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

IV PART

In short, Mr. Faulkner´s style, though often brilliant and always interesting, is all to frequently downright bad - certainly it means while the reader realizes his condition he´s conscious about time, a psychological one which transforms into Metaphysics, which makes him search for his senses and his being and it has inevitably offered an all-to-easy mark for the sharpshooting of such alert critics as Mr. Wyndham Lewis.

Obviously, such a style, especifically when allied with such a concern for method must make difficulties for the reader, and it must be admitted that Mr. Faulkner does lethal or nothing as a rule to make his high complex "situation" easily available or perceptible. The reader must simple make up his mind to go to work, and in a sense of cooperate; his reward being that there is a situation to be given shape, a meaning to be extracted and that half of fun is precisely in watching the queer, difficult, and often so laborous evolution of Mr. Faulkner´s idea. On the other hand, it seems someone is in a foreign country, and everybody has spoken a foreign language. The sound really conquers someone even though he´s unable to understand.

Faulkner´s characters are like that only worse for their past, which is in order, does not assume chronological order. It is, in actual fact a matter of emotional constellations. It is significant that it should be Quentin through whose gradual understanding the story Sutpen is told and that it should be Quentin who watches the final destruction of Sutpen´s house. For Sutpen´s was defective, but it was not formalized as Quentin´s was; and his story approaches tragedy.

Whether we have remembered things that had happened the very moment, obviously we´re experienced upon a sensibility, our senses increase and our attitudes of intellectualizing them. Accordingly to our project of reading, as we are interested in comprehending and understanding, even though some difficulties in linking the words, just to create another sound, and it comes from William Faulkner style; in the beginning of each sentence we comprehend the structure, understand the meaning, but immediately some thing appears the very quickly but we end our sentence. From time on we simple loose the meaning of the words, the situation, we hope listening the other sound which has been expressing. Cause of this experience vividly happening, we want it to be our present - at least, we want it to become true.

"I leave it to the fellows if them ladies that get old without getting married don´t have notions that a man cant."

But we look in vain for such a complication. Is it the castration of Benjy or Caddies wretched amorous adventure or Quentin´s suicide or Jason´s hatred of his niece? As soon as we begin looking - or should we say "we launch forth? - at any episode, it opens up to revival behind it under each word, as we´ve been trying to touch a meaning before it disappears for ever, like an obscene and obstructing presence, more or less condensed, more or less rebel, depending upon the particular case. It would be a foolishness to deny these aspects even though since the moment you starting expressing your self, your inner, yor existence as a whole you´ll follow the sound and search for your time. It would be a mistake to regard these irregularities as gratuitous exercises in virtuosity, and virtuosity has been wished. A fictional technique always relates bact to the novelists metaphysics. Whether we projected to con-template Faulkner´s time and Mithology, we could converse on a sentence said by him, that a man is a sum of his misfortunes. The critic task is to define the latter befrore valuating the former. Faulkner created the characters, with the stories - or properly speaking the fables - in which they are involved, and the fact in itself reveals something about the bent of his mind. Whether we do not allow us to hear the sound which appears the very moment we speak something, from the lettering which meant a atime within our mind, simply there were created - because Faulkner had given these characters a life that was independent of his own, and the most importante we would express, Faulkner is within his stories. From the lettering which meant nothing to the characters mind, we discover William Faulkner isn´t painstakingly and immediately obvious that Faulkner´s metaphysics is a metaphysics of time. Faulkner has the most talent of anyboy but hard to depend upon because he goes on writing after he is tired and seems as though he never threw away the worthless. He has te most genius of one but pleased to accept because we go on reading, even though we don´t know the reason of something done without no comprehension, but we just hear the sound and keep on searching for time.

Man´s misfortune lies in his time-bound.

"... a man is the sum of his misfortunes. One day you´d think misfortune would get tired, but then time is you misfortune".

#RIODEJANEIRO#, 02 DE JANEIRO DE 2019#