Absalom Absalom A Narrative Perscective Essay Research — страница 2

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that he/she must make some of their own speculations in order to ascertain some of Sutpen?s historical facts. Mr. Compson is creating his own reconstruction of Sutpen?s history. Again, Faulkner uses words like ?believes? and ?doubtless? to make us understand Compson?s explanation of the past. The reader is now compelled to believe the narrator. Compson insists at the end of this passage that ?Henry must have been the one who seduced Judith? (99). It appears that this passage is extremely important to Compson?s account. Rather than just collecting the facts and then recording them, the reader now begins to realize the all history is subject to interpretation. With the reader beginning to question the historical reconstruction of Sutpen?s life, Miss Rosa take over the narration in

chapter 5. It?s important to know that her narrative is in italics. The italics signal a break from normally motivated narrative. ?when the narrators shift to italics, they show almost a quantum leap to the perception of new relationships, giving new facts? (Serole 2). There is now a desire for the reader and the narrator to unravel the truth. Miss Rosa?s section seems to be a dream. The dreamlike qualities in her recollection of the stories may not be true. By the end of Miss Rosa?s narrative section we are probing and yearning to reveal the character?s motives and history. Through Miss Rosa, Faulkner presses the reader to believe that such a dreamlike quality contains truths. ?The reader just as often finds himself witness to a proairetic sequence that appears perfectly logical

but lacks the coherence of meaning, as if he had not been given the hermeneutic clues requisite to grasping the intention of event and motive of its narration? (Bloom 108). Chapter 6 marks the start of Quentin taking over the narration of the novel, with Shreve supplying information that eventually considers him a narrator. The chapter deals with Shreve asking Quentin to tell him about the south. As Quentin delivers the narration, Shreve occasionally interrupts and summarizes information for the reader. Faulkner now makes us believe Quentin?s accounts of the past. Quentin?s interpretation of the past is now the focus of the reader. As chapter 7 begins, Quentin turns to Sutpen?s biography, which is actually Sutpen?s account of his own youth. The only firsthand telling is mediated

by three generations of speakers and listeners. The authoritative presentation is again undermined. A strange lack of involvement, contrasting the foreground biases and distortions of Rosa?s and Compson?s earlier versions, characterizes this section. The creation by the generations of mediation and Sutpens?s detachment from his own experience, which is described as ?not telling about himself, He was telling a story? (Matthews 157). In Sutpen?s own biography, he is obsessed with the telling of the ?grand design.? The wealth, land, and family and which would avenge his reputation. The linking of the Sutpen?s grand design, his dynasty, and his quest for a historical presence can be found throughout his narration. ?Sutpen?s compensatory plot, what he repeatedly calls his ‘design’

will be conceived to assure his place on the proper side of the bar of difference? (Bloom 117). Thomas Sutpen was convinced that the self-justifications he offers for his actions do explain, and General Compson tries to elaborate on Sutpen?s bare story, adding his analysis of Sutpen?s flaw, his innocence (240,252). The next pertinent section of the book begins when Shreve get his chance to narrate. Shreve makes presumptions about Bon?s innocence. It is here that Shreve reveals to the reader that Bon was an instrument of revenge for his mother. The lawyer is a character solely of Shreve?s invention, which allows him to explain the ?maybe?s? surrounding Bon?s discovery of his parentage: ?maybe? he wrote the letters that were the catalyst for the event to follow (Krause 156).

Quentin and Shreve both begin to think as one at this point. The compelling nature in part to the attention to details, such as the lawyer?s ledger in which the value of Sutpen?s children is computed. Shreve sorts through all kinds of assumptions. His exploration of the history of Thomas Sutpen leads the reader to believe his conjectures. Shreve discards details that do not explain and keep what seems most capable of illuminating the destruction of Sutpen?s dynasty. Shreve?s tenacity is what generates an undeniably compelling story (Conelly 9). Shreve contends: ?maybe she didn?t because the demon would believe she had,? Shreve also states: ?maybe she just never thought there could be anyone as close to her as that lone child.? It is here that Faulkner begins to have Shreve be a