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Writers who were influenced by William Faulkner
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Upon listening and reading William Faulkner's Nobel Prize Acceptance Speech, it is immediately deduced that he provides his vast audience of the epitome of himself. William Faulkner is not someone, but everyone. His humanistic approach to writing and thought has allowed him to hide complexity within simplicity, and for this, he is memorable: his work is a true testament to the unbreakable nature of the human spirit in the face of enormous hardship and consequence; a look into the human mind that is simultaneously interesting and uninteresting. This, along with so much more, is prevalent in this speech, which perfectly conveys the responsibilities of the writers in 1949.
Throughout the speech, Faulkner utilizes ethos and pathos to create a
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Faulkner allows these devices to explain for him the physical incapabilities of the then modern day writers to truly write, for " ...the young man or woman writing today has forgotten the problems of the human heart in conflict with itself..." This philosophical notion that allows the audience to feel a personal connection with the conflicts within this heart is then completed with a metaphor emphasizing the pressure and responsibilities of writers of the era, as " ... [the problems of the human heart in conflict with itself] alone can make good writing because only that is worth writing about, worth the agony and the sweat." Although the act of writing may not be as toilsome as Faulkner insists, this metaphor allows the audience to understand his vision that writers alone can reinstall the previous truths of a world at …show more content…
Throughout his speech, Faulkner's voice remains relatively constant, delivering with very little variation in style or tone. However, Faulkner's lacking oral delivery allows his words to be heard and interpreted for what they are and what they mean, as opposed to being remembered in correspondence with their presentation and appearance. This being said, Faulkner did utilize delivery devices such as pauses, and small changes in speed. In introducing his acceptance of this award, Faulkner humbles himself in stating, "I feel as though this award was not made to me as a man, but to my work," in a slow and emphatic tone. Slow speech while presenting this humble statement ensures that Faulkner holds the attention of the audience by peaking their interest. This sort of emphatic speech is then enhanced further when Faulkner states, "He writes not of the heart but of the glands. [pause] Until he relearns these things, he will write as though he stood among and watched the end of man." This pause allows the audience to absorb what has been said and create the link to the next key statement in the conclusions of his speech where he rapidly lists that it is the writer's job to, "help man endure by lifting his heart by reminding him of the courage and honor and hope and pride and compassion and pity and
It is not that we are selfish, but that we only see the world from our own point of view. We only feel our own emotions, and not others. Language has been used a tool used to communicate emotions and thoughts to others, but that is not its true form. Faulkner illustrates the track of the human mind and the inadequacy of human language as communication, through the grief and interactions of Rider.
The first psychological change Faulkner uses to show readers how he thinks of the human mind is through the sense of identity. Faulkner uses several
Faulkner, William. The Sound and The Fury: The Corrected Text with Faulkner's Appendix. Norton, 1994.
In his Novel Prize Address, Faulkner states that an author must leave "no room in his workshop for anything but the old verities and truths of the heart...love and honor and pity and pride and compassion and sacrifice." He accuses his younger contemporaries of ignoring these noble spiritual pillars while pondering the atomic doom of mankind with questions like, "When will I be blown up?" Such physical fears, far from conflicts of the heart, are what plague his bomb-obsessed contemporaries. Yet Faulkner stands, seemingly alone, in opposition to this weakness; he "decline[s] to accept the end of man" and in rebelling, fights for the old universal truths and the glories of the past. In classical style, he brushes away passing fears and fads, settling for nothing less than the "problems of the human heart in conflict with itself." Nothing else is worth writing about and Faulkner's work is living proof.
He creates a vision of relief at the beginning of the passage by means of diction, similes, and an impeccable amount of imagery. Douglass also applies an approach for the application of syntax, diction, and connotative sense to amplify the feelings of loneliness and paranoia presented after emancipation. The result is the masterpiece that fluently runs from one state of mind following his escape to another. It is a masterpiece with a timeless sense of moral values being unconsciously taught to its audience, whether or not they succeed in deciphering it. Works Cited Frederick Douglass.
Growing up in Mississippi in the late Nineteenth Century and the early part of the Twentieth Century, young William Faulkner witnessed first hand the struggles his beloved South endured through their slow progression of rebuilding. These experiences helped to develop Faulkner’s writing style. “Faulkner deals almost exclusively with the Southern scene (with) the Civil War … always behind his work” (Warren 1310. His works however are not so much historical in nature but more like folk lore. This way Faulkner is not constrained to keep details accurate, instead he manipulate the story to share his on views leading the reader to conclude morals or lessons from his experience. Faulkner writes often and “sympathetically of the older order of the antebellum society. It was a society that valued honor, (and) was capable of heroic action” (Brooks 145) both traits Faulkner admired. These sympathetic views are revealed in the story “A Rose for Emily” with Miss Emily becoming a monument for the Antebellum South.
If we compare William Faulkner's two short stories, 'A Rose for Emily' and 'Barn Burning', he structures the plots of these two stories differently. However, both of the stories note the effect of a father¡¦s teaching, and in both the protagonists Miss Emily and Sarty make their own decisions about their lives. The stories present major idea through symbolism that includes strong metaphorical meaning. Both stories affect my thinking of life.
Brooks, Cleanth. "William Faulkner: Visions of Good and Evil." Faulkner, New Perspectives. Ed. Richard H. Brodhead. Englewood Cliffs, New Jersey : Prentice-Hall, 1983.
William Faulkner takes us back in time with his Gothic short story known as, “A Rose for Emily.” Almost every sentence gives a new piece of evidence to lead the reader to the overall theme of death, isolation, and trying to maintain traditions. The reader can conclude the theme through William Faulkner’s use of literary devices such as his choice of characters, the setting, the diction, the tone, and the plot line.
In “A Rose For Emily”, by William Faulkner, plot plays an important role in how
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.
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...
But Faulkner develops his own, more structured variety of stream of consciousness. In his densest paragraphs, he often lets his characters fall into reveries in which they perceive more deeply than their conscious minds possibly could. His characters connect past and present and reflect on the meaning of events and on the relationships between them in a manner that sounds more like Faulkner himself than like the characters in their usual states of mind.
On September 25, 1897 in New Albany, Mississippi, a son was born to Murry Cuthbert and Maud Butler Faulkner. This baby, born into a proud, genteel Southern family, would become a mischievous boy, an indifferent student, and drop out of school; yet “his mother’s faith in him was absolutely unshakable. When so many others easily and confidently pronounced her son a failure, she insisted that he was a genius and that the world would come to recognize that fact” (Zane). And she was right. Her son would become one of the most exalted American writers of the 20th century, winning the Nobel Prize for Literature and two Pulitzers during his lifetime. Her son was William Faulkner.
"William Faulkner (1897-1962)." Short Story Criticism. Ed. Jelena Krstovic. Vol. 97. Detroit: Thomson Gale, 2007. 1-3. Literature Criticism Online. Gale. Hempfield High School. 31 March 2010.