Title

The title of the novel is taken from Macbeth's famous soliloquy of act 5, scene 5 of William Shakespeare's Macbeth: Tomorrow and tomorrow and tomorrow, Creeps in this petty pace from day to day To the last syllable of recorded time, And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more: it is a tale Told by an idiot, full of sound and fury, Signifying nothing. Immediately obvious is the notion of a "tale told by an idiot", in this case Benjy, whose view of the Compsons' story opens the novel. The idea can be extended also to Quentin and Jason, whose narratives display their own varieties of idiocy. More to the point, the novel recounts the decline and death of a traditional upper-class Southern family, "the way to dusty death". The last line is, perhaps, the most meaningful; Faulkner said in his speech upon being awarded the Nobel Prize that people must write about things that come from the heart, "universal truths." Otherwise they signify nothing.

Yoknapatawpha County
[jknptf]

Beginning with Sartoris I discovered that my own little postage stamp of native soil was worth writing about and that I would never live long enough to exhaust it, and that by sublimating the actual into the apocryphal I would have complete liberty to use whatever talent I might have to its absolute top. It opened up a gold mine of other people; I created a cosmos of my own. I can move these people around like God (Faulkners interview with Jean Stein, Paris Review, 1956) The above fragment of Faulkners interview proves that he has discovered the fictional and imaginary land, which he loves to call Yoknapatawpha County, the land of his dream, the land which is perfect place for him to write novels. It is his dear land, that is Mississippi in American South. The name Yoknapatawpha The pronunciation, YOK-na-pa-TAW-pha /jknptf/, name for a river that flows through Lafayette County . It is derived from two Chickasaw (native people of the Southeastern Woodlands) wordsYocona and petopha, meaning "split land." Faulkner claimed to a University of Virginia

audience that the compound means "water flows slow through flat land." It reflects the geographical and cultural background of his native Mississippi. Faulkners works frequently reflect the chaotic life history of the South while developing insightful explorations of the human character.It is the County which is recognized as the microcosm of the American South, as it reflects the life and culture of the people of that particular region. from his early childhood life he witnessed depression, frustration, downfall of the economy, social injustice of the people. He had and inner urge to write about them, their poverty and mental disorder which they had been experiencing after the Civil War.

Narration

Faulkner uses the "stream-of-consciousness" as a technique of narration. Prior to the twentieth century, an author would simply tell the reader what one of the characters was thinking. Streamof-consciousness is a technique whereby the author writes as though inside the minds of the characters. Since the ordinary person's mind jumps from one event to another, stream-ofconsciousness tries to capture this phenomenon. Thus, in the Benjy section, everything is presented through the apparently unorganized succession of images. "a tale / Told by an idiot, full of sound and fury, / Signifying nothing". The book opens inside the mind of the "idiot", Benjy, a 33-year-old man who has the mind of a small child. Faulkner uses stream-of-consciousness narration to suggest the way that Benjy's mind flows through time: memory, reality and emotion meet, shift, and kaleidoscopically recombine. Time shifts Benjy doesn't understand what is happening around him, and so cannot narrate the events he sees; Faulkner forces the reader to work out what is happening (and when) from the clues he drops. It is a kind of detective fiction, the kind that drives some readers crazy. All reading requires the reader to infer meaning: the first chapter of The Sound and the Fury turns inference into an extreme sport, because it moves through as many as 14 different moments across a 30-year period in Benjy's memory. The presence of italics in Benjy's section is meant to indicate significant shifts
in the narrative. Whats more Benjy's caretaker changes to indicate the time period: Luster in the present, T.P. in Benjy's teenage years, and Versh during Benjy's infancy and childhood. Originally Faulkner meant to use different colored inks to signify chronological breaks. However, Stephen

