Absalom Absalom A Narrative Perscective Essay Research — страница 3

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detective of sorts. If consistency is achieved, then the conclusions are valid because they follow logic (Leroy 28). Shreve?s explanation is significant, but is not the final step toward explaining Bon?s motives for murder. Shreve and Quentin?s collection of data and cumulative response was probably true enough for them. What Bon thought and knew and did during his alleged courtship of Judith and his attempt to gain his father?s acknowledgment acquire a new insistence when Shreve momentarily ceases speaking (333). The narrator slips Shreve and Quentin into the roles of Henry and Charles. Shreve and Quentin believe that they have constructed and are experience Bon and his father. Henry had just taken in stride because he did not yet believe it even though he knew that it was

true…knew but still did not believe, who was going deliberately to look upon and prove to himself that which, so Shreve and Quentin believed, would be like death for him to learn. (334-335) Shreve and Quentin virtually live in Charles and Henry?s shoes. This is when Quentin say that he and Shreve are both Mr. Compson, or on the other hand that Mr. Compson and he may both be Shreve and that indeed it may have been Thomas Sutpen who brought them all into existence. ?Even what we normally call ?reported speech?-direct quotation- is the product of an act of ventriloquism, in a duet of four voices in which Quentin and Shreve become compounded with Henry and Bon? (Bloom 119). Shreve ceased again. It was just as well, since he had no listener. Perhaps he was aware of it. Then suddenly

he had no talker either, though possibly he was not aware of this. Because now neither of them were there. they were both in Carolina and the time was forty-six years ago, and it was not even four now but compounded still further, since now both of them were Henry Sutpen and both of them were Bon compound each of both yet either, smelling the very smoke which had blown and faded away forty-six years ago for the bivouac fires burning in a pine grove, the gaunt and ragged men sitting or lying about them talking. (351) Faulkner has carried most of the novel thus far with sensations such as sight and sound. Faulkner introduces and even more powerful sensory trigger, smell. When the reader goes through Miss Rosa?s section of the novel, the reader is conditioned to see psychological

truth; these unqualified experiences are the culmination of that search. ?The experience offered here does not supplant and invalidate the earlier narratives; rather, through the new rhetorical mode of presentation in which ?was? has become ?is?, Faulkner achieves a sense of closure. The quest for explanations is complete? (Conelly 11). It now seems that the past in now being reenacted by Quentin and Shreve. The voices are Bon, Henry, and Sutpen are evident. We here these voices and experience these actions as taking place in the present and the real and imaginary collide (Rollyson 361). The passage now seem to be the truth of history rather than just an interpretation. The traditional narration is dropped from existence. The fact, interpretations, speculations and conjectures

are now woven together. It appears that Faulkner?s question of historical recollection is not what we right down. It is instead a collection of human situation, complex personal relationships, analytical skills used to reconstruct the facts and a creative look into the past. The reader doesn?t merely look at the past, the reader has to reassess the past. The reader is compelled to believe when the senses are all used to construct and imagine the true history, and evaluate it enough to consider it valid. In Absalom, Absalom! the reader is compelled to believe the story that unravels before their very own eyes. The story is played out in front of us, and the reader is drawn in slowly to the process of understanding the history of Thomas Sutpen. Absalom Absalom! is not history, but

a novel. about the quest for historical knowledge (Connelly 12). Aswell, Duncan. ?The Puzzling Design of Absalom, Absalom!? Muhlenfeld 93-108 Bloom, Harold, ed. Absalom, Absalom! Modern Critical Interpretations. New York: Chelsea. 1987. Connelly, Don. ?The History and Truth in Absalom, Absalom!? Northwestern University, 1991. Faulkner, William. Absalom, Absalom! New York: Vintage, 1972 Levins, Lynn. ?The Four Narrative Perspectives in Absalom, Absalom!? Austin: U of Texas, 1971. Muhlenfeld, Elizabeth, ed. William Faulkner?s Absalom, Absalom!: A Critical Casebook. New York: Garland, 1984. Rollyson, Carl. ?The Re-creation of the Past in Absalom, Absalom!? Mississippi Quarterly 29 (1976): 361-74 Searle Leroy. ?Opening the Door: Truth in Faulkner?s Absalom, Absalom!? Unpublished