The Sound and the Fury, Faulkner’s
fourth novel, is his first true masterpiece, and many consider it
to be his finest work. It was Faulkner’s own favorite novel,
primarily, he says, because it is his “most splendid failure.”
Depicting the decline of the once-aristocratic Compson
family, the novel is divided into four parts, each told by a different
narrator. The Story
Section 1: “April Seventh,
1928.”
Through
the fence, between the curling flower spaces, I could see
them hitting. They were coming toward where the flag was and
I went along the fence. Luster was hunting in the grass by
the flower tree. They took the flag out, and they were hitting.
Then they put the flag back and they went to the table, and
he hit and the other hit. Then they went on, and I went along
the fence. Luster came away from the flower tree and we went
through the fence and they stopped and we stopped and I looked
through the fence while Luster was hunting in the grass.
from The Sound and the Fury
|
The first section is told from the point
of view of Benjy Compson,
a thirty-three-year-old idiot, and recounts via flashbacks the
earliest events in the novel. As an idiot, Benjy is the key to
the novel’s title, which
alludes to Shakespeare’s tragedy Macbeth. For the
most part, his language is simple-sentences are short, vocabulary
basic. Reading this section is profoundly difficult, however, because
the idiot has no concept of time or place-sensory stimuli in the
present bring him back to another time and place in his past, instantly
and without warning (except for a change in typeface from Roman
to italic). Most of his memories concern his sister, Caddy,
who is in some ways the central character in the novel. Benjy’s
earliest depicted memory, from 1898 (when Benjy was three years
old), establishes the essence of her character-the children are
ignorant of the death of their grandmother, “Damuddy,”
and Caddy is the only Compson child brave enough to climb the pear
tree and look through the window at the funeral wake while her brothers
stand below, gazing up at her muddy drawers, which were soiled earlier
when they were playing in a creek adjoining the Compson estate.
Most of Benjy’s other memories also
focus on Caddy, who alone among the Compsons genuinely cared for
Benjy. Key memories regarding Caddy include a time when she uses
perfume (1905), when she loses her virginity (1909), and her wedding
(1910). Benjy also recalls his name change (from Maury to Benjamin)
in 1900, his brother Quentin’s
suicide in 1910, and the sequence of events at the gate which lead
to his being castrated, also in 1910.
Reading Benjy’s section is difficult,
but it is not impossible. First, note that there are two characters
named “Maury”-Benjy before 1900 and Mrs.
Compson’s brother, “Uncle
Maury” Bascomb-and there are two Quentins-Benjy’s
suicidal brother and Caddy’s illegitimate daughter.
Second, you can get some sense of the time by noting who
is taking care of Benjy. Three black servants take care of Benjy
at different times: Versh
when Benjy is a small child, T.P.
when Benjy is approximately 15 years old, and Luster
in the present, when Benjy is 33.
Section 2: “June Second,
1910.”
When
the shadow of the sash appeared on the curtains it was between
seven and eight oclock and then I was in time again, hearing
the watch. It was Grandfather’s and when Father gave
it to me he said I give you the mausoleum of all hope and
desire; it’s rather excruciating-ly apt that you will
use it to gain the reducto absurdum of all human experience
which can fit your individual needs no better than it fitted
his or his father’s. I give it to you not that you may
remember time, but that you might forget it now and then for
a moment and not spend all your breath trying to conquer it.
Because no battle is ever won he said. They are not even fought.
The field only reveals to man his own folly and despair, and
victory is an illusion of philosophers and fools.
from The Sound and the Fury
|
The second section recounts the story from Quentin
Compson’s perspective. Even though the present-day
of this section is almost eighteen years prior to the present-day
of Benjy’s section,
it nevertheless follows roughly the chronological development
of the novel, for while many of Benjy’s recollections are
of their early childhood, most of Quentin’s flashbacks
record their adolescence, particularly Caddy’s
dawning sexuality. Quentin’s section takes place on the
day he commits suicide, and in the present we follow his wanderings
around Boston (he is a student at Harvard University) as he fastidiously
prepares for death. Like Benjy, he too is obsessed with the past
and frequently lapses into flashbacks. Unlike the fairly discrete
narratives of Benjy’s multiple memories, however, Quentin’s
are much more fragmentary-a repeated (and usually italicized) word
or phrase early in his section often recurs later with greater detail
and embellishment. Quentin’s flashbacks also are much more
intellectual than Benjy’s. Whereas Benjy records mainly sensual
impressions, Quentin more often delves into more abstract issues
such as character motivation, guilt, honor, and sin.
