In Lord of the Flies, how does Golding's language in chapter 8's hunt affect the reader?

Lord of the Flies, by William Golding, is a symbolic novel; its characters are all English schoolboys who have been stranded on a tropical island. In the beginning of the novel, they are proper English schoolboys who hold meetings and follow some kind of order. Very quickly, however, they begin to lose their civility; by the end of the novel, Golding refers to them only as "savages." 

In chapter eight, Jack (the eventual chief of the savages) and his hunters want to kill a pig so the tribe will have meat. Most of the other hunts in the novel are simply referenced, but Golding chooses to describe this one in great detail. Clearly the language (both literal and figurative) he chooses to use is similar to how one might describe a woman being raped.

Here, struck down by the heat, the sow fell and the hunters hurled themselves at her. This dreadful eruption from an unknown world made her frantic; she squealed and bucked and the air was full of sweat and noise and blood and terror. Roger ran round the heap, prodding with his spear whenever pigflesh appeared. Jack was on top of the sow, stabbing downward with his knife. Roger found a lodgment for his point and began to push till he was leaning with his whole weight. The spear moved forward inch by inch and the terrified squealing became a highpitched scream. Then Jack found the throat and the hot blood spouted over his hands. The sow collapsed under them and they were heavy and fulfilled upon her.

This is just one more example of the boys' depravity on this island without any rules or authority. This scene and the language he uses prove Golding's point that living without societal constraints eventually leads to deviant and evil behavior, even in children.

It is the last line of the same paragraph which reminds us that this behavior is ugly and unnatural. Golding writes: "The butterflies still danced, preoccupied in the center of the clearing." Nature has not changed, but the evil nature of man has been revealed through these boys and this hunt. A few chapters later, the boys will commit several murders and nearly destroy themselves and the island in a conflagration--which, ironically, gets them rescued.

The effect of Golding's language on the reader is to create a sense of horror at the depravity of these once-proper schoolboys, and the butterfly is a reminder that what they are doing is not natural.

In Lord of the Flies by William Golding, how does language use affect the tone in the first chapter?

William Golding, like most talented writers, knew the importance of a novel’s opening chapter. He realized that the opening chapter gave him the opportunity to use language in especially effective ways and thus arouse readers’ curiosities and capture their interests. In the opening chapter of his novel Lord of the Flies, he does this in a number of different ways, particularly by using language to create an intriguing tone.  Examples include the following:

• The opening sentence immediately creates a sense of mystery.  Who is this boy? What are his circumstances? Why is he near a “lagoon” (an unusual setting)?
• Within the first few paragraphs, the narrator twice uses the word “scar,” but without making clear precisely what kind of scar is meant. Once again mystery is created, and the word “scar,” associated with wounds and pain, also helps establish a somewhat ominous mood.
• The description of the overweight boy untangling himself from a thicket of thorns already suggests that nature, in this novel, will not be presented as comforting, friendly, or humane. Once more the tone seems somewhat ominous, especially since it is a boy who is undergoing this kind of discomfort. (We would be less troubled if the person suffering were an adult, since adults are presumed to know better than children how to deal with difficult conditions.)
• The fact that the overweight boy has to search out “safe lodgments” for his feet suggests, once more, that the environment here is potentially dangerous.
• The fact that no “grownups” seem nearby helps contribute to the ominous tone of the story; children without protective grownups are naturally the source of worry and concern.
• The reference to the “jagged end” of a tree trunk suggests that nature itself has been harmed by something, apparently a plane crash. Both the clear reference to the jagged tree trunk and the growing number of clues suggesting a plane crash contribute to a tone that seems ominous, dangerous, and unnerving.
• Ralph’s fall contributes further to a tone of danger, of the risks of being confronted with the unfamiliar, and of the unfortunate consequences that can result from hasty behavior.
• The fact that the overweight boy defecates before the story is more than a page or two old suggests that the tone of the narrative will be blunt, realistic, and unsparing.
• The fact that Ralph makes few efforts to interact with the other boy suggests that the tone of the story will be unsentimental in its depiction of human relations.
• The repeated references to the heat suggest that the story will be realistic in its depiction of nature.
• The fact that Ralph soon strips off his clothes and stands naked before the ocean suggests again that the tone of this novel will blunt, unsentimental, and sometimes indecorous. Already this seems to be a novel more concerned with things as they actually are (or can be) than with polite, civilized notions of how we wish they were or would like them to be.
• The fact that Ralph’s companion is continually called “the fat boy” again suggests a tone of unsentimental frankness, as does Ralph’s somewhat cruel reaction when the other boy reveals that his nickname has been “Piggy”:

Ralph shrieked with laughter. He jumped up.
“Piggy! Piggy!”

This, apparently, will be a book that will be unsparing in its depiction of the potential cruelty of human beings, even (or especially) children.