M Ross and Noel Polk, two distinguished Faulkner scholars, have created a colour-coded version ofThe Sound and the Fury In the Benjy section, Faulkner's style is basically simple, which does not mean that the section is simple, but that each individual sentence is a rather simple and uncomplicated one. There are no difficult words because the vocabulary of Benjy would naturally be simple. Since his mind does not function logically, Faulkner records the thinking in terms of basic images. Thus, when Benjy sees the gate or the barn, he remembers another event that happened at the gate or the barn. Likewise, his thought can be interrupted halfway through a thought; sometimes he can return to it and sometimes the thought is lost forever. Stylistically, Faulkner has created a powerful tour de force by suggesting the functioning of Benjy's mind, but he has still brought enough order to that mind so that the reader can follow his thoughts. Whereas Faulkner's style is relatively noncomplex in presenting the simple mind of Benjy, when he turns to the complex and intricate mind of Quentin, his style changes drastically. In Quentin's section, we find long, complex, and difficult ideas. Quentin is trying to solve complicated moral issues; therefore, his section is more complicated. Likewise, Quentin's mind is a more advanced mind and his thoughts jump from one idea to another very quickly. The technique that Faulkner uses to give order to Quentin's section is that of presenting this section on the day when Quentin is about to commit suicide. Therefore, Quentin's mind is concerned only with one or two ideas the dishonor of his sister Caddy and the nihilistic philosophy of his father.

Whenever Quentin's mind jumps back to some thought of the past, it is to these two subjects. If Quentin had been concerned with other things, his section would be far more complicated. And as we reread the section, we realize that every scene returns to these events. For example, Quentin is riding with Gerald when he remembers his embarrassing talk with Dalton Ames on the bridge, and suddenly he asks if Gerald has a sister. The fight that occurs is a result of Quentin relating his past question and the consequent fight with Dalton to the present situation involving Gerald. The style changes drastically again with Jason's section. Jason's mind is involved, but it is the mind of a monomaniac. He is concerned only with getting money and punishing others. Thus, his section flows along at a rapid pace because he is not troubled with the intricacies of life, and he is not concerned with images or impressions. The order and simplicity of his section is a result of his single-minded viciousness. The final section offers us the first straightforward narrative. Here Faulkner adjusts his style to fit the character of Dilsey. We have a quiet, dignified style; the reader is presented the events of the fourth section without any comment or without any complicated sentence structure. And in the light of the other three sections narrated by a Compson, this final section has a strong sense of control and order. Faulkner's virtuosity, therefore, is seen in the way he adjusts his style to fit the mind of each individual narrator. From Benjy's impressions and images to Quentin's obsessed concern with a single idea to Jason's monomania, Faulkner's style shifts in order to lend additional support to his subject matter.

In the Benjy section, Faulkner's style is basically simple, which does not mean that the section is simple, but that each individual sentence is a rather simple and uncomplicated one. There are no difficult words because the vocabulary of Benjy would naturally be simple. Since his mind does

