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

III PART

Character is as basis as action. These two elements are linked inseparably. Action reveals character and character determines action. Actino leads to change in character, and changes in character in turn led to new kinds of action. In many modern stories character is the action, for very little happens except in the mind of the chief character. Most of the stories in Faulkner´s deal with many of the themes found in the novels and with the subjects and characteres of smal - town Mississipi life that are uniquely his. In "A Rose for Emily", a straight forward, neighborly narrator relates tale of love, betrayal, murder, and implied necrophilia.

In the Medieval period we have the beginning of English Drama, with religions plays that at first were acted by priests in Latin inside the churches. There was a secularization and then on to the street, using a wagon (Pageant). Drama was present by Guilds (Corporations) of Misteries (Professions)

In Literature, the models were the classics of Greece and Rome, passing through Renaissance. So, every enthusiasm and emotional display had to be corrected and calmed. The neoclassical style made the newly rich´s life elegant, refined, they were eager readers, because they needed the culture and the elegance of the aristocracy.

Faulkner makes explicit the contrast between traditional (Sartoris) man and Modern (Snopes) man, dissociated into a sequence of animal functions, lacking in unity under essential morality. One of the characters says of traditional men:

"People too as we are, and victims too as we are but victims of a different circumstance, simpler and therefore, integer for integer, larger, more heroic and the figures therefore more heroic too, not dwarfed and involved but distinct, uncomplex who had the gift or living on or dying on instead of being diffused and scattered (creatures) drawn blindly from a grab and assembled."

In "The Sound and the Fury" he is more individual and more undecided. But it is so strong an obsession that he is sometimes apt to disguise. The present, and the present moves along in the shadow, like an underground river, and reappears only when i itself is past.

It´s the ever observed in "A Rose for Emily" we can choose a dozen levels of lecture including a deep dive into the structure of the language, nothing could say something had being changed just to establish a stubborn, we are able to try to comprehend it intellectually, the present moves along in the shadow.

"Now and hen we would see her in one of the downstairs windows - she had evidently shut up the top floor of the house - like the cavern turso of an idol in a niche, looking or not looking at us, we could never tell which. Thus she passed from generation to generation - dear, inexcapable, impervious, tranquil, and perverse. And so she died..."

Even who tells the story presents himself as someone who perceives, who has the intuition, the present moves along in the shadow, he seems to be searching for present in the memory, from the lettering which meant nothing to his mind. Who has the consciousness, men has lived the experience in his existence, withing the century of being searching for the overcomig of their condition. It means a tension between memory and History, from the lettering which means something to reach for Ethic

When Quentin, "The Sound and the Fury", is not even aware of doing so; he is reliving his dispute with Ames. Later on, Shreve relates how Bland hit Quentin, he relates this scene because it has become a story, but while it was unfolding in the present, it was only a furtive movement, covered over by veils

It was the world of these "diffused and scattered creatures" in which Quentin Compson lived; and it was the effort not be "diffused and scattered" - to transform his own family´s doom into the porportions of the world of Sutpen and Sartoris - that led to his death. To transform his own senses into the proportions on his inner and self.

#RIODEJANEIRO#, 02 DE JANEIRO DE 2019#