the flowers on the island. Contrast this line with the line from chapter 1, which says "Eyes shining, mouths open, triumphant, they savored the right of domination," (p.29). Who do you think really owns the island? Back up your answer with evidence from the text.
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Chapter 4: Painted Faces and Long Hair (pp. 58-75).
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At this point in the novel, the group of boys has lived on the island for some time, and their society increasingly resembles a political state. Two conceptions of power emerge on the island, corresponding to the novel's philosophical poles - civilization and savagery. Discuss the characters of Simon, Ralph, Piggy, Jack and Roger. What ideas of power do these different characters represent? Be sure to back up your claims with evidence from the text.
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Chapter 5: Beast from Water (pp. 76-94).
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Is power and control an illusion? Is fear the strongest and most powerful of all of the human emotions? In this chapter, Golding seems to be exploring these ideas of fear and power. What do you think Golding is trying to argue with regards to these themes? Based on the chapter, what do you think Golding believes? Use evidence from the chapter to explain how the answer to these two questions are explored by the author.
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Chapter 6: Beast from Air (pp. 95-108).
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Consider the following symbols that appear in the novel:
1. The conch 2. The glasses 3. The spears 4. The paratrooper 5. The mountain Choose one. Discuss its use as a symbol of power and include at least one quote from the text to support your analysis. Be specific when discussing power -- what kind of power does it symbolize and is this power beneficial or detrimental to the group's survival? |
Chapter 7: Shadows and Tall Trees (pp. 109-123).
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Jack increases his leverage within the group by goading Ralph into acting rashly and unwisely, against his tendency toward levelheadedness—a manipulation that weakens Ralph’s position in the group. Although Ralph realizes that it is foolish to hunt the beast at night, he knows that, in a society that values strength, he cannot risk appearing to be a coward. As a result, he assents to going up the mountainside at night. What will Ralph's decision to explore the mountain at night ultimately cost him and the group of boys on the island? What would have happened if the boys would have explored the mountain during the day? What is the connection between seeing/believing in the beast and the boys' individual instincts toward savagery? Be sure to back up your answers with evidence from the text.
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Chapter 8: Gift for the Darkness (pp. 124-144).
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Lord of the Flies is deeply preoccupied with the problem of fundamental, natural human evil—amid which Simon is the sole figure of fundamental, natural good. Discuss why you think William Golding chooses to have the Lord of the Flies speak directly to Simon, but none of the other boys. What is it that the Lord of the Flies reveals to Simon? How does Simon complicate the philosophical statement the novel makes about human beings and offer the reader a completely separate alternative to the spectrum between civilization and savagery of which Ralph and Jack are a part.
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Chapter 9: A View to a Death (pp. 145-154).
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Earlier in the book we discussed the symbolic meaning and significance of the parachutist appearing on the island and the ultimate consequences it would have for the children. In this section, after the brutal, animalistic murder of Simon, both Simon and the parachutists are washed away by the storm. Why do you think William Golding decides to make the parachutist disappear at this point in the story and what significance, and ultimate consequence, do you think this will have on the rest of the boys. What symbolic meaning might the storm have in this section? Be sure to back up your answers with evidence form the tex.
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Chapter 10: The Shell and the Glasses (pp. 155-168).
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After the opening discussion that Piggy and Ralph have about Simon's death, does you opinion of these characters change at all? Have they changed like Jack and Roger or are they still civilized and "good"? Both Ralph and Piggy have different opinions about whether or not Simon's death is a murder and who should hold responsibility for it. Which one of the boys is right, Ralph or Piggy? Finally, what is significant about Jack's methods as a leader? How does he manipulate the other boys? Why do you think the other boys follow him?
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Chapter 11: Castle Rock (pp. 169-182).
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"Simon and Piggy can see that the other boys are the true evil on the island, but because the boys cannot accept the truth they kill these two truth-bearers." Explain your thoughts on this statement. Can you think of real-life examples from history where "truth-bearers" were killed because other people could not accept the truth they held?
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Chapter 12: Cry of the Hunters (pp. 183-202).
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Critics of the Lord of the Flies argue that the novel, in general, is somewhat dated and unsuitable for modern audiences. Literary and movie critic Roger Ebert remarked in his review that "…events take place every day on our mean streets that are more horrifying than anything the little monsters do to one another on Golding's island." Do you agree or disagree with the quote? In your response, use evidence from the text, contrasted with real life examples.
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