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William Faulkner'S "Absalom, Absalom!": An Exercise In Affirmation

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William Faulkner'S "Absalom, Absalom!": An Exercise In Affirmation

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Content W ILLIA M F A U L K N E R 'S ABSALOM , A B SA LO M !:
AN E X E R C IS E IN A F F IR M A T IO N
by
D onald J a m e s F o r a n , S .J.
A D is s e r ta tio n P r e s e n te d to the
FA C U L T Y O F T H E GRADUATE SCHOOL
UNIVERSITY OF SO U TH ERN CA LIFO R N IA
In P a r t i a l F u lfillm e n t of the
R e q u ire m e n ts fo r the D e g re e
DOCTOR OF PH IL O SO PH Y
(E nglish)
June 1973
INFORMATION TO USERS
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University Microfilms
300 N orth Z e e b R oad
Ann A rbor, M ichigan 48106
A X erox E d u catio n C om pany
73-31,641
FORAN, S.J., Donald James, 1943-
WILLIAM FAULKNER'S ABSALOM, ABSALCM! :
AN EXERCISE IN AFFIRMATION.
University of Southern California,
P h .D ., 1973
Language and Literature, modem
University Microfilms, A X E R O X Company, Ann Arbor, Michigan
C o p y r ig h t © b y
DONALD JAM ES FORAN, S.J.
1973
I
THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED.
UNIVERSITY O F SOUTHERN CALIFORNIA
THE GRADUATE SCHOOL
UNIVERSITY PARK
LOS ANGELES. CALIFORNIA 9 0 0 0 7
This dissertation, written by
.....................
under the direction of his..... Dissertation Com
mittee, and approved by all its members, has
been presented to and accepted by The Graduate
School, in partial fulfillment of requirements of
the degree of
D O C TO R OF P H IL O S O P H Y
\J Dean
Date J.ungj..l.9.7.3.............
DISSERTATION COMMITTEE
Chairman
7 / Q . j i - i i d .......
T A B L E OF CO NTEN TS
IN T R O D U C T IO N ..................................................................................................... 1
C h a p te r P ag e
I. THE S U T P E N STORY: SUCCESS IN THE
A B S T R A C T ........................................................................................... 24
H. NARRATIVE RATIOCINATION IN P E R S P E C T IV E . . . 66
III. OF C A T T L E , C H A T T E L , AND P A L L E T S : THE
N O V ELIST IN C O N TR O L ......................................................... 90
IV. BALLOONDOM AND W EIGHTLESSNESS: THE
COMMON D E N O M IN A T O R ......................................................... 113
V. TOUCH: CU TTIN G ACROSS THE IN T R IC A T E
CHANNELS OF O R D E R IN G ...................................................... 129
VI. E L A P S E D AND Y E T -E L A P S IN G TIM E: THE
P E N U L T IM A T E U N D E R C U T ................................................... 141
VII. CRITIQUES O F CHANCERY: LEG A LISM
VERSUS L I V I N G ............................................................................. 160
VIII. TR U TH IS ONE: ABSALOM , ABSALOM! AND
GO DOWN, M O S E S .......................................................................... 170
IX. TOWARD A C O M PREH EN SIV E IN T E R P R E T A T IO N
OF ABSALOM , A B S A L O M !...................................................... 179
B IB L IO G R A P H Y ..................................................................................................... 204
ii
INTRODUCTION
W hen W illiam F a u lk n e r a c c e p te d the N obel P r i z e fo r L ite r a tu r e
in S tockholm o v e r two d e ca d e s ago, he s ta r tle d m an y of his r e a d e r s by
s tr e s s in g m a n 's ab ility to p re v a il, h is c a p a c ity fo r an im m o r ta lity
founded on h is " s p i r it cap a b le of c o m p a s s io n and s a c r if ic e and e n d u r
an ce."* Was n ot F a u lk n e r, so m e r e a d e r s w o n d e red , the w r ite r w hose
novels w e re fille d w ith b ru ta l and d e s p e r a te m e n who ra v a g e d the land
and d e stro y e d one a n o th e r ? W as F a u lk n e r now sig n alin g a new e m p h a
s is fo r fu tu re n o v els o r tru th fu lly re c a p itu la tin g the abiding c o n c e rn of
all h is fic tio n ? T he key w o rd in his a d d re s s w a s, I b e lie v e , " c a p a b le .1
J u s t as Jo n ath a n Swift h ad d istin g u ish e d b e te e n the c l a s s ic a l d efinition
of m a n as a n im a l ra tio n a le (a c o n ce p t w hich, if c a r r i e d to its lo g ic a l
c o n clu sio n m ig h t m ak e of the h u m a n sp e c ie s so m eth in g r e s e m b lin g a
houyhnhnm ) and the e x is te n tia l re a lity of m a n as a n im a l cap ax r a t i o n i s ,
so too h a s F a u lk n e r a ffirm e d not m a n 's c o m p a s s io n a te , s a c r if ic ia l,
and e n d u rin g n a tu r e , but h is c a p a c ity fo r th o se v irtu e s . The g re a t
tr u th w hich has in fo rm e d all of h is n o v els is th a t m e n do n o t alw ays
a c tu a liz e th e ir h u m an p o te n tia l, but th at life is em in en tly w o rth living
w hen th ey do.
1
z
A b sa lo m , A b sa lo m ! h as b een p r a is e d as "the g r e a te s t" of his
2 ,3
n o v e ls, and h is " g r e a te s t r is k ." It is a dem an d in g and d is tu rb in g
w o rk , F a u lk n e r 's m o s t c o m p re h e n s iv e te s ta m e n t to the p o te n tia l of the
h u m an s p ir it, and h is m o s t p o w erfu l a ffirm a tio n of life and love. The
book a ffirm s th e tru th th a t m e n n e ed n ot be in c a p a c ita te d by f e a r s and
h a tre d and ev en d e s tru c tiv e in n o cen ce. F a u lk n e r s u g g e s ts , p a r tic u
la r ly th ro u g h the im a g e ry he e m p lo y s, th at h u m an ity n eed n ot be "v an -
4
ish ed fro m the a n im a l c a lle d m a n ," th a t m a n is f r e e to b re a k th ro u g h
the s tr u c tu r e s w hich in h ib it h im f r o m loving o th e rs .
F a u lk n e r has o ften spoken of the f e a r w hich c rip p le s in d iv id u
als and d e s tr o y s co m m u n ity :
W hat th re a te n s us today is f e a r. Not the a to m bom b, n o r ev en
f e a r of it, b e c a u se if the bom b fe ll on O xford tonight, all it could
do would be to k ill u s, w hich is nothing, sin c e in doing th a t, it
w ill have ro b b e d its e lf of its only p o w er o v e r us: w hich is f e a r
of it, the being a fra id of it. O ur d a n g er is n ot th a t. O ur d a n g e r
is th e fo r c e s in the w o rld today w hich a r e try in g to use m a n 's
f e a r to ro b h im of h is in d iv id u a lity , h is so u l, try in g to re d u c e h im
to an unthinking m a s s by f e a r . . . . ®
In A b sa lo m , A b s a lo m ! , f e a r is v e ry o p e ra tiv e . Iro n ic a lly , the
f e a r of d e h u m an iza tio n is the v e ry c a ta ly s t to im p le m e n ta tio n of d e
h u m an izin g d e sig n s. It is f e a r w hich m a k es m e n deny to ta l fre e d o m to
p e rs o n s d iffe re n t fr o m th e m s e lv e s , ev en as they have had to ta l f r e e
dom denied to th e m by o th e r s . T h o m as S u tp en 's in a b ility to tra n s c e n d
the b a r r i e r of r a c e , a m ic r o c o s m of the h u m a n pen ch an t fo r denying
b a sic rig h ts to p e rs o n s of m in o rity s ta tu s , c o lo r, o r c r e e d , is
3
d ire c tly tie d to his f e a r of lo sin g w hat he s tru g g le d to g a i n - - r e s p e c t a
b ility in t e r m s of the e s ta b lis h m e n ta r ia n n o rm . R a c ia l and s o c ie ta l
d istin c tio n s p ro te c t h im a g a in s t the d isso lu tio n of a r tif ic ia l s y s te m s ,
s y ste m s doom ed to fa ilu re b e c a u se they a r e not b a se d upon the old
v e ritie s of h u m an s o lid a rity :
N or is the tra g e d y of the f e a r so m u c h as th e taw d ry q u ality of the
f e a r - - f e a r n o t of the N eg ro as an in dividual N egro n o r ev en as a
r a c e , but as an eco n o m ic c la s s o r s tr a tu m o r fa c to r, sin ce w hat
the N eg ro th re a te n s is n ot the S o u th ern w hite m a n 's s o c ia l s y s
te m but the S o u th ern w hite m a n 's eco n o m ic s y s te m - - th a t eco n o m ic
s y s te m w hich the w hite m a n knows and d a r e s not a d m it to h im s e lf
is e s ta b lis h e d on an o b s o le s c e n c e - - th e a r tif ic ia l in eq u ality of m a n --
and so is its e lf a lre a d y o b so lete and h en ce d oom ed,^
F a u lk n e r 's view , in h is fic tio n and h is n o n -fic tio n , is n o t n e g a
tiv e. He in s is ts th a t m a n n e ed s to rid h im s e lf of f e a r , and of the
te m p ta tio n to re p u d ia te h u m an life by p e rp e tu a tin g a r tif ic ia l in e q u a li
tie s . The a lte rn a tiv e to f e a r is fre e d o m , and F a u lk n e r 's view of f r e e
dom is c o n sid e ra b ly m o re p o sitiv e than c r itic s of h is n o v els have
h e re to fo re acknow ledged:
But we cannot ch o o se fre e d o m e sta b lis h e d on a h ie r a r c h y of d e
g re e s of fre e d o m , on a c a s te s y s te m of eq u ality like a m ilita r y
ra n k . We m u s t be f r e e not b e c a u se we c la im fr e e d o m , but b e
c a u se we p r a c tic e it; o u r f r e e d o m m u s t be b u ttr e s s e d by a h o
m o geny eq u ally and u n ch allen g eab ly f r e e , no m a tte r w hat c o lo r
they a re . . . . ^
The r e a d e r of A b sa lo m , A bsalom ! is fo rc e d to g ra p p le w ith
fe a r and f r e e w ill, a r tif ic ia l s y s te m s and the p o s sib ility of b r o t h e r
hood. E c o n o m ic , m ilita r y , le g a l, and s o c ia l a n alo g ies w hich c u m u
lativ ely e lu c id a te the tr u th about m a n , th a t m a n is c a p a b le of
4
c o m p a ssio n , and s a c r if ic e , and e n d u ra n c e , abound in the novel. They
c h allen g e the r e a d e r to g ra p p le w ith the u n iv e rs a lity of the n o v e l's
u ltim a te m ean in g . F o r a ll th e ir p o te n tia l fo r d e s tr u c tiv e n e s s , p e r
sons in te ra c tin g w ith th e ir h u m an b r o th e r s and s i s t e r s a r e c ap ab le of
su p p lan tin g f e a r w ith lo v e, c ap ab le of a ffirm in g a n o th e r 's n a tu r a l
h u m an rig h t to p ra c tic e in d iv id u al f r e e d o m , and th u s m a in ta in the
h u m an ity of the a n im a l c a lle d m an.
Any c o m p re h e n s iv e tr e a tm e n t of the novel m u s t depend upon an
a n a ly s is of th r e e d is tin c t le v els of m ean in g : the Sutpen ta le , the t e l l
ing of th at ta le and its effect upon its n a r r a t o r s , and the a e s th e tic
o rg a n iz a tio n of the ta le and the te llin g by F a u lk n e r, w hose point of
view is n e v e r d ire c tly sta te d in A b sa lo m , A bsalom .1, but w hich can be
d is c e rn e d w hen the n o v e l's s tr u c tu r e and im a g e ry have b e en s c r u t i
n ized . B e c a u se F a u lk n e r is not to be id en tified w ith any of h is c h a r a c
t e r s in th is n o v el, as he p e rh a p s c a n be w ith C a ss M c C a slin in Go
Down, M o se s, the r e a d e r of A b sa lo m , A bsalom ! m u s t w o rk to w a rd
a ss im ila tio n .
It is m y co n ten tio n th a t the n o v el is n o t so m u c h an a tte m p t to
d e s c rib e the d ifficu lties involved in try in g to know h is to r y , o r an in
d ic tm e n t of th e a n te -b e llu m o r p o s t-b e llu m South, as it is a loving
e x p lo ra tio n by F a u lk n e r of d istin c tly h u m a n c a p a b ilitie s fo r a f f ir m a
tio n , ev en in th e fa c e of indiv id u al h o r r o r s w hich te m p t e v e ry m a n to
re p u d ia te h is fe llo w s.
5
The tr u th about the h u m an co n d itio n and a c c e p ta n c e o r re p u d i
ation of th a t tru th b e c o m e s the e x c ru c ia tin g o b je c t of Q uentin C o m p -
s o n 's n a r r a tio n , the point of view w hich su b su m e s all o th e r points of
view in the n o v el. The p a st is so c o m p le tely in c o rp o ra te d into Q u en
tin 's p r e s e n t th at he is fo rc e d to re sp o n d to it. He m u s t, like F a u lk
n e r h im s e lf, o r any p e rs o n try in g to te ll the tr u th , e ith e r re p u d ia te
h is p a s t, o r m ak e the p a st the m a t e r i a l o u t of w hich he c r e a te s a b e t
t e r fu tu re . T he te m p ta tio n is to be so a b s tr a c t about o n e 's p a s t th a t it
no lo n g e r to u ch es the a b s tr a c to r ; the b eau ty and h o r r o r of p a s t r e a l i
tie s tak e on a m e r e ly sy m b o lic a s p e c t. P a s t a ffirm a tio n s and re p u d i
atio n s c e a s e to have m o r a l im p a c t. A b o ld e r re s p o n s e to th e p a s t is
to m a k e re c o lle c te d d efeats the stu ff of fu tu re v ic to rie s by finding in
th e m a co m m o n h u m an th re a d co n n ectin g fig u re s f r o m the p a s t w ith
o u r s e lv e s and w ith th o se y e t u n b o rn ,
Q u e n tin 's ro le in A b sa lo m , A b salo m ! is c r u c ia l. He is a m a n
at th e c r o s s r o a d s , fa c ed w ith the ch o ice of a ffirm a tio n o r denial.
P a r ti c u la r ly s e n s itiv e to his h is to r ic a l h e r ita g e , Q uentin view s his
p r e s e n t situ a tio n as an e x ten sio n of a S o u th ern p a s t w hich s e e m s to
h ave b ro u g h t out the w o rs t in Sutpens and C o m p so n s alik e . Q uentin is
an A m e ric a n a w a re of th e in n o cen ce and d e s tr u c tiv e n e s s a t the c e n te r
of an a r tif ic ia l and id e a lis tic d e sig n . Q uentin cannot cope w ith h is own
in n o c en c e , and, as r e a d e r s of The Sound and th e F u r y know, is u lti
m a te ly d e s tro y e d by it. R ep u d iatio n is c le a r ly n o t w hat is n eed ed if
---------------------------------------------------------------------------------------------------------------- 5“
one is to s u rv iv e the s tru g g le to love people and a land flaw ed y e t d i s
tu rb in g ly b eau tifu l. F e a r is not conducive to fre e d o m .
F a u lk n e r c ir c le s a ro u n d h is m a jo r th e m e s , c re a tin g m i c r o
c o sm a f te r m ic r o c o s m fo r the d e s tru c tio n w hich is b o rn of re p u d iatio n .
F a u lk n e r, like C o n rad b e fo re h im , w ants h is r e a d e r s to s e e , even
when im m e r s e d in the d e s tr u c tiv e e le m e n t. Any p a r tic le of the tru th ,
th en , is in s tru c tiv e . F o r in s ta n c e , it is W ash J o n e s , a p o o r-w h ite ,
an u tte r b e lie v e r in T hom as Sutpen (ju st as T h o m as Sutpen was an
u tte r b e lie v e r in a s tr a tif ie d so cie ty ) who points up the m a jo r ten sio n
in the novel, the te n sio n w hich Q uentin h im s e lf fe e ls but c an n o t cope
w ith, th a t h u m an g r e a tn e s s is often wed to b r u ta lis m . W ash, h is
d a u g h ter M illic e n t lying on a p a lle t a f te r having th a t v e ry m o rn in g
given b ir th to a fe m a le Sutpen, m u s e s on th e e v e n ts of the p a s t h o u r
and upon his e n tire life. He p e r c e iv e s fo r the f i r s t tim e th at he and
h is d a u g h ter have b een u se d by T h o m as S utpen, th a t the m a n he m o s t
a d m ire d c a r e s about h im and M illy only in s o fa r as they a r e adjunctive
to h is p e rs o n a l d esign.
W ash knew th at "m en of S u tp e n 's own k in d ," so m e of th e m p o s
s e s s in g signed p a p e r s f r o m th e g e n e r a ls of the C o n fe d erac y "say in g
they w e re am ong the f i r s t and f o r e m o s t of the b r a v e ," would co m e to
take h im aw ay b e c a u se he m u r d e r e d Sutpen, the m a n he had alw ays
loved. H e, W ash, w ould be ex p ec te d to ru n aw ay fr o m m e n who w e re ,
c o lle c tiv e ly , a "sy m b o l . . . of a d m ira tio n and h o p e ," but " i n s t r u
m e n ts of d e s p a ir and g r ie f ." In o th e r w o rd s, W ash p e rc e iv e d the d if
fe re n c e b etw een a b s tr a c tio n and p a rtic u la riz a tio n . T aken as a g ro u p ,
the Sutpens of th is w o rld w e re the p rid e and hope of the South, the
u p p e r c a s te of a s tr a tif ie d so ciety ; ta k e n in d iv id u ally , e a c h w as c a
pable of g r e a t d e s tr u c tiv e n e s s . W ash e le c ts to a tta c k h is p u r s u e r s ,
re a liz in g th a t he w ill be d e stro y e d in the p r o c e s s . His epiphany is
c o m p le te w hen he r e a liz e s th a t "if he r a n he w ould be fle e in g m e r e ly
one s e t of b ra g g in g and ev il shadow s fo r a n o th e r, sin ce they [m en]
w e re all of a kind th ro u g h o u t a ll of the e a r th w hich he knew " (p, 289).
W ash su c c e e d s in g ra s p in g th e tr u th of h is own situ a tio n , b u t fa ils to
u n d e rs ta n d th a t m e n a r e c ap ab le of bestow ing g rie f and cap a b le of
c o m p a s s io n . The a c tu a liz in g of the la tte r p o ssib ility is , in A b s a lo m ,
A b sa lo m !, a fu n ctio n of an in d iv id u a l's o p en n ess to tru e h u m an r e l a
tio n sh ip , the sy m b o l fo r w hich is the ab ility to to u ch o r be to u ch ed by
an o th er.
Sutpen h im s e lf h ad , at age fo u rte e n , u n d erg o n e a tr a u m a tic a lly
d isillu sio n in g m o m e n t w hen he w as tu rn e d aw ay fr o m the d o o r of the
P e ttib o n e m a n sio n , b ut, b e c a u se he had p r i o r know ledge of a n o th e r
way of living, the m o u n ta in code of e g a lita r ia n is m , he e le c te d to fight
a g a in s t the s y s te m w hich he saw w as u n ju st. In h is in n o c en c e , h o w
e v e r , he c h o se to c o m b a t th o se who had fo r c e d h im into "a h a r s h r e
cap itu latio n of h is own w o rth " (p. 230) by se ttin g out to a c q u ir e "lan d
and n ig g e rs and a fin e h o u se to c o m b a t th e m w ith" (p. 238), H im s e lf
--------------------------------------------------------------------------------------------------------------------------------- g_
a v ic tim of a b s tr a c tio n , he v ic tim iz e s o th e r s . He had been view ed by
the r ic h la n d o w n er, Sutpen now r e a liz e d , as one of m an y " c a ttle ,
c r e a tu r e s h eav y and w ithout g ra c e , b ru te ly ev ac u a ted into a w o rld
w ithout hope o r p u rp o se fo r th e m . . (p. 235). Sutpen u ltim a te ly
r e g a r d s h is own fa m ily in ex actly the s a m e w ay. H is fa ilu re to a ffirm
hum an dignity is c le a r ly m o r e tr a g ic th a n h is fa ilu re to a c c o m p lis h h is
g ra n d d e sig n , a fa c t Sutpen h im s e lf c an n o t g ra s p . Q u en tin 's fa ilu re to
hold onto the h u m an th r e a d in the Sutpen tra g e d y is a t le a s t as d i s
a s tr o u s .
Q uentin fe e ls doom ed to lis te n a g ain to the gh o sts fr o m his
S o u th ern p a st, y e t he a ctiv ely re c a p itu la te s th a t p a s t, sy m b o liz e d fo r
h im in th e Sutpen legend. Q uentin liv es o v e r and o v e r ag ain the
m o m e n ts of tr u th w hich he h a s g e n e ra liz e d upon, and fle e s f r o m the
h o r r o r of a tra g ic p a s t living on in his own tim e . The se e d s of his
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d e s tr u c tiv e r e t r e a t to an iv o ry to w e r, "(the w o rs t p e r v e r s io n of a ll,"
a r e c le a rly d is c e rn ib le in th is novel.
F a u lk n e r 's own a r t i s t i c v ocation to tr a n s f o r m (as did his
fa v o rite h e ro , Don Q uixote) " d ir t o r filth , o r b a s e n e s s o r c o w a r d i c e " ^
into so m eth in g b e au tifu l, so m eth in g a ffirm a tiv e of the b e s t th a t is in
m a n o r in life, stan d s in h ig h c o n tr a s t to Q u en tin 's p r e m a tu r e in itia
tio n into a g h o s t-s ta te by re p u d ia tio n . F a u lk n e r 's l i t e r a r y m e th o d is
in e x tric a b ly tie d up w ith h is th r u s t to w a rd a ffirm a tio n , and the e x e c u
tio n of h is a r t in A b sa lo m , A b salo m ! is a c ritiq u e of th e life-d e n y in g
9
r e t r e a t into d e s tru c tio n by h is p ro ta g o n is ts , Sutpen and Q uentin.
A e ro l A rn o ld ’s fine a r tic le on s tr u c tu r e in fictio n p ro v id e s a
re a d e r w ith an a p p ro a c h into the c e n te r of a w o rk of a r t of the c o m
plexity of A b sa lo m , A bsalom .1. F o r A rn o ld , s tr u c tu r e "is e v ery th in g
that is done to e x p lo re the sig n ific a n ce of the raw m a t e r i a l - - t h e e x p e
rie n c e of lif e - - a n d to shape it so th at the r e a d e r 's re s p o n s e to it is
d ire c te d and, to so m e ex ten t, c o n tro lle d ." * * In o th e r w o rd s , the
a r t i s t h as u se d h is own c r itic a l facu lty to sh ap e the w o rk c r e a te d in
su ch a w ay th a t h is au d ien ce c an u n d e rs ta n d not ju s t the tale told by
the n o v e l's n a r r a t o r s , n o r ju s t th e tellin g of th at ta le in all of its
unique r e c o n s tr u c tio n , but also th e n o v e lis t's own c o m m itm e n t to his
m a te r ia l and a ttitu d e to w a rd his c h a r a c te r s .
M any c r itic s have e v a lu a te d the c h a r a c te r s in A b sa lo m , A b s a
lom! by lo catin g th e m on a co n tin u u m , dividing th e m a c c o rd in g to th e ir
d e s tr u c tiv e n e s s o r th e ir h u m an ity . To a d e g re e , th is is h elp fu l b e
c a u se the novel is so c o m p le x th a t the a v e ra g e r e a d e r w ants to have
so m e sta b le g u id e lin e s. F o rtu n a te ly o r u n fo rtu n ate ly though, F a u lk n e r
does n o t allow the r e a d e r to r e s id e in c o m fo rta b le a s s u r a n c e a b o u t any
of h is c h a r a c t e r s . E s p e c ia lly in a novel w hich o ffe rs a c ritiq u e of
c a s te and s tr a tif ic a tio n , p a r tic u la r ly r a c ia l p re ju d ic e , it is a p p r o p r i
ate th a t e v e ry c h a r a c te r in h ab it the g ra y n e s s of m o r a l o b liq u ity . E a c h
c h a r a c te r is p rofoundly h u m an , p ro n e to love and h a te , s tru g g le and
give up, v ic tim iz e and be v ic tim iz e d . F o r F a u lk n e r, "a ll h u m an
10
12
b e h a v io r is u n p re d ic ta b le ," and to a d e g re e , " ir r a tio n a l."
