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

XI PART

Concerning to what has been written about Faulkner, with the aim objective of establishing Time and Mythology in the sense of a synthesis, searching for to enter timelessness, for to seek to human being, it´s the very needed to consider William Faulkner myth finds expression in work that is definitely romantic; when he comes near to tragedy, it´s the tragedy of webster.

Faulkner´s profoundity does not reveal itself at the first glimpse. It contrasts with the two-dimensional space of modern psychology, even helped by the so-called discoveries of psychoanalysis; it is indeed a religious relation of Faulkner´s character with a past going far beyond their past, with a particular setting of universal myths reshaped in a family mold, so that one does not know the difference between the family mold, so that one does not know the difference between the family taken in itself and the myths living in it and growing out of its own life.

Contrary to the modern hero, who most of the time is uprooted and meaningless except for people of his kind, coming from nowhere and going to nowhere, Faulkner´s heroes are deeply related, but their tragedy is to remain parly unconscious of it. There´s always a part of the most inner world that escapes him who lives in it - and it is precisely the part which maskes him live. It is a question of a psychological state on which almost all tragic art depends and which has not ever been studies because aesthetics do not reveal it. The tragic poet expresses what obsesses him, not to exercise the obsession (the obsessive object will reapper in his next work), but to change its nature; for, by expressing it with other elements, he makes the obsession enter the relative universe of things he has conceived and dominated.

The view that Quentin and Shreve together work out has in common with the view in terms of which they operate is that of classical. Christian tragedy, at once Greek and Biblical: history contains both God´s judgement and man´s decision, both necessity and freedom, and it has sufficient intelligibility for our human purposes. But its meaning is neither given nor entirely withheld. It must be achieved, created by imagination and faith. Historical meaning is a construct.

In some highly fashion, the modern hero must typify the major myths and problems of our century. In a cosmos where all is chaos and all standards have disappeared

So far we have been concerned mainly with exegesis, for I aim to show how fundamental the Sartoris-Snopes conflict is in Mr. Faulkner´s novel. As he himself reveals in his work, men´s struggle against circumstances and situations to overcome his humanism and naturalism in the sense of reaching a dimension of life in which he can understand himself as a human being. The exegesis consists in transforming men by making him search for his sense. To provide such exegesis of some books that we have discussed and likened, it is needed to do violence to the fictions themselves by abstraction. Criticism is the very fundamental for abstraction, that is to say, the needed for abstraction is really informed in the fictions or myths.

"That´s what throws a man off - that extra alternative. Just when he has come to realize that living consists in choosing wrongly between two alternatives, to have to choose among thre..."

"Since life is an affirmation of the past and a promise to the future"

"That´s why we must do so much to invent meanings for the soundes, so damned much".

The discussion reaches a dangerous point here. Since the time of Flaubert, at least, it has been customary to hold the view that one mark of a novelist´s craft is his skill in creating all of his characters in the round and maintaining an equal sympathy for all of them. However, it´s not needed to repudiate this view to suggest that there is a difference in kind between Flaubert´s studies of human character in the behavior of the French bourgeois world and Mr. Faulkner´s books, which are essentially myths, built around the conflict of two different worlds, to one which Mr. Faulkner belongs as an artist, though he is of physical necessity a citizen of he either.

#RIODEJANEIRO#, 03 DE JANEIRO DE 2019#