British literature between 1945 and 1970

A different understanding of human behavior and instinct concepts had been developed, which represent a somber chapter in psychology, as illustrated by British literature between 1945 and 1970. In order to compare and contrast human instincts, such as savagery, and the boundaries that define a civil society, the study analyzes post-war texts. The main works cited include The Girls OF Slender Means and Lord of the Flies. The authors show how the major characters turn progressively more evil in both novels. They are able to show how humans can abandon civilization and descend into savagery by acting on their impulses from the beginning of time. However, the authors also emphasize that individuals have influence over current circumstances. This analysis will also discuss how the authors of both novels use social satire to criticise corruption and foolishness of the characters as well as the society using irony, humor, ridicule, and exaggeration. Still, the theme is used to improve civilisation of humanity by condemning its foibles and follies. This paper will attempt to suggest human instinct’s functional construal and their assimilation into intuitive conduct. Before expounding on the theme of savagery and civilisation portrayed in the texts, it is important to observe the conscientious discrimination that divides the acts which are known as instincts through discussing its nature. Lastly, Simone Weils` idea of de-creation has been applied to capture the reasoning and ways of life of the people during the discussed era.

It is in human nature to pertain to primal instincts; however, it is our civilisation that makes us human.

The Nature of an Instinct

Instinct is a moderately direct and straightforward response to an exact invigorating condition or object. It is also seen as a connate potential reaction system`s functioning, that is organised from tendencies to stimuli response or simple psychophysiological dispositions. The fact that instincts are highly impulsive can be connected to the ways and operations of the reaction system which depends upon various stimulating factors. The source of many stories of intelligence among animals is as a result of them reacting to the surrounding environment.

Since an instinct is a primary response and thus fully undetached from the learning cycle, it must be viewed as a central functional element in a human organism`s embryological development. The patterns of instinctive reactions are adaptation functions developed from the functionality of animals. Instincts can be seen as sexual responses, food-getting responses, waste eliminating responses, protective responses, and expressive acts. These categories describe adaptations to particular adjustment-situations that imply substantial actions, and with the unsystematic reflexes and movements define human behaviour (Thorndike 1125).

Human instinct is geared towards adopting an individual to different surroundings, pending intelligent response’s development needed for effective adaptations. Such instinctive responses develop in organisms during their interaction with the environment; accordingly, there is a whole new origin of the instincts parallelling the human being development in the animal species evolutionary course to which they belong. All organisms possess these reaction systems which become responses in the presence of adequate stimuli. Both the response and the stimulus make up an act that illustrates a precise adaptation. From a definitively psychological standpoint, at any particular moment, the individual represents the string of reaction systems.

Bhise argues that if the origin and development of instincts are correctly defined, then there is a sufficient indication that the human organisation instincts are different from those portrayed by lower animals. As the organism`s units on the action side, the systems of reactions must be diverse in various organisms just as their structural parts. Thus, there is evidence of differences in both the physiological and mental factors of their specific functions (19-44).

Young illustrates that the most notable variation between animal and human instincts is the extreme modifiability in people. In fact, it is stated that human instincts are distinctly transitory and that they wane early from the human organism`s reaction equipment, and are completely absent in the adult individual (113). Human instincts get integrated into complex responses while animal instincts remain as a permanent acquisition of the organism. However, animal instincts can change when practice makes an animal more adaptable to the situations in which they function. As illustrated by Golding in the novel titled Lord of the Flies, it is humane to pertain to animal instincts, but civilisation defines our humanity.