If the r e a d e r m u s t have so m e ra tio n a le fo r ev alu atin g c h a r a c
t e r s , he is w is e s t to atten d to F a u lk n e r 's own r e m a r k s about stay in g
in th e m a r k e tp la c e , try in g to do the b e s t one c a n r a th e r th an su c c u m b
to the w o r s t p e r v e r s io n , w ith d ra w a l f r o m the s tru g g le , r e t r e a t to the
iv o ry to w e r. F u r t h e r , c h a r a c te r s who em body the su b sta n c e of t r a
ditio n {like G ra n d fa th e r C om pson) a r e , w ith in the l a r g e r c o n tex t of
doing w hat one c a n , m o r e a d m ira b le th a n th o se who e m b r a c e m e r e ly
the f o r m s , the a c c id e n ta ls.
J u s t as in c la s s ic a l tra g e d y flaw ed h e ro e s a r e p itie d , not c o n
d em n ed , so too a r e the v ic tim iz e rs to be re g a rd e d as v ic tim s . S u t
p e n 's and Q u e n tin 's liv es a r e undeniably tr a g ic , but pity and c o m p a s
sio n o v e r the d e s tr u c tiv e n e s s b o rn of th e ir in n o cen ce c o m p r is e the
only a p p ro p ria te re s p o n s e . It is im p o rta n t th a t the r e a d e r re c o g n iz e
S u tp e n 's c o u ra g e and Q u e n tin 's s e n s itiv ity - - o ld v e r itie s w hich u n d e rlie
b lu n d e rs and s in s w hich any h u m a n being m ig h t fa ll into w hen he s u b
s titu te s an u n n a tu ra l and a b s tr a c t d e sig n fo r a c c e p ta n c e of s o lid a rity
w ith o th e r unique hu m an b e in g s.
T he f i r s t five c h a p te rs of th is study d e a l s p e c ific a lly w ith the
w eb of im a g e ry w hich c o n tro ls the r e a d e r 's re s p o n s e in A b sa lo m ,
A b sa lo m !.
C h a p te r I is a study of the in h u m an d e sig n w hich p ro c e e d e d
f r o m T hom as S u tp e n 's d e te rm in a tio n to re g a in the h u m a n value w hich
11
he fe lt he lo s t w hen he w as d e m e a n e d at P e ttib o n e 's d o o r. S u tp en 's
p ro p e n s ity to a b s tr a c tio n , to m a th e m a tic a l o r p o s itiv is tic w eighing and
b a la n c in g , a p p ro a ch in g life w ith logic and l e tte r - o f - th e - la w ju s tic e
in s te a d of equity and lo v e, is a t f i r s t su btly in d ic a ted by the im a g e ry ,
and l a t e r e s c a la te d a s the S utpen d e sig n f a ils . The d a n g e r of a b s t r a c
tio n is a t f i r s t a p p a re n t in the Sutpen ta le , th en g ra d u a lly e m e r g e s as
a m a jo r th e m e of th e e n tire n o v el as Q u e n tin 's s tru g g le su p p lan ts in
in te n sity the ta le he is re c o n s tr u c tin g .
C h a p te r II p o in ts out p a r a lle ls b etw een S u tp e n 's w eighing and
d is c a rd in g , and th a t of Q uentin and S h rev e a t H a r v a r d . The two c o l
le g ia n s add to and s u b tr a c t f r o m w hat they c o n s id e r the few h a rd fa c ts
about Sutpen and h is fa m ily . T hey c r e a te f r o m " r a g - ta g and b o b -e n d s
of old ta le s and ta lk in g " {p. 303) a r e c o n s tr u c tio n , a v e ris im ilitu d e
w hich is p la u sib le . Q uentin, S h rev e p e r c e iv e s , is p re te n d in g th a t
e v e ry th in g about the S utpen s to r y adds up at the end of th e ir long
ev en in g in C a m b rid g e , M a s s a c h u s e tts . S h rev e in s is ts th at the le d g e r
d o e s n 't b a lan c e ; he ta u n ts Q uentin w ith th e fa c t of im b a la n c e , r e a l i z
ing th a t Q uentin h a s allo w ed h im s e lf to b e co m e o v e rw h e lm e d by the
Sutpen s t o r y - - t h a t m ic r o c o s m of h is own S o u th e rn p a s t - - t o su ch a
d e g re e th a t he h as a re v u ls io n f o r life p r e s e n t and p a st. S h rev e
f o r c e s Q uentin to a d m it h is su ffe rin g , but does nothing to h elp h im
a c c e p t th e a n g u ish of a m b iv a le n c e w hich le ad s Q uentin to re p u d ia te
life, to give up the s tru g g le . Q u e n tin 's in a b ility to liv e w ith am b ig u ity
12
is a m a n ife sta tio n of h is S u tp e n -lik e a b s tr a c tio n ; h e h as re d u c e d life
to an u n so lv ab le m a th e m a tic a l p ro b le m .
T his c h a p te r also gives p e rs p e c tiv e to th e n a r r a tiv e r a tio c in a
tion of Q uentin and S h rev e by in d ic a tin g th a t th e ir w eighing and b a l
ancing is , h o w e v er m u c h it m ay r e s e m b le S u tp e n 's w eighing m e th o d o l
ogy, d iffe re n t in two m a jo r r e s p e c ts . The Sutpen m e n ta lity is d e s t r u c
tive of o th e r p e rs o n s ; Q u en tin 's r e t r e a t f r o m th e fic tio n a l r e a l i s m he
has c o n s tru c te d is s e lf -c ru c ifix io n . S u tp e n 's d e sig n fa ils ; Q u e n tin 's
a r tis tic d e sig n su c c e e d s so w ell th a t h e fe e ls c o m p e lle d to re p u d ia te ,
hence failin g u ltim a te ly .
The fa ilu re w ithin the ta le to ld , and the fa ilu re su b se q u e n t upon
the te llin g of it, a r e both in c o n tr a s t to F a u lk n e r 's own a r tis tic tr u th -
tellin g . H is re s p o n s e to the a m b ig u itie s of life is to u se the stuff of
in d iv id u al d efeats to fa sh io n a s to ry of the h u m a n b e in g 's c ap a c ity fo r
v ic to ry .
C h a p te r III is an e x p lo ra tio n of im a g e s s u b s id ia ry to the b a l
ancing and w eighing im a g e ry . The m a jo r is s u e involved in the Sutpen
ta le - - th e re d u c tio n of h u m an dignity p ro c e e d in g f r o m in h u m an a b s t r a c
tio n --b e g in s to be subtly a s s e r t e d th ro u g h c o n tin u al r e f e r e n c e to p e r
sons as liv e sto ck . Jo n ath a n Sw ift had p ic tu re d h is g u llib le and in h u
m an e h e ro as a lo v e r of the h o u y h n h n m s'b e c a u se th ey w e re m o re
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thoroughly ra tio n a l th an m en ; F a u lk n e r d e p icts S utpen as tr e a tin g
those of a lo w er c o lo r o r c a s te th a n h im s e lf as a n im a ls s in c e h e is
13
in cap ab le of genuine love and c o m p a s s io n .
R e f e r e n c e s to p e rs o n s as though they w e re c a ttle w o rk to g e th e r
with a llu sio n s to p e rs o n s as ow ned, b a r te r e d and so ld , c o m p le te c h a t
tel of u p p e r - c a s te in d iv id u a ls w hose p ro p e rty they have v irtu a lly b e
c o m e. S o cial s tr a tif ic a tio n b eg in s to be m e a s u r e d by d e ca d e n ce and
b ru ta lity of th e o v e r lo r d s , ev en as the v ic tim s (the J im B onds of the
w orld) a tta in a sc e n d a n c y in the long ru n . One m e a s u r e of the e x istin g
s tra tif ic a tio n is th e p a lle t- - th e ty p e of c o t w hich T h o m as Sutpen sle p t
upon as a boy, and C h a r le s E tie n n e St. V a le ry B on, C ly tie , and M illy
Jo n es m u s t a c c e p t in th e ir tu r n b e c a u s e of th e ir p a r ia h s ta tu s in the
Sutpen fa m ily .
C h a p te r IV r e la te s d ire c tly to the im a g e ry of d e h u m an iza tio n
noted in C h a p te r I and C h a p te r III. It a lso points to a c a p a c ity of the
h u m an s p ir it by w hich ex p lo ited p e rs o n s s u rv iv e w hen they a r e red u ced
in h u m a n value by a s y s te m th a t im p o se s inhum ane s tr u c tu r e s upon
th em . M any c h a r a c t e r s w ith in th e Sutpen ta le a r e d e s c r ib e d as r e
duced to a b a llo o n - s ta te , in s u sp e n sio n , le v ita tiv e , w e ig h tle ss . F u r
th e r , Q uentin and R o s a a r e d e s c r ib e d a s " g h o s ts ” o r " p h a n to m s ”
b e fo re th e ir tim e . The h u m a n s p ir it, h o w e v e r, cannot be re d u c e d
u n le ss the in d iv id u al p e rs o n s r e a c t to in h u m an ity w ith sh a m e o r w ith
u tte r re v u ls io n a t th e ir own b e le a g u e re d h u m a n liv e s . The ch o ice to
re p u d ia te life b e c a u s e of its e v il e le m e n ts , in s te a d of s triv in g to
change it, is a d e n ia l of s p ir itu a lity , th a t p a r t of life w hich allow s
14
h um an beings to p re v a il a g a in st the m o s t aw eso m e odds.
C h a p te r V is F a u lk n e r 's im p lic it so lution to the d e stru c tiv e
innocence d etailed in the Sutpen s to ry , and "the living touch of fle s h "
b etw een p e rs o n s affirm in g a bond of co m m o n h u m an ity p a ra lle ls the
living touch of language em ployed by the a r t i s t seek in g to im m o rta liz e
a p a r t of h im s e lf by r e g is te r in g h is own love of flaw ed hu m an ity .
T he fa ilu re to touch hum anly is m o s t vividly p o rtra y e d in S u t
p e n 's re la tio n s h ip (o r n o n -re la tio n sh ip ) with C h a rle s Bon, b u t the
ra m ific a tio n s of touch, in its d e stru c tiv e b ru ta lity o r its h um ane h e a l
ing c h a r a c te r , a r e c o n c re te ly w orked out in the liv es of m any c h a r a c
t e r s . Its p o sitiv e pole b e co m e s in A b sa lo m , A bsalom ! a synonym fo r
love, th a t g r e a te s t of the old v e r itie s . T h e re is so m eth in g "in the
touch of fle s h w ith f le s h " w hich "a b ro g a te s , cu ts s h a r p and s tra ig h t
a c r o s s the devious in tr ic a te channels of o r d e r in g .1 ' ''L e t fle s h touch
f le s h ," R o sa m a in ta in s , "and w atch th e fa ll of a ll the e g g sh e ll s h ib
boleth of c a s te and c o lo r to o " (p. 139). C a ste and c o lo r, c la s s ic j u s
tific a tio n s fo r the inhum anity of m a n to h is fellow m a n , a re th e m se lv e s
sy m b o ls fo r o r m a s t e r tro p e s of the u n iv e rs a l s tr u c tu r e s w hich s u b
ju g ate one p e rs o n to an o th er. Touch of fle sh w ith fle sh , h e a r t with
h e a r t, cu ts th ro u g h s tr u c tu r e s and sh ib b o le th s, F a u lk n e r s u g g e s ts ,
w hich k e ep m a n fro m s triv in g with and fo r his m an y b r o th e r s .
F a u lk n e r 's u se of touch as a synonym fo r love as a bond of
s o lid a rity has lite r a r y a n te c e d e n ts, the m o s t obvious of w hich a r e the
15
n o v e ls of one of F a u lk n e r 's fa v o rite a u th o rs , D o sto y ev sk y , The
B ro th e rs K a ra m a s o v and T he Idiot hav e th e m e s at m o s t p o ints id e n ti
c a l to th o se in A b sa lo m , A bsalom .1. T he w ise F a th e r Z o s s im a te a c h e s
A ly o sh a the c r u c ia l le s s o n of The B ro th e rs K a ra m a so v :
My b r o th e r a sk e d the b ird s to fo rg iv e him ; th a t sounds s e n s e le s s ,
but it is rig h t; fo r a ll is like an o c ea n , all is flow ing and blending;
a touch in one p la ce s e ts up m o v e m e n t at the o th e r end of the
e a rth , 14
T he in te n tio n b ehind the to u ch , a ffirm a tio n o r d en ial of h u m a n ity , is at
the h e a r t of F a u lk n e r 's n o v e ls.
C h a p te r VI is a d is c u s s io n of the te m p o ra l c o n tex t of the tale
to ld , the te llin g of the ta le , and the s tru g g le of the a r t i s t to g e t the
tr u th out. T im e , em b o d ied in W ash J o n e s , c le a r ly te r m in a te s S u t
p e n 's d e s tr u c tiv e d e sig n , but S u tp en 's life and d eath a r e tra g ic n o t
b e c a u se the d e sig n w as not c o m p le ted in tim e , b ut r a th e r b e c a u s e S ut-
pen b e c a m e d e h u m an ize d by h is ch o se n m eth o d of c o m b attin g th e s y s
te m w hich had d en ied h is in tr in s ic value. When he found h im s e lf r e
duced to a n im a l s ta tu s by the a b s tr a c tio n of an inhum ane o v e r lo r d ,
M r. P e ttib o n e , Sutpen re s o lv e d to c o m b a t the s y s te m w hich so reduced
h im . The r e a l tra g e d y is th a t S u tp en 's in n o cen ce w as su c h th at he
b e c a m e w hat he a b h o rre d .
Q uentin is try in g to r e c o n s tr u c t th e Sutpen s to ry , know ing th at
he has h e a r d it a ll b e fo re . Q uentin knows too th a t he m u s t m a k e a
d e c isio n about h is own re s p o n s e to the in tru s io n of the p a s t into h is
16
p re s e n t. In o th e r w o rd s , he m u s t re p u d ia te h is h is to r y , and thus h im
self, o r a ffir m a p a s t and p r e s e n t w hich h a s m an y a s p e c ts of w hich he
is a sh a m e d . He m u s t a ls o , we know f r o m The Sound and th e F u r y ,
e ith e r le a r n to co m e to g rip s w ith ev il im p u ls e s w ith in h im s e lf, o r be
d e stro y e d by th e m . Q u en tin 's in ab ility to cope w ith the a m b ig u ity of
hu m an e x iste n c e u n d e r s c o r e s h is tra g e d y , n o t sim p ly h is in ab ility to
w o rk out h is d ifficu lties w hile th e r e is y e t tim e .
F a u lk n e r, d e d ica te d to te llin g the tru th , had d efin ite p ro b le m s
w ritin g A b salo m , A b sa lo m !. But b e c a u s e tim e is the ally of one who
a ffirm s life, flaw ed though it m a y o r m u s t b e, he c r e a te s v ic to ry out
of p a s t d e fe a ts. He h e lp s us live in the s e e th e and fu ry of the h u m an
condition w ithout being o v e rw h e lm e d by it.
C h a p te r VII is a c o m p a ra tiv e stu d y of T h o r e a u 's and F a u lk n e r 's
a ttitu d e s to w a rd le g a lis m and the c o m m o n -la w m e n ta lity . F a u lk n e r 's
p o r tr a it of Sutpen is a c o m p le te p re s e n ta tio n of the d e s tr u c tiv e n e s s of
le tte r - o f - th e - la w ju s tic e s h o rn of m e r c y . T h o re a u , p a r tic u la r ly in
his e s s a y "L ife W ithout P r in c i p le ," s c r u tin iz e s a ll f o r m s of hu m an
s la v e r y , one of w hich is a leg al s y s te m w hich does not re a lly tak e the
indiv id u al p e r s o n into acco u n t. B oth c r itiq u e s of e x c e s s iv e le g a lis m
im p ly th a t th e r e is a n o th e r way of living. Both c ritiq u e s of "the way
we liv e ou r liv e s " put a high p re m iu m on se lf-k n o w le d g e and tr u e
m o r a lity , n o t expediency and s ta le re v e la tio n . They a lso e s ta b lis h
th at an o v erex ten d ed s y s te m of le g a lis m n u m b s the h u m an s p ir it.
17
M a rv in K. S in g leto n 's a r tic le on the fu n ctio n of " la w y e r w o rd s "
in A b sa lo m , A b salo m ! is c ite d b e c a u s e it puts R o s a C o ld fie ld 's ro le in
the n o v el into p e r s p e c tiv e , and h e lp s the r e a d e r to e v a lu a te the ju s tic e
of h e r plea.
C h a p te r VIII is a c o m p a ra tiv e study of two n o vels in the Yok-
n ap ataw p h a C y c l e - - A b sa lo m , A b sa lo m ! and Go Down, M o s e s --w h ic h
have v e ry s i m i l a r th e m e s , im a g e r y , and c h a r a c te r iz a tio n . In th e l a t
t e r n o v el, le g a lis m and s t r i c t ju s tic e , sy m b o liz e d by old C a r o th e r s
M c C a slin 's le d g e r books d e tailin g his in h u m an e tr a n s a c tio n s , a r e
again the o b je c t of F a u lk n e r 's c ritiq u e . Ike M c C a slin , g ra n d s o n of
C a r o th e r s , does have m o r e of a ch an ce to live a p ro d u c tiv e life than
Q uentin C o m p so n d o e s, b ut u ltim a te ly opts to p u rs u e the fu tile d e sig n
of fr e e in g h im s e lf f r o m his p a st. H is in a b ility to cope w ith th e a m b i
guity of a flaw ed w o rld is a lm o s t as d efin itiv e as Q u e n tin 's.
B oth n o v els e m b ra c e the h u m an re la tio n s h ip s , b etw een w hites
and b la c k s , th ro u g h o u t s e v e r a l g e n e ra tio n s . The la te r n o v el (1941) is
c o n sid e ra b ly le s s co m p lex th an A b sa lo m , A b salo m ! and C a ss M c C a slin
a r tic u la te s the point of view w hich the r e a d e r of A b sa lo m , A bsalom !
m u s t s tru g g le to a c q u ir e , a p o in t of view w hich tr a n s c e n d s the p a r tia l
p e rs p e c tiv e s of v a rio u s n a r r a t o r s in th a t n ovel. C a ss d en ies Ik e 's
co n ten tio n th a t he has f r e e d h im s e lf fr o m h is p a s t. He in s is ts th a t the
g h o sts of the p a s t a r e alw ays p r e s e n t, and m u s t be a cc e p te d as m e n
n o t u n lik e-o u r s e lv e s ; m a n is n e v e r f r e e fr o m p a s t ev en ts: "No, not
18
15
now n o r e v e r , we fr o m th e m n o r they fr o m u s . 1 1 " 'T ru th is one. It
d o e s n 't change. It c o v e rs a ll th ings w hich touch the h e a r t- - h o n o r and
p rid e and pity and ju s tic e and c o u ra g e and love. Do you see n o w ? ' " ^
A ll e ls e does ch an g e, h o w e v e r, and it is Ike M c C a s lin 's and Q u en tin 's
m is ta k e to be im m o b iliz e d by th e ir p a s ts , r e n d e r e d s te r ile by
re p u d iatio n .
The d e n sity of im a g e ry is not so g r e a t in Go Down, M o ses as it
is in A b sa lo m , A bsalom ! , but th e s a m e im a g e s do a p p e a r, and th ey
a r e u sed in the s a m e w ay. B ec a u se S a m F a th e r s and C a ss M cC aslin
t r y to te a c h Ike about c o u ra g e and lo v e --I k e le a r n s th e f i r s t le s s o n and
fa ils to le a r n th e s e c o n d - - Go Down, M o ses does n ot re q u ire as m uch
of an a e s th e tic s u p e r s tr u c tu r e , as m an y d ire c tin g im a g e s as A b sa lo m ,
A bsalom ! in o r d e r to guide the r e a d e r to an u n d e rsta n d in g of the tw o-
le v e l tra g e d y (G ra n d fa th e r C a r o th e r s ' and Ik e 's ) w hich p a r a lle ls the
Sutpen and Q uentin f a ilu r e s .
C h a p te r IX is a s u m m a r y of m y c o n clu sio n s about the u ltim a te
s ta tu r e and s ta te m e n t of the n o v el as a w hole. The s u m m a ry fo c u se s
f i r s t on T h o m as S utpen, the m a n , n o t the m y th . T he n a r r a t o r s of the
Sutpen ta le a r e then c o n s id e re d , w ith th e ir p re ju d ic e s and th e ir s a v
ing v irtu e s . A re c a p itu la tio n of the p a tte r n of im a g e ry fo llo w s, and
the d ire c tiv e fo r c e of th a t im a g e ry is noted. F in a lly , the c h a r a c te r s
of the Sutpen ta le a r e e v a lu a te d . E a c h is show n to be n e ith e r dem on
n o r s a v io r. Sutpen, fo r in s ta n c e , is id e a lis tic , c o u ra g e o u s ,
19
d e te rm in e d , y et "v io la ted a ll the ru le s of d ecen cy and h o n o r and pity
17
and c o m p a s s io n , and the fa te s took v en g ean ce on h im ." F a u lk n e r
bells us th a t S utpen "w as try in g to say in h is b lu n d e rin g w ay th a t, Why
*
should a m a n be b e tte r th a n m e b e c a u s e h e 's r ic h e r th an m e , th a t if I
aad had the ch an c e I m ig h t be ju s t as good as he th inks h e is , so I 'll
m a k e m y s e lf as good as he thinks he is by getting the s a m e o u tw ard
trap p in g s th a t he h a s . . . . He d id n 't sa y , I 'm going to be b r a v e r o r
m o re c o m p a s s io n a te o r m o r e h o n e st th an h e - - h e ju s t s a id , I 'm going
18
bo be as r ic h as he w a s, as big as he w as on the o u ts id e ." Had
Sutpen b een a b ig g e r m a n on the in s id e , h is so n s and d a u g h te rs m ig h t
lav e had th e love and c o m p a s s io n fr o m h im w hich they n eed e d , w anted.
But it w as S u tp e n 's in n o cen ce n o t to tak e su ch n e e d s and w ants into
c o n sid e ra tio n . A ll of h is p a s s io n and e n erg y w as p itted a g a in s t th r e a ts
to h is d e sig n . He liv ed in a b s tr a c to . When Q u e n tin 's unique ro le as
c h a r a c t e r - n a r r a t o r is put in p e rs p e c tiv e , he e m e r g e s as both in c i-
ie n ta l to the S utpen ta le and y e t a q u in te s s e n tia l in n o cen t, as d e s t r u c
tive to h im s e lf as S utpen is to o th e r s . F a u lk n e r fre q u e n tly c o n firm e d
that Sutpen is th e c h a r a c t e r w hich c a u s e d h im to w rite A b sa lo m ,
19
A bsalom ! and th a t the n o v e l's " c e n tr a l c h a r a c te r is S u tp e n ." N o n e
th e le ss, the s to r y b a s ic a lly "w as told by Q uentin to S h r e v e , a n d the
■tragedy of Q u en tin , c le a r ly analogous to the tra g e d y of Ike M c C a slin in
Ho Down, M o s e s , p u lls the n o v el to g e th e r, h ig h -lig h tin g the d e s t r u c
tiveness of re p u d ia tio n . Q u en tin 's in v o lv e m e n t w ith the Sutpen s to ry
2 ^ -
adds an im p o r ta n t d im e n sio n to the novel. The r e a d e r does n ot e a s ily
id entify w ith the often h e r o ic , often naive S utpen, but if Q u e n tin 's p r e
d ic a m e n t- - " c o n s is te n t," F a u lk n e r te lls u s , w ith h is s itu a tio n in The
Sound and the F u r y --to u c h e s the r e a d e r , h is ch o ice w ill e m e r g e as
e v e ry m a n 's ch o ice: to a ffirm life w ith its im p e r f e c tio n s , o r to r e
p u d iate lif e 's h o r r o r s a t the r is k of re je c tin g life its e lf. Q uentin, in
A b sa lo m , A b s a lo m !, is on th e v e rg e of saying: "T h is is ro tte n , I 'll
,21
hav e no p a r t of it, I w ill tak e d eath f i r s t .
