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Heart's Darling: Faulkner and Womanhood
In William Faulkner's The Sound and The Fury, Caddy Compson is the anchor character because Faulkner himself is so obsessed with her that he is unable bring her down off a platform enough to write words for her. Instead, he plays out his obsession by using her brothers as different parts of himself through which to play out his fantasies and interact with her. Faulkner writes himself into the novel by creating male characters all based on aspects of his own personality. In Freud's personality theory the human personality is composed of three parts; the id, the ego and the superego. (Freud 17) By writing about Caddy from her three brothers' perspectives, Faulkner is able to use each brother as a vessel for expressing his different personal feelings about the character Caddy.
Caddy's brother Benji is mentally retarded, making him out of contact with reality. He never speaks, we only hear his basic impulsive wants, needs and feelings. Benji represents Faulkner's id. The id only knows what it wants, it doesn't know why or how or whether is it right or wrong. Benji loves Caddy more than anything but he does not have the intellectual power to say what he wants to say. Faulkner writes Benji as his id in order to indulge himself in his basic feelings of love and attachment for Caddy. Here we see her as a woman who is always there for him, promises never to leave him. Benji repeats over and over that Caddy "smells like trees." (Faulkner 6). She is organic, natural, innocent and free-spirited.
Caddy was all wet and muddy behind, and I started to cry and she came and squatted in the water.
"Hush now." she said. "I'm not going to run away." So I hushed. Caddy smelled like trees in the rain.
(Faulkner 19)
Faulkner also uses Benji as his voice to say that he doesn't want her to grow up, doesn't want her to use perfume. He wants her always to stay an innocent little girl. He wants to show that he is helpless as Caddy begins to grown up and mature and become sexual. This is the part of Faulkner that wants women to be the eternal virgin mother figure.
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...ation, she is his ultimate view of womanhood. He creates this woman who he builds up to perfection, only to bring her back down. By placing Caddy Compson as the anchor character of the book, Faulkner gives a voice to his own feelings about women.
Works Cited
Faulkner, William. The Sound and The Fury. Harrison Smith and Jonathan Cape, 1929. Corrected text, Vintage Books, a division of Random House,
New York: 1984.
Faulkner, William. The Sound and The Fury: The Corrected Text with Faulkner's Appendix. Norton, 1994.
Freud, Sigmund. Ego and the Id of Sigmund Freud (The Standard Edition of the Complete Psychological works of Sigmund Freud Series).
Trans. Joan Riviere Ed. James Strachey. Norton, W.W. & Company Inc, New York: 1972.
Faulkner, William. "Barn Burning." The Heath Anthology of American Literature. Ed. Paul Lauter. 3th ed. Boston: Houghton Mifflin, 1998. 1554-66.
16. James Hinkle and Robert McCoy, Reading Faulkner: The Unvanquished. (Jackson: University Press of Mississippi, 1995), 141.
Meriwether, James B., and Michael Millgate, eds. Lion in the Garden: Interviews with William Faulkner 1926-1962. New York: Random House, 1968.
By leaving some crucial details ambiguous, Faulkner adds to the over-all ambiguity of the story. He tantalizes his readers, makes them think for themselves, and thus makes them active readers of the story rather than merely passive recipients of information
Wyatt, David ed. New Essays on The Grapes of Wrath. Cambridge: Cambridge University Press, 1990.
...elief in the almighty Lord is not as convincing; she believes that she is in charge of her own life and what happens to her throughout it, as well as after it. Cora believes that motherhood is remarkable and it is her duty to love, nurture and care for her children, as well as her husband. However, Addie sees motherhood as a burden and feels used when she bares four children for Anse. Cora is more than content with being a mother and the caregiver of her household while Addie wants more than what the role of a typical woman in this age has to offer her. Thus, Faulkner created two female characters that both had differing views on life and everything in it; conflict aroused in the minds of the characters toward each other, although it was never verbally expressed to one another; this might have been done so that the reader can relate to the character of their choice.
