The Spire:how Does Golding Display Jocelin's Degeneration in Chapters 1 to 8 of the Spire?

Jocelin’s descent into what could be described as madness is a central theme in “The Spire” by William Golding, and the author uses a number of plot points and language techniques to convey this degeneration to the reader. Throughout the course of the novel we see the slow deterioration of Jocelin both physically and mentally as he changes from the dean of a powerful cathedral to a skinny figure with “a wild halo of hair, the skinny arms and legs which stuck out of a girt and dirty robe.” This contrast between Jocelin at the start of the novel and him at the end of chapter 8 is startling and Golding uses this shock factor to emphasis the emotional power of the final chapters.

We are first introduced to Jocelin by Golding with the phrase “He was laughing, chin up and shaking his head”. This definitely gives the impression of someone happy and healthy, though it soon becomes an oddity as we realise the character is the dean of a cathedral and this is not behaviour associated with a priest. This oddity places the reader on edge as we begin to expect something to go wrong despite everything seeming normal. The language in chapter one reflects Jocelin’s state (as it does in every chapter thanks to Golding’s unique narration technique of switching from third person to first person from Jocelin’s point of view) as the reader gains the impression of anticipation and excitement at the prospect of the construction of the spire. Golding uses very powerful lexis such as “exploding” and “Loving” throughout the chapter as if the deliberately emphasis Jocelin’s vitality; nothing is understated or subtle lingualy speaking. Jocelin is at his most confident, secure in his position to the point of being patronising “have faith my son” and oblivious to all criticism “who is this poor fellow? You should pray for him!” and the discomfit caused to the others “you are too thin skinned man!”

It is not until the end of chapter 1, after we are introduced to all of the characters and their feelings on the matter that Golding introduces a new dimension to Jocelin’s character with the first mention of Jocelin’s angel like “the warmth of a fire at his back”. The reader is unsure how to react to this occurrence, which is a situation that Golding has deliberately engineered by being ambiguous with his storyline. However Golding immediately steers the readers train of thought with the arrival of the dumb man and the statuette of Jocelin showing him as having “gaunt, lifted cheekbones” almost birdlike in appearance. This description is unsettling to the readers and Golding uses it to enhance the feeling that something is not right which, following so soon on the heels of the arrival of Jocelin’s “angel”, leads us to question the divinity of his visitation.

In chapter 2 we can see Golding draw a parallel between the cathedral itself and Jocelin, building upon the imagery seen in chapter one of the cathedral being “like a man lying on his back”. This is important as it swiftly becomes apparent that large amounts of damage are being wreaked on the cathedral with dust “like thick yellow smoke” filling the cathedral interior, as if some horrible disease were spreading from within. Placed in juxtaposition to this less than attractive imagery is Jocelin and his conflicts with Anselm and Roger Mason, which demonstrates a marked changed in Jocelin’s demeanour from chapter one, just as the beautiful light which Jocelin saw changed into thick dust.

Golding still has Jocelin in command of his wits and faculties as the language used from Jocelin’s perspective is still concise with his observations on events such as his argument with Anselm still being pertinent “Now I shall have to change my confessor!” The end