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

IX PART

In reading the "Sound and the Fury", whose first three chapters are interior monologues - the narrative structure has revealed it through men´s struggle for understanding timelessness, and the author´s, Faulkner´s, striving to enter into his own stylessness because of his chained into the psychological dimension; beyond Faulkner´s ability of memorization, his memory is chained with a precise external realism, there´s something he wishes to reach, to enter into it. The technique of interior monologues is replaced by a precise, external realism - we are immediately struck by the overlapping of present events and memories of past events. The project of being interior monologues or desire of being interior monologues or drive toward being does not originate in a psychological differentiation or in an empirical contingency. Most commonly, the past is evoked by the present; for example, Benjiremembers his sister Caddie when he hears golf Caddies mentioned. The reader is stalled only by abruptly subjective nature of the past and by the fact he knows nothing about the character´s life expect, what he learns from such evocations. The reader, on the contrary, can easily feel each emotion of them, their tenderness, their hopes and wishes, their dreams; he´s chained into the character´s sensibility.

In the "Sound and the Fury", Quentin Compson represents all that is left of the Sartoris. Tradition. The real, then, is the past, a past always there, always present. How is this to be understood? It is not enough to repeat the old adages - a man is what his past has made him, or, a man´s action today are determined by his actions yesterday, or even how Sartre said, "I am my choices". Whether we move forward to "Red leaves", and we read a sentence which accordingly to our view, seems Faulkner´s work "He whom we seek is gone", the real is the income and men is a sum of the whole searchingfor entering timelessness, the real.

"So what I have been, I am; what I am, I shall be until that instant comes when I am not. And then shall have never been."

What would determine it? Before one thing can determine by his actions, before one thing can determine another, both must fully exist; an intra-temporal needing must bind equally real moments. This of course does not explain Faulkner´s works where the past coexists with the present. Though it´s true, the reader perceives something is the very needed to be considered. In art ethics and aesthetics must fully exist.

Quentin´s very body is "an empty hall echoing with sonorous defeated name". His world is peopled with "baffled outraged ghosts"; and although Quentin himself is "still too young to deserve yet to be a ghost", he is one of them.

The rest of Compson´s family has either succumbed entirely to the Snopes world, like Jason Compson, or else have drugs to isolated things have changed Faulkner´s characters, have changed human being life, or else have drugs to isolate them from it - Mr. Compson his fragment of philosophy, uncle Mary his liquor, Mrs Compson her religion and her invalidism, Benjy his idiocy.

Temporal needing must bind equally real moments. This of course does not explain Faulner´s words, whe the past coexists with the present. It a kind of lump in the present, which must not be chronological unravelled, for then we would have a succession of relative pasts and presents. However, it is evident that Quentins traditionalism is far gone in the direction of formalization, with its concomitant lack of vitality.

Faulknerian past is extra-temporal. The fact that an evident thing, an event slips into the past does not mean that it becomes pure memory labled with a date, but that it sheds temporality, inasmuch as time is change and dispersion. Not eing a thing pure memory cause of an event slips into the past, but that it sheds temporality, it seems memory has searched for entering in itself just to approach the next present which will be past.

#RIODEJANEIRO#, 03 DE JANEIRO de 2019#