IB English Literature: Analysis of 'The Fables of William Golding'

This assignment requires the creation of a PowerPoint presentation for an IB Literature class, focusing on the essay "The Fables of William Golding." The presentation must include a separate talking points/script document. It involves identifying the essay's best parts and generating discussion points for each, analyzing the central thesis, highlighting and discussing starred passages through a literary criticism lens, and annotating the provided essay electronically using color-coding and side notes. The essay explores the distinction between fiction and fable, using Golding's "Lord of the Flies" as a key example, and delves into themes of human nature, societal structures, and the inherent potential for evil within individuals. The presentation aims to provide a comprehensive analysis suitable for an IB-level student, ensuring excellent quality and critical engagement with the text.

Below is the required task. For Literature Criticism Presentation.Please note, this is for an IB
student and the quality is expected to be ‘excellent’. Below are the requirements. Should you have
any queries, please reach out without delay.
1. Create a PowerPoint presentation to give to a class (presentation must be accompanied by a
separate talking points / script document)
I. Identify best part of the essay and create discussion points about each part
II. Identify and talk at the thesis
III. Highlight and talk about the starred passages focusing on literature criticism
2. Annotate the essay electronically (in below word doc) by using color code and notes on the side
ESSAY 2:
The Fables of William Golding
JOHN PETER
A useful critical distinction can be drawn between a fiction and a fable. Like most worthwhile distinction it is often
easy to detect less easy to define. The difficulty because the clearest definition would be in terms of an author’s
intentions, his pre-verbal procedures, and there are largely inscrutable and wholly imprecise. For a definition that
is objective and specific we are reduced to as “as if,” which is at best clumsy and at worst perhaps delusive.
The distinction itself seems real enough. Fables are those narratives which have the impression that their
purpose was another, some initial thesis or contention which they are apparently concerned to embody and
express in concrete terms. Fables always give the impression that they were proceeded by the conclusion as
fully as this, and unlikely that his work would be improved if he did. The effect of the fiction is very different. Here
the author’s aim, as it appears from what he has written, is evidently to present a more or less faithful reflection of
the complexities, and of ten of the irrelevances, of life as it is actually experienced. Such conclusion as he may
draw- he is under much less compulsion to draw them than a writer of fables-do not appear to be an anterior but
on the contrary take their origin from the fiction itself, in which they are latent, and occasionally unrecognized. It is
a matter of approach, so far as that can be gauged. Fiction may make only a limited attempt to generalize and
explain the experience with which they deal since their concern is normally within the uniqueness of this
experience. Fables, starting from the skeletal abstract, must flash out that, abstract with the appearances of “real
life” in order to render it interesting and cogent. 1984 is thus an obvious example of fable, while the rainbow is a
fiction. Orwell and Lawrence, in these books, are rely moving in opposite directions. If their movements could be
geometrically projected to exaggerate and expose each other, Lawrence would culminate in chaotic reportage,
Orwell in stark allegory.
The distinction has a particular value for the critic whose concern is with novels, in that it assists him in
localising and defining certain merits which are especially characteristic of novels and certain falls to which they
are especially prone. Both types, the fiction and the fable, have their own particular dangers. The danger that
threatens a fiction is simply that it will become confused so richly faithful in the complexity of human existence as
to lose all its shape and Organisation... The danger that threatens a fable is utterly different, in fact the precise
opposite. When a fable is poor- geometrical projected again- it is here and dramatic, insufficiently clothed in its
garment of actuality and in turn its Appeal is extra aesthetic and narrow. Satire like animal Farm are of this kind.
It will be said that any such distinction must be neutral one, that the best moves are fictions which have manage
to retain due share of the tables coherence and order. No doubt this is true. But it also seems to be true that
novels can go a good deal father, without serious damage, in the direction of fiction then they can in the direction
of fable, and this suggest that friction is a much more congenial mod for the novelist then fable can never be. The
trouble with the mode of able is that the constructing. As soon as a novelist has a particular end in view the
materials from which he may choose begin to shrink, and dispose themselves the end... The fact is that a novelist
depends ultimately not only on the rich of his materials but on the richness office interests too and fable, by
typing this play specific end, tends to reduce both even the most chaotic fiction will have some sort of emergent
meaning provided it is a full and viable deflection. Of the life from which it derives, if only because the
unconscious preoccupations of the novelist will help to impact search meaning to it, drawing it into certain lines
like from flying sprinkled in a magnetic field. Fables, however, and they are capable to Bob up again like corks, in
all there plane explicitness. It may even be true to say that they are best embodied in short stories, where
economy is vital and "pointlessness" (except for its brevity) comparatively intolerable.

