L. L. Dickson - The modern allegories of William Golding
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Golding, William,--1911---Criticism and interpretation, Allegory.
publication date
:
1990
lcc
:
PR6013.O35Z615 1990eb
ddc
:
823/.914
subject
:
Golding, William,--1911---Criticism and interpretation, Allegory.
Page iii
The Modern Allegories of William Golding
L. L. Dickson
University of South Florida Press / Tampa
Page iv
The University of South Florida Press is a member of University Presses of Florida, the scholarly publishing agency of the State University System of Florida. Books are selected for publication by faculty editorial committees at each of Floridas nine public universities: Florida A&M University (Tallahassee), Florida Atlantic University (Boco Raton), Florida International University (Miami), Florida State University (Tallahassee), University of Central Florida (Orlando), University of Florida (Gainesville), University of North Florida (Jacksonville), University of South Florida (Tampa), University of West Florida (Pensacola).
Orders for books published by all member presses should be addressed to University Presses of Florida, 15 NW 15th St., Gainesville, FL 32603.
Copyright 1990 by the Board of Regents of the State of Florida
Printed in the U.S.A. on acid-free paper.
Library of Congress Cataloging-in-Publication Data
Dickson, L. L. The modern allegories of William Golding / L.L. Dickson. p. cm. Includes bibliographical references. ISBN 0-8130-0971-5 (alk. paper) 1. Golding, William, 1911- Criticism and interpretation. 2. Allegory. I. Title. PR6013.035Z615 1990 89-24873 823 .914dc20 CIP
Page v
for my mother and the memory of my father
Page vii
Contents
Preface
ix
1. Allegory and the Modern Novel
1
2. Lord of the Flies
12
3. The Inheritors
27
4. Pincher Martin
42
5. Free Fall
58
6. The Spire
76
7. The Pyramid
96
8. The Later Novels
109
Darkness Visible
109
Rites of Passage
117
The Paper Men
127
9. Appraisals of a Writer in Progress
134
Notes
139
Bibliography
151
Index
159
Page ix
Preface
In the 1960s, when I first started reading literary criticism of William Golding's work, I noticed that one term of evaluation invariably recurredallegory. Though "parable," "fable," and ''myth" were often bandied about, a central idea that emerged in the sixties, and one that has continued with somewhat less force up to the present time, was that each of Golding's novels encapsulated a kind of moral allegory. Yet I was surprised that no critic wanted to discuss in any detail what was meant by "allegory" in the context of the modern novel. I recognized that Golding's novels relied heavily on symbolism and that their creator was inventively forging his own myths in narrative settings that ranged from pre-history to present-day England, but did such patterns of symbolism constitute a type of modern allegory?
Critics either paid brief lip service to the idea that Golding's novels seemed allegorical, and therefore profound, or they chided him for writing with too rigid a thesis. The more I studied Golding's writing and the criticism it evoked, the more I felt a need to clarify in my own mind the extent to which his novels are indeed allegorical. This book is the result of my investigations concerning the structural basis for Golding's art.
In the 1970s, while teaching courses in the recent British
Page x
novel, I discovered the works of two theoreticians who had devised systematic and workable approaches to the subject of allegory in the context of modern literature. Edwin Honig, in Dark Conceit: The Making of Allegory (1959), analyzes how characterization in the novel can be affected by analogical processes, for the purpose of allegory. Though Honig's study largely concentrates on nineteenth-century American literature, his brief discussion of a few twentieth-century writers suggests the applicability of these critical theories to modern fiction, Angus Fletcher, in
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