not function logically, Faulkner records the thinking in terms of basic images. Thus, when Benjy sees the gate or the barn, he remembers another event that happened at the gate or the barn. Likewise, his thought can be interrupted halfway through a thought; sometimes he can return to it and sometimes the thought is lost forever. Stylistically, Faulkner has created a powerful tour de force by suggesting the functioning of Benjy's mind, but he has still brought enough order to that mind so that the reader can follow his thoughts. Whereas Faulkner's style is relatively noncomplex in presenting the simple mind of Benjy, when he turns to the complex and intricate mind of Quentin, his style changes drastically. In Quentin's section, we find long, complex, and difficult ideas. Quentin is trying to solve complicated moral issues; therefore, his section is more complicated. Likewise, Quentin's mind is a more advanced mind and his thoughts jump from one idea to another very quickly. The technique that Faulkner uses to give order to Quentin's section is that of presenting this section on the day when Quentin is about to commit suicide. Therefore, Quentin's mind is concerned only with one or two ideas the dishonor of his sister Caddy and the nihilistic philosophy of his father. Whenever Quentin's mind jumps back to some thought of the past, it is to these two subjects. If Quentin had been concerned with other things, his section would be far more complicated. And as we reread the section, we realize that every scene returns to these events. For example, Quentin is riding with Gerald when he remembers his embarrassing talk with Dalton Ames on the bridge, and suddenly he asks if Gerald has a sister. The fight that occurs is a result of Quentin relating his past question and the consequent fight with Dalton to the present situation involving Gerald. The style changes drastically again with Jason's section. Jason's mind is involved, but it is the mind of a monomaniac. He is concerned only with getting money and punishing others. Thus, his section flows along at a rapid pace because he is not troubled with the intricacies of life, and he is not concerned with images or impressions. The order and simplicity of his section is a result of his single-minded viciousness. The final section offers us the first straightforward narrative. Here Faulkner adjusts his style to fit the character of Dilsey. We have a quiet, dignified style; the reader is presented the events of the fourth section without any comment or without any complicated sentence structure. And in the light of the other three sections narrated by a Compson, this final section has a strong sense of control and order. Faulkner's virtuosity, therefore, is seen in the way he adjusts his style to fit the mind of each individual narrator. From Benjy's impressions and images to Quentin's obsessed concern with a single idea to Jason's monomania, Faulkner's style shifts in order to lend additional support to his subject matter.

3-cia osoba Narration, turning points and time in part 3 and 4. How are parts 1, 2, 3 different from part 4? How are dates of each section significant? Can a religious holiday introduced in the novel be interpreted symbolically? What role does ethnic identity ("race") play in the story of the family and the South in part 4?

How are dates of each section significant?>????????????? i wytumacz cytaty!!!!

NARRATION, TURNING POINTS AND TIME IN PART 3 Faulkner sets the tone of Jasons section from the first sentence: Onc e a bitch always a bitch, what I say. Jason has grown into a petty, sadistic, and bitter man, and we see that the form of his narrative reflects this hardened mind. Jasons narrative is clear, precise, swift, and almost completely emotionless. His clarity helps reveal several key plot details that the two previous sections have merely implied. Jason confirms that Benjy has been castrated, that Quentin drowned himself, and that Caddy was divorced. However, though a relief after the chaotic stream of consciousness of Benjys and Quentins narratives, Jasons section is ultimately disturbing in its clear depiction of the hatred and cruelty with which Jason runs the Compson family.

Jason is wholly focused on the present and on manipulating the present for future personal gain. He does recall past events, but only concentrates on the effect those events have on him here and now. Jason dwells on Caddys divorce, for example, only because it has left him in a menial and unfulfilling job. He maintains overwhelming greed, selfishness, and focus on future gain, but does not use these to work toward any higher goal. Jason is all motivation with virtually no ambition. The third part is narrated by Jason, the third brother. He has grown up to be a mean and resentful man, looking after the family following their father's death, and treating Miss Quentin (Caddy's child) with cruelty and unfairness.

April Sixth, 1928 I wouldnt lay my hand on her. The bitch that cost me a job, the one chance I ever had to get ahead, that killed my father and is shortening my mothers life everyday and make my name a laughing stock in the town. I wont do anything to her.

1) The third chapter of The Sound and the Fury is told from the perspective of Jason Compson, now the patriarchal head of the family, after his father's death, Quentin's suicide, and Caddy's abandonment of her own daughter . Jason's new familial system is set against the backdrop of rapid and noticeable change throughout the South in the early 20th century: economic transitions (stock market vs. aristocratic wealth via land and slave holdings), technological shifts (fast cars vs. slow horse/buggies), and social changes (new roles for women and African Americans in the South). Alongside this modernization of society, Jason criticizes what he considers as Mrs. Compson's antiquated "system" of "flesh and blood" family obligations. As the head of the family, Jason is violent, mean, and greedy. His leadership does not bode well for keeping intact the remaining remnants of the Compson family, ultimately indicating the passing of both the Old South at large and its one-time aristocratic families such as the Compsons.

