THE l'6OLDING NOVEV :A STUDY *. OF • LLIAM GOLDING'S FICTIONAL WORK THESXS SUBNiTTED TO THE 60ft UNIVERSITY $s \ N.77.0 FOR s-••■•.. \ 14) it THE DEGREE OF \ D G TOR OF PHILOSOPHY KRAN JAYANT BUDKULEY DEPARTMENT OF ENGLISH GU A UNIVERSITY TALEIGA0 PLTE:AU A •01 20f3 • CTFTIFTJATT • dTs required under the Univqrsitu erdina.nce, I certilu that the thesis entitled The 'Golding Novel' : studg of William Golding's Fictional Work submitted b Smt. JZiran 3agant BudXulew for the award of Doctor of Philosophy . in Snglish, is a record of research done b the candidate during the period of study under mg guidance and that it has not previoustg formed the basis for the award to the candidate of arty Degree, Diploma, Yrssociateship, 7ellowship or other similar titles. Neodifte- r lir. ft. K. Josh (Research Guide) Professor and !lead. • Department of Englitiil Goa Universitu Taleigao Plateau Goa 403 203 CONTENTS CHAPTER ONE THE 'GOLDING NOVEL' • 1.1 Introduction 4 1 • 1.2 Life and Influences 1.3 Range and Diversity of Golding's York 10 1.4.1 The 'Golding Novel' 12 1.4.2 Golding's Concern with an 13 1.4.3 Isolated Settings of the Plots 15 1.4.4 The Moment of Confrontation for Golding Protagonists 17 1.4.5 'Gimmick' Ending of Golding's,Novels 19 1.4.6 Use of Literary Foils 21 1,5 Conclusion 26 References 31 CHAPTER TWO THE INITIAL 'GOLDING NOVEL' : EXPERIMENTAL PRASE 2.1.1 Introduction 32 2.1.2 'Golding Novel' : The Stages 2.1,3 The Initial Stage of the 'Golding Novel':Its Two Phases 38 2.1.4 Common Features of Golding's Novels of the Initial Stage 42 2.2.1 Novels of the 'experisental phase' 46 2.2.2 Lord of the Flies : The Plot 51 • 2.2.3 Ironical Reversal at the End of the Novel 53 • 2.2.4 Fable as an Element in Lord of the Flies 55 • • • • • • • •• 2.2.i Allegory in the Novel •. 6! 2.2.6 Lord of the Hies as Realistic Fiction 63 • • 2.2.7 The Mythopoeic Aspect of Lord of the Flies 66 • 2.2.8 Polysemous Nature of the Novel 72 2.3.1 New Possibilities in The inheritors 73 2.3.2 The Inheritors : The Plot 76 2.3.3 Irony in the Novel 78 2.3.4 Fictional Element in The Inheritors 79 2,3.5 Allegorical Significance of the Novel 82 2.3.6 Myth in The Inheritors 85 2.3.7 Coherent Generic Status of The Inheritors 89 2,4. 1 The Thematic Continuity in Pincher Martin 91 2,4.2 Pincher Martin : The Plot 9i 2.4.3 Fictional Element in the Novel 92 2.4.4 Ironical Reversal in the Novel 95 2.4.5 The Fable in Pincher Martin 96 2.4.6 Allegory in the Novel 97 2.4.7 Affinity of the Novel to a Morality Play 99 2.4.8 Mythic Element in Pincher Martin 100 2.4.9 Semantic and Generic Complexity of Pincher Martin 103 2.5 Conclusion 107 References . 111 • 4 • • • • • • •CHAPTeW THREE • • • • • TRANSITIONAL PHASE • • 3.1.1• Introduction 118 3.1.2 Novels of the 'transitional phase' • 119 3.1.3 The Nature of Transition ,,. 121 3.2.1 The Plot of Free Fall 126 3.2.2 Element of Irony in the Novel 127 3.2.3 Thematic Continuity with the Earlier Novels 132 3.2.4 The Element of Obscurity in Free Fall 134 3.2.5 The Metaphorical and the Extra-fictive Element in the Novel 138 3.2.6 Myth as a Significant Device of Authorial Quest 137 3.2.7 Transition in Free Fall 139 3.3.1 The Spire 144 3.3.2 The Plot of The Spire 147 3.3.3 Irony in the Novel 149 3.3.4 Relevance of the Novel's These to Golding's Quest 152 3.3.5 A Culminating . Achievement of the Initial Stage 154 3,4.1 Initial Stage of the 'Golding Novel' : an Assessment 158 3.4.2 Characterization of the initial Stage 158 3.4.3 Narrative technique and Point of View 172 3.4.4 Authorial Vision at the and of the Initial Stage 168 3.5 Conclusion 189 References 195 • • • • • • • CAAPTER 4FOUR • • • v GOLDING'S'SOCIAI. NOVEL : MORAL PHASE • 4.1.1 • Introduction • 198 • 4.1.2 Golding's Moral•Position t 201 4,1.3 The Pyramid : A Shift in Golding's Approach 224 4.2.1 The Source and the Structure of The Pyramid 211 4.2.2 The Plot 215 4.2.3 Inverted Symbolism in The Pyramid 221 4.2.4 The Pyramid as a Novel of the moral phase 228 4.3.1 The Second Trilogy of the moral phase : The Scorpion God 231 4.3.2 Thematic linkages : The Scorpion God and The Pyramid 235 4.3.3 The Structure of The Scorpion God 236 4.4.1 The Plot 249 4.4.2 The. Significance of The Scorpion God 25! 