He begins his section by contemplating time,
even breaking the hands off his watch in a futile attempt to “escape”
time. Another minor obsession Quentin has throughout his section
is with shadows; the word “shadow” is repeated constantly
throughout his section (thus recalling Shakespeare’s image
of a “walking shadow” in the soliloquy alluded to by
the novel’s title). Alone
among the present-day Compsons, Quentin still feels pride in his
family’s noble and glorious past, but he recognizes that today
nothing remains of that past; it is mere shadow, and he is merely
a “poor player” strutting and fretting, powerless to
achieve anything of serious importance. Part of Quentin’s
mental perturbation arises from his father’s
deep and unswerving cynicism and nihilism; much of his section is
a sort of inner dialogue with his father, in which Quentin hopes
to prove his father wrong. In fact, his suicide may be just that-his
escape from time-for Mr. Compson has told Quentin that as time passes,
Quentin will forget his horror, which is unacceptable to Quentin
because forgetting would render his horror meaningless, and so he
escapes time in the only way he can, by drowning himself.
The source of Quentin’s horror is Caddy.
Hearkening back to antebellum views of honor, Southern womanhood,
and virginity, Quentin cannot accept his sister’s growing
sexuality, just as he cannot accept his father’s notion that
“virginity” is merely an invention by men. Most of his
flashbacks concern directly his involvement in Caddy’s sexual
maturing, but ironically they depict also just how ineffectual Quentin
is. In an attempt to restore “honor” to Caddy and to
the Compson family, for example,
he confronts Dalton Ames,
who may be the man who impregnated Caddy, but Quentin is easily
overpowered by Ames-and in the present, when he mistakes a fellow
student for the adversary of his flashback, Quentin gets beat
up. In another incident, Quentin proposes a suicide pact with Caddy,
but ultimately he cannot go through with it.
Section 3: “April Sixth,
1928.”
Once a bitch always a bitch, what I say.
I says you’re lucky if her playing out of school is all
that worries you. I says she ought to be down there in that
kitchen right now, instead of up there in her room, gobbing
paint on her face and waiting for six niggers that cant even
stand up out of a chair unless they’ve got a pan full
of bread and meat to balance them, to fix breakfast for her.
from The Sound and the Fury
|
Section three is told by the third Compson
brother, Jason, and
is set on Good Friday. Unlike his brothers, Jason is much more focused
on the present, offering fewer flashbacks, though he does have a
few and he refers frequently to events in the past. The tone of
Jason’s section is set instantly by the opening sentence:
“Once a bitch always a bitch, what I say.” Jason is
a sadist, and his grimly humorous section reveals just how low the
Compson family has sunk-from
Quentin’s obsessions
over heritage and honor and sin to Jason’s near-constant cruelty,
complaints, and scheming.
As earlier in the novel, this section reflects
a rough chronological advancement-the focus now is not on Caddy
herself (though she does appear in a few flashbacks and she often
is the subject of Jason’s pointed remarks) but rather on her
daughter, Quentin,
who came to live with the Compsons following Caddy’s divorce
and who is now, like Caddy in Quentin’s
section, entering into adult sexuality. Much of Jason’s section
is about his trying to track her down when she skips school to be
with a man associated with the circus then in town, but for first-time
readers of the novel, Jason’s section is also probably when
the difficulties of Benjy’s
and Quentin’s
sections begin to make sense. Among the “discoveries”
here are that Quentin drowned himself (the suicide itself was not
depicted in Quentin’s section), that Benjy is a “gelding,”
that Caddy was divorced and that her daughter, also named Quentin,
has come to live with the Compsons. Other things, too, are revealed
more clearly: Mrs.
Compson’s hypochondria, Mr.
Compson’s alcoholism and nihilism, and especially, Jason’s
meanness and greed. For years, Caddy has been sending money to her
daughter, and since Mrs. Compson has forbidden Caddy’s name
from being mentioned in the house, she has likewise forbidden her
money. To overcome this hurdle, Jason gives Mrs. Compson duplicates
of Caddy’s checks (for Mrs. Compson to ceremoniously burn)
while he cashes the actual checks and pockets the money, giving
little or none of it to his niece.
Section 4: “April Eighth,
1928.”
In the midst of the voices and the hands
Ben sat, rapt in his sweet blue gaze. Dilsey sat bolt upright
beside, crying rigidly and quietly in the annealment and the
blood of the remembered Lamb.
from The Sound and the Fury
|
The fourth and final section is told from
an omniscient viewpoint. It is sometimes known as “Dilsey’s
Section” because of her prominence in this section, but she
is not the sole focus in this section-a long sequence follows Jason
as he pursues his niece,
who has stolen about $7,000 from him, to “Mottson.”
The focus here is entirely upon the present-day,
Easter Sunday, and to that end, all traces of Caddy, including her
daughter and even the very mention of her name, have been removed.
The two main narratives presented in this section are fairly straightforward:
Jason’s pursuit of his stolen money and his inevitable come-uppance
when he insults the wrong man in Mottson; and Dilsey’s attendance
at an Easter church service, at which a preacher from St. Louis,
Reverend Shegog, delivers
a sermon which stirs in Dilsey an epiphany of doom for the Compson
family. As she says, following the service, “I’ve seed
de first en de last ... I seed de beginnin, en now I sees de endin.”
