Erin Habig

ENG 495: Boren

4/25/2017

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 is attributed 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 are successfully reinforced throughout the

novel. 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 fledgling island

dwellers becomes increasingly unbalanced, the small populace becomes divided and the true

plasticity of human nature is interpellated. Within each sentient being the branches of

personality are continually engaging in a system of checks and balances, and in his novel

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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. Jack thrives in the absence of structure and feeds off the chaos

of panic which festers without the bounds of civilization, without an embedded natural

morality (Green, 354) and it is through this character that the power of the id is reified.

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 disposition 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 desire 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 in a manner that parallels the boys extricating 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

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so comfortable to Jack that he hardly recognizes the shift from civilized human to predator.

Others, however, are astutely aware of this change: a darker shadow crept beneath the

swarthiness of his skin; but Jack 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 would be an insufficient and

undeveloped assertion. Mohammed Rahmans essay Thematic Evaluation of Goldings Lord

of the Flies acquires this argument, claiming that Jack is the inarguable representation of

evil above all other characters. While he does exist as a primary participant in 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

Piggy and Simon being the only potential for exception - is capable of a similar 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.

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 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 acts sex and aggression. This supreme structure presses

the ego for the substitution of moral goals and strives for perfection (Haseeuddin, 66).

Piggy is unquestionably 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

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

power struggle of the id and superego for control of the ego, Piggy and Jack engage in a

constant skirmish from the onset of Goldings novel. Piggy relies on Ralph (the elected chief

of the group and an undisputed alpha male) for protection from Jack and his merciless pack

of predators. Piggys timidity in speaking out against the volatile and ill-tempered Jack is

observed as Golding writes, [h]e 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 facet 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 moderator 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.

Ralphs character is easily the most complex, as he embodies the traits of both the id and the

superego, illustrating the challenge of balance. Ralph is afflicted with the desire to be

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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 appreciated; thus, his persistence of maintaining a smoke

signal may 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 feeble 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, grows closer

to aligning with his own moral compass; yet, the uncanny resemblances between Jack and

himself exemplify the potential ease with which Ralph could succumb 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

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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 established connection between Jack and Ralph and insinuates the difficulty

in resisting the pleasure-driven motivations of the id.

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. While on

his first pursuit with the hunters he discovers just how seductive the desire to kill is and finds

he could eagerly align himself with Jacks brute tribe. 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 potential for cruel, vicious inclinations overpower the logic and

reason that Piggy so emphatically champions. In fact, Ralphs most alluring displays of

character typically manifest during 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 through the upheaval of

established order that Jack fully embraces the qualities of the id, and Ralph finally identifies

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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 the whole of the

group, suddenly finding the 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, logic, order and decree 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. Ralph, burdened with the simultaneous

responsibility of leader and mediator, fully recognizes the implications of this disjunction.

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 yields to the insight of 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 jurisdiction. Likewise, Ralph becomes devastatingly aware of this

encumbrance, 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 necessity. 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 of handling such a role.

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 This tactic of allocating the intangible concepts of human personality to Goldings

cast places the responsibility of right and wrong directly on the shoulders of humanity.

The overarching symbolism is that the human race is collectively capable of performing acts

of intrinsic atrocity as well as benevolence. Thus, the countless debates regarding the

inclinations of human nature (which many believe to be the central thesis of Goldings novel)

and whether it is inherently good or fundamentally evil prove inconsequential upon

considering that humanity possesses the potential for either one. Albeit we are rational,

sentient beings capable of metacognition and self-examination, we are nonetheless animals

with instincts and impulses that ultimately exist to ensure the endurance of our species. The

outcome of generating a setting that is so far removed from the laws of society is that it

forces the audience to observe humanitys ultimate potential. In our civilized society, we

often forget that we too have animalistic tendencies that come to the forefront, especially in

situations when our existence is threatened. As intelligently evolved creatures, however, we

have a choice and a relative amount of control in how we govern ourselves. Minnie Singhs

work The Government of Boys effectively highlights this study in contrast, asserting that

to become savage is to regress to the anthropological infancy of mankind, but to recognize

one's essential savagery is to be psychologically mature (212). The potential for regression

is ever-present, but what accompanies that potential is the capacity for recognition,

consideration and redirection.

Rahman insists that Goldings novel poses an argument that centers on the

undeniable, congenital evil of Man and that the text itself suggests that it must be purged if

society is to maintain its sanity (228). The problem with this ideology is that it overlooks

Goldings persistence in suggesting that the potential for wickedness is present even in the

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sanest of individuals. How else would one explain the internal battles Ralph fought in order

to avoid resorting to the level of depravity depicted in Jacks character? Or the fact that the

boys rescuer was a naval officer, likely leading his crew on a mission to carry out the same

fun and games (Golding, 200) enacted in the juveniles microcosm? Golding does not

suggest that the evil within us can even be successfully purged, but rather the inclination

towards it can be overcome and controlled by a properly-functioning and balanced psyche.

The idea conveyed is that the beast is within us all and to tame ones self ones mind is to

tame the evil of which we are all capable of actualizing. The Lord of the Flies itself reveals

this concept as he hauntingly remarks, [f]ancy thinking the Beast was something you could

hunt and kill! (Golding, 198).

Golding calls upon 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

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.

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 Works Cited

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

Green, J; Nicholas J. Karolides (2009). Encyclopedia of Censorship. New York: Infobase

Publishing

Diken, Blent, and Carsten Bagge Laustsen. From War to War: Lord of the Flies as the

Sociology of Spite. Alternatives: Global, Local, Political, vol. 31, no. 4, 2006, pp. 431

452.

Rahman, Mohammad. "Thematic evaluation of William Golding's novel, Lord of the Flies."

Language In India, Apr. 2014, p. 225+. Literature Resource Center, Accessed 25 Apr.

2017.

Singh, M. "The Government of Boys: Golding's Lord of the Flies and Ballantyne's Coral Island."

Children's Literature, vol. 25 no. 1, 1997, pp. 205-213. Project MUSE.

Brand, Dell; Smith, Mark. Wilderness and Delinquents: strategies for avoiding a Lord of the

Flies experience. Australian Journal of Outdoor Education; Milton 4.2, 2000, pp. 18-21.

May, Karen; Upton, David. "Ser Piggy": Identifying an Intertextual Relationship between

William Golding's Lord of the Flies and George R. R. Martin's A Game of Thrones.

Extrapolation; Liverpool 56.1, 2015, 63-VI.

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Zoberi, Haseeuddin. The Development of Tripartite Model of Human Personality in

Psychoanalysis. Pakistan Journal of Psychology; Karachi. Jul. 1, 1996, pp 55-71.

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