Savagery vs. Civilisation

Lord of the Flies

Civilisation is an intellectual and cultural refinement in society while savagery is the violent, fierce, and uncontrolled society that lacks the restrains that symbolise humanity (Liu 180). In the Lord of the Flies, Golding introduces a narrative where British schoolboys are forced to adopt after getting stranded on an island. Golding places innocent students in an uninhabited tropical island, which is also a protected environment, to illustrate the idea that savagery behaviour is not confined to particular persons in certain conditions but it is a dominator of or a stain that exists in everyone (Liu 187). The schoolboys try to recreate the human culture through civilisation where they elect Ralph as their leader and Piggy as the counsellor (Cooper and Kempner 419). However, Jack`s desire to lead makes him lure some of the boys from actions of reason and civility to the savage survivalist`s of ancient hunters.

The novel was motivated by the author`s consideration of human evil, a complex issue involving an examination of the human nature as well as the causes, manifestations, and effects of crime. In other words, the author illustrates the evils surrounding human nature and makes the point that each person is born with a dark side. The novel demands a close observation of the ideologies or methods used by humankind to combat evil and whether the methods are efficient. Golding discusses these topics through the convoluted tale of his novel with the theme of savagery vs. civilisation. In the novel, Golding describes how the boys make use of Piggy’s glasses to make fire so that a passing boat or plane could see them and decide to watch the fire in shifts. The act could be considered as civilised, as it involved thinking and discussions. (Al-Zamili 155-158). The difference between civilisation and savagery is seen in the novel as it progresses and the boys divide into two groups: a civilised camp and a savage tribe.

The conflict between the two themes is described through the clash between Jack and Ralph. Jack is a symbol of the savage as he does not believe in rules and following orders. He also likes hunting and he does it for the love of killing. The group led by Jack loved to hunt and kill pigs, and during hunting, they would chant songs that stress on killing and spilling blood. Through the chant, it is evident that the blood thirsty boys who are obsessed with killing. The actions of the boys showed no remorse as they also killed a pig that was caring for her young ones. Having little to no civilised ideals shows how some of the boys had been wrapped in a savage frame of mind.

On the other side, Ralph represents the sophisticated side of humanity. The kids made Ralph their leader, and he delegated positions and duties to other individuals. For instance, Jack and Piggy were made heads of different groups. Ralph believed in responsibilities and that everyone needs to play a part in ensuring their survival. Golding also emphasises the negative implications of savagery acts portrayed by persons like Jack. In the early chapters, the author suggests that providing an outlet for the savagery that exists inside each is one primary function of a civilised society. Jack had a natural desire to kill but provided he lived within the established rules of civilisation, he would not be a threat to other people. Though, he is seen to go against the rules and rejects the authority of Ralph.

Later, the author illustrates how the savage behaviour of the boys led them to kill Simon. It seemed like the boys were quick to strike the first thing they saw instead of looking at what was threatening them before acting. Also, it was savagery that led Rodger to kill Piggy. It could be true that Rodger had killer instincts and probably wanted to kill anything he could lay his hands on (Cox 117). Golding created the pig head in the book to symbolise savagery as it represents evilness. Besides, the war paint the boys wore represented savagery since when they applied it; they became different people with no regards to peace, guidance, and rules. The paint helped the kids to hide themselves from the reality as they created their world of war. The loss of innocence and civilisation can be traced to the moment the boys killed the pig (Liang 145).

Additionally, the rift between civilisation and acts of savagery is illustrated through the major symbols of the novel: the conch shell that is associated with both Ralph and Jack. The shell is a powerful symbol of democratic order, confirming the leadership of Ralph determined by election, and the power of unity and assembly among the kids. Yet, as the clash between Jack and Ralph deepens, the shell loses its significance (Golding 88).

In The Lord of the Flies, the ram of the satire is civilisation during the Second World War. The era is depicted by a civilised society that goes to war and maims, obliterates, and kills. Golding illustrates fear, killing, and destruction, as evil is in the spirit and heart of man, and makes use of irony to elaborate the theme.

The situation presented in the novel is described by many post war texts that seek to explain human instincts and the place of civilisation (Pianka and Elder 188). The author further depicts the smallest boys acting out of instincts, the desire for control shown by Jack and his group while hunting and killing pigs mercilessly. The action of the adults in waging the war that isolated the boys on the tropical island is also ratifying the desire for power (Mallory-Kani 26).

