Chapter 4 Summary & Analysis
Summary
The chapter begins with a description of the day-to-day life the boys adopt. They fall into a rhythm of working, playing, eating, and sleeping, their actions often determined by the position of the sun as it arcs across the sky. At noonday they often see glimmering, surreal objects on the horizon, which Piggy understands to be mirages, effects of the extreme heat.
Henry, Percival, and Johnny, three of the littluns, are making sandcastles on the beach when Roger and Maurice approach from the forest. Roger immediately kicks the castles into dust, casting sand into the eyes of Percival, one of the smallest and most sensitive of the littluns, who begins to cry. Roger feels a pang of guilt, a holdover from his former civilized life. Then Roger wanders off and watches Henry, who is now playing with arthropods at the waterline. Roger hurls stones at Henry, making them fall a few feet away, never too close. His desire to hit the boy is again restrained by his impulses toward social order. When Henry turns and looks his way, Roger quickly hides behind a palm tree.
Jack crosses paths with Roger and asks the boy to come with him. They go to a pool of water, where Samneric and Bill await them. Jack reveals two leaves filled with red and white clay, as well as a charcoal stick. He explains his plan to use the clay for camouflage while hunting. He experiments with different patterns, eventually covering half his face in white clay, the other in red, and drawing a black charcoal line between the two. Jack, enthralled by the savage new “mask” he has taken on, begins to whoop and sing. He gathers the boys together and leads them into the woods to begin their hunt.
Over at the lagoon, Ralph, Piggy, Simon, and Maurice are swimming. Piggy approaches Ralph with the idea of constructing sundials out of sticks. Ralph scoffs at the idea and smiles at Piggy in derision. Piggy thinks Ralph is on his side, not realizing that Ralph—along with the other boys—has turned his back on Piggy, disdaining his appearance and manner.
Suddenly, Ralph notices a thread of smoke rising from the horizon out at sea. He leaps up, shouting “Smoke! Smoke!” Ecstatic, the boys hope the ship might see their signal fire blazing on the mountaintop. Ralph immediately begins scrambling through the jungle towards the mountain, fearing that the fire may not be burning. The boys soon arrive at the fire and find that the hunters tasked with its care have abandoned their post, letting the fire die. Ralph is furious and horror-stricken at the reality that the ship has passed by, unaware of the boys.
Then the boys peer down the mountainside and see Jack and his hunters emerging from the forest. Samneric are carrying a long wooden stake across their shoulders, with a dead, bloody pig swinging from it. The group is chanting, “Kill the pig. Cut her throat. Spill her blood.” Jack triumphantly clambers up the hillside to greet the other boys by the dead fire. Jack breathlessly tells Ralph about the hunt and his role as the one to deliver the fatal cut. Ralph remains furious and unmoved. The band of hunters gathers around, all giddily telling the story. Ralph simply says, “You let the fire go out.” Jack and the hunters are undisturbed and continue in their story. But Ralph repeats the sentence again and then finally burst out in anger, explaining about the ship. Piggy adds an accusation, aimed towards Jack. Jack, sobered and ashamed, lashes out at Piggy, hitting him in the head, knocking his glasses to the ground, and breaking one of the lenses.
After the two scuffle, Jack finally admits his fault and apologizes, albeit in a glib fashion. With nothing left to say, Ralph mutters, “All right. Light the fire.” The boys start the fire again before butchering the pig and roasting its flesh over the flames. Ralph refrains from eating at first, not wishing to encourage Jack’s actions, but soon he gives in. Piggy yearns for meat, which Jack forbids; Simon, pityingly provides it to him. Jack takes the opportunity to assert his importance and dominance, leaping up before the crowd of feasting boys to shout, “I got you meat!” After more lively discussion of the hunt, Ralph announces his decision to call an assembly. He then treads away into the dark.
Analysis
In chapter 4, the boys are becoming increasingly differentiated in character, particularly in terms of their response to the conditions of living on the far flung island. We see young Percival falling into a kind of obstinate despair, weeping and singing to himself in one of the shelters. Henry, by contrast, is content to explore the beach and feed his curiosity.
For other boys, the island limbo draws the mind from its civilized boundaries and opinions down into a realm of instinctive violence. This phenomenon can be seen in Roger, who quietly lashes out at the younger boys, knocking down sandcastles and throwing rocks. He is only restrained by the lingering specter of social propriety; however, it is clear that he yearns to do violence.
