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Quinn ELA 10
Lord of the Files Annotation Activity
In order to do a close reading of anything (poem, passage, etc.), you need to work on “developing a deep understanding and a precise interpretation of a literary passage that is based first and foremost on the words themselves. But a close reading does not stop there; rather, it embraces larger themes and ideas evoked and/or implied by the passage itself.” For starters, answer these questions about this passage:
Directions: Read the passage, Annotate and consider the following questions.
- Look at word choice: connotation, puns, allusions, innuendos, ambiguities.
- Look at the structure of the passage: how is it organized? How do the ideas follow on one another?
- Is there irony? How is it used?
- What is the tone? What does the tone reveal about the author/narrator’s attitude?
- What imagery is used? What effect does this imagery have on the reader?
- What figurative language or symbols are used? What effect do they have on the reader?
- What allusions does the passage make: historical, classical, biblical, cultural, sociological, psychological allusions?
- Look for repetitions, contradiction, similarities. Why and how are those patterns used?
- How can you relate these details to the theme this scene shows?
BLOG OR HAND IN ON LOOSELAF:
After you have fully annotated the passage, write a TEXAS style paragraph. How does the author use language to communicate meaning?
After you have fully annotated the passage, write a TEXAS style paragraph. How does the author use language to communicate meaning?
from Lord of the Flies ch. 8, “Gift for the Darkness”
The pigs lay, bloated bags of fat, sensuously enjoying the shadows under the trees. There was no wind and they were unsuspicious; and practice had made Jack silent as the shadows. He stole away again and instructed his hidden hunters. Presently they all began to inch forward sweating in the silence and heat. Under the trees an ear flapped idly. A little apart from the rest, sunk in deep maternal bliss, lay the largest sow of the lot. She was black and pink; and the great bladder of her belly was fringed with a row of piglets that slept or burrowed and squeaked.
Fifteen yards from the drove Jack stopped, and his arm, straightening, pointed at the sow. He looked round in inquiry to make sure that everyone understood and the other boys nodded at him. The row of right arms slid back.
"Now!"
The drove of pigs started up; and at a range of only ten yards the wooden spears with fire-hardened points flew toward the chosen pig. One piglet, with a demented shriek, rushed into the sea trailing Roger's spear behind it. The sow gave a gasping squeal and staggered up, with two spears sticking in her fat flank. The boys shouted and rushed forward, the piglets scattered and the sow burst the advancing line and went crashing away through the forest.
"After her!"
They raced along the pig-track, but the forest was too dark and tangled so that Jack, cursing, stopped them and cast among the trees. Then he said nothing for a time but breathed fiercely so that they were awed by him and looked at each other in uneasy admiration. Presently he stabbed down at the ground with his finger.
"There--"
Before the others could examine the drop of blood, Jack had swerved off, judging a trace, touching a bough that gave. So he followed, mysteriously right and assured, and the hunters trod behind him.
He stopped before a covert.
"In there."
They surrounded the covert but the sow got away with the sting of another spear in her flank. The trailing butts hindered her and the sharp, cross-cut points were a torment. She blundered into a tree, forcing a spear still deeper; and after that any of the hunters could follow her easily by the drops of vivid blood. The afternoon wore on, hazy and dreadful with damp heat; the sow staggered her way ahead of them, bleeding and mad, and the hunters followed, wedded to her in lust, excited by the long chase and the dropped blood. They could see her now, nearly got up with her, but she spurted with her last strength and held ahead of them again. They were just behind her when she staggered into an open space where bright flowers grew and butterflies danced round each other and the air was hot and still.
Here, struck down by the heat, the sow fell and the hunters hurled themselves at her. This dreadful eruption from an unknown world made her frantic; she squealed and bucked and the air was full of sweat and noise and blood and terror. Roger ran round the heap, prodding with his spear whenever pigflesh appeared. Jack was on top of the sow, stabbing downward with his knife. Roger found a lodgment for his point and began to push till he was leaning with his whole weight. The spear moved forward inch by inch and the terrified squealing became a high pitched scream. Then Jack found the throat and the hot blood spouted over his hands. The sow collapsed under them and they were heavy and fulfilled upon her. The butterflies still danced, preoccupied in the center of the clearing.
At last the immediacy of the kill subsided. The boys drew back, and Jack stood up, holding out his hands.
"Look."
He giggled and flicked them while the boys laughed at his reeking palms. Then Jack grabbed Maurice and rubbed the stuff over his cheeks. Roger began to withdraw his spear and boys noticed it for the first time. Robert stabilized the thing in a phrase which was received uproariously.
"Right up her ass!"
"Did you hear?"
"Did you hear what he said?"
"Right up her ass!"
This time Robert and Maurice acted the two parts; and Maurice's acting of the pig's efforts to avoid the advancing spear was so funny that the boys cried with laughter.
Fifteen yards from the drove Jack stopped, and his arm, straightening, pointed at the sow. He looked round in inquiry to make sure that everyone understood and the other boys nodded at him. The row of right arms slid back.
"Now!"
The drove of pigs started up; and at a range of only ten yards the wooden spears with fire-hardened points flew toward the chosen pig. One piglet, with a demented shriek, rushed into the sea trailing Roger's spear behind it. The sow gave a gasping squeal and staggered up, with two spears sticking in her fat flank. The boys shouted and rushed forward, the piglets scattered and the sow burst the advancing line and went crashing away through the forest.