A b sa lo m , A b salo m ! i s , like any g r e a t n o v el, m u c h g r e a t e r than
the s u m of its p a r ts . It can be re a d as an a lle g o ry on the A m e ric a n
D re a m , as a study of the F a ll of M an b e c a u s e of in n o c en c e , o r as a
c o m m e n ta ry on ro o t c a u s e s of The G re a t D e p re s s io n , w ith S u tp en 's
d e sig n as p rim e a n a lo g a te . P e r h a p s its m o s t tr a n s c e n d e n t th e m e is
th e a r t i s t 's v ic to ry , his c r e a tio n of tru th out of s q u a lo r and d efeat, a
su b tle e x h o rta tio n to a ffirm a tio n . The w r i t e r , b e c a u s e he a ffir m s life
d e sp ite its a m b iv a le n c e , f r e e s h is c r e a tio n f r o m the ty ra n n y of fr o z e n
f a c ts , and ex p o se s the d eh u m an izin g im p a c t of a b s tr a c tio n . His
t h r u s t is re d e m p tiv e , w h e re a s h is c h a r a c t e r s fre q u e n tly ex p lo it o r
re p u d ia te out of r a d ic a l in n o cen ce. The w r i t e r is , as F a u lk n e r
poin ted out a t W est P o in t, "a c o n g en ital l i a r in c ap a b le of te llin g th e
tr u t h ," who e m b r o id e r s , im a g in e s, b e c a u s e "he sim p ly could n o t tak e
22
any fa c t he saw and let it a lo n e ." He is try in g to te ll th e tru th , "in
the m o s t m o ving and e c o n o m ic a l w ay he can , so th a t you w ill be ,
T r
m o v ed , w ill laugh o r c r y , a s he d id ." In A b sa lo m , A b s a lo m !, F a u lk
n e r c r e a te s a m o v in g a cc o u n t of two tra g e d ie s of re p u d ia tio n , one
fra m in g th e o th e r. U ltim a te ly , he is in c ap a b le of te llin g the t r u t h - -
he knew w hen he b egan th a t once ag ain th is w ould be th e c a s e - - b u t he
does hold up fr a g m e n ts of the tr u th to th e lig h t, m o v e s us to a d e e p e r
know ledge of the h u m a n co n d itio n , and a ffir m s in th e ta le , in the t e l l
ing of th a t ta le , and in the a e s th e tic s tr u c tu r e of h is n o v e l,m a n 's
o p p o rtu n ity to g ra p p le w ith h is situ a tio n , to tr y to be " b e tte r th an he
is ," know ing th a t he m ig h t fa il, m a k in g fa ilu r e too the stu ff of v ic to ry .
A b sa lo m , A bsalom .1, w h a te v e r e ls e it is , is a study of m ankind,
an e ffo rt on the p a r t of its a u th o r to ex am in e h u m a n b a s e n e s s and
hum an dignity. In "A W ord to Young W r ite r s ," an a d d r e s s d e liv e re d
A p ril 24, 1958 to the U n iv e rs ity of V irg in ia E n g lish C lub, F a u lk n e r
is o la te d th e p ro b le m of the a r t i s t and e v e ry h u m a n being. H is th e m e
and im a g e r y in th a t a d d re s s a r e a d is tilla tio n of one of the th e m e s and
a m a jo r s tr a n d of im a g e ry in A b sa lo m , A b sa lo m !:
[T he a r t i s t 's c h o re ] is to sa v e m an k in d fr o m being d eso u led as
the s ta llio n o r b o a r o r bull is gelded; to sav e th e in d iv id u al fr o m
an o n y m ity b e fo re it is too late and h u m an ity is v a n ish e d f r o m the
a n im a l c a lle d m a n . And who b e tte r to sav e m a n 's h u m a n ity th an
the w r i t e r , the p o e t, the a r t i s t , sin c e who should f e a r the lo s s of
it m o r e sin c e the h u m an ity of m a n is the a r t i s t 's lif e 's b l o o d . ^
22
N otes
^W illiam F a u lk n e r, E s s a y s , S p e e c h e s, and P u b lic L e t t e r s ,
ed. J a m e s B. M e riw e th e r (New Y ork, 1965), p. 120.
2
C lean th B ro o k s , W illiam F a u lk n e r: The Y oknapataw pha
C o u n try (New H aven, C o n n ., 1963), p. 295.
Irv in g Howe, W illiam F a u lk n e r: A C r itic a l Study (New Y ork
1951), p. 231.
4
W illiam F a u lk n e r, F a u lk n e r in th e U n iv e rsity : C la ss C on
f e re n c e s at th e U n iv e rsity of V ir g in ia , ed. F r e d e r i c k L. Gwynn and
J o se p h L. B lo tn e r (New Y ork, 1959), p. 239.
5
E s s a y s , S p e e c h e s, and P u b lic L e t t e r s , pp. 122-123.
^E s s a y s , S p e e ch e s, and P u b lic L e t t e r s , pp. 95-96.
7
E s s a y s , S p e e ch e s, and P u b lic L e t t e r s , p. 106.
g
W illiam F a u lk n e r, A b sa lo m , A b salo m ! (New Y ork, 1951),
p. 289. All su b se q u e n t r e f e r e n c e s a r e to th is editio n of the novel,
and w ill be in d icated by page r e f e r e n c e s in p a re n th e s e s in the tex t.
9
W illiam F a u lk n e r, F a u lk n e r at W est P o in t, ed. Jo se p h L.
F a n t, III and R o b e rt A sh ley (New Y ork, 1969), p. 55.
^ F a u lk n e r at W est P o in t, pp. 55, 94.
^ A e r o l A rn o ld , "Why S tr u c tu re in F ic tio n : A Note to Social
S c ie n tis ts ," A m e ric a n Q u a r te r ly , X (F a ll 1958), 327.
12 .
F a u lk n e r in th e U n iv e r s ity , p. 267.
13
See S am u el H. M onk, "T he P r id e of L e m u e l G u lliv e r,"
Sew anee R eview , LXIII (W inter 1955), 4 8 -7 1 .
F y o d o r D o sto y ev sk y , The B r o th e r s K a ra m a s o v , t r .
C o n stan ce G a rn e tt (New Y ork, 1950), p. 384.
15
W illiam F a u lk n e r, Go Down, M o se s (New Y ork, 1942),
p. 299.
23
16
Go Down, M o s e s , p. 297.
17
F a u lk n e r in the U n iv e rs ity , p. 35.
18
F a u lk n e r in th e U n iv e rs ity , p. 35.
19
F a u lk n e r in th e U n iv e rs ity , pp. 73, 71,
20
F a u lk n e r in the U n iv e rs ity , p. 75.
21
F a u lk n e r in th e U n iv e r s ity , p. 246.
22
F a u lk n e r at W est P o in t, p. 57.
23
F a u lk n e r in th e U n iv e rs ity , p. 239.
CHAPTER I
THE S U T P E N STORY: SUCCESS IN TH E A B STR A C T
In, a d is c u s s io n of T h o m a s S u tp en 's m a n n e r s , C le an th B ro o k s
h as noted th a t w hat m a n n e r s S utpen has hav e b een le a rn e d painfully,
and th a t he has co m p lete co n fid en ce in th e m . S u tp e n 's s tru g g le to
g ra s p the fo r m s of so c ia l s o p h istic a tio n , and h is co n fid en ce th a t he
h as a c q u ire d th e ir su b sta n c e , a r e in d ic a to rs of "h is a b s tr a c t a p p ro a c h
to the whole m a n n e r of liv in g ."^
B ro o k s co ntinues:
Sutpen would s e iz e upon "the tr a d itio n a l" as a p u re a b s t r a c t i o n - -
w hich, of c o u r s e , is to deny its v e ry m ean in g . F o r h im the t r a
dition is not a way of life "handed dow n" o r " tr a n s m itte d " fro m
the co m m u n ity , p a st and p r e s e n t, to the in d iv id u al n u r tu r e d by it.
It is an a s s o r tm e n t of th ings to be p o s s e s s e d , not a m a n n e r of liv
ing th a t e m b o d ie s c e r ta in v a lu es and d e te r m in e s m e n 's co n d u ct.^
In A b sa lo m , A b sa lo m !, S utpen is p re s e n te d as an a n ti- tr a d itio n a lis t
s triv in g to em body w hat he b e lie v e s is the b e s t of S o u th e rn tra d itio n .
T he r e a s o n fo r h is a b s tr a c t a p p ro a c h to the whole m a n n e r of living,
and the iro n y of it, a re w ithheld f r o m the r e a d e r of the novel fo r m o re
th a n two h u n d re d p ag es.
T his c h a p te r is a study of th e c o n tro llin g im a g e ry of the novel,
the tech n iq u es u s e d , the c h o ice s m a d e by the a u th o r, to e x p lo re the
24
25
sig n ific a n c e of h is ra w m a te r ia l. T he fo cu s of this c h a p te r is the
Sutpen m e n ta lity as it is m a n ife ste d in th e ta le w hich the n o v e l's n a r
r a t o r s a r e s triv in g to re c o n s tr u c t. T he follow ing c h a p te r w ill be an
a n a ly s is of the n a r r a tiv e p r o c e s s its e lf.
G ra n d fa th e r C o m p so n judged th a t "S u tp e n 's tro u b le w as in n o
c e n c e ," th a t
A ll of a su d d en he d is c o v e re d , n o t w h at he w anted to do but w hat
he ju s t h ad to do . . . b e c a u s e if he did n ot do i t he knew th a t he
could n e v e r live w ith h im s e lf fo r the r e s t of h is life, n e v e r live
w ith w h at a ll the m e n and w om en th a t h ad died to m a k e h im had
left in sid e of h im fo r h im to p a ss on. . . . (p. 220)
A b a s ic a lly tra d itio n a l th r u s t, th e n , a d e s ir e fo r co n tin u ity w ith the
p a s t, w as a t the h e a r t of S u tp en 's d e c is io n to c o m b a t so c ie ty by e m u
latin g it. Y et, the r e a d e r is given m an y e x a m p le s of S u tp e n 's a b
s t r a c t , c a lc u la tin g , lo g ic a l, le g a lis tic b a lan c in g of p o s s ib ilitie s . His
in n o cen ce m u s t be tied up w ith his in a b ility to g r a s p th e su b sta n c e b e
h in d the fo r m . He a tte m p ts to u n d e rs ta n d th e w hole by adding up the
s u m of its p a r t s , n e v e r re a liz in g th a t w hat is p o s sib le in m a th e m a tic s
is n ot alw ay s p o s sib le in life.
T he S utpen s to r y and its ra m ific a tio n s b eg in to e m e r g e fr o m
R o s a 's e m o tio n a l a cco u n t and a s e r i e s of c o r r e c t iv e s and q u a lific a tio n s
v o c a liz e d o r m u s e d upon by th e n a r r a t o r s - - e s p e c i a l l y Q u e n tin --w h o m
the r e a d e r is allow ed to o v e r h e a r o r m o n ito r. The r e a d e r 's re s p o n s e
to Sutpen is c o n tro lle d , then, by the s e le c tiv e a cc o u n t w hich e m e r g e s
of the m an . The r e a d e r is only allow ed to g lim p se the m a n h im s e lf
26
long a fte r S u tp e n 's p o s itiv is tic , a b s tr a c t a p p ro a c h to life h a s b e e n
d elin eated . P a r t of the im p a c t of F a u lk n e r 's n o v el d e riv e s f r o m h is
m ethod of p re d is p o s in g the r e a d e r to judge a m a n who view s life as an
a b s tr a c t d e sig n , a re c ip e , a su m of co m p o n en ts, and to sy m p ath ize
w ith one who w ould re p u d ia te a p a st of w hich su ch a m a n s e e m e d an
e m b o d im en t. P a r t of the te n sio n s e t up in th e n o v el, of c o u rs e , r e
volves aro u n d the fa c t th a t Q uentin is the one p e rs o n in the novel w ith
enough s e n s itiv ity to see the tra g e d y of S u tp en 's in n o c en c e , but Q u en
tin h im s e lf is in c ap a b le of se e in g a s im ila r ly d e s tr u c tiv e in n o cen ce in
h im s e lf, an in n o cen ce g ro u n d ed not in a ctiv ity but in p a s s iv ity .
Sutpen, s m e llin g of " s u l f e r - r e e k ," a b ru p te d into R o s a 's life;
so too does he " a b ru p t" into the novel. The r e a d e r c o m e s face to face
w ith the a m b ig u ity of S u tp e n 's e x is te n c e , even if he is d en ied a c c e s s to
Sutpen h im s e lf. Q uentin m u s e s th a t S u tp en 's d eath w as "w ithout r e
g r e t" - - e x c e p t to M iss R o s a and to h im s e lf (p. 9). The p a ra d o x ic a l
re s p o n s e s of R o s a and Q uentin to Sutpen fo r c e the r e a d e r to p r e p a r e
h im s e lf fo r co n fro n tatio n w ith a n o v el w hich, if it is to su c c e e d , m u s t
go beyond ra tio n a l a n a ly s is and sp e a k to the h e a r t. F a u lk n e r 's own
d ire c tiv e fo r th o se who do n o t u n d e rs ta n d one of h is n o v e ls a fte r a
3
th ir d re a d in g is candid: "R ead it fo u r tim e s ."
The Sutpen s to ry u n fo ld s, R o s a 's a cc o u n t co n tin u ally q u alified
by Q uentin, s o m e tim e s b e c a u s e he r e c o lle c ts h is f a th e r 's acco u n t of
the sa m e e v e n ts , s o m e tim e s b e c a u s e " fa c ts " p a s s e d on about Sutpen
27
by the tow nspeople s e e m a t v a ria n c e w ith R o s a 's e m o tio n alizin g . C o n
seq u en tly , we a r e not s u r p r is e d , in r e tr o s p e c t, to find the f i r s t i n
sta n c e of w hat w ill e m e rg e as the n o v e l's c o n tro llin g im a g e ry being
in tro d u ced only in d ire c tly (as Q uentin r e c a lls w hat h is g ra n d fa th e r,
G e n era l C o m p so n --th e b e st sp o k esm a n in the novel fo r the u n c o r
ru p te d a sp e c ts of tr a d itio n a lis m - - s a id about one of S u tp en 's " v irtu e s ").
The r e a d e r has had to d ig e st th ir ty - th r e e pages of so m ew h at b e w ild e r
ing d e tail b e fo re he is p re s e n te d w ith the p ic tu re of Sutpen a ccep tin g a
d rin k "w ith a s o r t of s p a rin g c a lc u la tio n as though keeping m e n ta lly
. . . a s o r t of b alan ce of s p iritu a l so lvency betw een the am ount of
w hiskey he a cc e p te d and the am ount of running m e a t he supplied to the
guns" of h is g u e sts a t S u tp en 's H undred (p. 40). T en pages la te r , p r e
su m ab ly b a se d upon G e n e ra l C o m p so n 's ju d g m en ts a g ain , a p o r tr a it of
M r. C oldfield is developed. R o s a 's and E lle n 's fa th e r
a p p a re n tly in ten d ed to u se the c h u rc h into w hich he had in v ested
a c e r ta in am o u n t of s a c r if ic e and d o u b tless s e lf-d e n ia l and c e r
tain ly actu al m oney and la b o r fo r the sak e of w hat m ig h t be called
a d em an d b a lan c e of s p ir itu a l so lv en cy , ex actly as he would have
u sed a co tto n gin in w hich he c o n sid e re d h im s e lf to have in c u rre d
e ith e r in te r e s t o r re s p o n sib ility , . . . (p. 50)
M r. C oldfield u s e s re lig io n to h eap up enough " v irtu e " to k eep h im s e lf
s p iritu a lly so lv en t. He a p p a re n tly liv e s h is life in co n fo rm ity to an
a b s tr a c t p rin c ip le . In the fo u rth c h a p te r of A b salo m , A b sa lo m !, M r.
C o ld field 's re la tio n s h ip to Sutpen b e co m e s m o re obvious. Sutpen is
beginning to e m e rg e as a m a n who "felt, now th at the g ra n d c h ild re n
28
w e re g row n, th a t the d r a f t on his c o n sc ie n c e had b e en d is c h a r g e d " (p.
67). C oldfield co n tin u e s "b alan cin g t e r r e s t r i a l a c c o u n ts ," noting the
"b alan c e in w h a te v e r s p ir itu a l counting h o u se he b e lie v ed w ould so m e
day pay h is sig h t d ra fts on s e lf -d e n ia l and fo rtitu d e " (p. 84). C o ld
f ie ld 's b u s in e s s w ith Sutpen does not b o th e r h im so m uch as th e fa c t
th a t "he had h ad to s a c r if ic e the h o a rd in g , the sy m b o l of the fo rtitu d e
and ab n eg atio n , to k e ep in ta c t the s p ir itu a l so lv en cy . . ," (p. 84).
Sutpen w ill, in tim e , a lso h av e to s a c r if ic e a g r e a t d eal in o r d e r to
keep in ta c t his d esig n . In o r d e r to s a tisfy d y n astic y e a rn in g s and
keep a liv e his im p e rfe c tly g ra s p e d co n cep tio n of S o u th e rn tra d itio n ,
Sutpen w ill go th ro u g h the m o tio n s of e sta b lish in g a fa m ily , n e v e r r e
alizin g the e m p tin e s s of r itu a l devoid of love.
A n im a g e c o r r e la tiv e to the c a lc u la tio n and logic Sutpen i n
dulges in is th a t of p h y s ic a l im b a la n c e follow ing upon in g e stio n . S u t-
p e n ’s " m o ra lity " w ill l a t e r be d e s c rib e d as a b a lan cin g of in g re d ie n ts ,
a re c ip e . The to w n sp eo p le , like the n a r r a t o r s of F a u lk n e r 's n o v el,
tr y to add up S u tp e n 's sig n ific a n c e , b a lan c e h im a g a in s t known fa c ts .
The p opulace c an n o t q u ite s to m a c h the a g g re s s iv e and r a t h e r u n m a n -
n e re d c itiz e n who c o m e s to J e f f e r s o n see k in g re s p e c ta b ility and sta tu s
T he tow n is in an "ac u te s ta te of in d ig e stio n " (p. 46). As D onald
K a rtig a n e r s u g g e s ts ,
If Sutpen h o r r if ie s th e co m m u n ity , it is la rg e ly b e c a u se he is a
p u re , naked v e r s io n of its own d e e p e s t p r in c ip le s , the in c a r n a
tion of th o se v alu es and a ttitu d e s th a t enable a s la v e s y s te m
Z T -
4
to s u rv iv e .
Iro n ic a lly , th e to w n 's re g u rg ita tio n of S utpen a s s u r e s h is s u c c e s s , and
m ak es the to w nspeople c o m p lic it in h is desig n :
T h at public opinion w hich a t so m e m o m e n t d u rin g the five p r e
ced in g y e a r s had sw allow ed h im even though he n e v e r had quite
lain q u ie t on its sto m a c h , h ad p e r f o r m e d one of m a n k in d 's n a tu r a l
and v io len t and in e x p lic ab le v o lte fa c e s and re g u rg ita te d h im . {p. 52)
Sutpen w alks u n h a rm e d out of th e "o u tra g e d ja w " th is tim e , and c o n
tin u es £o do so u n til W ash Jo n es d ig e sts th e tr u th about the m a n fo r
w hom an a b s tr a c t d e sig n h a s m o r e r e a lity th an the indiv id u al p e rs o n s
he u s e s to f u r th e r his inhum ane en d s.
Sutpen goes h is way w ith " th a t a le r tn e s s fo r m e a s u rin g and
w eighing event a g a in s t e v e n tu a lity , c ir c u m s ta n c e a g a in s t h u m a n n a
tu r e . . . " (p. 53). He is ab le to s u b o rd in a te e v ery th in g to h is d e
sig n . W hen the town show s its c o n fu sed o u tra g e by peltin g h im with
clods of d ir t and veg etab le re fu s e on h is w edding d a y - - ju s t as he had
h u rle d clods at the n e g ro d r iv e r of a w hite m a n 's c a r r i a g e when his
s i s t e r h ad b een fo rc e d off the ro a d in h is b o y h o o d --S u tp e n m e r e ly
s m ile s , know ing th a t the people w ill a g ain c o m e to S u tp en 's H u n d red to
hunt h is g am e and e a t his food and w atch h im m a tc h h is n e g ro e s
a g a in s t one a n o th er o r p e rh a p s a g a in s t h im s e lf. A ll se tb a c k s and
im b a la n c e s , even the C ivil W ar, a r e te m p o r a r y f o r Sutpen, e x ce p t the
la s t.
M r. C o m p so n fre q u e n tly u s e s m a th e m a tic a l a b s tr a c tio n s to
d e s c r ib e h is c y n ic a l view of m a n a s v ic tim . He s e e s the p rin c ip a ls of
30
the Sutpen h is to r y as
people too as we a r e , b u t v ic tim s of a d iffe re n t c ir c u m s ta n c e ,
s im p le r and th e r e f o r e , in te g e r fo r in te g e r, l a r g e r , m o r e h e ro ic
. . . in s te a d of being diffused and s c a tte r e d c r e a tu r e s d raw n
blindly lim b fr o m lim b f r o m a g ra b bag and a s s e m b le d , a u th o r
and v ic tim too of a th o u san d h o m ic id e s and a th o u san d co p u latio n s
and d iv o rc e m e n ts , (p. 89)
M r. C o m p so n s e e m s to fe e l th at S utpen, in te g e r fo r in te g e r , is m o r e
of a tra g ic h e ro th an m o d e rn m an . He s a y s th a t su c h a m a n w as not
"d w arfed and in v o lv e d ," b u t d is tin c t, "u n c o m p le x ," a m a n "who had the
gift of loving once and dying o n c e " (p. 89). M r. C o m p s o n ’s th e o ry is
highly s u s p e c t, e s p e c ia lly sin c e it is d ifficu lt to find an in s ta n c e of
S u tp e n 's "loving" in the n o v el. W hat is im p o r ta n t, h o w e v e r, is the
a r b i t r a r i n e s s of the S o u th e rn v e r s io n of th e A m e r ic a n D re a m . F a u lk
n e r , u sin g o m n is c ie n t n a r r a tio n , r e i t e r a t e s the v alid p a r t of M r.
C o m p so n 's o b se rv a tio n :
He s a t a g ain , Q uentin sittin g to o , and took up th e c ig a r fr o m the
v e ra n d a h r a i l , th e c o al glow ing a g ain , th e w is ta r ia c o lo re d sm o k e
d riftin g ag ain unw inded a c r o s s Q u e n tin 's fa c e as M r. C om p so n
r a is e d h is fe e t once m o r e to the r a ilin g , the le t t e r in h is hand and
the hand looking a lm o s t as d a rk as a n e g r o 's a g a in s t h is lin en leg
[ita lic s m in e ] , (p. 89)
But fo r d iffe re n t c ir c u m s ta n c e s , the b la c k n e ss w hich d am n s so m any
to in f e r io r s ta tu s in a r a c ia lly s tr u c tu r e d s o c ie ty could be M r. C o m p
s o n 's , and th e r e b y Q u e n tin 's too. M r. C o m p so n 's d e s c rip tio n a few
p ag es l a t e r plays on th a t th e m e ; c o n tra s tin g H en ry S u tp en and C h a rle s
B on w ith th e ir N egro r e t a i n e r s , he im a g in e s , "th e six o r s e v e n of
th e m of an age and b a ck g ro u n d , only in the s u rfa c e m a t t e r of food and
31
slothing and d aily o c cu p atio n any d iffe re n t fr o m the n e g ro s la v e s who
su p p o rted th e m " (p. 97). S utpen, having throw n in h is lo t w ith the
c a ste s y s te m he h as e m b ra c e d in o r d e r to re c o u p the lo s s e s to h is d ig
nity w hen he w as a boy, p re d e s tin e s h is sons to a s s u m e th e ir ro le s
w ithin th a t a r tif i c ia l s y s te m .
A s M r. C o m p so n begins to im a g in e the in te ra c tio n b etw een
S utpen's so n s, the r e a d e r b egins to r e a liz e how little is know n about
Bon. B e c a u se th e r e a d e r knows th a t C h a rle s Bon is T h o m as S u tp e n ’s
son by h is f i r s t m a r r i a g e , a m a r r ia g e "not a d ju n ctiv e" to h is d e sig n ,
B on’s p ro p e n s ity to c a lc u la te - - a t le a s t as M r. C om p so n im a g in e s h im
- - s e e m s p la u sib le . Bon is in so m e re s p e c ts h is f a th e r 's so n , and,
though th e c y n ic a l C o m p so n 's e x tra v a g a n t th e o rie s c an n e v e r be a c
cepted as d e fin itiv e , it is im p o rta n t to see C h a rle s Bon not a s the
em b o d im e n t of in ju re d g o o d n e ss, but as a m a n of p a ra d o x ic a l c h a r a c
te r. H y a tt W aggoner n o tes th a t S u tp en 's e r r o r "had b een u ltim a te ly ,
cf c o u r s e , in the m o r a l s e n s e , th a t he had alw ays tr e a te d p eople as
things. E v e n Bon fa lls into the s a m e e r r o r w hen he t r i e s to u se Ju d ith
4
as a le v e r to m o v e Sutpen, to g et re c o g n itio n ." It is tr u e th a t Bon
u n d e rsta n d s th at S u tp e n 's w o rld is out of jo in t, and he hopes to r e
e s ta b lis h h u m a n re la tio n s h ip s w ith h is fa m ily , but he s e e m s to d e s ir e
fam ily on p r in c ip le , n ot out of deep h u m an love.