--It is the morning of Good Friday, 1928, the day before Benjys narration takes place.

2) Unlike his brother Quentin, Jason has no use for the past. He focuses completely on the present and the immediate future. To Jason, time exists only for personal gain and cannot be wasted.

3) Jason has grown into a petty, sadistic, and bitter man, and we see that the form of his narrative reflects this hardened mind. Jasons narrative is clear, precise, swift, and almost completely emotionless. His clarity helps reveal several key plot details. Jason confirms that Benjy has been castrated, that Quentin drowned himself, and that Caddy was divorced. However, Jasons section is ultimately disturbing in its clear depiction of the hatred and cruelty with which Jason runs the Compson family.

??? Dilsey is perhaps the only character at peace with time. Unlike the Compsons, who try to escape time or manipulate it to their advantage, Dilsey understands that her life is a small sliver in the boundless range of time and history.

3) Miniature climactic events are witnessed throughout the novel - these are more turning points than actual climaxes. If a single event could be called a climax, it would have to be the point at which Miss Quentin steals Jason's money and runs away. That is the single event that leads to the downfall of what is left of the Compson family.

NARRATION, TURNING POINTS AND TIME IN 4 SECTION

Whoever God is, He would not permit that. I am a lady. You might not believe it from my offspring, but I am.

April Eighth, 1928

The most important events:

The Sound and the Fury ends with the symbolic completion of the Compsons downfall, but also hints at the possibility of resurrection or renewal. Importantly, this last chapter takes place on Easter Sunday, the day of Christs resurrection and thus a powerful symbol of redemption and hope. When Miss Quentin flees, the Compson name is definitively ruined. Caddy has been banished and neither of the remaining brothers is emotionally or mentally capable of passing the Compson name on to an heir. The storied, near-mythic past of the Compson family has disintegrated, with nothing remaining but a slobbering idiot and a bitter, wifeless, and now penniless farm-supply clerk. The Compsons are finished. Miss Quentins successful escape emphasizes the impotence and failure of the Compson men, especially in relation to the Compson women. Mr. Compson sets this precedent, constantly bowing to his wifes complaining and allowing her to pervert the family with her self-pitying and dependent nature. Likewise, we have seen that Benjy, Quentin, and Jason have all been dominated by Caddy in one way or another: Benjy cannot function without the sense of order Caddy provides him, Quentin cannot carry on with the knowledge of Caddys promiscuity, and Jason cannot get past the fact that Caddys out -ofwedlock pregnancy cost him a job. However, Caddy has never actively attempted to dominate her brothers. Each brothers impotence comes from an internal weakness or a

form of self-absorption: Benjys internal sense of order that relies entirely on Caddy, Quentins neurotic ideal of feminine purity, and Jasons relentless self-pity. Caddy herself has never really done anything to harm her brothers directly. Despite the Compsons weakness and downfall, one source of hope and stability remains to hold the family togetherDilseys simple, strong, protective presence. Dilsey adheres to the same traditional Southern values of religion and family upon which the original Compsons built their name. However, unlike the Compsons, Dilsey does not allow these values to be corrupted by self-absorption. When Dilsey arrives at the house to cook breakfast, she stays true to the task of setting the house in order despite constant interruption by the rest of the family. Unlike the rest of the family, she is not ashamed to bring Benjy to church with her. She loves Benjy as only Caddy has, and believes that God loves Benjy regardless of his lack of intelligence. Dilsey is not obsessed with the passage of time as Quentin is, and she is not overcome by the chaos of experience as the other Compsons are. Rather, she endures happiness and sadness with the same incorruptible will to carry on and sense of duty to protect those she loves. She looks on the Compson tragedy with sadness, but does not let it contaminate her own spirit. In her words, I seed de beginning, en now I sees de ending.