"After her!"
They raced along the pig-track, but the forest was too dark and tangled so that Jack, cursing, stopped them and cast among the trees. Then he said nothing for a time but breathed fiercely so that they were awed by him and looked at each other in uneasy admiration. Presently he stabbed down at the ground with his finger.
"There--"
Before the others could examine the drop of blood, Jack had swerved off, judging a trace, touching a bough that gave. So he followed, mysteriously right and assured, and the hunters trod behind him.
He stopped before a covert.
"In there."
They surrounded the covert but the sow got away with the sting of another spear in her flank. The trailing butts hindered her and the sharp, cross-cut points were a torment. She blundered into a tree, forcing a spear still deeper; and after that any of the hunters could follow her easily by the drops of vivid blood. The afternoon wore on, hazy and dreadful with damp heat; the sow staggered her way ahead of them, bleeding and mad, and the hunters followed, wedded to her in lust, excited by the long chase and the dropped blood. They could see her now, nearly got up with her, but she spurted with her last strength and held ahead of them again. They were just behind her when she staggered into an open space where bright flowers grew and butterflies danced round each other and the air was hot and still.
Here, struck down by the heat, the sow fell and the hunters hurled themselves at her. This dreadful eruption from an unknown world made her frantic; she squealed and bucked and the air was full of sweat and noise and blood and terror. Roger ran round the heap, prodding with his spear whenever pigflesh appeared. Jack was on top of the sow, stabbing downward with his knife. Roger found a lodgment for his point and began to push till he was leaning with his whole weight. The spear moved forward inch by inch and the terrified squealing became a high pitched scream. Then Jack found the throat and the hot blood spouted over his hands. The sow collapsed under them and they were heavy and fulfilled upon her. The butterflies still danced, preoccupied in the center of the clearing.
At last the immediacy of the kill subsided. The boys drew back, and Jack stood up, holding out his hands.
"Look."
He giggled and flicked them while the boys laughed at his reeking palms. Then Jack grabbed Maurice and rubbed the stuff over his cheeks. Roger began to withdraw his spear and boys noticed it for the first time. Robert stabilized the thing in a phrase which was received uproariously.
"Right up her ass!"
"Did you hear?"
"Did you hear what he said?"
"Right up her ass!"
This time Robert and Maurice acted the two parts; and Maurice's acting of the pig's efforts to avoid the advancing spear was so funny that the boys cried with laughter.
In literature, it’s not just what an author says, but how he says it, that determines the significance of his message. In the novel, The Lord of the Flies, William Golding uses figurative language to convey that all people have the potential to be savages in two ways. First, Golding uses imagery to show how the hunters took pleasure in violence. He vividly describes the killing of the sow as he writes, “the air was full of sweat and noise and blood and terror… Then Jack found the throat and hot blood spouted over his hands…[He] stood up, holding out his hands,” (Page 135.) This prolonged torture of the pig and enjoyment of her death shows that the boys from a very structured upbringing had savage personality traits as well. Thus, Golding shows people’s potential for atrocity and savagery through his use of figurative language. Second, Golding uses repetition to show how the boys had the potential to be savages. By repeating the cheer, “Right up her ass!,” the boys showed a sick, cruel pleasure in the sow’s demise. This shows that the boys who were educated and civilized still enjoyed barbaric practices. Golding’s use of language shows that the boys have the potential for savagery. This turns the beast into a symbol not for an external monster, but rather each of the boys’ internal capability of being an uncivilized savage.
ReplyDeleteThroughout Lord of The Flies, William Golding has shown through the use of imagery and theme that everyone has a little evil and cruilty inside them and in the children from the novel the isolation has brought this cruelty out. Throughout this passage Golding uses imagery to convey the fight between the boys and the pig and how the evil inside of them comes out in the rush of the moment. The vivid language Golding uses when describing the scene shows how the effects of the island are bringing out the savagery that all people have somewhere in them. Golding also portrays the savagery inside everyone through the theme of the entire novel and this passage. The boys are getting so swpet up in the moment that their actions take over and they cant help but show their true desire for cruelty and violence. Anyone put in this situation would show their true savagery which is the theme Golding is trying to portray along with imagery in this passage and the book as a whole.
ReplyDeleteIn literature, authors often use literary elements and figurative language to unfold and create accessibility to the main purpose of the piece, whether it is a novel, drama, or any piece of literature. In the novel, Lord of the Flies, William Golding uses descriptive language such as similes and imagery in order for the reader to easily comprehend the moral and importance of what is being taught. “The drove of pigs started up; and at a range of only ten yards the wooden spears with fire-hardened points flew toward the chosen pig. One piglet, with a demented shriek, rushed into the sea trailing Roger’s spear behind it.” (Page 134) As William Golding describes the scared piglets emotions and actions, it is evident that the boys desire survival and the necessities to do so. This displays one of the themes of teamwork to achieve survival and stability, due to the fact that many of the boys were in the wilderness trying to achieve the slaughter of the piglets. While the descriptive language used truly demonstrates the difficulty of survival it also shows how savagery can overcome a person. The boys continued to torture the piglets and enjoyed this view, this shows that their knowledge and upbringing was educated and civil, however by the enjoyment, it is clear that their surroundings have corrupted their minds and possible instability of the island now. Through the use of descriptive language and literary elements, the reader’s ability to understand the characters mental state and to focus on the deeper moral of the novel increases.
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