The Sound And The Fury Essay Research — страница 2

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driving the shadow back into the door? (Faulkner 81). Quentin dwells on darkness and encloses himself in shadows. These shadows have a way of preventing him from forgetting that time is constantly looming over him, like a dark cloud that reminds him, as well as the reader, that time does exist, and idea that contradicts Benjy?s treatment of chronology. Despite his fascination with the persistence of time, Quentin loved only one thing. As noted in the epilogue, he ?loved death above all?loved only death, loved and lived in a deliberate and almost perverted anticipation of death? (Faulkner 336). Because of Quentin?s obsession with darkness, morbidity, and death itself, his point of view is almost futuristic. Day by day, he lives in anticipation, anxious for the day when his

biological clock will cease to tick away the minutes of his unfortunate existence. Quentin?s dark point of view contrasts sharply with that of Benjy, and thus weaves another strand into Faulkner?s intense lattice. Jason Compson presents the first sequential narration in this novel and, by doing so, establishes the fact that he is (or tries to be) in control of all around him. After his father?s death, he took on the role as the man of the house and, in comparison with his suicidal and idiot brothers and his promiscuous sister, seemed to be the only child with any direction or common sense. In the appendix, Faulkner characterized Jason as ?the first sane Compson since before Culloden and (a childless bachelor) hence the last? (Faulkner 342). Jason is the first character to act as

though he has a grasp on life, duty, and especially time, which is extremely distorted in the minds of his two brothers. Because of this, one assumes that Jason sanity exceeds that of any other Compson, regardless of the fact that his attitude toward time is so nonchalant that he has trouble being punctual. However, Jason is far from sane. His passion for control led him so far as to manage his sister?s relationship with her own daughter: ?Then I took the raincoat off of her and held her to the window and Caddy saw her and sort of jumped forward? (Faulkner 205). Jason craves power and, especially, power over his disgraceful sister. After her marriage fell apart, Jason found himself without the job Caddy?s ex-husband promised to him, and he felt compelled to take matters into his

own hands by raising her rebellious daughter. It may also be noted that Jason?s desire to exercise control over Caddy?s life stems from childhood feelings of alienation. Though Jason seems to be a logical, intelligent man, he is not fit to ?rule? the Compson family as a monarch does a country, and his narration comes off as abrasive?furious?rather than sensible. Ironically, the most stable, solid character in Faulkner?s story of the downward spiral of the Compson dynasty is their black servant, Dilsey. The final section of this novel is told from a third-person-omniscient point of view, but focuses on Dilsey and the historic placement of the fall of this tragic family. Despite Jason?s attempts to preside over the family, Dilsey succeeds as the one tie that binds them all

together, the keystone of the Compsons. When ?she rang a small clear bell?Mrs. Compson and Jason [descended]? for dinner, as if she were in command of all activities in the household (Faulkner 277). Her authority in that house surpasses that of any other person, even the difficult, stubborn Jason. Though she may have only been a servant and managed to put food on the table every night and to do all other necessary household chores, she is a crucial part of their lives, as well as their tragedy. She is so important to their fall only because she is the sole individual who could foresee the Compson?s unfortunate fate: ??I?ve seed de first en de last?I seed de beginnin, en now I sees de endin?? (Faulkner 297). When Dilsey realizes that her employers are whirling violently into a

downward spiral of corruption and, eventually, extinction, one is convinced that she is the only rational person in that household. Because of this, their place in history becomes finite and meaningless. Dilsey provides the only entirely sane viewpoint in this novel and she also gains respect from the reader, which is ironic in the sense that blacks are given very little historical integrity or recognition. The four contrasting viewpoints in The Sound and the Fury work to clarify any confusion that is presented in any of the preceding sections but retain their focus: Caddy. Though her involvement in each of the Compson brothers? lives is not always explicit, there is always a tacit reference to her innocence, shameful behavior, or maternal instincts. By using this character as