We now move onto the late stages of Jack’s neuroticism. Jack, as we have learned, has been repressing his primitive instincts, meaning he has kept them out of the conscious, leaving the ideational presentations stuck in the unconscious, forgotten, neglected, left to multiply like fungus. As Freud said, the longer we keep our instincts repressed, the more time they have to regroup, come together, and create more resistance in our minds, creating tension, resulting in the censuring of the ego by the superego, ultimately creating a sense of guilt, the result of a fight or flight response. Freud spoke of an economy in the mind, a national reserve of sorts; when this reserve is depleted, the defense mechanisms of our mind break down. Repression requires energy, and the longer an idea is repressed, the more energy is consumed. By killing the pig, Jack has given his aggression a catalyst, so the impulses grow stronger, eating more energy, his repression slowly breaking down, his aggression shining through the cracks in little bits. We see that, after killing the pig, Jack becomes increasingly aggressive. Slowly but surely, the walls of his mind are crumbling down, and his aggression is able to come through. Ralph lectures Jack for not looking after the fire. Jack notices that he is in hostile territory, and his super-ego begins to hammer on his ego. The guilt that arises thereafter cannot be tolerated by Jack, who is guilty of not completing his duties, who, feeling threatened, turns the anger onto Piggy, presently punching him and knocking him down (Golding 66). Here, there is a struggle between the id, which wants to take out its aggression, and the superego, which instills a sense of guilt in Jack. The result is displacement: unable to cope with the greed of the id and the morality of the superego, the ego decides to appease them both by taking out his feelings on something weak, vulnerable, and defenseless—Piggy. In so doing, Jack has temporarily satisfied his id. Like a hungry child, the id, once fed, will return to normal, until it begins to grow hungry once more. What has just occurred has been Jack acting out. Roger and Jack are both sadists. Golding describes a scene in which Roger throws rocks at the Littlun Henry:
Here, invisible yet strong, was the taboo of old life. Round the squatting child was the protection of parents and school and policemen and the law. Roger’s arm was conditioned by a civilization that knew nothing of him and was in ruins (57).
Roger and Jack have both been raised in a society that values temperance, control, and politeness. They were scolded by their parents not to hurt their siblings; taught in school not to do mean things to other students; warned by the police not to break the law; conditioned by society to be behaved, to be like everyone else, to resist all urges. Think, then, what this has done to their inner aggression, to have been repressed to such an extent! But here, on the island, things are different; no longer is there a higher authority to keep the boys in check. Roger, free to do as he pleases, unable to be punished, can be aggressive and not get in trouble. However, it is strange that he refuses to hit Henry directly, throwing instead into a small circle instead. Law and morality still remain with him. Despite his freedom, the idea of restraint has been ingrained into his mind. That there is no evil in him is false; his throwing rocks at Henry is proof of the opposite—Roger’s dark side is stronger than his good, for all this time it has been growing uncontrollably powerful. All it took to release it was the absence of punishment, be it from an external force, like a parent, or an internal force, namely the superego. Without the restraints of civilization, Roger, like Jack, regresses to his primal self, his aggressive, savage self. Fromm wrote,
[I]f the situation changes, repressed desires become conscious and are acted out…. Another case in point is the change that occurs in the character when the total social situation changes. The sadistic character who may have posed as a meek or even friendly individual may become a fiend in a terroristic society…. Another may suppress sadistic behavior in all visible actions, while showing it in a subtle expression of the face or in seemingly harmless and marginal remarks.
Put another way, Fromm is saying that the sadist will feign a pleasant character in a certain environment, say a school, but will reveal himself in a different context, such as an island. This echoes Freud who also noted that society forces us to create reaction-formations. Because we cannot satisfy our aggressive tendencies, we must be exceedingly gentle. Fromm also notes that the sadist, even in a safe environment, will not completely hide his nature, as there will be minor signs, like expressions in the face, of which he spoke.
