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William f sound and fury analysis
William f sound and fury analysis
Themes of the sound and the fury
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The Sound and the Fury ends with Luster and Benjy's unfortunate journey to the cemetery to visit Mr. Compson and Quentin's tombs, a trip that Benjy makes every Sunday. The chaos that ensues in this scene proves to be an interesting analysis for the conclusion of the novel. It demonstrates to the reader that the Compson family is truly unable to escape its patterns of thought and behavior. This important theme of the novel is shown throughout the novel, through Quentin’s obsession with time and the guilt he feels over Caddy’s situation, Mr. Compson’s nihilistic attitude that leads to his alcoholism and eventual death, and Mrs. Compson’s constant referral to herself as a victim, but this final scene of the book fully brings it to an interesting …show more content…
As the carriage approaches the Confederate soldier monument on the courthouse square, Luster attempts to show off in front of a “group of negroes,” and decides to change the route that Benjy is accustomed to, which proves to be utterly disastrous (Faulkner 319). Luster only alters the route slightly, and instead of turning right at the Confederate soldier monument, he turns left. However this small variation from routine causes Benjy’s world to plunge into complete chaos. He begins to bellow in a voice that has “more than astonishment in it, it was horror; shock; agony eyeless, tongueless; just sound” (320). Benjy is rendered utterly incapable of any type of existence when something in his world is altered; even something as insignificant as the way he is driven to the cemetery. However, this incident demonstrates that while obsessions with pattern have negatively impacted the family, Benjy needs a sense of pattern and order to function, albeit on a lower level, in his everyday life. At least for this one member of the Compson family, everything remaining the same is the way to ensure that he is functioning to the highest ability possible for his particular mental capacity and societal
It is 1865, and the war between the states has just ended. Booth’s rage is peaking as he recalls Union General Ulysses Grant’s participation in the fall of the Confederacy….
What The South Intends. THE CHRISTIAN RECORDERS August 12, 1865, Print. James, Edward, Janet James, and Paul Boyer.
The American Civil war is considered to be one of the most defining moments in American history. It is the war that shaped the social, political and economic structure with a broader prospect of unifying the states and hence leading to this ideal nation of unified states as it is today. In the book “Confederates in the Attic”, the author Tony Horwitz gives an account of his year long exploration through the places where the U.S. Civil War was fought. He took his childhood interest in the Civil War to a new level by traveling around the South in search of Civil War relics, battle fields, and most importantly stories. The title “Confederates in the Attic”: Dispatches from the Unfinished Civil War carries two meanings in Tony Horwitz’s thoughtful and entertaining exploration of the role of the American Civil War in the modern world of the South. The first meaning alludes to Horwitz’s personal interest in the war. As the grandson of a Russian Jew, Horwitz was raised in the North but early in his childhood developed a fascination with the South’s myth and history. He tells readers that as a child he wrote about the war and even constructed a mural of significant battles in the attic of his own home. The second meaning refers to regional memory, the importance or lack thereof yet attached to this momentous national event. As Horwitz visits the sites throughout the South, he encounters unreconstructed rebels who still hold to outdated beliefs. He also meets groups of “re-enactors,” devotees who attempt to relive the experience of the soldier’s life and death. One of his most disheartening and yet unsurprising realizations is that attitudes towards the war divide along racial lines. Too many whites wrap the memory in nostalgia, refusing...
...Stuart." The Journal of Southern History 69, no. 1 (2003): 188-189. http://www.jstor.org/stable/30039884 (accessed November 14, 2013).
As I gazed across the book isles and leaned over carefully to pick one up out of the old dusty vaults of the library, a familiar object caught my eye in the poetry section. A picture in time stood still on this book, of two African American men both holding guitars. I immediately was attracted to this book of poems. For the Confederate Dead, by Kevin Young, is what it read on the front in cursive lettering. I turned to the back of the book and “Jazz“, and “blues” popped out of the paper back book and into my brain. Sometimes you can judge a book by it’s cover, I thought. Kevin Young’s For the Confederate Dead is a book of poems influenced by blues and jazz in the deep rural parts of the south.
There are many different ways in which the war was represented to the public, including drawings, newspaper articles, and detailed stereographs. Stereographs such as John Reekie’s “The Burial Party” invoked mixed feelings from all of those who viewed it. It confronts the deaths caused by the Civil War as well as touches upon the controversial issue over what would happen to the slaves once they had been emancipated. This picture represents the Civil War as a trade-off of lives- fallen soldiers gave their lives so that enslaved black men and women could be given back their own, even if that life wasn’t that different from slavery. In his carefully constructed stereograph “The Burial Party,” John Reekie confronts the uncertainty behind the newly
In her Fire in a Canebrake, Laura Wexler describes an important event in mid-twentieth century American race relations, long ago relegated to the closet of American consciousness. In so doing, Wexler not only skillfully describes the event—the Moore’s Ford lynching of 1946—but incorporates it into our understanding of the present world and past by retaining the complexities of doubt and deception that surrounded the event when it occurred, and which still confound it in historical records. By skillfully navigating these currents of deceit, too, Wexler is not only able to portray them to the reader in full form, but also historicize this muddled record in the context of certain larger historical truths. In this fashion, and by refusing to cede to a desire for closure by drawing easy but inherently flawed conclusions regarding the individuals directly responsible for the 1946 lynching, Wexler demonstrates that she is more interested in a larger historical picture than the single event to which she dedicates her text. And, in so doing, she rebukes the doubts of those who question the importance of “bringing up” the lynching, lending powerful motivation and purpose to her writing that sustains her narrative, and the audience’s attention to it.
