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

VII PART

Another aspect of the present is what we shall call a sinking in. We use this expression, for wanting for a better one, to indicate a kind of motionless movemente of this formless monster. In the Faulkner´s work, therés never any progression which comes from the future. The present has not been a future possibility, he for whom I am waiting, finally appears. No, to be present means to appear without, any reason and to sink in. This sinking in is not an abstract view. It´s within things themselves that Faulkner perceives and tries to make it felt.

"The train swung around the curve, the engine pufling with shor, heavy blasts, and they passed smoothly from sight that way, with that quality of shabby and timeless patience, of static serenity

And again,

"Beneath the sag of the buggy the hooves neatly rapid like motions of a lady doing embroidering, diminishing without progress like a figure on a treadmill drown rapidly off-stage".

It seems as though Faulkner has laid hold of a frozen speed at the very heart, he is grazed by congealed spurts that wane and dwindle without moving. It seems as though the reader has never thought in time not as chronological but as psychological, in the terms of trying to get hold the time, to be time. Here was Faulkner striding ahead in his imperial fashion, finding the same sort of excuses for violating the laws of consistency that an emperor finds for invading the realm of a neighboring kinglet.

Parenthesis and interpolation make us striving to enter into our mind, consciousness just to read for the synthesis among our remembrance and memory and thoughts trying to get into time. For to reach for time turning into Human Beings. They help us to hope the very moment when we´re free from independence. They make us to struggle for existence, doing the very moment we´re free from independence. They make us to struggle for existence, doing the very best of us, sometimes the very worst, as we never had done it.

This fleeting and unimaginable immobility can, however, be arrested and plundered. Quentin can say, "I broke my watch". but when he says it, his gesture is past. The past is named and related; it can, to a certain extend, be fixed by concepts or recognized by the heart.

It is a universal conflict. The Sartorises act traditionally responde will. They represent vital morality humanism. Being anti-traditional, she Snopesess do not recognize this point of view: they are immoral form the Sartoris´point of view; acting only for self-interested, they acknowledge no ethical dirty. Really, then, they are amoral; they represent naturalism and animalism. And the Sartoris-Snopes conflict is fundamentally a struggle between naturalism and humanism. Establishing this aim idea, this angle of analyses, we might have been remembered we can see the use which bad-faith can make of the judgements which all aim at establishment that I´m not any choices.

As a universal conflict it is important only philosophically. But it is fundamental artistically in this instance, because Mr. Faulkner has dramatized it convincingly in the terms of a particular history and of actual life ins his own part of South - in terms of his own tradition. Concerned to psychoanalysis in this instance. we have realized it emotionally according to our own situation, conscious of what have gone on.

So the past has to be continually re-interpreted; and each interpretation becomes a part of he accumulating past, at least a comprehension of humanism and naturalism; a part even of the past which it attempts to interpret. They motive for the re-tellings, the re-interpretations, each of which adds new perspective and makes necessary a re-interpretation of the facts already known, is constant, and it supplies the organized principal of the novel.

The very important of all, the psychological explanations refers us ultimately to inexplicable original data. These are simply bodies of psychology. We are told, for instance, that Flaubert had a "Grandiose ambition and all of the previously quoted description depends on this original ambition.

"The study of Faulkner is the most challenging single task in contemporary Literature for criticism to undertake. Here is a novelist who, in reportorial accuracy and symbolic subtlety, in philosophical weight, can be put beside the master´s of our own past Literature. Yet this accomplishment has been affected in what almost amounts to critical isolation and silence, and when the silence has been broken it has usually been broken by someone (sometimes one of our better critics) whose reading has been hasty, whose analyses unschorlarly and who judgements superficial. The picture of Faulkner presented to the public by such criticism is a combination of Thomas Nelson Paze, a fascist, and a psychopath gnawing his nails. Of course, this picture is usually accompanied by a grudging remark about genius".

#RIODEJANEIRO#, 02 DE JANEIRO DE 2019#