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

VIII PART

Surely, the themes of humanism and traditionalism must be studied about Faulkner. We could think of most of Faulkner´s perversities, the difficulties he seems to cultivate, may be explained by this ambition to obtain a total identification between himself and the reader. Primarily, we could slow down because it´s possible Faulkner whished to join naturalism and traditionalism. It´s the very simple.

No longer merely voices speaking to us in the words of the past, chiefly through direct and indirect quotation, try now to appear as preserves of a past which must inshore degree he created in order to be preserved. We are told more of Quentin´s immediate sensations than we have been tol in our first works.

In Sartoris, which was published before the "Unvanquished" but which follows it in historical sequence,the conflict is between young BayardSartoris ( (The Grandson of the Bayard Sartoris who was a youth in the "Unvanquisthed" and the Snopes worl of the 1920s)

"General Johnston or General Forrest wouldn´t have look a Snopes into his army at all", one of the characters says: but, significantly enough, one Flem Snopes has come, by way of local political l usefulness, to be vice President of ol Bayard Sartoris bank.

Bayard himself is extremely conscious of his family´s doom; he feels cheated because he did not die violently, in the tradition, like his brother; finally, he kills himself, taking up an airplane that he knows will crash.

We pointed out (elsewhere) , in connection with Sartoris, that Faulkner alwys shoved events when they were already over. In "The Sound and the Fury" everything has already happened.

The Snopes world has done more than oppose the Sartorises. It has weakened them internally (as iot weakened Rosa Millard "in using them for advantage", it has something of the traditional instinct for noble and disinterested action, under a vital ethical of the Snopes world upon it, and it is so alien to the habitual actions of that world, it can only manifest itself in meaningless violence, ending in self-destruction.

Concerned to this conception, we would find a basis which could approach and appear another sense of the world, tie. It does work hard on destruction. But, it would be a simple view, misconcept, why this basis, accordingly to the angle of our lecture, seems Faulkner´s word and it´s the key for searching for human being, and it moves forward to construct hope along time.

"He whom we seek is gone".

Instead of being desperate, because is vividly the very difficult to face who whom we seek is gone, certainly it helps searching for destruction because life is useless without finding who we are, what our sense in the world is. Timelessness is responsible for searching for entering our choice.

It is this which enables us to understand that strange remark by one of the heroes "Fui. No sum". In this sense, too, Faulkner is able to make man a sum total without a future.

"The sum of his climatic experiences", "The sum of his misfortunes", "The sum of what have you".

The human being is not only the being by whom "negatités" are disclosed in the world, he is also the one who can take negative attitudes with respect to himself. We define consciousness as "a begin, the nature of which is to question it´s own being, that being implying a being other that itself". At every moment one draws a linte, since the present is nothing but a chaotic din, a future that is past. Concerned to this conclusion, its basis is founded in the sense "He whom we seek is gone", we could express it on the other hand, "Time whom we seek is gone", meaning the needed of creating it within our situations, our circumstances, our memories. Faulkner´s vision of the world can be compared to that of a man sitting in an open car and looking backward. At every moment, farmless shadows fuckelings, faint tremblings and patches of light rise upon on either side of him, and only afterward, when he has a little perspective, do they become trees and man and cars.

The same pattern recurs, varied somewhat and handled in miniature, in the short story about the Sartorises - "There was a queen". Here the conflict centers in Carcissa Benbow, the widow of young Bayard who has given herslf to a detective in order to recover from his possession a collection of obscene letters that one of the Snopes had written to her anonymously and afterwar stolen. Te consciousness of Narcissa´s deed kills the embodiment to the virile tradition, old (Miss Jenny Sartoris, Mrs, Dupré). Narcissa´s yelding to the detective is the result of the formalization, allows the Snopes world to betray her into antitraditionalism by creating a situation in which she must make a formalized response. It is highly significant factic. For the moment a tradition begins to be formalized into a coede, it commences to lose vitality; when it is entirely formalized, it is deal - it becomes pseudo-tradition. However, though she must make a formalized response, Faulkner transforms a securalized sense of Art into a searching, Ar is a revelation of man searching for entering to timelessness; and Faulkner prints his sensivity a sensibility. Certainly, the reader must observe each feature and detail without knowing when the next wil happen. The reader faces the stunned revelation of his dream to be realized at the very quickly. That´s the reason why it´s the very difficult to hold an analyses because the next might have been confronted with the last one and we forgot, and we lost the moment. Certainly, it´s difficult to keep an analyses memorized and confront it weith an antinomy. But we are called to be response with each situation and moments of ours. Moreover, Faulkner has revealed his conception of Art, his sensibility. Without response human being is a psedo-tradition.

The past takes on a sort of super-reality, its contours aree hard and dear, unchangeable. The present, nameless and fleeting is helpless before it. It is full of gaps, and, through these gaps, things of the past fixed motionless and silent as judges or glances, come to invade it. Faulkner´s monologues remind one of the airplane trips full of air-pockets.

#RIODEJANEIRO#, 04 DE JANEIRO DE 2019#