Imagine a historian, author of an award-winning dissertation and several books. He is an experienced lecturer and respected scholar; he is at the forefront of his field. His research methodology sets the bar for other academicians. He is so highly esteemed, in fact, that an article he has prepared is to be presented to and discussed by the United States’ oldest and largest society of professional historians. These are precisely the circumstances in which Ulrich B. Phillips wrote his 1928 essay, “The Central Theme of Southern History.” In this treatise he set forth a thesis which on its face is not revolutionary: that the cause behind which the South stood unified was not slavery, as such, but white supremacy. Over the course of fourteen elegantly written pages, Phillips advances his thesis with evidence from a variety of primary sources gleaned from his years of research. All of his reasoning and experience add weight to his distillation of Southern history into this one fairly simple idea, an idea so deceptively simple that it invites further study.
A veteran’s letter proved the surprising fact that the “Lost Cause” did not honor all ex-Confederates equally, and the differing treatment of veterans based on social status and titles proved that a major limit of the “Lost Cause” was that even the movement, which sought to glorify the South, was biased in favor of the upper class. This fact leads one to the conclusion that the “Lost Cause” was probably led by the upper class and was intended to restore the family honor of relatives of prominent officers. Andrews’ textbook proved that white supremacy was an important element of the “Lost Cause’s” ideology. The fact that the UDC approved the textbook also demonstrated how influential the UDC was on education, and the fact that this textbook was written from the perspective of a white man also proved that the “Lost Cause” wanted to teach children racist ideas in order to continue the belief in white supremacy. This makes one question whether or not the “Lost Cause” was worried that abolition and Reconstruction would teach children that white supremacy was wrong, and thereby end the “Southern way of life”. Taylor’s writing proved that racial violence was an important issue in the South that white Southerners were not concerned with
War and Grief in Faulkner’s Shall Not Perish and The Unvanquished. It is inevitable when dealing regularly with a subject as brutal as war, that death will occur. Death brings grief for the victim’s loved ones, which William Faulkner depicts accurately and fairly in many of his works, including the short story “Shall Not Perish” and The Unvanquished.
Preisser, Thomas M. “The Virginia Decision to Use Negro Soldiers in the Civil War, 1864-1865.” The Virginia Magazine of History and Biography 83, no. 1 (January 1975): 98-113. Accessed April 14, 2014. http://jstor.org/stable/4247927.
A key theme in William Faulkner’s novel The Sound and the Fury is the deterioration of the Compson family. May Brown focuses on this theme and explains that Quentin is the best character to relate the story of a family torn apart by” helplessness, perversion, and selfishness.” In his section, there is a paradoxical mixture of order and chaos which portrays the crumbling world that is the core of this novel.
At a meeting of the American Colored League, where turn-of-the-century Boston’s black citizenry, along with delegates from all over the country, have gathered to confront a wave of Southern lynchings, Luke Sawyer rises to deliver an impromptu speech detailing the brutalities of southern racism. Scheduled speakers at the meeting are the transparent representatives of these leaders: Du Bois in the figure of the radical philosopher Will Smith and Washington in the person of Dr. Arthur Lewis, the “head of a large educational institution in the South devoted to the welfare of the Negros” and a man who advocates peaceful accommodation with southern whites (242). Luke Sawyer takes the podium and begins to preach by criticizing the previous speakers (the corrupt Mr. Clapp and his lackey, John Langley) for their “conservatism, lack of brotherly affiliation, lack of energy for the right and the power of the almighty dollar which deadens men’s hearts to the sufferings for his brothers” (256). Rather than engaging in the rational debate form (as represented by Clapp and Langley), Sawyer passionately narrates a personal story of his own family’s suffering, a history in which his father is punished by a lynching mob for operating a successful black business in
William Faulkner was a well-esteemed author of the 20th century who used many literary techniques to display messages in his writings. In his short story, A Rose for Emily, he used literary tools such as point of view, physical plot structure, and symbolism to develop his theme that the past is always wound into the present.
Michelle Ann Abate’s article, “Reading Red: The Man with the (Gay) Red Tie in Faulkner’s The Sound and The Fury,” published in the Mississippi Quarterly, in 2001, offers a new interpretation on William Faulkner’s novel, The Sound and the Fury: the man with the red is actually homosexual. According to Abate, many readers are reading the ending of the novel wrong because they do not know that the red tie symbolizes homosexuality. The red tie symbol offers a new interpretation on the ending of the novel because it shows that Miss Quentin is free from her family and free to live a new life.