Lord of the Flies, which appeared in 1954 is set on a imaginary south sea Island, and until the last three pages
the only character in IIT are boys. They have apparently been evacuated from Britain, where an atomic what is
raising, and I accidentally stranded on the island without any supervisor. The administrative duties of their society
(includes a number of "littluns", east about six) devolve upon their elected leader a boy of 12 name ralph, who is
assisted by a responsible, an attractive boy called piggy, but as time passes an independent party grows up, the
"Hunters", late by an angular-choir leader named jack merridew. This party, son habituated to the shedding of
animal blood, proceeds further and farther from the strands of Civilization which Ralph and piggy arts training to
preserve, and before very long it is transformed into a Savage group outlaws via costume and ritual of their own.
In the course of one of their dance-feasts, drunk with tribal excitement, they are responsible for killing the one
individual on the island who has a real insight into the problems of their lives, a frail boy called Simon, subject to
fainting fits, and after this more or less intentional sacrifice they lose all sense of restraint and become a band of
criminal marauders a threat to everyone on the island outside their own tribe. Piggy is murdered by their self-
constituted which doctor torturer, the secretive and Sinister Roger, and Ralph is hunted by them across the island
like pigs they are accustomed to kill. Before they can kill and decapitate him naval detachment arrives and take
charge of all the children who have survived. It is obvious that this conclusion is not a concession two readers for
a happy ending- only an idiot will suppose that the book ends happily- but a deliberate device by which to throw
the story into focus. With the appearance of the Naval officer the bloodthirsty Hunters are instantly reduced to a
group of painted urchins led by “little boy who wrote the remains of an extraordinary black cap", yet cannot
expand the knowledge of what they have done and meant to do. The Ibrahim return to childhood two
insignificance, underscores point of the narrative that level is inherent in the human mind itself, what your
Innocence may cloak it, ready to put forth its strength as soon as the occasion is propitious. This is Golding's
theme it takes on a frightful force by being presented to Juvenile terms, in a setting that is twice deliberately like
into the sunny Coral island of R. M. Ballantyne. The boy society represents, in embryo, the society of the adult
world. Their impulses and convictions are those of adults incisively abridged, and the whole narrative is a
powerful ironic commentary on the nature of man, an accusation level to us all. There are no excuses for
complacency in the fateful conscientiousness of Ralph, the leader, nor in piggy's anxious common sense, nor the
miscreants main to seem exceptional. When he first encounter a pig, Jack Merridew quite incapable of harming
it, " because of the enormity of the knife dissenting and cutting into living flesh", even the delinquent Rodger is at
first restrained by the taboo of " parents and school and policeman and the law. " strip this away and even Ralph
might be hunter: It is the duties as a leader that save him, then any intrinsic virtue in himself" like any orthodox
moralist Golding insist that man is a fallen creature, bharti refuses to hypostasize evil or to locate it in a
dimension of its own, on the contrary Beelzebub, lord of the Flies, is Rodger and jack and you and I, did you
declared himself as soon as we permit him to.
The intent with which this theses is developed layer no doubt that the novel is a fable, deliberate translation of a
proposition into a dramatized terms of art, and as people we have to ask ourselves how resource full and
complete the translation has been, how fully the thesis has been observed and rendered implicit in the tale as it is
told. Writer of fables will heat history at the fire of his conflictions, but when he has finished, the story must grow
apart, generating its own heat from within. Golding himself provides a criterion for judgement here, he offers a
striking example of how complete the translation of a statement into plastic terms can be. Soon after their arrival
the children develop and irrational suspicion that there is a Predatory beast at large on the island. This phase of
course no real existence, as Piggy for 1 points out, what to the Littluns it is almost as tangible as their castles in
the sand, and most of the older boys are afraid they may be right. One night when they all are sleeping there is
an air battle 10 miles above the sea and a parachuted man already date comes drifting down to the darkness to
settle among the rocks that crown the islands only mountain. There the body life unnoticed rising and falling with
the gusts of the Wind, mac on the process and its parachute distending and collapsing. When it is discovered
and the frightened voice mistake it for the Beast, the sequence is natural and convincing, get the implicit
statement is quite unmistakable to. The incomprehensible threat which has hung over them is, so to speak,
identify and explain: Human figure who is man himself, the boy’s nature, the something that all humans have in
common.
This is finely done and needs no farther comment, but unhappy the explicit comment has already been provided,
in Simons halting explanation of the beasts Identity:" what I mean is.... Maybe it's only US". And a little later we
are told that" however of the Beast, zeros before he is in what side the picture of a human at once hurt and sick".
Over explicitness is my main criticism is in many ways of real distinction. And photo reasons it appears to be a
serious one. In the first place the fault is precisely that which any fable is likely to Incur: The incomplete
translation of its thesis into its story so that much remains external and extrinsic, the Tailors assertion rather than
the tales enactment before our eyes. In the second place the fault is a persistent one easily be discounted or
ignored. It appears in expository annotations this, when did elephant Jack begin to quarrel:
The two boys face teacher other. There was the brilliant world of hunting, tactics, feared exhilaration, skill; and
there was the world of long and baffled common sense.

Les tolerably, it obtrudes itself in almost everything-, thought, action,- and hallucination that concerns the
clairvoyant Simon, the “batty" boy who understands" mankind essential illness, " who knows that I will get back to
where he came from, and who implausibly converses with the Lord of the Flies. Some warrant is provided for the
club wines in Simon’s mysterious illness, but it is inadequate. The boy domains and convincing in himself and his
presence constitutes a standing invitation author to avoid the trickiest problems of his method, by commenting
too badly on the issues he has raised. Any writer of able must find it hard to ignore an invitation of this kind once
it exists. Golding has not been able to ignore it and the blemishes that result in possum serious, do not decisive,
limitations on a fairy and disturbing story.
The earth to put things into categories seems to satisfy some deep human need and in this matter at least,
critics and historians of literature are very human people indeed. A brief glance at the English literature section of
any library catalogue will so what I mean. There we find literature divided up into various kinds of writings and
within the kinds we have historical periods, and within the periods we have groups or movements, and within the
group’s individuals who write various kinds... Now up to up of course this sort of classification serves a very
useful purpose. We need a map if we are going to do exploring, and the fact that it is the countryside we have
come to enjoy, not the map, does not make the map any less necessary. If we take out a map of the novel we
find, if it is a General one, that it falls into three sections- the eighteenth century novel, the Victorian novel, and
the modern novel. These changes are often due to historical circumstances, and sometimes they can be
describe in terms of the ruling ideas of the age of the literary expectations of the readers, but there are other
changes and the novel itself. Asif of these kind may be seen in a useful classification into" fables" and "fictions". It
is a little