1) We may expect Caddy to narrate the last section, since she is in many ways the most important character in the novel, and the only one of the Compson children who has not had a chance to speak. However, Faulkner narrates this section himself, from a third-person perspective. This viewpoint takes us a step back from the Compsons inner world and provides a more panoramic view of the tragedy that has unfolded. The narrative voice Faulkner adopts is an objective onesimilar to Benjys in its ability to view the Compson world without resentment, but unlike Benjys in that it is omniscient and relies on a more traditional mode of storytelling. Benjy, Quentin, and Jason have vastly different views on the Compson tragedy, but no single perspective seems more valid than the others. Despite the Compsons weakness and downfall, one source of hope and stability remains to hold the family togetherDilseys simple, strong, protective presence. Dilsey adheres to the same traditional Southern values of religion and family upon which the original Compsons built their name. However, unlike the Compsons, Dilsey does not allow these Why the switch-up between narrative voices? Well, for one thing, it helps us to see that all of the Compson kids are special in their own way. In this case, though, we sort of think that its true. Theyve all got unique perspectives on their family lives and their individual sorrows. By combining all of these perspectives, Faulkner allows us to see just how much siblings share. They all meditate on their childhood at some point in their sections. They all think about Caddy. A lot. And they all have to deal with the legacy of emotional manipulation that their parents leave them.

---It is Easter Sunday, 1928, the day after Benjys narration and two days after Jasons. Unlike the rest of the family, she is not ashamed to bring Benjy to church with her. She loves Benjy as only Caddy has, and believes that God loves Benjy regardless of his lack of intelligence. Dilsey is not obsessed with the passage of time as Quentin is, and she is not overcome by the chaos of experience as the other Compsons are. Rather, she endures happiness and sadness with the same incorruptible will to carry on and sense of duty to protect those she loves. She looks on the Compson tragedy with sadness, but does not let it contaminate her own spirit. In her words, I seed de beginning, en now I sees de ending. 3) Dilseys the only character whos not completely absorbed by her own world. In a way, the third-person narration more accurately reflects her perspective than a firstperson voice could. See, she spends so much time thinking about and caring about the fates of others around her that she actually does have a greater critical distance from her own self-perception than the other characters do. Maybe she just doesnt need to process all of the stuff that a Benjy or a Quentin feels compelled to think about all the time. Dilsey doesnt need a strong "I." Shes more concerned with building a sense of community.

Dilseys words imply that the Compsons downfall is part of a larger cycle. Indeed, Dilsey has, in effect, resurrected the original values of the Compsons ancestors. The Compsons become carried away with the greatness of their own name, neglecting the strength of family in favor of self-absorption. Dilsey, on the other hand, is the antithesis of selfabsorption. She maintains a strong spirit and a profound respect for an unpretentious, unadorned, yet powerful code of values. Dilsey is the redeemer of the Compson legacy, and provides an almost graceful landing after the resounding fall of the once-great household. In some respects, Dilseys new role represents a reversal of the traditional Southern order: a black servant, once considered the lowest position in Southern society, is now the only torchbearer for the name of a prestigious white family.

RELIGIOUS HOLIDAY IN NOVEL INTERPRETED SYMBOLICALLY

Three of the novels four sections take place on or around Easter, 1928. Faulkners placement of the novels climax on this weekend is significant, as the weekend is associated with Christs crucifixion on Good Friday and resurrection on Easter Sunday. A number of symbolic events in the novel could be likened to the death of Christ: Quentins death, Mr. Compsons death, Caddys loss of virginity, or the decline of the Compson family in general. Some critics have characterized Benjy as a Christ figure, as Benjy was born on Holy Saturday and is currently thirty-three, the same age as Christ at the crucifixion. Interpreting Benjy as a Christ figure has a variety of possible implications. Benjy may represent the impotence of Christ in the modern world and the need for a new Christ figure to emerge. Though the Easter weekend is associated with death, it also brings the hope of renewal and resurrection. Though the Compson family has fallen, Dilsey represents a source of hope. Dilsey is herself somewhat of a Christ figure. A literal parallel to the suffering servant of the Bible, Dilsey has endured Christlike hardship throughout her long life of service to the disintegrating Compson family. She has constantly tolerated Mrs. Compsons self-pity, Jasons cruelty, and Benjys frustrating incapacity. While the Compsons crumble around her, Dilsey emerges as the only character who has successfully resurrected the values that the Compsons have long abandonedhard work, endurance, love of family, and religious faith.