M r. C o m p so n p ic tu r e s Bon as a p e rs o n of "cold and c a tlik e c a l
cu latio n " (p. 110), a d o m e stic a te d a n im a l, but an a n im a l n o n e th e le s s .
32
C o m p so n in s is ts on "th e c a lc u la tio n , the s u rg e o n 's a le r tn e s s and cold
d e ta c h m e n t" (p. I l l ) , and "keen, s u rg e o n lik e co m pounding" (p. 113).
Bon s e e m s ad eq u ate to the ta s k of o p e ra tin g upon a m o r a lly m o rib u n d
S utpen, but h is p o s sib le c o ld n e ss m ay c a u se h im to a c t w ithout r e s p e c t
to p e r s o n s , ev en as Sutpen h im s e lf h ad th r e e and a half d e c a d e s b e
fo r e . Bon, h o w e v e r, is n o t in r e a c tio n to the tra d itio n , as Sutpen had
been . Sutpen had e m b r a c e d a fo r m , b eliev in g th a t he had a c q u ire d its
su b sta n c e .
Bon p a tie n tly c la r if ie s fo r H e n ry the d is tin c tio n b etw een a m i s
t r e s s and a w h o re a c c o rd in g to S o u th e rn s ta n d a r d s , and a d m its th a t
w hite m e n "ev en m ad e the law s w hich d e c la r e th a t one eighth of a s p e
cified kind of blood s h a ll outw eigh s e v e n eig h ts [s i c ] of a n o th e r kind"
(p. 115). The a r b i t r a r y n a tu re of su ch b a lan c in g is by now quite o b
vious to the r e a d e r , if n o t to H en ry . Bon goes on to e x p lain how such
a code does " s a v e " so m e w o m en f r o m u ltim a te c h a tte lry :
But we do sav e th a t o ne, who b u t fo r us w ould have b een sold to
any b ru te who had th e p r ic e , n o t so ld to h im fo r the n ig h t like a
w hite p ro s titu te , b ut body and so u l fo r life to h im who could have
u s e d h e r w ith m o r e im p u n ity th a n h e w ould d a re to u se an a n im a l,
h e if e r o r m a r e , and th en d is c a rd e d o r so ld o r even m u r d e r e d
w hen w o rn out o r w hen h e r k eep and h e r p r ic e no longer, b alan ced ,
(p. 116)
The p a s s a g e is im p o r ta n t fo r s e v e r a l r e a s o n s . It b rin g s to g e th e r
s e v e r a l s tra n d s of i m a g e r y - - m o n e ta r y , le g a l, and a n im al; it p o sits
the tra d itio n a l as a fo il a g a in s t the u tte r ex p ed ien cy of w hat would
s e e m to be a n ti-tr a d itio n a l b ru ta lity . F in a lly , it fo re sh a d o w s the
33
u ltim a te d e g e n e ra tio n of T h o m as Sutpen who w ill a c t p r e c is e ly w ith
m o r e im punity th an he w ould d a r e to u s e an a n im a l, h e if e r o r m a r e - -
re d u c in g h u m an b eings to the s ta tu s of b ru te b e a s ts , d is c a rd in g p e r
sons w hose keep and p r ic e no lo n g e r b a la n c e . S im p le ju s tic e , u tte r
lo g ic , a b so lu te le g a lis m , m ig h t s u p p o rt su ch a " m o r a lity ," but su ch a
ra tio n a le h as nothing to do w ith r e s p e c t fo r h u m an dignity. Iro n ic a lly ,
the tr a d itio n w hich is su p p o sed to p r o te c t a g a in s t re d u c tio n of a s a c
r a m e n ta l bond to m e r e " te s t and s a m p le ," to " ru ttin g " and running,
has b e co m e d e b a se d by the influx of th o se new m e n who so a b s tr a c t
upon th e tra d itio n a l th a t the f o r m s u b s titu te s in th e ir m in d s and actio n s
fo r the s u b sta n c e .
M r. C o m p so n im a g in e s th a t the o u tra g e d H e n ry is unable to
m a k e B on's re a s o n in g add up:
Oh I know , I know. You give m e tw o and two and you te ll m e it
m a k e s five and it does m a k e fiv e . . . . H ave you fo rg o t th a t this
w om an, th is c h ild , a r e n ig g e rs ? . . . Not ev en you doing it m a k e s
it rig h t, (p. 118)
H e n ry is , of c o u r s e , e x p e rie n c in g so m e of the p e rp le x ity w hich his
f a th e r h ad fe lt as a s m a ll boy, u n able to m a k e th e sc e n e at P e ttib o n e 's
f r o n t d o o r add up. C h a r le s E tie n n e St. V a le ry Bon, R o sa , W ash
J o n e s , and Q uentin w ill hav e m i r r o r i n g e x p e r ie n c e s . E a c h of th e m has
h is p e rc e p tio n lim ite d to the o r d e r e d , s tr a tif ie d , se e m in g ly tra d itio n a l
w o rld w hich is th e only w o rld he know s. E a c h is unequipped to c o m
pute the in c o m p u ta b le. E a c h of th e m is a fflic te d w ith the s ic k n e s s of
34
c alc u la tio n , y e t doom ed to tr y to ex p lain the h o r r o r they e x p e rie n c e
when o th e rs m a k e in h u m an e d em an d s upon th e m w ith im punity.
M r. C o m p so n im a g in e s th a t H e n ry does n o t w ant h is s i s t e r to
b eco m e "a s o r t of ju n io r p a r tn e r in a h a r e m " (p. 119)i and s e e s H en ry
as c o n ten t to hope " th a t the W ar would s e ttle the m a tte r , leav e f r e e
one of the two ir r e c o n c ila b l e s " (p. 120). It is p e rfe c tly c o n s is te n t with
M r. C o m p so n 's w o rld view th a t he w ould im a g in e H e n ry allow ing fate
o r ch an ce to d e te r m in e the m a tte r , and th at w hen H e n ry had "given
ch an ce the o p p o rtu n ity to re n o u n c e fo r m e " (p. 132), it w ould s e e m
th at he w as doom ed to liv e. S h rev e la te r gives te n ta tiv e c re d e n c e to
M r. C o m p so n 's c o n je c tu re w hen he s a y s , "M aybe y o u r old m a n w as
rig h t th a t tim e and th ey did th ink m ay b e the w a r w ould s e ttle it and
they w ould n o t have to th e m s e lv e s " (p. 343), but the m a y b e s s e e m to
in d ic a te th a t th e r e is a t le a s t as good a p o s sib ility th a t H e n ry and
C h a rle s knew th a t tim e w ould only postpone th e ir own d e c is io n s , not
m ak e th e m fo r th e m . S h rev e adds th a t Bon knew by now th a t "re v en g e
could n o t c o m p e n s a te h im n o r love a s s u a g e ." Q uentin, m o r e i n t e r
e ste d in H e n ry 's d ile m m a , fla s h e s b a c k (in t e r m s of tim e ), fo rw a rd
(in t e r m s of the e v en ts n a r r a te d ) , to the fin a l co n fro n tatio n : It s e e m e d
to Q uentin th a t he could a c tu a lly see th e m , fa c in g one a n o th e r at the
g ate, w h e re H e n ry k ills Bon "dead as a b e e f" (p. 133).
C h a p te r F iv e of A b sa lo m , A b sa lo m !, la rg e ly R o s a 's thoughts of
the p a s t on the n ight she and Q uentin w ent to S u tp e n 's H u n d red ,
35
contains v e ry few r e f e r e n c e s to b a lan c in g , w eighing, and a s s o c ia te d
im a g e ry , but the c r u c ia l c o n n ectio n b etw een b alan cin g in the ta le told
and in the te llin g of the ta le is h ig h lig h ted . A fte r a sk in g one q u e stio n
and a n sw e rin g it w ith a n o th e r, R o sa in tro d u c e s the c o m p o n e n tia l a s
p e ct of re m e m b e r in g . She c o n clu d e s th a t th e su m of r e m e m b e r in g s
to ta ls out to no m o re th an a d re a m :
T hat is the su b sta n c e of r e m e m b e r i n g - - s e n s e , sig h t, s m e ll: th e
m u s c le s w ith w hich we s e e and h e a r and f e e l- - n o t m in d , n o t
thought: th e r e is no su ch thing as m e m o ry : the b ra in r e c a lls
w hat the m u s c le s g ro p e fo r: no m o r e , no le s s : and its r e s u lta n t
su m is u su ally i n c o r r e c t and fa ls e and w o rth y only of the n a m e
of d r e a m , (p. 143)
R o s a 's in tu itio n , th a t th e m in d alone does n o t r e m e m b e r , th a t the su m
of m e m o r ie s w hich h av e not im p in g ed upon a p e r s o n 's s e n s e , to u ch ed
h im , to ta l out to s h e e r in s u b s ta n tia lity , gives the r e a d e r a n o th e r in
sig h t into the fu tility of a b s tr a c tio n . R o sa a lso p ro v id e s a link b e
tw een the d a n g e r Sutpen ru n s w hen he p u rs u e s h is d e sig n w ith u n fe e l
ing p r a g m a tis m , and th e r i s k the n a r r a t o r s ta k e when they a tte m p t to
a s s e m b le fa c ts w hich have in volved th e ir m in d s and n o t th e ir h e a r ts .
Q uentin does b e co m e to ta lly in volved, of c o u r s e , thus a s s u r in g a
c h ro n ic le w hich tra n s c e n d s d r e a m s ta tu s , but th a t s itu a tio n gives b irth
to a n o th e r, m o r e fu n d a m e n ta l r is k . The p la u sib ility of the c o - c r e a te d
Sutpen ta le b e co m e s so o v e rw h elm in g th at Q u en tin 's lo v e -h a te r e l a
tio n sh ip w ith the p a s t w hich is so p r e s e n t to h im c a u s e s h im to
a b s tr a c t upon th e e v il he fin d s w ithin h im s e lf. He b e lie v e s th a t life is
36
e v il b e c a u s e th e r e is d e m o n stra b le ev il in life.
R o s a is p a r tic u la r ly su sc e p tib le to q u a n tita tiv e im a g e ry sin ce
she has h ad f ir s t- h a n d e x p e rie n c e of S u tp e n 's w eighing and in h u m an ity .
She te lls Ju d ith th a t Ju d ith could n ot h e r s e lf love C h a rle s as he ought
to b e lo v ed , and th a t "though he w ill no m o r e fe e l th is g iv in g 's w eight
th a n h e w ould e v e r know its la c k " (p. 149), h e r love m ig h t be t r a n s
m itte d to C h a rle s " so m e m o m e n t in y o u r m a r r i e d l i v e s ." R o sa c o n
s id e r s h e r s e lf "potently w ithout m e a s u r e d and m e a s u r a b le a g e ," b e
c a u s e she could, by h e r o u tra g e d r e f u s a l to be u s e d d ish o n o ra b ly by
S utpen, effectiv ely say: " 'O fu rio u s old m a n , I hold no su b sta n c e th a t
w ill fit y o u r d re a m but I can give you a iry sp a c e and sco p e fo r your
d e lir iu m ' " (p. 168). R o sa s e e m s to p r o te s t too m u c h . She s e e m s to
p re fig u r e Q u e n tin 's a s s e r tio n to S h rev e th a t he does not h a te the South.
The r e a d e r begins to s u s p e c t th at both R o s a and Q uentin a r e p o ised
b etw een a d m ira tio n and d e s p a ir . Sutpen h a s to u ch ed R o sa , the Sutpen
legend h as to u ch ed Q uentin. Sutpen h as r a v is h e d th e v irg in R o s a 's
h o n o r, and she w o n d ers if it m ig h t n o t h av e b een b e tte r if h e had
p h y sic a lly d e flo w e red h e r . S u tp e n 's d e sig n , e sp e c ia lly in s o fa r as it
fo rc e d H e n ry to ch o o se betw een tra d itio n a l h o n o r o r tra d itio n a l d i s
h o n o r, r a v is h e d Q u e n tin 's b ro o d in g s e n s ib ility . He w o n d e rs w h e th e r
it w ould be b e tte r n ot to be b o rn th an to be b o rn into a w o rld w h ere
su ch c h o ice s m u s t be m ad e.
37
R o sa f o r ty - th r e e y e a r s ago m e a s u r e d h e r h o n o r a g a in s t the
" lim it of b rig a n d a g e w hich sh e n e v e r p a s s e d " (p. 171) in h e r r e la tio n
sh ip w ith Sutpen. Q uentin too h ad b eco m e fix a te d upon a lim it of b r ig
an d ag e he " c o u ld n 't p a s s " (p. 1 7 2 )--th a t m o m e n t w hen th e d em an d s of
S u tp e n 's d e sig n to o k th e ir to ll in h u m a n life , w hen H e n ry c a m e to a
d e te rm in a tio n ab o u t C h a r le s , and e x p lain ed to Ju d ith : "Y es. I killed
h i m " (p. 172).
C h a p te r Six is S h re v e 's re c a p itu la tio n of w hat Q uentin h a s so
f a r told h im . Som e of S h re v e 's c o n stru c tio n s a r e as u n a cc e p tab le as
th o se m a d e by R o sa o r M r. C o m p so n , b u t so m e of his in tu itio n s have
an uncanny a p tn e s s . S hreve m o re than anyone e ls e s e e m s to se n s e the
le g a lis tic th r u s t of the Sutpen s to ry . C o n seq u en tly , he la u n ch e s into a
re c a p itu la tio n of so m e of the p re v io u s ly n a r r a te d e v e n ts , but c a s ts
S utpen as F a u s tu s , "this dem on, th is B ee lz eb u b " who
fle d hiding fr o m so m e m o m e n ta ry flash y g la r e of h is C r e d ito r 's
o u tra g e d fa c e . . . scu ttlin g into r e s p e c ta b ility . . . engaged in
one final fre n z y of evil and h a rm -d o in g b e fo re the C re d ito r o v e r
to o k h im n e x t tim e fo r good and a ll. (p. 178)
S h re v e s e e m s to h av e bought m o s t of R o s a 's te rm in o lo g y , including the
e p ith e t "d em o n ," b u t he playfully adds in ro m a n tic e le m e n ts , p e rh a p s
s e n s in g th a t Q u e n tin 's in v o lv em en t in the s to ry is h a rd ly p lato n ic. In
his z e a l and im a g in a tio n , S h rev e c r e a te s a m e d ie v a l s e t fo r S u tp en 's
a g g r e s s iv e a s s a u lt on re s p e c ta b ility . Sutpen se e m in g ly "outsw apped"
his f a th e r - in - la w , M r. C oldfield, in o r d e r to have
38
a wife a fte r th r e e y e a r s to s c r u tin iz e , w eigh, and c o m p a r e , not
fr o m one of th e lo c a l d u cal h o u se s but fr o m the l e s s e r b a ro n a g e
. . . w hose p rin c ip a lity w as so f a r decayed th a t th e r e w ould be no
r is k of h is wife b rin g in g h im fo r dow ry d elu sio n s of g ra n d e u r b e
fo re he should be eq uipped fo r it. (p. 178)
S hreve is enjoying h is ro m a n tic iz in g , but h is g r a s p of th e d y n a stic
Im p licatio n s of S u tp e n 's d e sig n , and S u tp en 's m o n e ta ry v alu atio n of h is
wife, h as c re d ib ility . S h r e v e 's im a g in e d C re d ito r m e ta m o rp h o s e s
with tim e and d e ath , and to a d e g re e w ith God {in th e F a u s tia n analogy)
and S h rev e ta u n ts Q uentin w ith h is highly e m o tio n a liz e d re c a p itu la tio n
of S u tp en 's h is to ry . Sutpen as P a t r i a r c h , f a th e r - f ig u r e , is p a ro d ie d .
E llen C o ld field "did b r e e d h im two c h ild re n to fend and s h ie ld . . . the
b rittle bones and t i r e d fle s h of an old m an a g a in st the day w hen the
C re d ito r w ould ru n h im to e a r th fo r the la s t tim e . . (p. 179). But
then
the d a u g h ter fe ll in lo v e , the son the ag en t fo r th e p ro v id in g of th a t
living b u lw a rk b etw een h im and th u s in s u re h im doubled and c o m
p o u n d e d --a n d th e n th e dem on m u s t tu rn sq u a re a ro u n d and ru n not
only the fian ce out of the h o u se and not only the son out of the
house but so c o r r u p t, sed u ce and m e s m e r iz e th e son th a t he (the
son) should do the office of the o u tra g e d f a th e r 's p is to l-h a n d when
fo rn ic a tio n th r e a te n e d [but a lso get] engaged ag ain in o r d e r to
r e p la c e the p ro g en y the hopes of w hich he h ad h im s e lf d e stro y e d .
(p. 179)
S hreve f u r th e r g u e s s e s th a t R o sa h a te d Sutpen b e c a u s e she had "a kind
of d e sp a irin g co n v ictio n of h is ir r e s is ta b ili^ y [sic] o r in v u ln e ra b ility "
w hich "w ere a p a r t of the p r ic e he h ad got fo r w h a te v e r it w as he sold
the C re d ito r, sin ce a c c o rd in g to the old d am e he n e v e r h ad a so u l"
(p. 180).
39
The w eighing, b alan cin g im a g e r y , h in ted at in the e a r ly pages
of A b sa lo m , A b salo m ! w ith Q u en tin 's re c o lle c tio n s of h is G ra n d fa th e r's
opinion of S u tp en 's e ffo rt to m a in ta in " s p ir itu a l so lv e n c y " h a s c le a r ly
gain ed , in S h r e v e 's in te r p r e ta tio n , a s o p h istic a tio n w hich it did n o t
f o r m e r ly have. S h re v e 's e la b o r a te m ig h t- h a v e -b e e n h as th e rin g of
tru th . W arm in g to his s u b je c t, S h rev e a s k s a s e r ie s of r h e to r ic a l
q u e stio n s, knowing th a t he c an co u n t on Q u e n tin 's a ffir m a tio n s , sin c e
he is sim p ly re c a s tin g w hat Q uentin h a s h im s e lf n a r r a te d . Sutpen
"bought h im s e lf b ack in to " his d e sig n "w ith b e ad s and c alico and
s trip e d candy out of his own sh o w c a se and off h is sh e lv e s ? " S u tp e n 's
u se of "ch eap rib b o n s and b ead s and s ta le v io le n tly -c o lo re d can d y "
(p. 182) is a m e a s u r e of h is d e g e n e ra tio n , and the fa c t th a t W ash Jones,
fa th e r of S u tp en 's la t e s t v ic tim , is the unknow ing "p a r tn e r p o r te r and
c le r k who at the d e m o n 's c o m m a n d . . . re m o v e d w ith his own hand
(and m ay b e d e liv e re d too) fr o m the sh o w c a se th e candy and b ead s and
rib b o n s , m e a s u r e d the v e ry c lo th ," in te n s ifie s the h o r r o r . J o n e s ,
who tr u s te d the C olonel u tte r ly , b e c o m e s c o m p lic it in the sed u c tio n of
h is d a u g h ter even as H e n ry had b e co m e c o m p lic it (at S u tp en 's b eh est)
in th e d e s tr u c tio n of his b r o th e r .
The " c u r r e n t of r e tr ib u tio n " s e t off by S u tp e n 's a b s t r a c t d e sig n
rip p le s o u tw ard in m an y d ire c tio n s , and th e in h u m an c a lc u la tio n a t
the c e n te r of the in n o cen t d e s t r o y e r 's tra g e d y is k e p t b e fo re the r e a d e r
by the in ja g e ry em p lo y ed in e a c h s u c c e s s iv e c a ta s tro p h e and o u tra g e .
30"
C h a rle s B o n 's son is y e t a n o th e r v ic tim of a b s tra c tio n . It is n 't
u n til S h rev e re v ie w s the known fa c ts about C h a rle s E tien n e St. V a lery
B o n 's lim b o -lik e s ta te of n o n -id e n tity , " so m e h ia tu s of p a ss iv e and
h o p e le ss d e s p a ir " (p. 197), th a t the m an y s tra n d s of im a g e ry b eg in to
m e r g e in r e g a r d to one m o re v ic tim of S u tp e n 's " m o ra lity ." Told th a t
he is a N e g ro , C h a r le s E tien n e is d riv e n fr o m tru n d le bed to c o t- -
C ly tie in s is ts th a t i t n ot be a p a lle t, a ctin g , S h rev e s u r m is e s , by
" fie rc e in e x o ra b le sp u rio u s h u m ility " (p. 199). C om ing fr o m an e n
v iro n m e n t "w h e re p ig m e n ta tio n h ad no m o r e m o r a l value th an . . .
silk w alls and the s c e n t and the ro s e - c o lo re d c a n d le - s h a d e s ," C h a rle s
E tien n e finds h im s e lf a m e a s u r a b le , c a lc u la b le q u antity in a s tra tifie d
so c ie ty . The so c ie ty w hich co m p u tes m o r a l v alu e on the b a sis of blooc
c a u s e s C h a rle s E tie n n e , fo u rte e n y e a r s old w hen th e shock o c c u r s , to
tak e a new look a t the in c o m p re h e n s ib le stuff of the new re a lity :
he w as fo u rte e n and one of th e m , J u d ith o r C ly tie , found hidden
b e n e a th h is m a t t r e s s the s h a r d of b ro k e n m i r r o r and who to know
w hat h o u rs of a m a z e d and t e a r l e s s g rie f he m ig h t h av e sp e n t b e
fo re it, e x am in in g h im s e lf . . . (p. 199)
W h erea s the n o r m a l a d o le s c e n t m ig h t und erg o a p e rio d of confusion as
he a tte m p ts to d ig e st the tru th s about h is own s e x u a lity at the o n
slau g h t of a d o le s c e n c e , T h o m as Sutpen and now C h a rle s E tien n e St.
V a le ry Bon a r e fo rc e d to r e t r e a t to th e ir re s p e c tiv e " c a v e s ," in o r d e r
to re e v a lu a te th e ir v e ry h u m an ity .
S h rev e co n tinues to re c a p itu la te o th e r in fo rm a tio n he had
41
p re v io u s ly re c e iv e d f r o m Q uentin. He r e c a lls the tim e th a t Q uentin
and h is fa th e r d is c o v e re d the Sutpen fa m ily g ra v e s to n e s . Q uentin
fe e ls d oom ed to h e a r in g the d e ta ils again. As S h re v e r e la te s the fa c ts
about a to m b sto n e o r d e r e d by R o sa and p u rc h a s e d by C ly tie w ith n ic k
e ls and d im e s , Q uentin thinks:
Y e s . I d id n 't need to a s k who in v en ted th a t, put th a t one up th ink -
ing Y es, too m u c h , too long. I d id n 't n e ed to lis te n th e n but X had
to h e a r it and now I am having to h e a r it a ll o v e r ag ain b e c a u se he
sounds ju s t like f a th e r , (p. 211)
Then, in q u iet r e v e r y , Q uentin continues to g et c au g h t up in the p a st.
He r e f le c ts upon R o s a 's unique re la tio n s h ip w ith Ju d g e B enbow , the
e x e c u to r of h e r f a th e r 's m e a g e r e s ta te . The p a ss a g e both show s the
u ncanny a b ility of the d e te rm in e d fe m a le to g et things d o n e - - h e r b ills
get paid j u s t as h e r p le a to Q uentin g ets h e a r d and re '“'- *ded--and m i r
r o r s the o v e rb a la n c e d a cco u n ts in the m u ch m o re d e s tr u c tiv e Sutpen
design:
she w ould n o t a c c e p t the a c tu a l m oney f r o m the s a le of the s to r e
fro m Ju d g e B enbow y e t w ould a c c e p t the m o n e y 's value (and a fte r
a few y e a r s , o v e r-v a lu e ) in a dozen w ays: w ould u s e c a s u a l n e g ro
boys . . . stopping th e m and co m m an d in g th em to ra k e h e r y a rd
and th ey d o u b tless as a w a re as the tow n w as . . . th a t Ju d g e B e n
bow w ould p ay th e m . She would e n te r th e s to r e s and co m m an d
o b je cts f r o m th e sh e lv e s and sh o w c a se s ex ac tly as sh e c o m m a n d ed
th a t two h u n d re d d o lla r h e ad sto n e fr o m Judge B enbow . . . and
w ith th e s a m e a b e r r a n t cunning w hich w ould not w a sh the d ish e s
and n ap k in s fr o m the b a sk e ts she d e clin ed to have any d is c u s s io n
of h e r a ffa irs w ith B enbow sin ce she m u s t have know n th a t the
su m s . w hich she h ad re c e iv e d fr o m h im m u s t h av e y e a r s ago
o v e rb a la n c e d . . . (p. 212)
Judge B enbow 's " le d g e r, a c a r e fu l ta b u la tio n in the J u d g e 's h a n d ," w as
42
a "m y th ic al a c c o u n t" in s o fa r as h is k in d n e ss to R o s a involved giving
the E s ta te of G oodhue C oldfield the a p p e a ra n c e of so lv en cy . The a r
ra n g e m e n t, one re p u g n a n t to anyone w ith a h ead fo r b u s in e s s , is n o n e
th e le s s not d e s tr u c tiv e . T his in s ta n c e of an o v e rd ra w n a cc o u n t is in
high c o n tr a s t both w ith S u tp e n 's flaw ed d e sig n , his a tte m p ts "to balance
the b ooks" n o tw ith sta n d in g , and w ith th e s e c r e t le d g e r book w hich
S h rev e la te r im a g in e s E u la lia B o n 's la w y e r (h im se lf hypo th etical) to
be keeping fo r h is own s e lf is h en d s.
