The subject-matter [of Faulkners The Sound and the Fury] is the death of a family and the corresponding decay of a society. More narrowly, the apologue is about the various Compsons--p atomic number 18nts and children, brothers and sisters--and how they are qualified or not fitted to heat each other, and how the failure of honor destroys them all. The central focus is the beautiful and doomed Candace Compson. We n of all time exit her all-embracing-face or hear her speak in her own persona. She lives for us only in the tortured and passing subjective remembrance of her triple brothers: Benjy, the congenital idiot; Quentin, the honorable abstractionist and suicide; Jason, the sociopath who lives only for money (who to me stand for pure shabbiness. Hes the well-nigh vicious character in my opinion I ever thought of.) These recollections form the first three sections of the novel. They are followed by Section Four, describing the events of Easter Sunday, 1928. This par t belongs mainly to Dilsey, alone is told from an outside, third-person blockage of view, magnificently distanced and controlled. . . . If the dominant theme of the novel is erotic love--love between members of the family, and how they are able or not able to give that love freely--then the accidents of time and place [of the setting] fade in importance. The vile that the Compson children dumbfound is conventional enough.
Much of it is not evil at all, but simply the heartbreak of loss of sinlessness and the inevitable corruption that comes with growing up. There are evil characters in the book--Jason, certa inly. just now there are others who are sol! ely weak, irresponsible, and self-serving, like the whining hypochondriac Caroline Compson and her brother Maury. Most of these people, whatsoever their pretentions, are examples of love defective or love perverted. provided three persons in the... If you emergency to get a full essay, order it on our website: OrderCustomPaper.com
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