ROLE OF ETHNIC IDENTITY ("RACE") - PART 4

Setting a black family and a white family together in the post-Reconstruction South, Faulkner makes racial relations an inevitable center of the novel. The fourth section focuses on Dilsey, the Compson familys black servant. Her role is to oversee their family and be the ultimately be the caretaker of the Compson children. The final section of the novel is the first time Faulkner utilizes a black character as the main focus.

However, Faulkner refuses to allow Dilsey to voice her own thoughts and beliefs. Faulkner gives the fourth section to Dilsey in an attempt to make an argument for racial equality and in doing so, for the first time, allows the other characters fail to recognize.

The way Faulkner illustrates the black characters is derogatory and the black dialect he uses is an exaggerated form, making them seem ignorant. He emphasizes black characters as a lower social class compared to their white counterparts. It is apparent in the fictional county of Yoknapatawpha that blacks are treated as sub-human by whites. The word nigger is used repetitively throughout the entire novel, and is used in a way that belittles African Americans. Faulkner uses Dilsey as a key component to merge the division of the two races. Dilsey is the center of sanity and moral constancy. She continues to prove to be more of a mother than the Compson childrens mother. She is used and viewed as a savior and a slave. She is savior because despite all the pain the Compsons put her through and responsibility they give to her she still goes to church with the thought that the family can one day be saved. She also intervenes on behalf of Caddy and Quentin, Caddys daughter, with the intention of protecting them. She is basically treat ed as a slave at the Compsons. Although she does more work than the Mrs. Compson by taking care and raising Benjy, as well as, the other Compson children, she is the least appreciated of the characters. Dilseys work goes unnoticed, but she is by far the most patient character Faulkner created in the novel.

Her opinions are deemed as useless and ignored. Her labor is taken for granted at best, and denigrated at worst. We can see this lack of appreciation and disrespect by the way Jason treats her and speaks about her. In Jasons section of the book Jason is rough handling his niece Quentin. Dilsey attempts to intervene between the two. She held to my arm. Then the belt came out and I jerked loose and flung her away. She stumbled into the table. She was so old she couldnt do any more than move hardly. But thats all right: we need somebody in the kitchen to eat up the grub the young ones cant tote off. She came hobbling between us, trying to hold me again. Hit me, den, she says, ef nothing else but hittin somebody wont do you. Hit me, she says You think I wont? I says All right, I says. Well just put this off a while. But dont think you can run it over me. Im not an old woman, nor an old half dead nigger, either. You damn Little slut, I says (116-7).

She is reduced to in the words of Quentin and Jason as a damned old nigger. Regardless of how much Dilsey has done for the Compson children, when it comes down to how they truly see her it is obvious racial boundaries supersede over the friendships and relationships. Dilsey goes from a maternal figure to a less than human figure that is only good for work. However, Faulkner still presents her as a woman with strength, and although she always puts the Compton family first in her life she has still a strong attachment to her African American heritage. This key component is apparent in the Easter Sunday service.

Mr. and Mrs. Compsons treatment of blacks is generally repeated through the actions of their children. e.g. Quentin explains his perception of blacks in general when he says on page 55 that, a nigger is not a person so much as a form of behavior; a sort of obverse reflection of the white people he lives among. Quentin cannot see how blinded he is toward the issues of race.