Im m e d ia te ly follow ing th e re c a p itu la tio n of R o s a 's fin a n c ia l
s ta tu s , the f i r s t m e n tio n of J im Bond o c c u r s , "the boy, the J im Bond,
the hulking s la c k -m o u th e d s a d d le -c o lo re d boy a few y e a rs o ld e r and
b ig g e r than you w e r e " (p. 214). Q u e n tin 's re c o lle c tio n is im p o rta n t; it
re v e a ls th a t Q uentin and h is young f r ie n d s , en co u n terin g th e son of
C h a rle s E tien n e St. V a le ry B o n --o n e of the th r e e m e m b e r s of the S u t
pen legend Q uentin a c tu a lly had c o n tac t w ith --te n d e d to s e e a boy as
though he w e re a thing, "the J im B ond." S im ila rly , C lytie was "n o t
m u ch b ig g e r th an a m o n k ey . . . h e r b a r e c o ffe e -c o lo re d f e e t w rap p ed
aro u n d the c h a ir ru n g lik e m o n k e y s d o " (p. 214). The boys ra n aw ay,
b ack to w h ere things "looked d iffe re n t a g ain , a ll rig h t a g a in ." E v e n
L u s te r , h im s e lf a N e g ro , f a m ilia r to Q uentin, and thus n o t " d if f e r
e n t," ru n s aw ay. L u s te r , who only sp e lls " r e a d in 1 w o rd s ," e x p lain s
to Q uentin th a t J im B o n d 's l a s t n a m e is a "la w y e r w ord. W hut dey
puts you u n d e r w hen de L aw k e tch e s y o u " (p. 215). The iro n y , of
43
c o u r s e , is th a t J im Bond, th e la s t know n Sutpen, is p r e c is e ly a v ic tim
of S u tp en 's le tte r - o f - th e law m e n ta lity . L u s te r does not add, but the
r e a d e r d o e s, th a t bond is a ls o a m o n e ta ry t e r m . Is Bond in so m e
s e n s e th e in e ffe c tu a l ra n s o m of the H ouse of Sutpen; th e h e ir to n o th
ing? O r is he th e only hope of S u tp e n 's fa m ily , a Sutpen who c a n 't be
u sed ?
In C h a p te r Seven of A b sa lo m , A b sa lo m !, Q uentin suddenly
an nounces to S h rev e th a t Sutpen "to ld G ra n d fa th e r about it" {p. 2 1 8 )--
" it" being the o rig in of S u tp e n 's d e sig n , an acco u n t w hich Q uentin p r e
su m ab ly h a s w ith h eld fr o m S h rev e b e c a u s e th e in fo rm a tio n in c r e a s e s
sy m p ath y fo r Sutpen, m ak in g h im m o r e difficult to cope w ith, m o re
am b iv a le n t. Q uentin k n o w s, h o w e v e r, th a t, if the c re d ib ility of the
re c o n s tr u c tio n is n o t to d e c lin e , he m u s t now add in G ra n d fa th e r
C o m p so n 's ju d g m en ts:
S u tp en 's tro u b le w as in n o cen ce. A ll of a sudden h e d is c o v e re d ,
not w h at he w anted to do but w hat he ju s t h ad to do, had to do it
w h e th er he w anted to o r n o t, b e c a u s e if he did n o t do it he knew
th a t he could n e v e r live w ith h im s e lf fo r th e r e s t of his life,
n e v e r liv e w ith w hat a ll th e m e n and w om en th at h a d died to m ak e
h im h a d left in sid e of h im fo r h im to p a ss on, w ith all th e dead
ones w aiting and w atching to see if he w as going to do it rig h t,
fix th in g s r ig h t so th a t he w ould be able to look in th e fa c e n ot
only th e old d ead ones b ut all the liv in g ones th a t w ould co m e
a fte r h im w hen he w ould be one of the dead. And th a t at th e v e ry
m o m e n t w hen he d is c o v e re d w hat it w as, he found out th a t th is
was th e la s t th in g in the w o rld he w as equipped to do b e c a u se he
did n o t even know th a t it e x iste d to be w anted, to n e ed to be done,
u n til he w as a lm o s t fo u r te e n y e a r s old. (p. 220)
Q uentin, who th ro u g h o u t th e novel s e e m s in d isp o se d to live w ith joy o r
44
hope, in c ap a b le of coping w ith a re a lity w hich he fe e ls h a s b e e n th ru s t
upon h im w h e th e r h e w anted it o r n o t, d w ells on e v e r y d e ta il of what
T h o m as S utpen " ju s t had to do." S u tp e n 's situ a tio n c le a r ly p re fig u re s
H e n ry 's , th e e p iso d e w hich m o re th an any o th e r d ra w s Q u en tin on in
his n a r r a t i v e ra tio c in a tio n .
T h o m as S u tp en 's p r im a r y im p e tu s fo r d e c isio n tu rn s o ut to be,
s u r p r is in g ly , tra d itio n , co ntinuity w ith th e p a s t and fu tu re . He did not
y e t know w h at he h ad to do, but he is c l e a r on the fa c t th a t he ju s t had
to do it, fo r his own sak e , and fo r the sak e of th o se dead and th o se yet
u n b o rn . W hen ind iv id u als die o r a r e b o rn la te r in S u tp e n 's c a r e e r ,
S u tp en 's c o n c e rn is n e g lig ib le , but the r e a d e r w o n d e rs if the s y s te m he
id e n tifie s w ith c o r r u p ts h is tr a d itio n a lis m and id e a lis m , o r if h is in
n o cen ce and a b s tr a c tio n c a u se h im to e m u la te the w o rs t a s p e c ts of the
tra d itio n , b lind to its su b sta n c e .
Q u en tin goes on to quote S u tp e n 's a s s e r tio n to G ra n d fa th e r
C o m p so n th a t it w ould be " c r a z y " to "fence off a p ie c e " of land w here
he c a m e fr o m . B efo re Sutpen a c tu a lly saw , w hen he had d escen d ed
f r o m the m o u n ta in s , "the c o u n try fla tte n e d out now w ith good ro a d s and
fie ld s and n ig g e rs w orking in the fie ld s w hile w hite m e n s a t fin e h o rse s
and w atch ed th e m ," he could n o t h av e im a g in e d s u c h a sc e n e .
He d id n 't even know th e re was a c o u n try a ll divided and fix e d and
n e a t b e c a u s e of w hat c o lo r th e ir sk in s h ap p en ed to be and w hat
th ey h ap p en ed to ow n, and w h ere a c e r ta in few m e n n o t only had
the p o w e r of life and d eath and b a r t e r and sa le o v e r the o th e r,
45
but they h ad liv in g h u m a n m e n to p e r f o r m the e n d le s s r e p e titiv e
p e r s o n a l o ffic e s, (pp. 221-222)
This a r b i t r a r y s tr a tif ic a tio n b a se d upon c o lo r and p r o p r ie to r s h ip is
the v e ry s y s te m S utpen la te r a p o th e o s iz e s . He a s s u m e s p o w er o v e r
life and d e ath , he b a r t e r s and s e lls h u m an b e in g s, he s u rro u n d s h i m
se lf w ith liv in g h u m a n m e n who w ill p e r f o r m p e rs o n a l s e r v ic e s fo r
him .
Q uentin n o te s th a t Sutpen had r e a liz e d th a t the s tr a tif ic a tio n by
co lo r w as only one m a n ife s ta tio n of a m o r e u n iv e r s a l m o d e of v aluation:
He had le a r n e d the d iffe re n c e n o t only b etw een w hite m e n and b la c k
o n e s, b u t he w as le a r n in g th a t th e r e w as a d iffe re n c e b etw een w hite
m e n and w hite m e n , n o t to be m e a s u r e d by. lifting a n v ils o r g o u g
ing ey es o r how m u c h w h isk ey you could d rin k th en g et up and w alk
out of a ro o m . He had begun to d is c e r n th a t w ithout b eing a w a re of
it y et. He s till th o u g h t th a t th a t w as ju s t a m a tte r of w h e re you
w e re spaw ned and how; w h e th er you w e re lucky o r n o t lucky.
(p. 226)
E v en w hen he w atch ed P e ttib o n e b eing fanned and s e r v e d in h is h a m
m o ck , Sutpen "d id n 't envy th e m a n he w as w atching . . . he no m o re
envied the m a n than he w ould hav e envied a m o u n tain m a n who h a p
pened to have a fine r if le " (p. 228). Sutpen "d id n 't ev en know he w as
in nocent th at day w hen h is f a th e r s e n t h im to the big h o u se w ith the
m e s s a g e " (p. 229).
B e c a u se he w as in n o cen t, he n e v e r fo r one m in u te thought "but
what th e m a n w ould be as p le a s e d to show h im the b a lan c e of h is th ings
as the m o u n ta in m a n w ould h av e b een to show the p o w d er h o rn and b u l
let m o ld th a t w en t w ith th e r if le " (p. 229). The e g a lita r ia n is m of the
46
m ountain m e n is a n alo g o u s to the A m e r ic a n D re a m b e fo re in d iv id u a ls
unknowingly o r know ingly c o r r u p te d it by fen cin g off th e ir own land, by
h o ard in g th e ir own p o s s e s s io n s , by em p lo y in g m e n ia ls to a s s u r e th e ir
own le is u r e . B ec a u se of h is r a d ic a l in n o c en c e , S u tp e n 's " d is c o v e ry "
is p ro fo u n d ly d isillu sio n in g . He h ad, it is tr u e , n o tic e d the w ay w h ites
had of looking a t n ig g e rs w ith " sp e c u la tiv e a n ta g o n ism " (p. 230), and
he had o b s e rv e d h is fa th e r b re a k in g o u t "into h a r s h re c a p itu la tio n of
his own w o rth " s o m e tim e s w hen he w as in h is cu p s. He had h im s e lf
th ro w n d ir t clods at "a n ig g e r c o a c h m a n in a plug h a t" who had ru n h is
s i s t e r off the ro a d two y e a r s e a r l i e r , and he w atch ed h is f a th e r "w hup-
p in g " one of P e ttib o n e 's n ig g e rs fo r no b e tte r r e a s o n th an he w as
" 'H ell f i r e , th a t goddam son of a b itc h P e ttib o n e 's n ig g e r ' " (p. 231).
Y et, T h o m as Sutpen had n e v e r r e a lly b e e n fo r c e d to m ak e a r e c a p itu
la tio n of h is ow n w o rth u n til the m o m e n t he w as b a r r e d fr o m P e t t i
b o n e 's door by the "m o n k ey n ig g e r" "ev en b e fo re h e h ad tim e to say
w h at h e c a m e f o r ."
S utpen, sh ak e n to th e c o r e , had "nothing to m e a s u r e it by" (p.
233). T his w as a b u s in e s s m a tte r . He did e x p e c t to be lis te n e d to
b e c a u s e he had c o m e , b e en s e n t, on so m e b u s in e s s . . . c e r ta in ly
c o n n ec te d so m eh o w w ith th e p la n ta tio n th a t su p p o rte d and e n d u re d
the sm o o th w hite h o u se and th a t s m o o th w hite b r a s s - d e c o r a t e d
d o o r and the v e ry b ro a d c lo th and lin e n and s ilk sto ck in g s the
m o n k ey n ig g e r sto o d in to te ll h im to go a ro u n d to the b a ck b e fo re
he could ev en s ta te h is b u s in e s s , (p. 233)
T he s a c r e d n e s s of b u s in e s s Sutpen n e v e r doubted; now Sutpen h ad
.
47
nothing to gauge and c o m p a re h is e x p e rie n c e by b u t the " rifle a n alo g y ,"
and "it w ould n o t m ak e s e n s e by th a t" (p. 234).
One thing he knew:
It w as not th e n ig g e r a n y m o re th an i t had b e en the n ig g e r th a t h is
f a th e r had h elp ed to w hip th a t n ig h t. The n ig g e r w as ju s t a n o th e r
b allo o n fa c e s lic k and d iste n d e d w ith th a t m e llo w loud and te r r ib l e
laughing so th at he did n o t d a r e to b u r s t it, looking down a t h im
fr o m w ithin the h a lf-c lo s e d d o o r d u rin g th a t in s ta n t in w hich, b e
fo re he knew it, so m eth in g in h im had e sc a p e d and . . . w as lo o k
ing o u t fr o m w ith in the b allo o n fa c e j u s t as the m a n who did not
even h av e to w e a r the sh o es h e ow ned, w hom the la u g h te r w hich
th e ballo o n h e ld b a r r ic a d e d and p ro te c te d f r o m su ch as h e , looked
out fr o m w h a te v e r in v isib le p la c e he (the m an) h ap p en ed to be at
the m o m e n t, a t the boy o u tsid e the b a r r e d d o o r. . . . (pp. 234-
235)
F i r s t of a ll, Sutpen h a s the a c u m e n n o t to m a k e the N egro b u tle r the
s c a p e g o a t of his profound d is illu s io n m e n t. He know s th a t the b u tle r is
h im s e lf a v ic tim , an in d iv id u al re d u c e d to a b allo o n s ta te , a m a n m ad e
to a s s u m e the ro le of an o p e ra tiv e . S econdly, Sutpen r e a liz e s th at
so m e th in g in h im , h is s e lf - c o n c e p t p e r h a p s , e s c a p e s fr o m h im , b u t in
the p r o c e s s , he is en ab led to se e h im s e lf as the r ic h P e ttib o n e m u s t be
re g a rd in g h im . P e ttib o n e , though looking out a t the boy o u tsid e the
b a r r e d d o o r, m u s t have b e en se e in g Sutpen and h is fa m ily "as c a ttle ,
c r e a t u r e s h eav y and w ithout g r a c e , b ru te ly e v a c u a te d into a w o rld
w ithout hope o r p u rp o se fo r th e m " (p. 235).
P e ttib o n e 's in h u m an ity c le a r ly s te m s f r o m h is a b s tr a c tio n . He
looks a t a f o u r te e n - y e a r - o ld boy, b u t s e e s a " c r e a t u r e ," an in fe rio r
s p e c ie s . The h o r r o r of S u tp e n 's r e a liz a tio n is th a t it c a u s e s h im to
48
a m b ra c e an a b s tr a c t d e sig n h im s e lf. W hen he c o m e s h o m e , he s e e s
h is s i s t e r
b ro a d in the b e a m as a cow , the v e ry la b o r sh e w as doing b r u tis h
and stu p id ly o u t of all p ro p o rtio n to its re w a rd : th e v e ry p r im a r y
e s s e n c e of la b o r, to il, re d u c e d to its c ru d e a b so lu te w hich only a
b e a s t could and w ould e n d u re , (p. 236)
His v isio n of h is s i s t e r is a lm o s t the la s t stra w ; only one o th e r r e v e l a
tion aw aits h im , and it m o v es h im to actio n . He lay down on the p a lle t
w here he s le p t, only "not to s le e p now ," b ut to b eg in h is " n e v e rm o r e of
p e ac e " (p. 373). A s he b egins to think of w ays in w hich P e ttib o n e coulc
"g et p aid b a c k ," the fin a l m o m e n t of tru th o c c u r s : th e v e ry m e s s a g e he
d e liv e re d to P e ttib o n e
c a n 't ev en m a t t e r , not ev en m a tte r , n o t ev en to P a p ; I w ent up to
th a t d o o r fo r th at n ig g e r to te ll m e n e v e r to co m e to th a t fro n t
d o o r ag ain and I n o t only w a s n 't doing any good to h im by te llin g
it o r any h a r m to h im by n o t te llin g it, th e r e a in t any good o r
h a r m e ith e r in the living w o rld th a t I can do to h im , (p. 238)
At th is m o m e n t an ex p lo sio n w ent off in h im , le av in g no a s h e s , no
r e f u s e , " ju s t a lim itle s s fla t p lain w ith the s e v e r e sh ap e of h is in ta c t
in n o cen ce r is in g f r o m it like a m o n u m e n t" (p. 238). In o th e r w o rd s ,
Sutpen did n o t lo s e h is in n o cen ce; it b e c a m e the guiding fo r c e in h is
fu tu re life. Sutpen h ad u n d e rg o n e , in s e v e r a l s ta g e s , an e x p e rie n c e
w hich p ro v e d to h im th a t he had b een the o b je c t of P e ttib o n e 's a b s t r a c
tio n (P ettib o n e h im s e lf b eing but one of the m an y a b s tr a c to r s on the
u p p e r le v e l of a c a s te s y ste m ), but, b e c a u se he su ddenly saw things
the way P e ttib o n e m u s t h av e, and b e c a u s e he view ed h is v e ry ro le as
w
m e s s e n g e r - - th a t one s m a ll c la im to dignity and i m p o r ta n c e - - a s riot
m a tte rin g to anyone, T h o m as Sutpen d e te r m in e s n e v e r ag ain to be on
the s h o r t end of the stic k . He adopts th e code of th e d eh u m an izin g
s y s te m , the code of a land "divided and fixed and n e a t b e c a u se of"
o n e's c o lo r o r p o s s e s s io n s . It w as p e rfe c tly n a tu r a l, given h is u tte r
in n o cen ce, c au sin g h im to d ra w the lo g ic a l but i n c o r r e c t c o n clu sio n
th at sin ce th is is the w ay h is w o rld w a s, th is is the way it m u s t b e,
th at he d ecid es
to c o m b a t th e m you h av e got to hav e w hat they h av e th a t m a d e
th e m do w hat th e m a n did. You got to h av e land and n ig g e rs and
a fine h o u se to c o m b a t th e m w ith. (p. 238)
Sutpen, an A m e ric a n in n o c en t, r e je c ts his e g a lita r ia n h e r ita g e , the
tru e A m e ric a n D re a m , and "b u y s" the logic of w hat h as b eco m e the
A m e ric a n D re a m , th e su b stitu tio n of m a te r ia l s u c c e s s f o r p e r s o n a l
and c o lle c tiv e fu lfillm e n t.
F a u lk n e r b rin g s h is r e a d e r s to the p o in t w h e re they can g r a s p
both the logic and the tra g e d y of S u tp e n 's d e c isio n . Of c o u r s e , th e
s y s te m w hich m a k e s n o n -h u m a n logic s e e m to be th e only r e s p o n s e
which m a k e s se n s e r e c e iv e s o u r c e n s u r e , but in n o cen ce w hich allow s a
m an to find such a s y s te m a c c e p ta b le should fill us w ith pity, n o t o u t
ra g e . B ec a u se the r e a d e r alw ay s h as a h ig h e r p e rs p e c tiv e th an the
n a r r a to r s of the Sutpen t a l e - - j u s t as he has a h ig h e r view point on the
n a r r a t o r s ' re a c tio n s to the ta le to ld - - p ity and f e a r a r e m o r e a p p r o
p ria te re s p o n s e s th a n o u tra g e , c y n ic ism , o r re p u d ia tio n .
50
Sutpen e m e r g e s as m isg u id e d , but n ot out of m a lic e . His cold
and innocent c a lc u la tio n s, h is su b seq u en t d e cisio n s, like the one to
leave E u la lia b e ca u se she "w as not and could n e v e r b e, th ro u g h no
fau lt of h e r own, adjunctive o r in c re m e n ta l to the d esig n w hich I had in
m ind" (p. 240), a r e as lo g ic a l, given S u tp en 's w orld view , as p r e s e n t
day adoption of a lm o s t any e s c a la tio n of technology o r in te rn a tio n a l
p o w e r-e litis m in the n am e of p r o g r e s s o r econom ic stab ility .
Sutpen s e e m s to se n s e the im p o r t of his a c tio n s, even if he
d o e sn 't p e rc e iv e th e ir d e s tru c tiv e n e s s :
P e rh a p s a m an builds fo r h is fu tu re in m o re w ays th an one, builds
not only to w ard the body w hich w ill be his to m o rro w o r nex t y e a r ,
but to w ard actio n s and the su b se q u e n t irre v o c a b le c o u rs e s of r e
sultan t actio n w hich h is w eak s e n s e s and in te lle c t cannot fo r e s e e
but which ten o r tw enty o r th irty y e a r s fro m now he w ill tak e,
will have to take in o r d e r to su rv iv e the act. (p. 243)
S u tp en 's " m o ra l" k in sh ip w ith M r. C oldfield w as noted e a r l i e r ,
and F a u lk n e r e x p lo re s the p a r a lle l w hen Q uentin and S hreve continue
th e ir n a r r a tiv e re c o n s tr u c tio n a fte r the c ru c ia l re v e latio n s of S u tp en 's
re fle c tio n s on his p a st. Sutpen had a p p aren tly p e rsu a d e d C oldfield to
u se his c r e d it to help the fu tu re s o n -in -la w to get s ta r te d .
M r. C oldfield n e v e r did b e lie v e it would w o rk , so when he saw
that it w as going to w ork, h ad w o rk ed , the le a s t thing he could
do was to re fu se to take h is s h a re of the p ro fits; th a t when he
saw th at it had w o rked it w as his c o n sc ie n ce he h ated , not
Sutpen. (p. 260)
M r. C oldfield w ants m oney, but he h a s to s a c rif ic e the a c t of h o a rd in g
in o rd e r to k eep the s p iritu a l solvency in tact. C onsequently, he h a te s
51
h is te n d e r c o n sc ie n c e . He w ants th e s u b s ta n c e of m a te r ia l s u c c e s s ,
b u t c an n o t b e a r th e fo r m w hich would id en tify h im . Sutpen, a m u ch
m o r e tr a g ic fig u r e , w ants s ta tu s , but h a s to s a c r if ic e h u m an re la tio n
sh ip s in o r d e r to k eep in ta c t the d esig n to w hich he su b o rd in a te s all
e ls e . S ince h is c o n sc ie n c e has b eco m e so d u lled by a b s tr a c tio n , he
h a s no r e a s o n to h a te it. He is m e re ly b e w ild e r e d b e c a u se he can n o t
find the flaw s w hich c a u se h im to su ffe r d e fe a t. A s John W. Hunt
p o in ts out:
S ince his m o r a lity does not ro o t in a r e a l i s t i c a s s e s s m e n t of the
n a tu re of th in g s, he m e e ts h is d efeat a t th e h an d of fo r c e s he
n e v e r r e a liz e s to be o p e ra tiv e . The "old im p o te n t logic and
m o r a lity w hich had b e tra y e d h im b e f o r e ," "h ad n e v e r y e t failed
to fa il h im ." ^
T he s y s te m w hich fa ile d h im as a boy co n tin u es to fa il h im as a m a n ,
b u t th e r e a s o n it fa ils h im now re m a in s h id d en to h im sin ce he n e v e r
did g r a s p w hat w as w rong w ith it, only th a t it w as w rong fo r th o se on
the b o tto m ru n g of the la d d e r. W hat he c a n n o t u n d e rs ta n d is th at he
h a s ad o p ted the w o r s t a sp e c ts of the tr a d itio n he in tended to g et ev en
w ith.
Q uentin pinpoints S u tp en 's situ atio n :
. . . b e c a u s e it w as th at innocence a g a in , th a t in n o cen ce w hich
b e lie v e d th a t the in g re d ie n ts of m o ra lity w e r e lik e the in g re d ie n ts
of a pie o r cak e and once you h ad m e a s u r e d th e m and b a lan c e d
th e m and m ix e d th e m and put th e m into th e o v en , it w as a ll f in
ish e d and nothing but pie o r cak e could c o m e out. (p. 263)
Sutpen had to ld G ra n d fa th e r C om pson:
52
You s e e , I had a d e sig n in m y m ind. W h eth er it w as a good o r a
bad d e sig n is b e sid e the point; the q u e stio n is , W h ere did I m ak e
the m is ta k e in it, w hat did I do o r m isd o in it, w hom o r w hat i n
ju r e by it to the ex ten t w hich th is would in d ic a te . I had a d esig n .