Following this event, the next major stage in Jack’s neuroticism happens shortly before he kills the pig. Jack is by the riverside, collecting clay, then smearing it on his face, covering it up. He looks at himself at the river and is satisfied. “[T]he mask was a thing on its own, behind which Jack hid, liberated from shame and self-consciousness,” writes Golding (59). Hereafter, Jack relinquishes all remnants of his past life, devoured by his aggression, which takes control for the rest of the story. A small detail, the mask allows for disinhibition, allowing Jack to take on a whole new persona. This mask hides who Jack was, endows him with new strength, and lets him get away with anything. It is no longer Jack who is acting but the mask. If Jack kills Ralph, it is not Jack who does it, but the mask. One can think of the story of Gyges’ Ring as told in the Republic, in which a shepherd finds a ring that can make him invisible. Granted this awesome power, Gyges abuses it, making himself invisible and killing the king and marrying his wife. Anonymity bestows upon its subject great powers, including immorality. The mask on Jack’s face lets him be sadistic, for he can no longer be ashamed. A sense of invincibility is coupled with invisibility, seeing as Jack, hiding himself behind the mask, feels untouchable, as though he can do whatever he wants, since it is not he who is doing it. No more responsibilities are expected of Jack hence. When Jack steals fire from Ralph, the two come face-to-face. Committing an unforgivable act, Jack, normally, would not be able to look the other boy in the face, an overwhelming feeling of guilt preventing him; but with his mask, Jack can easily steal from Ralph without thinking twice. Ralph, Piggy, and Samneric try to go after Jack and his hunters at the end, except that “[t]hey understood only too well the liberation into savagery that the concealing paint brought” (Golding 170). Golding adds further that, “Freed by the paint,… they were more comfortable than he [Ralph] was” (173). Anyone who puts on the mask of paint is relieved of all expectancies, of all moral obligations, of all sensibleness. Freud observed that the barbarian was happier than the civilized man, inasmuch as the former could satisfy his impulses, whereas the latter could not; similarly, the hunters are more comfortable than Ralph because they can do what he cannot: gratify their aggression.
Thanatos, the major force through which Jack now operates, is committed to but one task: self-destruction, the return to the womb, to nothingness. Jack is never seen backing away from a daunting task, always one for a challenge, even if it may end up killing him. Eager to kill, Jack volunteers to go on pig hunts constantly, going as far as to hunt the dreaded beast that threatens their existence. Upon climbing the mountain, Ralph considers going back, but Jack calls him a coward, insisting that they go up. Ralph calls their mission a foolish one, and Jack agrees, continuing up the mountain, determined to kill the beast. If this is so, if Jack wants to destroy himself, why is it, then, that he kills the pig earlier in the book? Freud would answer, “It really seems as though it is necessary for us to destroy some other thing or person in order not to destroy ourselves.” The real goal of Thanatos is destruction of the self, but Jack obviously does not want to die, consciously that is, so he must satisfy his death-instinct some other way, viz., killing something else. Simple trade-off: kill something else to avoid not killing myself. Like Prometheus, Jack tries to defy his god (his superego, rather) by stealing fire from their sacred home. It is a forbidden task, one that will surely result in suffering. Only, unlike Prometheus, Jack gets away with it, despite almost being compromised, successfully. This small act of defiance further tips the scale of his death-instinct.
Another trait of the sadist is that he is stimulated only be the helpless, never by those who are strong…. For the sadistic character there is only one admirable quality, and that is power. He admires,… those who have power, and he despises and wants to control those who are powerless and cannot fight back.
Jack emulates Fromm’s description of the sadistic character when he orders his hunters to take the innocent Wilfred into custody to be tortured for no reason. Ralph asks Samneric why Jack ordered Wilfred to be tortured, but the twins have no answer. It seems Jack did so purely for pleasure, for fun, to fulfill his aggressive death-instinct. There is no rational reason for what he did, obviously, except for the fact that it was in his own self-interest, and that he was able to exert control over a powerless being. The relationship between Ralph and Jack is odd, the latter’s respect for the former strained by his desire to remove him from power. In some ways this is true, for Jack does not truly want to kill Ralph, as he harbors a sort of respect for him, for his demotic popularity. What Jack really wants to do is have all the power for himself. Just a few hours before Jack captured and had Wilfred beat, Roger horrendously killed Piggy, to which Jack reacted apathetically, coldly, disturbingly, responding by threatening Ralph that the same could happen to him. If Jack wanted Ralph dead, he could have done it long ago, and easily—but he did not.