Faulkner’s language depicts the inherent discrepancies in the value placed on the roles of Caroline and Dilsey. The formal tone of the narrators in addressing Caroline as “Mrs. Compson or mother infers her social stature. In contrast, Dilsey, is referred to as mammy or by her first name. Informally, mammy means mother. However, in the south, its connotation is the derogatory, racially prejudiced definition of a black woman working as a servant for a white family, nurturing the family’s children. When addressing Dilsey, Caroline often “called, without inflection or emphasis or haste, as though she were not listening for a reply at all” (267). Caroline’s sense of entitlement is evident in her expectation that Dilsey would respond immediately. Similarly, any need or desire in the Compson house appears to be Dilsey’s responsibility. Caroline follows Jason up to the stairs, calling his name, but “then she saw Dilsey and she quit calling him and began to call Dilsey instead” (280). Calling her name shifts the obligation from Caroline to Dilsey thereby making her a scapegoat for the family’s problems. (the scapegoat seems like a stretch for this example).
Harmon, William, and C. Hugh Holman. Handbook to Literature. Upper Saddle River, N.J.: Prentice Hall, 1986.
By reading closely and paying attention to details, I was able to get so much more out of this story than I did from the first reading. In short, this assignment has greatly deepened my understanding and appreciation of the more complex and subtle techniques Faulkner used to communicated his ideas in the story.
Faulkner, William. THE SOUND AND THE FURY, The Corrected Text with Faulkner's Appendix. The Modern Library, New York, 1992, Random House
All throughout his novel, Faulkner presents multiple narrators who all give somewhat differing versions of emotions and events that cause the reader to question their reliability. Because he strays from the traditional practice of having a single narrator, every account is completely subjective to whoever is telling it, and therefore a wide range of events are subsequently left up to the reader to decide who and what is most truthful. Readers must sort through the various interpretations of events and each character’s emotions, as they can no longer accept the story that is usually being told by one reliable narrator. Because of this narration style, there is no final truth or final universal meaning in the novel, as everything that happens is open to an individ...
Faulkner's style may give you trouble at first because of (1) his use of long, convoluted, and sometimes ungrammatical sentences, such as the one just quoted; (2) his repetitiveness (for example, the word "bleak" in the sentence just quoted); and (3) his use of oxymorons, that is, combinations of contradictory or incongruous words (for example, "frictionsmooth," "slow and ponderous gallop," "cheerful, testy voice"). People who dislike Faulkner see this style as careless. Yet Faulkner rewrote and revised Light in August many times to get the final book exactly the way he wanted it. His style is a product of thoughtful deliberation, not of haste. Editors sometimes misunderstood Faulkner's intentions and made what they thought were minor changes. Recently scholars have prepared an edition of Light in August that restores the author's original text as exactly as possible. This Book Note is based on that Library of America edition (1985), edited by Noel Polk and Joseph Blotner.
Benjy’s loss of Caddy drives his thoughts and memories in the story. From the beginning, Caddy has always given unconditional love to her mental brother, treating him like an equal to his other siblings. She is able to connect with him in a motherly way, as Mrs. Compson is ironically unable to do. In the first section, when the Caroline (the mother) and Uncle Maury fuss at Caddy for not putting gloves on Benjy before going outside, Caroline sympathetically comments, “My poor baby” (Faulkner 8). Defensively, Caddy assures him that “[he] is not a poor baby,” as “[he has] got [his] Caddy” (Faulkner 9). Figuratively, this thought repeats in Benjy’s mind several different times in the novel, as Caddy’s absence soon turns into an obsession for him. For example, Caddy’s “[smelling] like trees” is a scent that Benjy associates with her presence. The day that she got dressed up and wore perfume was the day that Benjy uttered a startling cry. To him, trees remind him of the comfort that Caddy giv...
Faulkner, William. “A Rose For Emily.” An Introduction to Fiction. 10th ed. Eds: X.J. Kennedy and Dana Gioia. New Yorkk: Pearson Longman, 2007. 29-34.
Hewson, Marc. "'My Children Were Of Me Alone': Maternal Influence In Faulkner's As I Lay