In Jack, this violent impulse is even more unhinged. In chapter 4, he finally frees himself from the bonds of his civilized British persona. With colored clay and charcoal, he forges a new mask for himself, literally and figuratively. With his painted face, he is able to become the figure he has ached to become: that of the hunter and carnivore. When he successfully kills a pig in the forest, Jack’s new identity has solidified and been affirmed by the group. In the wake of the kill, encouraged by the hungry boys, Jack openly revels in the slaughter, shouting, “You should have seen the blood!” Jack has ceased to hide his bloodlust; instead, he flaunts it as a force to motivate the other boys.
The scene of the feast marks a key development. Jack’s hunt is a direct betrayal of Ralph and the rest of the boys. It was his hunting plans that caused the fire to go out. Thus, his decision is representative of his priorities; Jack cares more about killing pigs than getting rescued. Ralph holds the opposite priorities, and he is angered more than anyone else by Jack’s actions. The final scene of chapter 4 shows a further splintering between Ralph and Jack, as well as Jack’s growing push for power, which he tries to gain through his success as a hunter. As he unabashedly declares to the other boys, “‘I got you meat!’” Jack’s egotism angers Ralph, who begins to grow wary of his arrogance and independence. At the same time, Ralph begins to grow more closely allied with Piggy, whom at first he had considered inept and inferior. Ralph increasingly understands the value of Piggy’s opinions and resents Piggy’s unfair treatment by the other boys, particularly Jack.
Expert Q&A
In Lord of the Flies, in which chapter does Jack first kill a pig?
Jack kills a pig for the first time in chapter 4 of Lord of the Flies. His first success symbolizes the beginning of his descent into violence and savagery.
Why do Roger and Maurice kick over the sand castles in chapter 4 of Lord of the Flies?
In chapter 4 of Lord of the Flies, Roger and Maurice kick over the sandcastles of the younger children because they are embracing their primitive instincts and gradually transforming into savages. After being on the island for an extended period of time, the biguns are beginning to regress civilly and are becoming desensitized. They destroy the children's sandcastles simply because they can impose their will without any consequences or repercussions.
In Lord of the Flies chapter 4, what does Golding refer to when Henry "pokes about with a bit of stick" at the beach?
In chapter 4 of Lord of the Flies, Golding refers to Henry poking at small sea creatures, described as "tiny transparencies," with a stick on the beach. Henry feels a sense of control and power over these creatures, reflecting the novel's theme of the human need for dominance and mastery, which is evident even in the youngest characters.
What literary term is used in this quote from chapter 4 of Lord of the Flies: "The sun gazed down like an angry eye"?
The literary terms used in the quote "The sun gazed down like an angry eye" from chapter 4 of Lord of the Flies are personification and simile. Personification attributes human qualities to the sun, while the simile compares the sun's gaze to an "angry eye" using "like." These devices help build imagery and convey the oppressive heat experienced by the boys on the island.
What do Roger's actions in chapter 4, when he throws stones at Henry, reveal about him?
Roger's actions in chapter 4 reveal his cruelty and tendency to bully. He secretly throws stones at Henry but deliberately misses, indicating his awareness of societal restraints. This behavior shows Roger testing the limits of acceptable actions on the island. Although conditioned by his past, the lack of consequences emboldens him, hinting at future, more harmful behaviors.
What two worlds do Jack and Ralph depict in chapter 4 of Lord of the Flies?
In Chapter 4, Jack and Ralph represent two contrasting worlds. Jack embodies the "brilliant world of hunting," focusing on immediate gratification and adventure, symbolized by his hunting success and attachment to face-paint and uniforms. Ralph, conversely, represents the "world of longing and baffled commonsense," prioritizing long-term survival and rescue through maintaining the signal fire. Their differing leadership styles and priorities highlight their inability to effectively communicate and collaborate.
What does Piggy suggest the boys could make with available materials in Chapter 4 of Lord of the Flies?
In Chapter 4 of Lord of the Flies, Piggy suggests using sticks to make sundials so each boy can have his own clock, reflecting his intellectual nature and desire for order. This suggestion is mocked by Ralph, who finds it impractical. Piggy's idea highlights his adult-like thinking and organizational skills, setting him apart from the other boys who are more focused on survival and play.
What is the significance of the reenactment of the first successful hunt in Chapter 4 of Lord of the Flies?
The reenactment of the first successful hunt in Chapter 4 highlights the growing rift between Ralph and Jack. It underscores Jack's shift from respecting Ralph's leadership to asserting his dominance through the primal joy of hunting. This event also marks the boys' descent into savagery, as their enthusiastic participation in the violent ritual foreshadows future brutality. Ralph's frustration and envy during the reenactment further emphasize the escalating conflict and loss of order.