Golding also uses the idea of a beast, some form of supernatural creature or actual animal possibly inhabiting the island, which the stranded boys use to conceptualise the source of their savage impulses. Nevertheless, the boys take on a beast character when acting on their innate animal impulses (Sadouki 43).

Most societies establish mechanisms that can channel unwanted aggressive impulses into productive projects or enterprises. On the tropical island, Jack’s friends are successful in providing food for the group since they can quickly tap into their natural ability to kill. However, it reached an extent that the violence became a reasoned response to the needs of the group for instance in connection to feeding the population. Thus, it also produces positive outcomes and effects. However, when they become motivated by the violence of the killing, the desired result lacks moral or social value beyond itself, as it is the case with the group, at that point the execution becomes diabolical, savage, and evil.

British literature in the past dwelt on the violence that existed in the society and was institutionalised in politics and the military (Eisenberg 123-124). Golding developed this premise by establishing characters that believe in a democratic assembly, which is affected by the violence of Jack’s attitude and his power-plays, and an army of savage hunters, which eventually leads to a little tyranny of armed kids. The assemblies of the boys are likened to the ends of the civil or social spectrum, from verbal tribe gatherings to governmental institutions, implying that as the dynamics of savagery and civilisation was highly dominant (Thorndike 1125).

The Girls OF Slender MEANS

The Girls OF Slender MEANS by Sparks narrates the happenings of particular young women residing at the place called The May of Teck Club close to Kensington Gardens, around 1945. The women are working as secretaries or clerks, and they depend on clothing coupons, rations, and handouts from men that admire them. The peace and civilisation of the women is however disrupted by a violent and tragic accident that exposes the savagery underneath the surface of the women`s mannerly existence. Through each lady, the book portrays a different plotting and moral of such a group of women shockingly and comically (104).

As Maley (118) explains, nothing is blatantly fancy in the way Spark chooses to write. She uses subtle humour and social satire to stress the fact that people are much stranger and odder than they are perceived. However, what kills the satire from her narrative is the sense of dark forces beneath the hilarious bafflements and contradictions of the everyday life. As the novel progresses, Spark makes her readers anticipate the onset of savage out of the civilised characters presented by the women. The author introduces a moment of savagery, an instant of shocking evil; but she also states that the women`s soul had been prepared for such a moment by the happenings and dealings leading up to the events. The events are characterised by experiences of war and drawn-out Wildean dalliance. Spark does this to present both a psychologically and realistic spiritual situation. The manifestation of civilisation and savagery in this tale is best illustrated by the individual characteristics of Joanna, Selina, and Jane.

Among the women, Joanna is described as the most civilised individual; she is an elocution instructor at the May of Teck Club. Joanna cares about other people more than herself and chooses to stay out of conflicts. It is evident when she thinks about every other person`s safety and decides to let everyone out of the burning building before she gets to safety. However, she dies as a result of this selfless act. Along with Jane and Selina, Joanna represents the aspects of femininity as well as the heart of civilisation.

Jane Wright, a journalist and a former resident of the May of Teck Club is portrayed as a savage individual due to her way of thinking and actions. The author illustrates that she seeks to research the true and full account of the priest’s martyrdom. Jane is described as unattractive and likes eating lots of chocolate. She also does a lot of thinking to help her manage her predicaments. Spark mentions that what makes Jane successful in her line of work is her evil tendency to tell lies. Besides, she is also depicted as ruthless.

Another remarkable character is Selina, an attractive member of the club. Selina is thin and easily fits through the window. She is Nicholas’ mistress and unlike Joanna, she cares most about herself and only does what will help her. Just like Jane, she is depicted as cruel, however, in a different manner. As Jane makes use of her intelligence to her advantage, Selina opts to use her sexuality and looks. The conversion of Nicholas to church is due to the malevolence he observed in Selina. Spark makes use of this to indicate how individual acts of savage can result in a good thing. Spark uses Jane, Selina, and Joanna to represent the three sides of a woman during the early times.

