(THESIS) - WILLIAM FAULKNER: TIME AND MYTHOLOG Manoel Ferreira Neto: THESIS

X PART

Quentin is psychologically kin to Bayard Sartoris ad to Narcissa Benbow. When he discovers that his sister Candance has been giving herself to the town boys of Jefferson, Mississipi, and is pregnant, he attempts to change her situation by telling their father that he has committed incest with her.

The present is, not it becomes. Everything was. In "Sartoris", the past was called "The stories" because it was a matter of family memories that had been constructed, because Faulkner had not yest found his technique

In a way, Quentins struggle is Mr. Faulkner´s own struggle as an artist. As a technician, Faulkner except for his peers. Melville and James, is the most profound experimenter in the novel that America has produced. But the experiments were developed out of - that is were not merely applied to - an anguishing research into the "Southern past and the continuing implications of the past. We way remarked, for instante, that the fundamental insights were achieved, when he piercedthe cuts of his traditional material, when he most deeply dramatized the key moral issues of Southern life. In Sartoris, Mr. Faulkner wrote of the name: "There´s death in the sound of it and a glamorous fatality." Sartoris - al the name implies - it is the tragic hero of his work. it is doomed, like any tragic hero.

One can of course protests, as Sartre has done, against such alienation of man from his own freedom. One can also denounce Faulkner´s vision of man and the word as arbitrary and partil by shoving that consciousness is more than just retrospection and reflection but it is "also" a "project" turned toward the future as well as the past. Faulkner´s narrative technique is deceptive and insidious. Some dreams remaind intact. And some deep personal bias toward violence, some admiration of the crazy personal gesture (like that of the Bayard in "Sartoris" who gets himself killed going after anchovies on a dare from a captured Yankee officer), and an idealized version of the Souths´s old war, could persist intarnished and uncriticized grisly actuality.

In a strange interfusion which seems to be characteristic of such a situation of cultural shock the complexity of issues demanded the tecnique, but at the same time, the issues would not have been available. been visible in fact, without the technique. The cultural shock and the technical development go hand in hand.

Untarnished and acriticized, that is, until the logic of his imagination had done its work. It is hard to believe that a an as subtly aware as Faulkner of the depth of the human soul could have been unconscious of the possibilities in himself.

Sartre is perhaps right in speaking of a kind os "dishonesty" whereby Faulkner tries to spread his own disease; the loss of any sense of the future, the absence of hope. He contends that Faulkner finds absurdity in life where he put it himself - not that life is not absurd, but that absurdity is of a different nature.

The doom toward which the Sartoris world moves should be a noble one. In "Absalom. Absalom!"", although apparently with great difficulty, as if he were wrestling with the Snopes world all the while Mr Faulkner finally achieves the presentation of a kind of "Glamorous fatality" for the Sartoris world - embodied in Thomas Sutpen and his house.

#RIODEJANEIRO#, 03 DE JANEIRO DE 2019#