The first way Faulkner demonstrates the racial boundaries is through distinctive vocabulary that is stereotypical Black English. The dialogue Faulkner provides for Dilsey when speaking to other blacks is a prime example. In section four, on page 181 of the text, the reader experiences Dilsey and Frony discussing Reverend Shegogs Easter sermon. Revun Shegog gwine preach today, Frony said Is? Dilsey said. Who him? He fum Saint Looey, Frony said. Dat big preacher. Huh, Dilsey said. Whut dey needs is a man kin put de fear of God into dese here triflin young niggers. The conversation between Dilsey and her daughter is difficult to comprehend due to the improper English spoken by the characters.

Faulkner uses this type of speech to emphasize the idea that blacks are seen as inferior to whites, and also less intelligent.

Another instance where this occurs is the dialect of Reverend Shegog during his sermon. Shegog begins by speaking to the congregation similar to how a white man would speak,

His voice was level and cold. It sounded too big to come from him. They listen ed at first through curiosity, as they would have to a monkey talkingThey even forgot his insignificant appearance in the virtuosity in which he ran and poised and swooped upon the gold inflectionless wire of his voice (183). The congregation was illustrated to seem as though they were incompetent to understand the level of vocabulary he uses. It is not until later when Shegog reverts to an exaggerated form of Black English that the congregation responds to his message. The people begin to shout out praises to the Lord saying, Mmmmmmmmmmmmm. Jesus! I sees, O Jesus! (184). Faulkner distinguishes the two races is the description of what the black characters in the novel look like. Not a single black character in the novel is depicted as being a beautiful person. Dilsey is actually described as being very unattractive. Faulkner gives the reader a description of her as a woman with a sunken face. Also, She had been big woman once but now her skeleton rose, draped loosely in unpadded skin that tightened again upon a paunch almost dropsical, as though muscle and tissue had been courage or fortitude which the days or years had consumed until only the indomitable skeleton was left and above that the collapsed face that gave the impression of the bones themselves being outside the flesh (165).

FRAGMENT FILMU - PRZEDSTAWIENIE DILSEY!!!!!!!!!!!!!! http://www.youtube.com/watch?v=UFL7F1KT0AE

The second character Faulkner describes the external appearance of in extremely racist terms is that of Reverend Shegog. Faulkner describes him on page 182 as having a wizened black face like a small, aged monkey. All the characters in the book are not dressed very well the Reverend was dressed in a shabby alpaca coat (182). Dilseys dress and cape was described as mangy (165). All of these visualizations of the bodies they belong to emphasize Faulkners view that blacks are lower class.

Faulkner is very effective in enabling the reader to experience the feelings blacks were having during this time through Dilsey. He silenced her voice in the fourth section similar to how blacks were silenced as a whole during this time period. Faulkner also gave white

readers insight to see how the behavior of whites during that time affected blacks. Often whites are blinded to people other than themselves because they are used to being the superior and sometimes disregard feelings of others. Damuddy's death- 1898 Benjy's name change- 1900 Christmas / Benjy and Caddy bring letter to Mrs. Patterson- sometime between 1900 and 1904 Caddy reaches puberty- 1905-1909 Caddy use perfume- about 1905 Benjy must sleep alone- 1908 Quentin kisses Natalie- unknown, probably around 1906 or 1907 Caddy kisses a boy (the swing)- sometime between 1906 and 1909 Caddy has sex with Dalton Ames, Quentin fights with Dalton Ames- late summer 1909 Caddy's wedding- April 24, 1910 Wedding announcement Quentin meets Herbert- April 22 Wedding eve- April 23 Benjy's castration- May or June 1910 Quentin's suicide- June 2, 1910 Breakup of Caddy's marriage / Mr. Compson brings baby Quentin back to Jefferson- 1911 Mr. Compson death- 1912 Roskus's death- unknown, but after 1912 The present- 1928 Benjy's 33rd birthday / the show / the girl Quentin runs away- April 7 Easter Sunday / theft discovered / Luster drives around monument- April 8 Death of Mrs. Compson / Jason fires Dilsey / Benjy institutionalized- 1933 Librarian finds photograph of Caddy- 1943