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 commensurate or not fitted to do each other, and how the failure of hunch forward destroys them all. The central focus is the beautiful and doomed Candace Compson. We n eer leave her all-embracing-face or hear her speak in her own persona. She lives for us only in the tortured and passing subjective medical record 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 some 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 part belongs mainly to Dilsey, but is told from an outside, third-person nous of view, magnificently distanced and controlled. . . . If the dominant theme of the novel is complete--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 convey is conventional enough.
Much of it is not evil at all, but simply the heartbreak of loss of sinlessness and the inevitable corruptness that comes with growing up. There are evil characters in the book--Jason, certainly. and t here are others who are solely weak, irrespo! nsible, and self-serving, like the whining hypochondriacal 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 want to get a full essay, order it on our website: OrderCustomPaper.com
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