According to the plot of the story, the three ladies have just survived the Second World War, and circumstances force them to live in the moment. Thus, since the place of women was not rightfully recognised and they were mostly viewed as objects of pleasure, they had to embrace savage behaviours. As a result, this story is not a story of young girls being clerks and secretaries, and having love affairs with men. It is a story of being savage to survive.

As the Lord of the Flies and The Girls OF Slender MEANS indicate, all people have something savage in them, and it is what drives people to fight for what they believe is theirs; even in cases when it belongs to other people (Young 88). Hence it is true that any man or woman can commit murder or any other evil act so long as he/she is duly presented with the situation. Maley (120) argues that savagery can only be seen as a negative concept to persons who have not had the opportunity to use it as means of protection. Though there are individuals, who are born without the ability and desire to reject the savage behaviour or the animal within. Such characters include Jake in the Lord of the Flies and Jane in The Girls OF Slender MEANS. Persons who have the capability to reject it will only do so till they break. As the authors emphasise, the described era was a deceitful period and a savage age; however, as Maley (119) indicates, some people’s false faith in humanity is too strong to recognise the true nature of human.

De-creation of Simone Weils

The de-creation of a person is the preface condition to being a person on a different and higher level and to approaching the certainty that is derived from a higher plane (Weil 153). Weil wishes to get away from a divided consolatory reality, to avoid traps of culturalism and naturalism, collectivism and individualism, materialism and spiritualism, to efficiently approach the central basis of an anthropology that is not self-referential, but needs to stare toward an impersonal truth, a certainty that reveals itself as a caring and loving individual. McCullough illustrates that Weils deemed it wise to go against the idea and avoid the vagaries associated with the delirium of the ego (13). Weils argued that for the scholars the focus of life consisted in looking for comfort and satisfaction (153). It was a metaphysical and moral matter: it is impossible for a person to be the criterion of truth; if one`s ego desires truth, the reality has to be found elsewhere and should surmount the individual (Eisenberg 133). The theme of the impersonal takes place in the context.

As Simone Weils states, de-creation is the act of eclipsing one’s ego, which becomes the means by which the characters portrayed in the stories allow themselves to tarry in the void of their being. It is also the proper solution to people`s perpetual flights of fancy or their refusal to inhabit the truth of the present moment (Pembroke 267). The two narratives illustrate that people are at their holiest when they imitate God’s denial of power for the sake of a different thing, which can also be the definition of love.

Conclusion

At a symbolic level, the central thesis of the two stories is the conflict between human impulses toward living by the ways of civilisation, characterised by the rules, peace, harmony, and the will to control and attraction to the power. The themes of the stories include the tension between personalities, between morals and dissipation, and between emotional and rational reactions. The way the issues play out, and the characters feel their influences form a major overtone of both The Lord of the Flies and The Girls OF Slender MEANS. The texts highlight the need to embrace the evil within to survive and keep what you own, or decide to live like prey and loose grip of everything that matters. Hence, both authors argue that human is a civilised animal that needs a fortunate nature together with proper instructions to be the most civilised and divine animal. However, if a person is uneducated and facing uncivilised situations, he can be the most savage of all creatures. Also, it can be argued that it is the nature of humans to pertain to primal instincts as animals, but we are humans because of the civilisation. As well, it is right to say that people are born savage but become civilised by following the rules of society. As described by Weils, humans de-create by denying their self-expansion, and the world needs people to be civilised by developing a more compassionate way of living. The key message of the stories is no matter how hostile the world makes us; we have the capability to transform the level of violence by changing our social behaviours. Thus, people have the ability to build a pacific society whenever they wish.

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