“Few people ever have the chance to attain so much power that they can seduce themselves into the delusion that it might be absolute,” commented Erich Fromm. Fortunately, this is true; unfortunately, it is still possible. Completely neurotic now, Jack has become like Mr. Kurtz, gaunt and savage, his loyal hunters willing to do anything for him, as he sits in his throne as though he were an idol, or a god. Power has indeed gotten to him now, to the point that he is worshiped, thought invincible, the true leader of the boys on the island.
In many cases the sadism is camouflaged in kindness and what looks like benevolence toward certain people in certain circumstances. But it would be erroneous to think that the kindness is simply intended to deceive, or even that it is only a gesture, not based on any genuine feeling. To understand this phenomenon better, it is necessary to consider that most sane people wish to preserve a self-image that makes them out to be human in at least some respects. 
Jack may not be totally sane, but he does seek to maintain his human appearance. When he is not off hunting pigs, stealing fire, or torturing kids, Jack is seen giving plentiful rations to his and his enemies’ people, not as an illusion, not to bait them, but to appear in some way humane, to be what remains of his character. In fact, Jack invites Ralph and his friends to join his tribe rather pleasantly, offering them food and protection, all in a friendly tone, no force necessary. It is only later, when he has been confronted, that he forces Samneric to join the tribe by means of force. While this may be the last of his humanity, it does not change the fact that he is still savage. Having regressed completely to the beginning, Jack is now like his hunting ancestors, hosting ritualistic dances centered on sacrifices, complete with disturbing chants and entrancing rhythms. Jack has become so ill, so neurotic, so sadistic, that he has nearly fallen out of touch with reality, becoming more of a black hole than a human, sucking up all good, drawing in all light, all that is good. Even pure-hearted Ralph and Piggy succumb to his darkness, joining one of the rituals, eventually killing their friend Simon in cold blood. Conclusively, Jack has become a deranged, sadistic neurotic.
In conclusion, to use the wise words of Piggy, “[P]eople [are] never quite what you thought they were” (Golding 49).
(Retrieved from Stephen Glazier’s Word Menu)
Acting out- Unconscious expression of previously repressed feelings through specific behavior
Aggression- Hostile, destructive behavior towards others
Death-instinct/Thanatos- Destructive, aggressive compulsion to achieve nonexistence
Defense mechanism- Any of various mental processes, including… displacement,… projection,… reaction-formation, regression, repression,…, used by the ego for protection against instinctual demands and to reduce anxiety
Disinhibition- Removal of inhibition (process of stopping an impulse)
Ego- Reality-oriented, structured component of personality that enables individual to function autonomously in the world
Ego-ideal/Superego- Aspect of personality involving conscience, guilt, imposition of moral standards, and introjected authoritative and ethical images
Guilt- Recurrent feeling of self-reproach or self-blame for something wrong, often something beyond one’s control
Id- Unconscious, unsocialized component of personality, containing unexpressed desires and motivations and driven by pleasure principle
Neuroticism- Emotional disorder involving basic repression of primary instinctual urge and reliance on defense mechanisms that results in symptoms or personality disturbance
Reaction-formation- Defense mechanism involving denial of unacceptable unconscious urges by behavior contrary to one’s own feelings
Regression- Defense mechanism involving return to behavior expressive of earlier developmental stage, usu. due to trauma, fixation, anxiety, or frustration
Repression- Defense mechanism in which threatening or unacceptable ideas or urges are forgotten
Sadism- Condition in which pleasure, esp. sexual, is derived from inflicting pain on others
 Fromm, The Anatomy of Human Destructiveness, pp. 107-8
 Qtd. in Fromm, id., p. 492
 Id., p. 325
 Id., p. 323
For further reading:
A General Introduction to Psychoanalysis by Sigmund Freud (1975)
The Anatomy of Human Destructiveness by Erich Fromm (1992)
Civilization and Its Discontents by Sigmund Freud (1929)
Instincts and Their Vicissitudes by Sigmund Freud (1915)
The Ego and the Id by Sigmund Freud (1923)
Lord of the Flies by William Golding (2011)
Repression by Sigmund Freud (1915)