Sound and the Fury

[Anonymous No.21489971]

I didn't get the end of it, was Faulkner trying to say that there's a possibility of redemption or salvation for the Compsons within Christianity? If so what was the point of Jason beating Benjy at the end?

[Anonymous No.21490163]

>>21489971
BLACKED

[Anonymous No.21490196]

>>21489971
I don't think there's any redemption or salvation for them. Think back to the soliloquy in Macbeth.
>It's not when you realise that nothing can help you--religion, pride, anything--it's when you realise that you dont need any aid.
In my reading the last scene restates the entire book. Deviation from his normal route Benjy takes around the statue causes the same sort of pain to him that Quentin feels when he thinks about Caddy. It is no consolation to Benjy that he'll get to his destination anyway, just as it's no consolation to Quentin throughout that "love/sorrow is a bond purchased without design..." or in Shakepeare's words "Life's... a tale told by an idiot, full of sound and fury, signifying nothing." Because it still hurts.

[Anonymous No.21490260]

>>21490163
you got the wrong book
>>21490196
thank you for the effortpost

[Anonymous No.21491547]

Bump for Faulkner thread

[Anonymous No.21491643]

>>21489971
V. Nabokov hated Faulkner's "velvety negroes", none more velvety than Benjy, the incarnation of 'rightness', who howls when the "wrong" way back home taken, when natural order, or divine law is defiled.
>was Faulkner trying to say that there's a possibility of redemption or salvation for the Compsons within Christianity?
>If so what was the point of Jason beating Benjy at the end?
To silence him.
"And he said, Verily I say unto you, No prophet is accepted in his own country."
The Compsons reject Benjy's message. They reject Christianity as well. They will be destroy themselves with pride and violence, and Benjy will continue his role as prophet and witness, some bastard cross between Christ and the wandering jew.
It's an excellent novel regardless of my hackneyed frenzy of words.

[Anonymous No.21491694]

Bump

[Anonymous No.21491738]

>>21491643
>The Compsons reject Benjy's message.
Then why did they go back around the right way? He didn't stop screaming when Jason hit him, he stopped when he was satisfied

[Anonymouṡ No.21492279]

>>21489971
Are you talking about the very last scene, where they drive around the monument the wrong way, and Benjy freaks out, and Jason corrects them?

Many readers have commented that this scene doesn't really work for them. I agree with them. It feels strained; you get the impression Faulkner has some sort of allegorical message in mind but hasn't quite pulled it off. It feels tacked-on; not really the logical outcome of the book.

This is exactly what was going on.

Faulkner wanted to sum up the post-bellum South. He created this picture of an old, broken-down carriage pulled by an old, broken-down nag, going around a monument to Past Glory, but being obsessed about going the same way every time, because it's TRADITION, and we have to do things exactly the same way every time, because that's what we do. The carriage becomes sort of a Ship of Fools — you have the mother (faded Southern Belle, now ridiculous), the idiot son, etc. The young negro driving the "wrong way" is sort of saying how the newly-emancipated negroes are upturning the settled order, without really any idea what they're doing other than playful irreverence & high spirits, etc.

Faulkner himself said explicity (I forget where; either in an interview or in the introductory essay to a later edition of TSATF) that this was what he was aiming for, but that it doesn't really work.

[Anonymous No.21492283]

>>21489971
>was Faulkner trying to say that there's a possibility of redemption or salvation for the Compsons within Christianity?
Reminds me of that one image with the retard and the butterfly
>is this about Christianity?

[Anonymous No.21493192]

Bump

[Anonymous No.21493257]

>>21492279
Maybe you're reading a little too much into it