The Lafayette County Courthouse with Confederate
Monument, 1930
|
|
As the novel ends, the two narratives again
converge: Luster has secured
permission to drive Benjy
to the graveyard, and both he and Jason
arrive at the courthouse square
in Jefferson at about the
same time. But Luster goes past a Confederate soldier on the “wrong”
side, which causes Benjy to start crying. Jason approaches, hits
Luster, and tells him to take Benjy home. And thus, the novel ends:
“[Benjy’s] broken flower drooped over Ben’s fist
and his eyes were empty and blue and serene again as cornice and
façade flowed smoothly once more from left to right, post and tree,
window and doorway and signboard each in its ordered place.”
Background
According to Faulkner, the story began with
a vision of a little girl’s muddy drawers as she climbed a
tree to look at death while her brothers, lacking her courage, waited
below:
I tried first to tell it with one brother, and that wasn’t
enough. That was Section One. I tried it with another brother, and
that wasn’t enough. That was Section Two. I tried the third
brother, because Caddy was still to me too beautiful and too moving
to reduce her to telling what was going on, that it would be more
passionate to see her through somebody else’s eyes, I thought.
And that failed and I tried myself-the fourth
section- to tell what happened, and I still failed.[1]
Faulkner added a fifth attempt to tell Caddy
Compson’s story in 1945, when he wrote an “Appendix”
to the novel to be included in The Portable
Faulkner then being assembled for Viking Press by Malcolm
Cowley. “I should have done this when I wrote the book,”
Faulkner told Cowley. “Then the whole thing would have fallen
into pattern like a jigsaw puzzle when the magician’s wand
touched it.” In the Appendix, titled “Compson 1699-1945”
(to resemble an obituary), Faulkner offers some additional glimpses
into Compson family lore, both from the clan’s aristocratic
past and in the years following the dates in the novel.
Before Faulkner wrote The Sound and the
Fury, he had written a book which he thought was to be the book
that would make his name as a writer. He wrote his publisher, “I
have written THE book, of which those other things were but foals.
I believe it is the damdest best book you’ll look at this
year, and any other publisher.” That manuscript was Flags
in the Dust, and it would not be published until eleven years
after Faulkner’s death.
The discouragement of having Flags
turned down, and then severely cut by his friend Ben Wasson into
what would be published as Sartoris, apparently led Faulkner
to begin writing a book entirely for himself, and publishers be
damned. That book, originally titled “Twilight,” was
The Sound and the Fury. Later, Faulkner would say it was
the novel he felt most “tender” toward because it had
caused him “the most grief and anguish.”
Structure, Technique, and Criticism
None of Faulkner’s novels has generated
as much critical response as The Sound and the Fury. Because
of the sheer abundance of published criticism on the novel, not
to mention the vastly divergent opinions and interpretations of
the novel, any effort here at commentary on the novel must necessarily
fall short.
Still, there are some things on which critics
agree. Few dispute that the novel depicts a “tragedy,”
the decline of the Compson family. There is agreement too that much
of the novel is told in a stream-of-consciousness style, in which
a character’s unadorned thoughts are conveyed in a manner
roughly equivalent to the way our minds actually work. Themes critics
continuously note in the novel are order, honor, sin. And nearly
all critics consider it a technical masterpiece for the way Faulkner
incorporates four distinct narrative modes in telling the story
of a little girl with muddy drawers.
But as any great literary work should, The
Sound and the Fury invites a number of approaches, methods,
and philosophies to those who would interpret it. Nearly every reader
agrees that Caddy Compson
is a key, if not the key character in the novel, though critics
differ in how prominent her role should be. Much has been made,
too, of the religious backdrop of the story. The present-day setting
of Easter has led some critics to question whether Benjy
is some ironic modern-day Christ figure-his age (thirty-three),
in particular, is suggestive of Christ at the time of his crucifixion.
Still others view parallels between Dilsey
and the “suffering servant” of Isaiah.[2]
Notes
- Faulkner in the University, ed. Frederick
L. Gwynn and Joseph Blotner (New York: Vintage Books, Random House,
1965; the University Press of Virginia, 1959; reprinted 1977):
1-3. Back to text
- “Behold, my servant shall deal prudently,
he shall be exalted and extolled, and be very high. As many were
astonied at thee; his visage was so marred more than any man,
and his form more than the sons of men: So shall he sprinkle many
nations; the kings shall shut their mouths at him: for that which
had not been told them shall they see; and that which they had
not heard shall they consider
.” (Isaiah 52:13-15).
The passage continues through Isaiah 53:12 and describes the servant’s
numerous sufferings - “despised and rejected ... a man of
sorrows” (53:3) - concluding with “he hath poured
out his soul unto death: and he was numbered with the transgressors;
and he bare the sin of many, and made intercession for the transgressors”
(53:12). It is perhaps significant to note that this is only one
of four similar “Servant-of-the-lord” oracles in the
book of Isaiah; the others occur at 42:1-4; 49:1-7; and 50:4-11.
Of these three, only the last seems equally applicable to Dilsey.
![Previous Novel](images/goleft.gif) |
Sartoris |
|
As I Lay Dying |
![Next Novel](images/goright.gif) |
Top of Page |