To a c c o m p lis h it I should r e q u ir e m o n ey , a h o u se , a p lan tatio n ,
s la v e s , a f a m ily - - in c id e n ta lly , of c o u rs e , a w ife. I s e t out to
a c q u ire th e s e , a sk in g no fa v o r of any m a n . (p. 263)
5utpen co n tin u es:
I did n o t d em and; I a c c e p te d [E u la lia 's fa m ily ] at th e ir own v a lu
ation w hile in s is tin g on m y own p a r t upon e x p lain in g fully about
m y s e lf and m y p ro g e n ito rs : y e t they d e lib e ra te ly w ithheld fr o m
m e the one f a c t w hich I have re a s o n to know th e y w e re a w a re
would have c a u se d m e to d e c lin e the e n tir e m a tte r , (p. 264)
The in ju s tic e Sutpen had to w ith sta n d le ft h im "behind w ith [h is] s c h e d -
ale." If he w as in any w ay u n ju s t in h is ab an d o n m en t of E u la lia and h is
son by h e r , he h ad , by a d m in is te r in g a m o n e ta ry b a n d -a id , "done w hat
he] could to re c tify it" (p. 265).
G ra n d fa th e r C o m p so n h a d , Q uentin r e la te s , in te r r u p te d S u tp en
to a sk "w hat c o n sc ie n c e to tr a d e w ith would have w a r r a n te d you in the
belief th a t you could have bought im m u n ity f r o m h e r f o r no o th e r co in
but ju s tic e ? " Sutpen jo in s a long li s t of F a u lk n e r c h a r a c t e r s who tr y
;o buy im m u n ity f r o m th e ir p a s t liv es w ith the coin of le g a l s a t i s f a c
tion in ste a d of h e a r tf e lt c o n tritio n and h u m an e r e s titu tio n . S utpen b e -
Lieves th a t w h a te v e r w as m o s t e x p ed ie n t is a lso m o s t tru ly ju s t.
T w en ty -eig h t y e a r s l a t e r , he lo o k s up to see C h a rle s Bon, w hom he
io e s not re c o g n iz e as an in d iv id u a l, h is own f i r s t - b o r n son, b u t as "th e
:ace he b e lie v ed he had paid off and d is c h a rg e d tw e n ty -e ig h t y e a r s a g o "
P. 265).
53
Q uentin view s C h a r le s B o n 's re je c tio n as a tra g e d y w h e re in ,
'in the fu ry of the s tru g g le fo r the fa c ts c a lle d g ain o r lo s s nobody even
r e m e m b e r s the c h ild " (p. 267). A " fo rlo rn n a m e le s s and h o m e le s s
;h ild c am e to knock . . . and no m o n k e y - d r e s s e d n ig g e r a n y w h ere u n
der the su n to c o m e to the d o o r and o r d e r the child aw ay . . . " (p. 267).
y e t Sutpen, e ffe c tiv e ly , p e r f o r m s th a t u n n a tu ra l o ffice.
Sutpen does n o t look upon B o n 's p r e s e n c e a s a sig n of " m o r a l
r e trib u tio n ," b ut as an in e x p lic ab le " m is ta k e ." He had, o v e r a long
p erio d of tim e , c a re fu lly b a lan c e d th e in g re d ie n ts w hich w ent into the
re c ip e h is d e sig n s e e m e d to re q u ire ; nothing he re c o g n iz e d c a m e out
of the oven.
As C h a p te r S ev en co n tin u es to w a rd its d r a m a tic c lim a x in the
m u r d e r of Sutpen by the o u tra g e d , s c y th e -w ie ld in g W ash J o n e s , b a l
ancing, w eighing, r e tr ib u tio n im a g e ry p r o li f e r a te s . S u tp e n 's d e s i g n - -
w h eth er o r n o t its fa ilu r e c an be c a lle d " m o ra l r e tr ib u t io n " - - h a s
touched off a " c u r r e n t of r e tr ib u tio n " ju s t as s u re ly as the in h u m a n ity
of the s y s te m w hich the in c id e n t a t P e ttib o n e 's h ad e p ito m iz e d to u ch ed
off S u tp en 's o rig in a l d e sig n . W hat Sutpen view s as " m in o r ta c tic a l
m is ta k e s " (p. 269) co n tin u e to a ffe ct h is c h ild re n .
H e n ry w r e s tle s w ith h is c o n sc ie n c e "to m a k e it c o m e to t e r m s
w ith w hat he w anted to do" (p. 270), and S utpen co n tin u es to h o ld up
"not h is h ead fo r b r e a th ," but "his code of logic and m o r a lity , th is
fo r m u la and re c ip e of fa c t and ded u ctio n w hose b a la n c e d s u m and
54
p ro d u c t d eclin ed , re fu s e d to sw im o r ev en f lo a t1 1 (p. 275). When S u t
pen " su g g este d w hat he s u g g e s te d " to R o s a - - w e le a r n only la te r th at
he a sk e d h e r to try to p ro d u c e a so n , and m a r r y l a t e r if the a tte m p t is
s u c c e s s f u l- -
she did w hat he should h av e know n she w ould do and would have
known p ro b ab ly if he h ad not bogged h im s e lf ag ain in h is m o ra lity
which had all the p a r ts but w hich r e f u s e d to ru n , to m o v e , (p. 279)
Q uentin, cau g h t up in the in c re d ib le s in g le -m in d e d n e s s of S u t
pen, and now "a th ousand tim e s m o r e p o te n t and a liv e " (p. 280), ru s h e s
into the d ra m a tic c o n fro n ta tio n b e tw ee n W ash and S utpen, a fte r Sutpen
looked at the g irl on the p a lle t a g a in and s a id , "W ell, M illy; too
bad y o u 're not a m a r e too. T hen I could give you a d ecen t s ta ll
in the s ta b le " and tu rn e d and w ent out. (p. 286)
W ash, th e v eils to rn f r o m h is e y es m u c h as S u tp e n 's w e re w hen he
re a liz e d how P e ttib o n e m u s t h av e b e e n looking a t h is fam ily and h i m
se lf all along, is d e s c rib e d as h av in g a " m o r a lity of h is th a t w as a gooc
d e al like Sutpen's, th at to ld h im he w as r ig h t in the fa c e of a ll fa c t and
u sa g e and e v ery th in g e ls e " (p. 287). E v e n a f te r k illin g Sutpen, W ash
m u s t h av e shouted aloud (M r. C o m p so n im a g in e s): " 'But I n e v e r e x
p ected th a t K e r n e l ! You know I n e v e r ! 1 " (p. 290). T he only d iff e r
ence b etw een S u tp en 's r e s p o n s e at P e ttib o n e 's and W ash 's in c re d u lity
a t S u tp e n 's c a llo u sn e ss w as th at W ash took w h at p ro b a b ly w as the
l e a s t d e s tru c tiv e option*, k illin g S utpen and ru s h in g upon M ajo r de
Spain and the o th e r S utpens of h is lim ite d e x p e r ie n c e , m e e tin g d eath
h im s e lf in h is e ffo rt to tak e in c o m p re h e n s ib le ev il down w ith him .
35-
C h a p te r E ig h t b rin g s a ll of the p re v io u s in fo rm a tio n v e rifie d o r
c o n s tr u c te d to b e a r upon the B o n -H e n ry c o n flic t, the p a r t of the Sutpen
s to r y w hich m o s t h o r r if ie s and in trig u e s Q uentin. S h re v e re m in d s
Q uentin of M r. C o m p so n 's a cc o u n t of S u tp e n 's r e je c tio n of E u la lia , and
th en S h rev e r e a s o n s th a t so m eo n e e ls e , a h y p o th e tic a l " la w y e r" m u s t
have told Bon th a t he w as H e n ry 's b ro th e r. The e co n o m ic im a g e ry is
a g a in c o n s is te n t, and c ru c ia l:
. . . d o n 't you r e m e m b e r how y o u r fa th e r sa id it, th a t not one
tim e did h e - - t h e old guy, the d e m o n - - e v e r s e e m to w on d er how
th e o th e r w ife m a n ag e d to find h im , tr a c k h im down, had n e v e r
on ce s e e m e d to w on d er w hat sh e m ig h t h av e b een doing all th a t
tim e , the th ir ty y e a r s sin ce th a t day w hen he p aid h is bill w ith
h e r and g o t it r e c e ip te d , so he thought, and saw w ith his own
e y e s th a t it w as (so he thought) d e s tro y e d , to rn up and throw n to
the wind; n e v e r once w o n d ered about th is but only th a t she had
done it, could h av e and w ould have w anted to tr a c k h im dow n?
So it w a s n 't h e r th a t to ld Bon. She w o u ld n 't h av e w an ted to, m a y
be fo r the r e a s o n th a t she knew h e - - th e d e m o n --w o u ld b eliev e she
h a d . (p. 296)
S h r e v e 's in tu itio n s o b v io u sly f r e e z e into c e r ta in tie s as they do h e r e
w hen h e c o n v e r ts h is " m a y b e " into "So it w a s n 't h e r th a t told B on."
T his p h en o m en o n , u ltim a te ly c o n tro lle d by F a u lk n e r, is im p o r ta n t fo r
two r e a s o n s . We as r e a d e r s b egin to b e lie v e th a t m a y b e th e re is "a
m a y b e th a t is m o r e tr u e th an tr u th ," and the n a r r a tiv e p r o c e s s , fo r all
of its w eighing and b a la n c in g , is show n to be o p p o site to the Sutpen
m e n ta lity in s o fa r as it m o v es fr o m a b s tr a c tio n to c o n c re tio n , n o t the
o th e r way aro u n d .
A t th is p o in t in C h a p te r E ig h t, th e r e a d e r is p r e s e n te d w ith
56
y et a n o th e r p e rs o n who w eighs and b a la n c e s , a n o th er v ic tim of the
c u r r e n t of re tr ib u tio n w hich Sutpen had to u ch ed off. S h re v e d e s c rib e s
E u la lia Bon ta k in g c a r e of C h a r le s ' n eed s "in m e a s u r e d d o se s like
m e d ic in e " (p. 297). Not b e c a u s e sh e had to - - s i n c e S utpen had given
h e r p len ty of " ja c k ," m oney " re p u d ia te d to b a lan c e h is m o r a l le d g e r "
(p. 297). E u la lia is im a g in e d c a rin g fo r C h a r le s as one w ould ta k e
c a r e of a p riz e r a c e h o r s e , " s u p e rv is in g a ll th e a n im a l jo y s of p alate
and s to m a c h and e n tr a ils " (p. 297), and m ak in g o th e r m a n ife sta tio n s of
" m a m m a lia n lo v e " (p. 298). Not only does S h re v e s e e Bon as a p e rs o n
u sed as an a n im a l m ig h t be u s e d , but also a s an " in s tr u m e n t fo r w h a t
e v e r it w as h e r hand was im p la c a b le f o r " (p. 299), w h e re a s C h a rle s
h im s e lf w as n o t o b s e s s e d w ith the p a s t but w ith the fle e in g p r e s e n t,
"the b rig h t h e e ls of a ll the lo s t m o m e n ts of fiftee n and s ix te e n " (p. 299)
B on's m o th e r is in a se n s e u s in g h im , g ro o m in g h im to be h e r i n s t r u
m ent of r e trib u tio n , b u t she too is being u s e d by h e r l a w y e r - - a t le a s t
this is S h r e v e 's opinion. He su p p o sed ly s its w ith "a c h a r t w ith c o l
ored p in s stu c k into i t ," and a ll n o tatio n s a r e in code:
T oday S utpen fin ish e d ro b b in g a d ru n k en In d ian of a h u n d re d m ile s
of v irg in lan d , val. $ 2 5 ,0 0 0 . A t 2:31 to d ay cam e up out of sw am p
w ith fin a l p lank f o r h o u se, v al in conj. w ith land 40, 000 . . . (p.
301)
This le d g e r fu n ctio n s as an iro n ic c o m m e n ta ry both on S u tp e n 's h is to r y
and on E u l a lia 's la w y e r 's su p p o sed m eth o d o lo g y . S h rev e im a g in e s the
aw y er m ak in g m e m o ra n d a w hich, if th ey w e re a c c u r a te , w ould m a k e
57
Sutpen p r e c is e ly the o g re R o s a im a g in e s h im to be. A t the s a m e tim e ,
S h re v e 's e la b o ra te c o n s tr u c t o ffe rs a c r itiq u e of the w eighing and b a l
ancing, the le tte r - o f - th e - la w le g a lis m S utpen innocently but d e s t r u c
tively e m p lo y s. S h rev e is " p la y in g 1 ' w ith p o s s ib ilitie s , and w ith Q u e n
tin 's s e n s itiv itie s . T h e la w y e r is S utpen re d u c e d to an a b su rd ity ,
b e re ft of h u m an ity . T he la w y e r 's le d g e r, h is re c o rd of c r e d its and
d e b its, u ltim a te ly kept out of s e lf - in te r e s t, not b e ca u se he w as in te r -
l
!
jested in aiding h is c lie n t, E u la lia , m a k e s p e rfe c tly obvious th e in a d e -
I
jquacy of su ch b alan cin g as a " m o r a lity ." S h re v e im ag in es th e la w y er
would
lo ck the d o o r to and s it q u iet and s u b tr a c t the m o n ey th a t B on was
spending on h is w h o res and h is ch am p a g n e fro m w hat his m o th e r
i had, and fig u re up how m u c h would be left of it to m o rro w and next
j m onth and n e x t y e a r o r u n til Sutpen w ould be good and rip e . . . .
(p. 301)
It is d u rin g S h r e v e 's a cco u n t of E u la lia 's c alc u la tio n s and the
la w y e r 's th at he and Q uentin m e ta m o rp h o s e into one:
It m ig h t have been e ith e r of th e m and w as in a s e n s e both: both
thinking as one . . . the two of th e m c re a tin g betw een th e m , out
of the r a g - ta g and b o b -e n d s of old ta le s an d ta lk in g , people who
p e rh a p s had n e v e r e x is te d a t all a n y w h e re . . . . (p. 303)
jThey too a re doing th e ir adding and to ta llin g , th e ir w eighing and b a l-
1
jancing, and no w o rd a p p e a rs in th e ir v o c a b u la ry m o re fre q u e n tly th an
I
|" m a y b e ."
The h y p o th e tic al la w y e r 's h y p o th e tic a l led g er book b e c o m e s th e
f
■focus of im a g in a tiv e c o n s tr u c tio n , e s p e c ia lly when the q u e stio n of
58
J u d ith 's " u s e " in re trib u tio n b egins to c la rify :
| 1859. Two c h ild re n . Say I860, 20 y e a r s . I n c r e a s e 200% tim e s
i in tr in s ic val- y e a r ly plus liquid a ss e ts p lu s c r e d i t e a rn e d .
A p p ro x 'te val. 1860, 100,000. Query: b ig a m y th r e a t, Y es o r No.
P o s s ib le No. In c e st th re a t: C red ib le Y es and th e han d going b ack
b e fo re it put down the p e rio d , lining out th e C re d ib le , w ritin g in
C e r ta i n , u n d e rlin in g it. (p. 310)
F in a lly , S h re v e im a g in e s th a t the law yer h ad w ritte n a le tte r to H e n ry
Sutpen, a s s u r in g h im of the w o rth , so cial and fin a n c ia l, of C h a r le s
B on, H e n r y 's fu tu re ro o m - m a te . The l a w y e r ’s ja r g o n is a p p ro p ria te ly
m o n e ta ry and le g a listic :
My D e a r M r. Sutpen: The u n d e rsig n ed n a m e w ill not be known to
you n o r a r e the w r i t e r 's p o sitio n and c ir c u m s t a n c e s , fo r a ll th e ir
r e fle c te d w o rth and (I hope) valu e, so u n o b s c u re as to w a r r a n t the
hope th a t he w ill e v e r s e e you in p e rso n o r you h e - - w o r th r e fle c te d
f r o m and value re n d e r e d to two p e rso n s of w ealth and p o sitio n . . . .
(p. 314)
T h o m a s Sutpen is c le a rly not the only c h a r a c t e r in A b sa lo m ,
A b salo m ! who u s e s p e rs o n s as though they w e re th in g s . C h a r le s Bon,
w hom I h av e in d ic a te d u s e s Ju d ith to a d e g re e to g et re c o g n itio n f r o m
I
|his fa th e r , is a c o u n te r-p ro d u c tiv e m ista k e to his f a th e r , and an "o b -
I
je c t of a r t, the m o ld and m i r r o r of fo rm and fa s h io n " to E lle n , his
p ro s p e c tiv e m o th e r - in - la w . She "would h a v e p u rc h a s e d h im a s and
paid fo r h im w ith Ju d ith even, if th e r e had b e e n no o th e r b id d e r. . . "
(p. 320).
S h re v e co n tin u es to m ak e a c ase fo r B on as s a c r if ic ia l v ic tim ,
'and h is u se of m o n e ta ry im a g e ry w eighs h e a v ily in h is a rg u m e n t:
r
59
M aybe he knew th e re w as a fate, a doom on h im , like w hat the old
A unt R o sa to ld you about som e things th a t ju s t have to be w h eth er
i they a r e o r not, ju s t to b alan ce the books, w rite P a id on the old
sh e e t so th a t w hoever k eep s th e m can tak e it out of the le d g e r and
j b u rn it, g et rid of it. M aybe he knew th en th at w h a tev e r the old
m a n had done, w h eth er he m e a n t w ell o r ill by it, it w a s n 't going
to be the old m an who w ould have to pay the check; and th a t the
old m a n w as b an k ru p t w ith the inco m p eten ce of ag e, who should
| do the paying if not h is so n s, his get, b ecau se w a sn 't it done th at
way in the old days ? the old A b ra h am full of y e a r s and w eak and
in cap ab le now of fu r th e r h a r m , caught at la s t and the c ap ta in s and
the c o lle c to r s say in g , 'O ld m an , we dont want you' and A b ra h a m
would sa y , 'P r a is e the L o rd , I have r a is e d about m e sons to b e a r
the b u rd e n of m in e in iq u ities and p e rse c u tio n s; y e a, p e rh a p s even
i to r e s to r e m y flocks and h e rd s fro m the hand of the r a v is h e r : th at
| I m ig h t r e s t m in e eyes upon m y goods and c h a tte ls , upon the g en -
| e ra tio n s of th e m and of m y d escen d an ts in c re a s e d an h u n d red fold
j as m y so u l goeth out fr o m m e .' He knew all the tim e th a t the love
I would tak e c a r e of itse lf, (p. 325)
t
T his lengthy c o n s tru c t of S h r e v e 's is p a rtic u la rly difficult to u n d e r
stand b e ca u se a m o rd a n t h u m o r and ir r e v e r e n t p aro d y u n d e rc u t the
I
i
jissu e s at s ta k e . B a sic a lly , S h rev e is su g g estin g th a t C h a rle s u n d e r -
i
goes a p a ss io n and d eath fo r the sak e of a fa th e r who is b an k ru p t not
ju s t by tim e , but also b a n k ru p t in hum an affection, a S o u th ern p a t r i
a r c h who can d is to rt S c rip tu re , quoting it to su it h is p u rp o s e s.
S h r e v e 's p o r tr a it is a g ro s s o v e r-s ta te m e n t of S u tp en 's c a llo u s n e s s .
S utpen, the r e a d e r know s, does not want sons who w ill "pay the b ill"
jfor h is p a s t a b e r r a tio n s , th a t his sons do have to pay the b ill is in c i
d ental. S h r e v e 's intuition, h o w ev er, is im p o rta n t b e ca u se it r a is e s
:the is s u e of C h a r le s ' m o tiv a tio n in re s is tin g his f a th e r 's w ill. If
j
C h a rle s knows th a t he w ill h av e to pay for his f a th e r 's in h u m an ity ,
[does he in any se n se re d e e m the sin s of the p a s t? Not by h is in ten tio n s
to w a rd Judith.
' t
I
| C h a rle s in e ffe ct u s e s Ju d ith as a le v e r , as an e le m e n t in his
i
(design, ju s t as c e r ta in ly as Sutpen had u se d o th e r people. S h rev e
I
im a g in e s C h a rle s thinking to h im s e lf as H e n ry d e s c rib e s h is s is te r :
"I a m not h e a rin g about a young g ir l , a v irg in ; I a m h e a rin g about a
:ia r r o w d e lic ate fen ced v irg in fie ld a lr e a d y fu rro w e d and bedded so th a t
3 .1 1 I s h a ll n eed to do is d ro p the s e e d s in, c a r e s s it sm o o th a g a in 1 1 (p.
326). B on's r e a l love th ro u g h o u t th e n o v e l is T h o m as Sutpen, not
Judith, o r , as so m e c r itic s m ig h t im a g in e , H en ry . A ll Bon a sk s is a
s c ra p of p a p e r saying ” ’I a m y o u r f a t h e r . B u rn t h i s 1" (p. 326). And it
did n ot co m e.
Bon is , a c c o rd in g to S h re v e , a lm o s t con tin u ally ta k in g stock:
He "w aked up and lay rig h t s till in the bed and to o k sto ck , added the
fig u re s and d rew the b a lan c e and to ld h im s e lf, A ll rig h t . . . he can do
i
anything he w ants to w ith m e ," and l a t e r , "A ll rig h t. A ll rig h t. E v e n
jbhis w ay. E ven if he w ants to do it th is way. I w ill p ro m is e n e v e r to
See h e r again. N ever to see h im a g ain " (pp. 330-331). F in a lly , he
|
r e a liz e s : " T h a t's w hat love is , b ludgeoned once m o r e " (as S h rev e s e e s
I
j
h im ), "but y et unbow ed" (p. 333). Bon does h av e love, th a t of a son
fo r his f a th e r , but he is th w a rte d by h is in flex ib le fa th e r.
i
I
I
E v en w hen Bon is im a g in e d to h av e c o n fro n ted h is s u r r o g a te
I
f a th e r , the h y p o th e tic al la w y e r who u n d e r e s tim a te s the tru e value of
the m a n b e fo re h im , b lu rts out: " 'I s e e you a re going to c o lle c t full
61
m e a s u r e . . . I would not be y o u r equal w ith p is to ls ,' " (p. 339) Bon
su p p o sed ly "knew th a t rev en g e could not c o m p e n sa te h im " (p. 343).
Bon co n tin u es to hope th a t Sutpen w ill acknow ledge him :
A ll r ig h t. T h en I a m young. But I s till b e lie v e , ev en though w hat
I b eliev e p ro b ab ly is th a t w a r, su ffe rin g , th e s e fo u r y e a r s of k e e p
ing h is m e n alive and able in o r d e r to sw ap th e m blood and fle sh
fo r the l a r g e s t am o u n t of ground at its b a rg a in p r ic e , w ill have
changed h im (which I know th at it does not do) to w h e re he w ill
say to m e not: F o r g iv e m e: but: you a r e m y o ld e st s o n . P r o te c t
y o u r s i s t e r ; n e v e r s e e e ith e r of us again, (p. 347)
iHe is lite r a lly hoping a g a in st hope, sin ce he knows th a t th e r e is little
I
p o s sib ility th at the C iv il W ar has changed Sutpen. S till, he hopes:
| He w ill not ev en h av e to a s k m e: I w ill ju s t to u ch f le s h w ith h im
I and I w ill say it m y self: you w ill not n eed to w o rry : she s h a ll
| n e v e r see m e again, (p. 348)
F in a lly , when S utpen, a p p a re n tly le a rn in g fr o m C lytie th a t Ju d ith has
b een re c e iv in g le tte r s fr o m Bon, c a lls H en ry to give h im th e one p iece
of in fo rm a tio n w hich w ill not go down, w ill not be d ig e ste d , Bon is
d e fin itiv ely re je c te d . C h a r le s ' hoping a g a in st hope h as b een in vain.
!
jThe one fa c t th a t w ill sh ift the balan ce is given by Sutpen to H e n ry , but
|no w o rd is se n t to Bon fr o m Sutpen. Bon te lls H enry: "He d id n 't n eed
s
;to te ll you I a m a n ig g e r to sto p m e. He could have stopped m e w ith -
j
jout th a t, H e n ry " (p. 356).
! Bon is n o t, b e c a u se no fa th e r has e v e r acknow ledged h im ,
|
H e n r y 's b r o th e r , but "the n ig g e r th a t's going to sle e p w ith y o u r s i s t e r .