What is the "taboo" in chapter 4 of Lord of the Flies and how do Roger's actions relate?
In Chapter 4, the "taboo" refers to the societal rule against harming others, which Roger initially adheres to by deliberately missing when throwing stones at Henry. This behavior demonstrates his conditioned restraint from his past civilized life. The invisible barrier around Henry symbolizes this taboo, reflecting Roger's internal conflict between savagery and civilization. However, as the story progresses, Roger's adherence to this taboo diminishes, leading to his transformation into a ruthless character.
In chapter 4, why is Roger following Henry to the lagoon and what is Henry doing there? What are the "transparencies" referred to?
Roger follows Henry to the lagoon, observing him as he plays at the water's edge. Henry is poking at "transparencies," likely small jellyfish or clear crustaceans, feeling a sense of power over them. Roger, a budding sociopath, is restrained by lingering societal norms, so he only throws rocks near Henry to intimidate, not harm. The "transparencies" symbolize Henry's desire to control, while Roger's actions foreshadow his later violent behavior.
In Chapter 4 of Lord of the Flies, what definite stand does Ralph make?
In Chapter 4, Ralph takes a definitive stand by reprimanding Jack for neglecting the signal fire, which results in missing a rescue opportunity. Jack's focus on hunting leads to a lapse in responsibility, causing Ralph's anger. Ralph's authority is further asserted when he commands Jack to rebuild the fire, demonstrating leadership and creating a rift between them. This incident also strengthens Ralph's alliance with Piggy, highlighting Ralph's commitment to rescue over immediate gratification.
In Lord of the Flies, what are the hunters chanting?
The hunters in Lord of the Flies chant, "Kill the pig. Cut her throat. Spill her blood." This chant highlights the boys' descent into savagery as they become increasingly obsessed with hunting and the thrill of killing. Initially, they attempt to maintain order after being stranded on an island, but their society collapses, symbolized by their primal chants and actions during hunting rituals.
What does Ralph see while he, Piggy, and Maurice are playing near the pool?
While playing near the pool, Ralph, Piggy, and Maurice see smoke from a passing ship and hope it will notice their signal fire. However, they are dismayed to find the fire has gone out because Jack's choir was hunting instead of maintaining it. This missed rescue opportunity heightens tensions between Ralph and Jack, illustrating the group's descent into chaos and the erosion of civilization. This incident marks a significant turning point in the story.
Explain the love-hate relationship between Jack and Ralph in chapter 4 of Lord of the Flies.
The relationship between Jack and Ralph in Chapter 4 is characterized by conflicting leadership styles rather than a love-hate dynamic. Ralph prioritizes rescue and order, while Jack focuses on hunting and control. Initially, Ralph allows Jack to lead the choir as hunters, but Jack's obsession with power soon causes tension. This culminates when Jack lets the signal fire die, highlighting their diverging priorities and Jack's growing desire to undermine Ralph's authority.
What causes the hunters to neglect the fire in Lord of the Flies?
Jack's desire to go hunting and usurp power caused the hunters to neglect the fire and allow it to go out in Lord of the Flies.
Who knocks over the sand castles in Lord of the Flies?
Roger and Maurice knock over the sandcastles in Lord of the Flies, as seen in Chapter 4. Roger, a natural bully, kicks over the castles made by the littluns, while Maurice imitates him, adding to the destruction. Although the littluns are not particularly bothered, this act illustrates Roger's growing savagery, foreshadowing his increasing desire for power and control, which ultimately leads to more violent actions later in the novel.
Significance of "Painted Faces and Long Hair" in Lord of the Flies
In William Golding's Lord of the Flies, Chapter 4, "Painted Faces and Long Hair," symbolizes the boys' descent into savagery on the island. The "painted faces" represent their transformation as they mask their identities with face paint, liberating themselves from shame and allowing violent behavior. The "long hair" signifies the passage of time and their growing detachment from civilization. These symbols reflect their primitive instincts and the breakdown of societal norms, highlighting the novel's exploration of inherent human savagery.
The three littluns playing on the beach at the start of the chapter in Lord of the Flies
The three littluns playing on the beach at the start of the chapter in Lord of the Flies are Henry, Percival, and Johnny. They represent the innocence and carefree nature of the younger boys on the island, contrasting with the increasing savagery and loss of order among the older boys.
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