4.5.1 The Plot of Envoy Extraordinary 255 4.5.2 The Significance of the Novella 257 4.6.1 Change as the Central Motif in Clonk Clunk 264 4.6.2 The Significance of Clank Clonk 267 4.7 Conclusion 269 References 288 • • • • • • • • • •• • CHAPTER NYE • • • • • THE 'METAPHYSICAL PHASE • • • 5.1.1 Introduction 292 • 5.1.2 Novels of the 'Metaphysical Phase' 293 5.2.1 Significant Position of Darkness Visible 102 5.2.2 The Structure of the Novel 303 5.2.3 Darkness Visible : the Plot 399 5.2.4 Elusive Nature of Reality in the Novel 313 5.2.5 Ambiguity and Co-incidence as Novelistic Devices 315 5.2.6 Other Structural and Narrative Devices 319 5.2.7 Darkness Visible : Concluding Statement 333 5.3.1 From Darkness Visible to The Paper Men 337 5:3.2 The Plot of the The Paper Men 344 5.3.3 Significance of Barklay's Death 348 5.3.4 The Fausto-Mephistophelean Element in The Paper Men 353 5.3.5 Structural and narrative Features of the Novel 365 5.3.6 Relevance of Barklay's 'Metaphysical Encounter' 373 '5.4 Conclusion 382 References 394 CHAPTER SII 61AIFINAL PHASE 6.1 Introduction 398 • 6.2.1 The Plot of A Sea Trilogy t99 • • • • • • • e• - • • 6.2.2 Th.? Structure 419 • • 6.2.3 Tipe Thesatic Potential of A Sea Trilogy 416 6.2.4 A Point of Convergence : Final York of the Social Stage • 429 6.3.1 Social Stage of the 'Golding Novel' : An Assessment 435 6.3.2 Characterization in the Novels of the Social Stage 437 6.3.3 Narrative Technique and Point of View 451 6.3.4 A Sea Trilogy as a Paradigm of the l Golding Novel' 469 6(8) CONCLUSION 466 References 512 • 4 • PREFACE • • • • • William GoLdigg occupies an outstanding position among• • the post-War English novelists. With the exceptionally warm reception• he shot into of his maiden •novel, Lord of •the Flies (19541, ■•• literary prominence as well as popular success. Ever since, his • work has continued. to stimulate the reader and the critic alike. Initially, the impact—of his novels was felt in the English-spbaking world and was mainly confined to England and America.. But within a short time Golding's work transcended the barriers of language and nationality. The present thesis underscores the irresistible appeal Golding's fiction all over the world. Moreover, it contributes to the already copious criticism associated with it, However, despite the vast critical canon that has grown around Golding's fictional oeuvre, the need for a comprehenSive approaCh t.o the study of the r, Golding Corpus was strong. It can be seen that the'critical response t.o Golding's novels, while it is overwhelming, shows an uneven trend. Most of his novels have been studied either singly or in groups, and a greater emphasis has been laid on the initial novels than on the later ones. while there is a critical consensus on Golding's 'class' as a novelist, there is as yet a reluctance in some critical quarters to view his work as primarily fiction. Perhaps the novelist's exclusive theMatic pre-oCcupation and its unmistakably allegorical slant may have somewhat contributed to such a critical opinion. The present study intends t.o review this critical approach. Directed towards the entire Golding Corpus, it views the 'Golding NOvel' as a cohesive structure constituted around independent works of fiction. Further, it traces the process of maturation evident in this work through a phase-wise analysis of its • • development. • • • • • • This has posed its own challenge of analysing the subtle blend • • of thematic coherence and technical exclusiveness operating withi .n • the 'Golding Alogel'. The two major hurdles in the face of this • • challenge could have been the non-availability of critical material • • and the difficulty of a critical breakthrough. But thanks to the goodwill and timely assistance from several individuals and institutions, this study has steered ahead of these hurdles. Although it is impossible to adequately acknowledge one's debt in words, I would nonetheless like to thank all those who have contributed to this work by way of help and encouragement. In this regard, my teacher and guide Prof. A. K. Joshi, deserves a special mention for his open-mindedness and patience. acknowledge with deep gratitude the valuable discussion I have had with him at every stage of this work. I wholeheartedly thank the British Council Library at Bombay, British Library, Pune, University of Poona Library, and our own library at Goa University for the valuable reference material made available to me.