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In the greatest tragedy, I suggest, what is in the end affirmed is something more than the dignity of man and the value of human life. We are made to feel that, through the affirmation of man and the life of the man,there is at the same time being affirmed an order of values transcending the values of the human order. This order of values is not, or is not felt to be, a mere projection of the human mind: it is felt to have a real, objective existence—an existence independent of, other than, and antecedent to man. At the same time, however, it has the closest bearing on the life of man, in particular on the conduct of men; therefore, it is properly described as moral--a moral order, in the most inclusive sense of the term. An objective moral order which at once incorporates the human and transcends it: this, I am suggesting, is what is finally affirmed in great tragedy. That this is true of classical Greek tragedy can hardly be contested. There the transcendent is most often palpably manifest in the shape of the gods and goddesses, the oracles and prophecies, which play a vital part in the tragic action. And even when the supernatural powers are not present as dramatist personae (as in Sophocles’ Antigone or Electra or Philosophizes), the transcendent order is nevertheless openly and explicitly evoked through the direct reference to a moral law—the moral law that in Antigone is violated by Creon and affirmed by Antigone—presented as eternal, immutable, and absolutely binding.

As the boys sleep, military airplanes battle fiercely above the island. none of the boys sees the explosions and flashes in the clouds because the twins sam and eric, who were supposed to watch the signal fire, have fallen asleep. during the battle, a parachutist drifts down from the sky onto the island, dead.