U n less you stop m e , H e n ry " (p. 358). Side by sid e they rid e to w a rd
|the S utpen gate w h ere Bon s u b stitu te s the p ic tu re of h is o c to ro o n
62
m i s t r e s s fo r the p ic tu re of Ju d ith w hich she had given h im . S h rev e
iin sists th a t C h a rle s fe e ls it w ill be the only way he h as to s a y to h e r ,
j"I w as no good; do n o t g rie v e fo r m e . " Q uentin a g r e e s th a t th is w as
i
jthe r e a s o n behind the fa c t. C h a r le s Bon m ay not love J u d ith as d eep ly
i
ias he m ig h t, but he does n ot ch o o se to h u rt h e r . H e know s th a t she
loves h im .
j T he fin a l c h a p te r of A b sa lo m , A b salo m ! is a n ti- c lim a c tic in
i
[reg a rd to th e ta le to ld , but c lim a c tic in r e g a r d to th e te llin g of the
I
I
1
[tale. T h is s h o r t c h a p te r only c o n tain s two r e f e r e n c e s to in g re d ie n tia l
jm o rality o r p ay m en t of b ills .
| When Q uentin and R o sa C oldfield go out to S u tp e n 's h u n d re d ,
J d y tie e n c o u n te rs Q uentin, and she a sk s h im to go u p s ta ir s and m ak e
I
[Rose c o m e down. C ly tie in s is ts th a t "w h ate v e r he done, m e and
j
jJudith and h im have p aid it o u t." She h as added up H e n ry 's c r im e ,
[weighed it a g a in s t th e su ffe rin g of the r e m a in d e r of S u tp e n 's fa m ily ,
i
[
•and co n clu d ed th a t th e books a r e b alan ced .
j At the end of th e n o v el, S h rev e n o tes th a t th e s to r y h a s b een
j
£old, th a t a cc o u n t is s e ttle d . S h re v e also g u e s s e s , h o w e v e r, th at
!
[Quentin's m in d is not a t r e s t; he can n o t cope w ith th e tr a g e d ie s of th e
jpast, p a r tic u la r ly the d isso lu tio n of S u tp e n 's d e sig n by n a tu r e e m -
j
bo d ied in a b la c k m an .
T he p a tie n t and in e x o ra b le fo r c e of a n a tu r a l " fe m a le p rin c ip le "
o u tla s ts S utpen, the p r o c r e a tiv e " m a le p r in c ip le ." Sutpen r e p r e s e n t s
63
m a t e r i a l p r o g r e s s , a d e sig n d oom ed to fa ilu re b e c a u se of its u n n a t-
!
iu ra ln e ss. By the end of the n o v e l, the d a rk , fe m a le ric h n e s s of the
i
jland, of n a tu re , lib e r a te s f r o m bondage a b lack m a le Sutpen. L ife
j
w ill go on, though S u tp e n 's d e sig n h as fa ile d by su cc e ed in g only in a
to ta lly u n a n tic ip ate d way. R e a lity o v e rtu rn s a b stra c tio n :
"W hich is a ll rig h t, i t 's fine; it c le a r s the w hole le d g e r, you can
t e a r all th e p ag es out and b u rn th e m , e x cep t fo r one thing. And
do you know w hat th at is ?" P e r h a p s he hoped fo r an a n sw e r th is
tim e , o r p e rh a p s he m e r e ly p a u se d f o r e m p h a s is , sin ce he got no
i a n s w e r. "Y ou've got one n ig g e r left. One n ig g e r Sutpen left. Of
c o u rs e you c a n 't c a tc h h im an d you d o n 't ev en alw ays see h im and
you n e v e r w ill be able to u s e h im . B ut yo u 'v e got h im th e re s till.
You s till h e a r h im at n ight s o m e tim e s . D on't y o u ? "
i
!
" Y e s ," Q uentin said . (p. 378)
Q uentin r e g r e tte d , in s o m e s e n s e , S u tp en 's p a ssin g . He w as
fo r Q uentin a sy m b o l of d e s p a ir and g rie f, but he w as a lso a sy m b o l of
a d m ira tio n and hope, a g u a rd ia n of the t r a d i t i o n - - a t le a s t the f o r m of
J tra d itio n --an d Q uentin h ad long h e ld to th e la s t v e stig e s of tra d itio n as
ja m e a n s of avoiding h u m an c h o ic e s . Q uentin can clin g to the d is s o lu -
j
tio n of tra d itio n as a ju s tific a tio n fo r h is re v u ls io n fo r life. T he r e a d e r
'of A b sa lo m , .A bsalom ! s u s p e c ts , judging f r o m Q u en tin 's o v e r - s ta te d
d e n ial th a t he h a tes the South, th a t h a tre d of the p a s t has the u p p e r
hand in h is life. H e, like S u tp en , cannot cope w ith the im b a la n c e which
i
i
\
w as in e v ita b le when an a r tif ic ia l s y s te m w as fo rc e d into the p la c e of
j
r e a lity .
It is quite p o s sib le th a t F a u lk n e r , w ritin g ju s t a f te r the
64
A m e ric a n D e p re s s io n , puts Q uentin into the p o sitio n of one who, having
o b s e r v e d the d e m is e of the A m e ric a n D re a m , a d r e a m p o s tu la te d on
m a t e r i a l p r o g r e s s at any p r ic e , m u s t y et d ecid e e ith e r to stay w ith
life, b e a p a r t of it, o r le t h is fe a r of " d ir t o r filth , o r b a s e n e s s o r
5
c o w a rd ic e " o v e rw h e lm h im .
M ich ael M illg ate p o in ts out th a t "S utpen's h is to r y . . . w as
only a n ex ce p tio n a lly ra p id and c o n c e n tra te d v e rs io n of th e h is to r y of
i 6
(virtu ally all S o u th e rn f a m ilie s , including his ow n." G iven F a u lk n e r 's
l
i
i
Ipropensity to u s e h is p a s t in o r d e r to e x p lo re m o re u n iv e r s a l h u m a n
f
(tru th s, it is p ro b a b le th a t he is in d icatin g a tr u th w hich in v o lv es th e
(h isto ry of the South, of A m e ric a , and of the hu m an r a c e .
i
I
65
N otes
1
Brooks, p. 298.
2
B ro o k s , p. 298.
3
J e a n S tein , "W illia m F a u lk n e r: An In te rv ie w ," P a r i s R e v ie w ,
IV (S pring 1956), 42, r e p r in te d in W illiam F a u lk n e r: T h re e D ecad es
of C r i t i c i s m , ed . F r e d e r ic k H offm an and Olga V ick ery (New Y ork,
1963), p. 76.
4
H yatt W aggoner, W illia m F a u lk n e r: F r o m J e f fe r s o n to the
W orld (L ex in g to n , Ky. , 1966), p. 167.
5
F a u lk n e r at W est P o in t, p. 55.
M ic h a e l M illgate, The A c h ie v e m e n t of W illiam F a u lk n e r
(New Y o rk , 1963), V intage B ooks E d itio n , 1971, p. 157.
j C H A P T E R II
l
j
| NARRATIVE RATIOCINATION IN P E R S P E C T IV E
j
j
M any c o m m e n ta to rs have re v ile d F a u lk n e r 's n a r r a tiv e te c h -
[
jnique in A b sa lo m , A b salo m J, m any have found it a p p ro p ria te . The
i
ilatter tend to judge th at the fo u r m a jo r n a r r a t o r s engage in the p ro c e s s
jof r e - c r e a ti n g h is to ry , fle sh in g out the few known fa c ts about the p ast
w ith im a g in ativ e r e c o n s tr u c tio n - - a ta s k w hich s e e m s to re q u ire that
i
:the in fo rm a tio n be p ro v id ed by m u ltip le points of view . I b eliev e th at,
to the d e g re e th at A b salo m , A bsalom ! is about the e ffo rt to know and to
j
jreco rd h is to ry , th is stan ce is valid enough, but th a t an in te rp re ta tio n
of the novel as an a p p ro x im a tio n of h is to r ic a l m eth o d is v e ry in ad e-
jquate.
I
; F a u lk n e r has alw ays s tr e s s e d the n egligible im p o rta n c e of his
m a te r ia l. He w rote to Cowley:
l
I
I a m te llin g the sam e s to ry o v er and o v e r, w hich is m y se lf and the
w o rld . . . I'm inclin ed to think th a t m y m a te r ia l, the South, is
not v e ry im p o rta n t to m e. I ju s t happen to know it, and dont (sic)
have tim e in one life to le a r n a n o th er one and w rite at the sam e
tim e .^
In a n sw e r to a qu estio n p o sed by a c ad e t at W est P o in t, F a u lk n e r said
th a t "the w r ite r . . . sim p ly u s e s the [background] he is m o s t fa m ilia r
66
[with, so th a t he w o n 't h av e to do a lo t of r e s e a r c h ," adding, "if you
[are lo c a te d in the c o u n try you a r e f a m ilia r w ith nobody can c h e c k you
i
■on it." J a m e s B. M e r iw e th e r su g g e s te d in a d is c u s s io n at th e U n iv e r-
jsity of S o u th e rn C a lifo rn ia on M ay 5, 1972, th a t F a u lk n e r 's o s te n s ib ly
i
I
{facetious s ta te m e n t m ig h t be ta k e n quite lite r a lly , sin ce F a u lk n e r 's
|
[accounts of the C iv il W ar and the R e c o n s tru c tio n E r a abound w ith
I
jd isc rep a n c ies w hich p oint up F a u lk n e r 's c re a tio n of "fic tio n a l tr u th ."
■His c o n c e rn is to tr y to t e l l the tr u th about the h u m a n h e a r t in co n flict
i
w ith its e lf , n o t n e c e s s a r i l y the tr u th about the h a rd fa c ts of a h is to ric a l
jpast. F a u lk n e r m a in ta in s th a t th e r e a s o n th at w ritin g is " s u c h a
1 3
m a tc h le s s v o catio n to fo llo w ," is th a t " it n e v e r gives you any p e a c e ."
i
jOut of the s tru g g le to te ll the tr u th co m es an ex u lta tio n a t b e in g a liv e ,
I 4
still "in the s e e th e and fu r y of the h u m an co n d itio n ." F a u lk n e r in -
5
s is ts th a t "A ll I know a b o u t a r e p e o p le ."
W hat, th e n , does F a u lk n e r g ain by his n a r r a tiv e tech n iq u e in
j
iA bsalom , A b s a lo m !? Is th e u se of m u ltip le points of view a p p r o p r ia te ?
I w ould s u g g e s t th a t, in p r e s e n tin g th e r e a d e r w ith S u tp e n 's e x p e rie n c e
of re p u d ia tio n at age fo u r te e n , w ith h is own choice to c a r r y o ut a d e
sign w hich n e c e s s ita te s f u r th e r re p u d ia tio n s , w ith Q u en tin 's in v o lv e
m e n t in the c a u s e s of H e n ry S u tp e n 's m u r d e r of h is b ro th e r C h a r le s
■Bon, and w ith th e a r t i s t i c o rg a n iz a tio n of th e se fa c ts a c c o rd in g to a
p rin c ip le of m e m o r y and im a g in a tio n to u ch ed off by e m o tio n a l n eed f o r
the n e x t fr a g m e n t of tr u th , F a u lk n e r is m o s t c o n c e rn e d w ith e a c h
p e r s o n 's s tru g g le to a c c e p t the beauty and h o r r o r of liv in g , a stru g g le
w hich is e p ito m iz e d in the a r t i s t 's need to te ll th e tru th . The a r t i s t
d ra w s upon fa c ts and fa n c ie s w hich e m e rg e f r o m h is own e m o tio n al and
im a g in a tiv e p a s t. His a r t b eco m es an e m b o d im e n t of h is own e x c r u
c ia tin g s tru g g le to te ll a p la u sib le s to ry , one w hich rin g s tr u e . His
i
m e th o d , in a p o em , a s h o r t s to ry , a novel; in a p a in tin g , a s c u lp tu re ,
a song, is a p p ro p ria te to the d e g re e th a t it re f le c ts the h u m an stru g g le
i
to re s c u e a fra g m e n t of the tru th about the e v e r -c h a n g in g se e th e and
fu ry of h u m an e x iste n c e . In A b salo m , A b sa lo m !, F a u lk n e r 's m ethod
is a p p ro p ria te to the d e g re e th at the n ovel re fle c ts the stru g g le to
jre c o rd a h is to ry of re p u d ia tio n , and to the d e g re e th a t th a t s to ry
to u c h es the r e a d e r , s u rv iv e s the a b s tr a c tio n w hich w o rd s undergo in
]
tim e . T he fa c t th a t S u tp en 's and Q u en tin ’s liv e s a r e tr a g ic , the fact
i
I
;that th e ir liv es a r e p la u sib ly tra g ic a fte r the ta le and the te llin g a re
|
c o m p le te , m a k e s the r e a d e r , w hose point of view is m o s t c o m p re h e n -
Isive, involved to the d e g re e th at he can identify w ith h u m an conflict
land h u m an d e fe at.
!
N a rra tiv e ra tio c in a tio n in A b salo m , A bsalom ! p a r a lle ls S u t
p e n 's lo g ic a l calc u la tio n . But S u tp en 's in n o cen ce m a k e s h im se e his
i
jfailure as so m e m is ta k e in co m p u tatio n , w hile Q u en tin 's in ab ility to
a c c e p t the a m b iv a len c e involved in living w ith a p a s t w h ic h , he fe e ls ,
j
m u s t continue to ru le h is p r e s e n t, c a u s e s h im to re p u d ia te th at w hich
:he lo v e s. Y et, the n ovel a s a whole s u rv iv e s th e a r t i s t 's s tru g g le to
69
r e c o r d im b a la n c e and a m b iv a len c e . F a u lk n e r c r e a te s n o t h is to r y ,
dead fa c ts about the S o u th ern p a st, but p e rs o n a l c o n flic ts , h u m an
s tru g g le s to liv e w ith the am b ig u ity of d e sig n s w hich s e e m to doom
th o se in v o lv ed to c y c lic re p u d ia tio n and d efeat. The " c u r r e n t of r e t r i
bution" rip p lin g o u tw a rd fr o m S u tp e n 's o rig in a l d e sig n iro n ic a lly su ck s
Q uentin, g e n e ra tio n s re m o v e d fr o m Sutpen in tim e , into its s tr e a m .
F a u lk n e r is ab le to a ch ie v e h is c o m p le x a r tis tic a c c o m p lis h
m e n ts b e c a u s e he c o n tro ls the s tra n d s of im a g e ry w hich k e ep the s e v
e r a l le v e ls of a ctio n and em o tio n m oving to th e point w h e re the r e a d e r
can g r a s p th e fa c t th a t a c c e p tan c e of th e h u m an co n d itio n , a ffirm a tio n
of the p a s t as p a r t of the p r e s e n t, is th e viable a lte rn a tiv e to the t r a g
ed ies of Sutpen and Q uentin, and the c o n c r e te p o s s ib ility w hich allow s
the a r t i s t to c r e a te v ic to ry out of both le v els of d efeat.
On both th e le v e l of th e Sutpen s to ry and on th e le v e l of
Q u e n tin /S h re v e 's im a g in a tiv e r e c o n s tr u c tio n of th a t s to r y , the im a g e ry
of th e n o v e l points up a te n sio n b etw een n a tu r a l and u n n a tu ra l s i t u a
tio n s , b etw een b a la n c e d and u n b a lan c e d a c c o u n ts, b etw een "the b e s t of
ra tio c in a tio n " (p. 280) and " u n ra tio c in a tiv e d jin n s" (p. 258).
It is p a r tic u la r ly easy to see th e rle a tio n s h ip b etw een n a r r a tiv e
b a lan c in g and S u tp e n ism w hen we look at the v a rio u s re c ip e a n a lo g ie s.
We have a lre a d y s e e n th a t Sutpen b e lie v ed th a t "the in g re d ie n ts of
m o ra lity w e re like th e in g re d ie n ts of a pie o r c a k e " to be " m e a s u r e d
o r b a la n c e d " (p. 263), and Q u e n tin 's M is s is s ip p i sh ad e w as s a id to
| 70
jhave " a c te d and r e a c te d to the m in im u m of logic and ra tio c in a tio n "
i
|(p. 28Q), a p ro p e n sity w hich w as "a good d eal lik e S u tp e n 's m o r a lity "
(p. 280). S u tp e n 's code of logic and m o r a lity is "a fo r m u la o r re c ip e
l
of fa c t and deduction w h o se b a la n c e d s u m and p ro d u c t d e clin ed , r e
f u s e d , to sw im o r ev en flo a t" (p. 275). A t the en d of the novel, it is
i
i
'b ec a u se th e fin a l p ro d u c t, the r e c ip e of n a r r a t i v e fa c t and d ed uction
I
does flo a t, does sw im , is v ia b le , th at Q uentin e x p e r ie n c e s his h o r r o r ,
j
I
iShreve h is a m a z e m e n t, and the r e a d e r h is p le a s u r e a t th e p la u sib ility
i
jof the ta le to ld and th e te llin g of it.
S utpen and the H a r v a r d r o o m m a te s s tru g g le to m ak e th e facts
I
iof th e ir r e s p e c tiv e d e sig n s add up. S u tp en t r e a t s people as c o m p o
n e n ts , a s sim p le in g re d ie n ts in a re c ip e w hich, h e b e lie v e s , m u s t
jproduce the e x p ected p ie o r cak e . When th ings do not tu r n out a s he
jex p ects, he a s s u m e s th a t he h as m ad e s o m e m is ta k e in c a lc u la tio n ,
j
land w o n d ers if he h as enough tim e left to tr y a g ain . Q uentin and
S h re v e s tru g g le to c r e a te "out of th e r a g - ta g and b o b -e n d s of old ta le s
jand ta lk in g " (p. 303), a p la u sib le a cco u n t of the life and death of
I
T h o m as Sutpen. Q uentin, who is too c lo s e , e m o tio n a lly , to his
S o u th ern p a s t, to see th e q u a litie s of S utpen w hich a re a d m ir a b le - - h is
s in g le -m in d e d a tte m p t to fight a s y s te m w h ich re d u c e s h u m a n b eings
to the sta tu s of a n im a ls , h is r e f u s a l to a c c e p t d e fe at, h is e n e rg y in
|
r e s to r in g S u tp e n 's H u n d red a g a in s t a ll o d d s, and h is d e d ica tio n to
: p r e s e r v e h is blood line f r o m w hat he h o n e stly b e lie v e d w as
(c o n ta m in a tio n --a llo w s h im s e lf to be o v e rw h e lm e d by R o s a ’s " o g r e -
!
iworld" o u tra g e , h is f a t h e r 's c y n ica l d e ca d e n ce , and h is own s h a m e fo r
i
his p a st. He is lo c k ed into the p a s t, se e s the p r e s e n t as the lo g ic a l
co n tin u an ce of p a s t h is to r y . It is tr u e th at S u tp e n 's " in n o c e n c e " is
d e s tr u c tiv e , th a t he fa ils in h u m a n ity , but he is n ot m a lic io u s , not
i
!
lutterly c o n d e m n a b le .
j
I
j In s te a d of a c c e p tin g the p a s t h o r r o r and looking fo r w a rd to
fu tu re ch an g e, Q u en tin co n clu d es th a t he is doom ed to be a g h o st, is
(doomed to lie aw ake n ig h ts liste n in g to the sound and fu ry of a p a s t
i
(which he h a te s e v e n as he a d m ir e s . He re fu s e s to " sta y w ith" life, "to
jbe a p a r t of it," as F a u lk n e r fe lt a m a n should:
j To n e v e r be a f r a id of d ir t o r filth , o r b a s e n e s s o r c o w a rd ic e , but
tr y alw ay s to be b e tte r th an th a t, to be b r a v e r , to be c o m p a s s io n -
; a te, b ut not to be a f r a id of it, n o t to avoid it. I th in k th at th e
| w o rs t p e r v e r s i o n of a ll is to r e t i r e to th e iv o ry to w e r. G et down
| in the m a r k e t and stay th e re . ^
|
In A b sa lo m , A b salo m ! the v a rio u s n a r r a t o r s go to g r e a t len g th s
to p rove t h e i r c a s e s . R o s a p lead s h e r c a u se as b e fo re a c o u rt, Q uen-
|tin sittin g as judge a t f i r s t , and S h re v e tak in g h e r c a s e la te r . M r.
;C om pson n e v e r d o ubts th a t his p e s s im is tic view of life is b a s ic a lly
sound. He s e e s fa ta lity w h e re o th e r s m ig h t s e a r c h f o r h u m a n ity , and
n e v e r s c r u tin iz e s h is own m in im a l h u m a n ity , but p r e f e r s to p o n tific a te
on the "p ro b a b le " fa te of Sutpen, B on, R o sa , H e n ry , Ju d ith , C h a r le s
i
E tien n e , and o th e r s . Q uentin is m o r e in te r e s te d in is o la tin g th e tru th
j about H e n ry 's re la tio n s h ip w ith J u d ith and w ith Bon th a n he is in
72
d isco v e rin g the w hole tr u th about Sutpen, w hose tru e h is to ry is s u p
posedly the su b jec t of his in q u iry . S h re v e , m o re detach ed and o c c a
sionally playful, a s s u m e s the ro le of ad v o cate, a ttem p tin g to " p ro v e ”
that genuine love e x iste d betw een H e n ry , Bon, and Judith. T his is one
a sp e c t of the Sutpen sto ry w hich is e x tre m e ly im p o rta n t to Q u e n tin --a s
Shreve m ay have in tu ite d --a n d the two n a r r a t o r s fu se into one, fu se
even into H en ry and Bon, a s they w a rm to the ta sk .
T he u ltim a te aim of su ch re c o n s tr u c tio n , h o w ev er, m u st be to
c o n se rv e "w hat s e e m e d tr u e , o r fit the p re c o n c e iv e d ":
T hat w as why it did not m a tte r to e ith e r of th e m which one did the
talk in g , sin ce it was not the talk in g alone which did it, p e rfo rm e d
and a c c o m p lish e d the o v e rp a ss in g , but som e happy m a r r ia g e of
speaking and h e a rin g w h e re in e a c h b e fo re the dem and, the r e q u i r e
m en t, fo rg av e condoned and fo rg o t the faulting of the o th e r - - f a u l t-
ings both in the c re a tin g of th is shade w hom they d is c u s s e d ( r a th e r ,
e x isted in) and in the h e a rin g and siftin g and d isc a rd in g the fa lse
and c o n se rv in g w hat s e e m e d tr u e , o r fit the p re c o n c e iv e d --in
o r d e r to o v e rp a s s to lo v e, w h ere th e re m ig h t be p ara d o x and
in c o n siste n c y but nothing fault o r fa ls e , (p. 316)
Ju st as in r e a l love th e re m a y be in c o n siste n c y , but nothing fa ls e , so
too, by im p lic a tio n , do we le a r n th a t "so m e happy m a r r ia g e of s p e a k
ing and h e a rin g " p ro d u c e s in v en tio n w hich is "p robably tru e enough"
(p. 335).
S h re v e , iro n ic a lly , is both a m a z e d and a d m irin g as the f ic
tional tr u th e m e r g e s fro m th e ir im a g in a tiv e stru g g le , w hile Q uentin,
jwho p ro te s ts too m u c h th at he d o e sn 't h ate the South, g ra d u a lly fix a te s
Ion the h o r r o r of h is own p a s t and p re s e n t.
______ 73 “
S utpen h a d , by "lo g ic al step s . . . a r r iv e d at a r e s u l t a b s o
lu te ly and f o r e v e r in c re d ib le " (p. 263), sin ce h is f a ilu r e w as, he felt,
th e r e s u l t of so m e in c o m p re h e n sib le m is ta k e in c a lc u la tio n . Q uentin
and S h re v e , by the p o stu la tio n of h u n d re d s of m a y b e s , a r r i v e a t a
c r e d ib le " m ig h t-h a v e -b e e n w hich is m o r e tr u e th a n tr u t h " (p. 143).
T h e m ig h t- h a v e - b e e n is in d eed p la u sib le , and p ro fo u n d ly m o v e s Q u en
tin , but it is undoubtedly only a f r a g m e n t, a b e lie v a b le but p a r tia l
v e r is im ilitu d e . Q uentin s e e m s to a c c e p t it as the fin a l a c c o u n t, the
b a la n c e d le d g e r , but S h rev e re m in d s h im th a t " it c le a r s the w hole le d
g e r . . . e x c e p t fo r one thing. . . . Y ou've got one n ig g e r le ft. One
n ig g e r S utpen le ft" (p. 378). S h rev e know s th a t life goes on, th a t "It
w ill s till be J im Bond; and so in a few th o u san d y e a r s , I who r e g a r d
you w ill a lso h a v e sp ru n g f r o m the loins of A fric a n k in g s " (p. 378).
It is w ithin th is c o n tex t th a t S h rev e a sk s Q uentin to te ll h im why he
h a te s the South. S h rev e knows th a t h a tr e d and re p u d ia tio n n e v e r help
one to liv e. He a lso s e e m s to g ra s p the fa c t th a t t h e i r re c o n s tr u c tio n
of th e S u tp en ta le is only one m o m e n t fr o z e n out of the ongoing flu x of
life. J u s t as F a u lk n e r continued to te ll the tr u th in s e n te n c e a f te r
s e n te n c e in n o v el a fte r n o v el, re a liz in g th a t "any w r i t e r is a c o n -
7
g e n ita l l i a r in c ap a b le of te llin g the tr u t h ," so to o , any n a r r a t o r , if he
is going to s u rv iv e h is own n a r r a tio n , m u s t s tr iv e , m o m e n t a f te r
! m o m e n t, y e a r a f te r y e a r , to live in th e p r e s e n t, to a f f ir m th e h o r r o r
I
j and th e b e au ty of p a s t h u m a n c o n flic ts .
74
Olga V ick ery and H y att W aggoner both m a k e o b s e rv a tio n s about
the n a r r a tiv e tech n iq u e of A b sa lo m , A bsalom ! w hich b a s ic a lly su p p o rt
the in te rp re ta tio n w hich I a m p r o f e r r in g in r e g a r d to the a p p r o p r ia te
n ess of s tr u c tu r e to th em e in the n o v e l. M rs. V ick ery n o tes th a t
F a u lk n e r ’s "m ethod of co n v erg in g acc o u n ts and m u ltip le p e rs p e c tiv e s
g
re v e a ls the c re a tio n of tru th in h e re n t in the a tte m p t to find it." She
d is c u s s e s the th re e m a jo r n a r r a t i o n s - - R o s a 's , M r. C o m p so n 's, and
Q u e n tin /S h re v e 's as gothic t h r i l l e r , c la s s ic a l tra g e d y , and d ra m a of
love, re s p e c tiv e ly , b u t th e n c o n c e n tra te s on the th ir d acco u n t, d i s
tin g u ish in g betw een Q u en tin 's a ttitu d e and S h r e v e 1 s : "Only S h rev e r e c
ognizes th a t the s to ry they have jo in tly c r e a te d is only p o e tic a lly tru e
and th a t its function is the sy m b o lic one of em bodying lo v e, c o u ra g e and
9
loyalty in a sin g le f o r m w ithout e x h au stin g th e m ." Q uentin, "unable
to m a in ta in a e sth e tic d ista n c e o r to d istin g u ish the sy m b o lic fr o m the
lite r a l," * ^ is o v erw h elm ed by the p la u sib ility of the r e - c r e a tio n .
Though M rs. V ick ery o v e r s ta te s w hat she te r m s Q u en tin 's "d ecisio n
to p e rp e tu a te the d esig n he h a s found in the p a st," * * she is , I b e lie v e,
c o r r e c t in see in g Q uentin's fa ilu re as p ro p o rtio n a te to h is lite r a l
a c c e p tan c e of a sto ry w hich he m ig h t have stood b ack fr o m had he not
o v e r-id e n tifie d with H en ry S u tp e n 's su p p o sed p o sitio n .
H yatt W aggoner s t r e s s e s the ro le of im a g in atio n which is
I 12
Jneeded "to get at lifelik e, h u m an ly m ean in g fu l, tr u t h ." He a lso see s
I
I
|the r e a d e r 's ro le as c r u c ia l to the m e a n in g of A b sa lo m , A bsalom !:
75
As the f r a m e s a re sh ifte d and the im p lic it d is to rtio n s d is c o v e re d ,
we s e e the m o tiv e fo r th e co n tin u al re te llin g . E a c h new v e rs io n
is a p a r t of th e s e a r c h in w hich Q uentin and S h rev e involve the
r e a d e r , the s e a r c h f o r a tr u th beyond and behind d is to rtio n . *3
Once the r e a d e r r e a liz e s th at F a u lk n e r 's d o u b le-fo cu s in A b sa lo m ,
A bsalom ! - -S u tp en co m b attin g S o ciety by im ita tin g its w o rs t f e a tu r e s ,
and Q uentin c o m b attin g th e in tru s io n of the p a s t into h is p r e s e n t by
re p u d ia tin g w hat he lo v e s - - h e is in a p o sitio n to a p p re c ia te the te c h
nique em p lo y ed by F a u lk n e r who te lls a s to ry ev en as he k eep s the
s to ry f r o m b eing to ld . If Sutpen is to r e v e a l h im s e lf g ra d u a lly to h is
c o n te m p o ra r ie s - -n o tab ly G ra n d fa th e r C o m p s o n - -a s one who liv ed by a
le d g e r-b o o k m o ra lity w hich "had n e v e r y et fa ile d to fa il h im " (p. 281),
th en it is only a p p ro p ria te th a t p e rs o n s who had h e a r d m u c h about th is
g h o st f r o m the a n te - b e llu m South should r e m e m b e r o r im a g in e " fa c ts "
about h is life and d eath only in g ra d u a l s ta g e s . In point of f a c t, r e c o n
s tru c tio n of th e Sutpen ta le evolves out of the e s c a la te d in te r e s t of
Q uentin and th e fa s c in a tio n of S h rev e .
If Q uentin too is to r e v e a l h im s e lf g ra d u a lly to h is ro o m m a te ,
and to th o se of us who a r e m ade p riv y to th e ir a tte m p ts to d is c o v e r
the tr u th about S utpen and h is fa m ily , th e n it is a p p ro p ria te th a t the
r e a d e r co m e to re a liz e th a t d is to rtio n a tte n d s any a tte m p t to te ll the
tr u th , b u t th a t a c c e p ta n c e of the fa c t of d is to rtio n c an e n ab le a tr u th -
jseek er o r a t r u t h - t e l l e r to a c c e p t the h o r r o r and the b eau ty w hich d is -
i
jtortion im p e rfe c tly m i r r o r s .
76
T h e re a r e few e x a m p le s in lite r a tu r e w h ere sty le and s tr u c tu r e
c o m b in e to re in fo r c e th e th e m a tic c o n c e rn s of a novel w ith m o r e fo rc e
th an in th is n o v el. A s John W. H unt say s in his c h a p te r on the n o v el,
"A b sa lo m , A b salo m ! is F a u lk n e r 's a tte n tiv e , loving, and p a tie n t e x
p lo ra tio n into the h e a r t of e x p e r ie n c e , p a s t and p r e s e n t, to tr a p its
14
m e an in g in an a e s th e tic m o ld ." F u r t h e r , "T he fin a l v is io n of r e a lity
is n ot Q u e n tin 's. It is a l a r g e r re a lity in th e co n tex t of w hich the one
15
c r e a te d by Q u e n tin 's im a g in a tio n is m ad e c r e d ib le ."
F a u lk n e r 's te ch n iq u e f o r c e s the r e a d e r to e v e r g r e a t e r in v o lv e
m en t. As S u tp e n 's life m o v es fr o m p a r tic u la r fa c ts w hich r e g i s t e r on
h im to a b s tr a c tio n s , th e n a r r a tio n m o v es f r o m r u m o r e d fa c ts and h azy
sp ec u la tio n s to vividly r e a liz e d a c ts of the im a g in a tio n w hich r e g i s t e r
on the r e a d e r as m o r e p la u sib le th an any of the h a r d fa c ts of S u tp e n 's
c a s e . "As f a th e r h ad b een le s s in tim a te ly involved in th e S u tp en s to r y
than M iss R o s a , so S h re v e th e C an ad ian is le ss in volved th a n fa th e r.
The m o v e m e n t is one of p r o g r e s s iv e d ise n g a g e m e n t, a m o v e m e n t o u t-
16
w ard f r o m th e c e n te r ." A ll of th is s e e m s to be a way of so lic itin g
the r e a d e r 's im a g in a tio n , m a k in g the r e a d e r s h a r e in the c r e a tiv e
p r o c e s s . As th e r e a d e r is k ep t f a r th e r and f a r th e r fr o m th e fa c ts
about Sutpen, h e is m o r e and m o r e w illing to a c c e p t a p la u sib le th eo ry ,
W aggoner sa y s th at a f te r S h r e v e 's and Q u en tin 's in te rc h a n g e s , we a r e
J p re p are d to s p e c u la te w ith th e m :
77
to in v e n t p ro b a b le c h a r a c te r s and fill in d e ta ils to m a k e the s to ry ,
the given in c o m p re h e n s ib le fa c ts , p la u sib le . T h is is one of the
m o s t e x tr e m e e x a m p le s of th e c o n je c tu ra l m eth o d of the w hole
s e a r c h th a t Q uentin and S h rev e a re en g ag ed in; and it is m a d e to
s e e m n a tu r a l, rig h t, b e ca u se S h rev e , who can n o t be a c c u s e d of
e x c e s s iv e c lo s e n e s s to the m a te r ia l, o ffe rs th e s p e c u l a t i o n .^
One of th e f i r s t s ta te m e n ts in A b sa lo m , A b sa lo m i w hich h e lp s the
r e a d e r to u n d e rs ta n d the dem and th at F a u lk n e r is m a k in g on h im , and
that th e p a s t is m ak in g on Q uentin and S h re v e , is the follow ing a u th o
ria l in te r je c tio n in C h a p te r One:
It (the ta lk in g , the tellin g ) s e e m e d (to h im , to Q uentin) to p a rta k e
of th a t lo g ic - and re a so n -flo u tin g q u ality of a d r e a m w hich the
s le e p e r knows m u st h av e o c c u r r e d , s tillb o r n and c o m p le te , in a
se c o n d , y et th e v e ry quality upon w hich it m u s t depend to m ove the
d r e a m e r (v e ris im ilitu d e ) to c r e d u l i t y - - h o r r o r o r p le a s u r e o r
a m a z e m e n t--d e p e n d s as co m p letely upon a f o r m a l re c o g n itio n of
and a c c e p ta n c e of e la p s e d and y e t-e la p s in g tim e as m u s ic o r a
p r in te d ta le . (p. 22)
A ccep tan ce of change is c ru c ia l to F a u lk n e r. T im e does p a s s , and
o n e's p e r s p e c tiv e m u s t change w hen tim e p a s s e s . S h r e v e 's m an y
m ig h t- h a v e -b e e n s b eco m e a "w as" (pp. 344, 359) la te in the n o v el, and
F a u lk n e r a sk s th e r e a d e r to g r a s p the f a c t th a t p la u sib ility depends
upon th e p a s s a g e of tim e , but fu n d a m e n ta l tr u th s of the h u m a n h e a r t do
not a lte r .
In ad d itio n to sp e c ific a lly n a r r a tiv e te c h n iq u e s - - p r e ju d ic ia l
point of view , c o r r e c t io n b a se d on ad d itio n al in fo rm a tio n , r e c a p itu l a
tio n in fo rm e d by e s c a la tio n of p e r s o n a l in t e r e s t - - a n d i n t e r - r e l a t i n g
Jstrands of im a g e ry , F a u lk n e r h a s a n o th e r p a r tic u la r ly effe ctiv e
I
i
(method of expanding the r e a d e r 's c o n sc io u s n e s s of th e m a tic cons id -
78
e ra tio n s , F r e q u e n tly , w e ll-c o n ce iv e d and w e ll-e x ec u te d s c e n e s a re
em ployed to m i r r o r o r in ten sify s im ila r sc e n e s on o th e r le v els of the
novel. T he follow ing th r e e e x am p les o ffer m ic ro c o s m ic tr e a tm e n ts of
th r e e m a jo r th e m a tic s tra n d s of A b sa lo m , A b sa lo m !.
F i r s t , w hen G e n e ra l C om pson te lls h is son, Q u en tin 's fa th e r,
of S utpen's a d v en tu res in H aiti, "a little isla n d se t in a sm ilin g and
f u r y -lu rk e d and in c re d ib le indigo s e a , w hich w as the h alf-w ay point b e
tw een w hat we c a ll the jungle and w hat we c a ll c iv iliz a tio n " (p. 250),
he is su p p o sed ly draw ing upon fa c ts w hich Sutpen had h im s e lf re la te d :
. . . a little lo s t isla n d in a latitu d e w hich would re q u ire te n th o u
sand y e a r s of e q u a to ria l h e rita g e to b e a r its c lim a te , a s o il m a
nured w ith b la c k blood fro m two h u n d red y e a r s of o p p re s s io n and
ex ploitation u n til it sp ra n g w ith an in c re d ib le p a ra d o x of peacefu l
g re e n e ry and c rim s o n flo w e rs and s u g a r cane sap lin g size and
th re e tim e s the height of a m a n and a little b u lk ie r of c o u rs e but
valuable pound for pound a lm o s t w ith s ilv e r o r e , as if n a tu re held
a balance and kept a book and o ffere d a re c o m p e n s e fo r the to rn
lim bs and o u tra g e d h e a r ts ev en if m a n did not, the planting of
n a tu re and m a n too w a te re d n o t only by the w asted blood but
b re a th e d o v e r by the w inds in w hich the doom ed sh ip s had fled in
vain, out of w hich the la s t ta tte r of s a il h ad sunk into the blue sea ,
along w ith the la s t vain d e sp a irin g c r y of w om an o r child had blown
away . . . the old u n slee p in g blood th a t had v a n ish ed into the e a r th
they tro d s till c rie d out fo r v en geance, (p. 251)
S la v e ry in H aiti c le a rly re fle c ts o r re c a p itu la te s s im ila r ex p lo itatio n
in the A m e ric a n e x p e rie n c e . T he m a n u rin g of the so il with b la c k blooc
h a s pro d u ced m o r a l m o n s tro s itie s in both a r e n a s . N a tu re 's b a la n c e -
‘book in H a iti p re fig u re s the u ltim a te d e s tru c tio n of S utpen's d esign.
iThe u n sleep in g blood s till c ry in g out fo r vengeance p re fig u re s the
I
(howling of J im Bond, a how ling so d isc o m fo rtin g to Q uentin. Value
79
p la ce d on n a tu ra l o b je cts lik e su g a r c an e m a k e s a m a r k e ta b le c o m
m o d ity of so m eth in g w hich should be th e b ir th r ig h t of all H a itia n s,
even as the S o u th ern u se of N e g ro es a s liv e s to c k o r fu n c tio n a rie s is a
p e r v e r s io n of the n a tu r a l o r d e r . The m o n e ta ry a llu sio n s and re fe re n c e
to n a t u r e 's b a la n c e and o fferin g of re c o m p e n s e echo m a jo r im a g e ry
p a tte r n s in A b sa lo m , A b s a lo m l. T o r n lim b s and o u tra g e d h e a r ts a r e
the r e s u l t of d eh u m an izatio n a t any tim e , in any p la c e .
E v e ry c h a r a c te r in th e novel h a s an affin ity w ith H a iti and
H a itia n s. E v e ry h u m an o u tra g e is an echo of e v e ry o th e r hu m an o u t
ra g e . E v e ry s te r ile plot p ro d u c e s its g ro te s q u e and v alu ab le scio n s.
N a tu r e 's re trib u tio n is not u n lik e S u tp e n 's. N a tu r e 's ju s tic e is a m o re
c o sm ic H a m m u ra b i's Law , "an eye f o r an e y e , a to o th fo r a to o th ."
S u tp e n 's le g a lis m is in c lo s e r a lig n m e n t w ith su ch a code th a n it is
w ith any h u m a n ita ria n code o r New T e s ta m e n t m o r a lity . H a iti is h a lf
way b etw een p r im itiv is m and c iv iliz e d life; so is S u tp en and S u tp en 's
South. The "new m a n " with h is m o u n tain code is a p rim itiv e in t r a
d itio n al clo thing. H aiti, the p e rfe c t m i r r o r f o r the tw o -h u n d re d y e a r s
of A m e ric a n s la v e r y , its g h o sts keeping the in h e r ito r s of its tra d itio n s
aw ake a t n ig h t, is an in s tr u c tiv e ex em p lu m f o r the r e a d e r s of F a u lk
n e r 's c o m p le x novel, a s it sh o u ld have b een f o r S u tp en who o b s e rv e d
i t but did n ot u n d e rs ta n d w hat h e saw.
! S econd, one of the m o s t m oving ta b le a u x in th e Sutpen s to ry is
ja sc e n e Q uentin re c o lle c ts . H is fa th e r had r e la te d th e sc e n e w hen the
80
two of th e m h ad com e upon the S utpen g ra v e y a rd . Sutpen h ad p u r
c h ase d two g ra v e s to n e s w hile h is re g im e n t w as in V irg in ia, " o rd e re d
th e m fr o m Ita ly , the b e s t, the f in e s t to be h a d - - h is w ife 's c o m p le te
and h is with the date le ft b la n k " (p. 188). He did th is "w hile on activ e
s e r v ic e with an a rm y w hich h ad n ot only th e h ig h e st m o rta lity r a te of
any b e fo re o r sin ce b u t w hich h ad a c u s to m of elec tin g a new s e t of
re g im e n ta l o ff ic e rs e v e r y y e a r " (p. 189). Sutpen, defying c r i t i c i s m ,
". . . not only o r d e r e d the sto n e s and m a n ag e d to pay fo r th e m ,
but s tr a n g e r s till he m a n ag e d to get th e m p a s t a s e a c o a s t so
c lo se ly b lo ck ad ed th a t the in c o m in g r u n n e rs re fu s e d any c a rg o
ex ce p t a m m u n i t i o n " It s e e m e d to Q uentin th a t he could' a c tu
ally see th e m : th e ra g g e d and s ta r v in g tro o p s w ithout s h o e s , the
gaunt p o w d e r-b la c k e n e d fa c e s looking b a c k w a rd o v e r ta tte r e d
s h o u ld e rs, th e g la rin g ey es in w hich b u rn e d so m e in d o m itab le
d e sp e ra tio n of u n d e fe a t w atching the d a r k in te rd ic t o c e a n a c r o s s
w hich a g r im lig h tle s s s o lita r y sh ip fled with its hold two th o u san d
p re c io u s p o u n d s -s p a c e co n tain in g not b u lle ts , not ev en so m eth in g
to e a t, but th a t m u c h b o m b a stic and in e r t c a r v e n ro c k w hich fo r
the nex t y e a r was to be p a r t of th e re g im e n t, to follow it into
P e n n sy lv a n ia and be p r e s e n t a t G e tty sb u rg , m oving behind the
re g im e n t in a w agon d riv e n by th e d e m o n ’s body s e r v a n t th ro u g h
sw am p and p la in and m o u n ta in p a s s , the re g im e n t m oving no
f a s t e r than th e w agon could, w ith s ta r v e d gaunt m e n and gaunt
sp en t h o r s e s knee d e e p in icy m u d o r snow , sw eatin g and c u rs in g
it th ro u g h bog and m o r a s s like a p ie ce of a r tille r y , sp ea k in g of
the two sto n e s as 'C o lo n e l' and 'M rs C o lo n e l.' (p. 189)
A c a s u a l re a d in g of th is p a s s a g e m ig h t y ie ld m e r e ly a v is u a liz a tio n of
a ty p ic a lly d e te rm in e d p r o je c t of th e aging Sutpen. In fo rm in g Q u en
tin 's re c o lle c tio n is an in te n sity of em o tio n w hich is c o m m u n ic a te d to
ithe r e a d e r . Q uentin c o u ld see the s ta r v in g s o ld ie r s , th e ir ey es b u rn -
jing w ith "so m e in d o m ita b le d e s p e ra tio n of u n d e fe a t." T h e se a r e the
P
(flower of the S outh, v ic tim iz e d both by a w a r w hich th ey fought out of a
81
m isg u id e d s e n s e of honor and out of in n o cen ce of the d e s tru c tiv e n e s s
la te n t in ra c ia l c a s te - c o n s c io u s n e s s . T hey follow a co u rag eo u s but
s e lf is h c o m m a n d e r who m ak es u n n a tu ra l d em an d s on his m e n in o r d e r
to s e c u r e o rn a m e n ts fo r h is p e rs o n a l d esign.
The in e r t m a s s e s , c a rv e n ro c k a s s u m e d by the re g im e n t ju s t
as the slave s y s te m was a ss u m e d by the South, d ra g s down the m en .
T hey do not see th e m s e lv e s as exploited; they a re re d u c ed to the sta tu s
of p a ck a n im a ls. Q uentin, and the r e a d e r , w ill note the a p p r o p r ia te
n e s s of the c o m p a riso n betw een gaunt m en and gaunt h o r s e s , and, in
c a s e the fo rc e of the d e sc rip tio n m ig h t be lo s t, the ubiquitous body
s e r v a n t to the S o u th ern a r i s t o c r a t h o v e rs by Sutpen, a n o th e r re m in d e r
of a r b i t r a r y d eh u m an izatio n .
C o ld n ess atten d s th is f r u itle s s and s e n s e le s s la b o r. S o ld ie rs
facin g death iro n ic a lly give the sto n es h u m an d esig n atio n w hile Q uentin
g r a s p s the sig n ifican ce of S u tp en 's ro c k lik e d e s tru c tiv e innocence.
The unfeeling c o m m a n d e r gives h ig h e r p r io r ity to g ra v e sto n e s a d ju n c
tive to his g ra n d d e sig n th a n he does to th e r e a l n eed s of h u m an b ein g s.
T hus F a u lk n e r holds a m i r r o r to the u n n a tu ra l " d e s p e ra tio n of u n
d e fe a t" which c h a r a c te r iz e s S u tp en 's re la tio n s with E u la lia , C h a r le s ,
H e n ry , Ju dith, C ly tie , E lle n , R o sa , W ash, and M illy. S u tp en 's gain
is h u m a n ity 's lo s s .
J T h ird , one of the m o re sh a rp ly e tch e d c h a r a c te r s in A b sa lo m ,
I " "
|A bsalom ! is the F r e n c h a r c h ite c t who c r e a te s the m ag n ificen ce of
82
S u tp e n 's m a n s io n by c u rb in g S u tp e n 's g ra n d io se p la n s , th e n ru n s aw ay
only to be tr a c k e d down like an a n im a l by S u tp e n 's dogs and n ig g e r s .
T he a r c h ite c t is a c o m p o site of Q uentin and S h re v e , "w ith h is a i r
so m eth in g b etw een a c a s u a l and b itte rly d is in te r e s te d s p e c ta to r , and a
c o n d em n ed and c o n sc ie n tio u s g h o st" (p. 38). The a r c h ite c t w as d e
s c r ib e d by G e n e ra l C o m p so n as a m a z e d " a t h im s e lf, at th e in e x p li
c a b le fa c t of h is own p r e s e n c e " :
B ut he w as a good a r c h ite c t, Q uentin knew the h o u s e , tw elv e m ile s
f r o m J e f f e r s o n , in its g ro v e of c e d a r and oak, s e v e n ty -fiv e y e a r s
a f te r it w as fin ish e d . And not only an a r c h ite c t, as G e n e ra l C o m p
so n sa id , b u t an a r t i s t sin ce only an a r t i s t could h av e b o rn e th o se
two y e a r s in o r d e r to build a h o u se w hich he d o u b tle ss n o t only
e x p ected but fir m ly in ten d ed n e v e r to s e e again. Not, G e n e ra l
C o m p so n s a id , th e h a rd s h ip to s e n s e and the o u tra g e to s e n s ib ility
of the two y e a r s ' s o jo u rn , but Sutpen: th a t only a n a r t i s t could have
b o rn e S u tp e n 's r u th le s s n e s s and h u rr y and s till m a n a g e to c u r b the
d r e a m of g r i m and c a s tle lik e m a g n ific e n c e at w hich S utpen o b
v io u sly a im e d , sin c e th e p lace a s Sutpen plan n ed it w ould have
b e en a lm o s t as la r g e as J e f f e r s o n its e lf at the tim e ; th a t the little
g r im h a r r i e d f o r e ig n e r had sin g leh an d ed given b a ttle to and v a n
q u ish ed S u tp e n 's f ie r c e and o v erw een in g vanity o r d e s ir e fo r
m a g n ific e n c e o r fo r v in d icatio n o r w h a tev e r it w as (even G e n e ra l
C o m p so n did not know yet) and so c r e a te d of S u tp e n 's v e ry d e fe at
th e v ic to ry w hich, in co n q u erin g , Sutpen h im s e lf w ould have
fa ile d to g ain . (pp. 38-39)
One knows a good a r c h ite c t by the quality of the h o u se he b u ild s.
Q uentin h as ju d g e d the F r e n c h a r c h ite c t, and the f o r e ig n e r h as not
b e en found w an tin g . T h e a r c h ite c t, like any a r t i s t , m a y find h im s e lf
a m a z e d at h is own n e a r n e s s to v ita l c e n te rs of h u m an s trife ; w hen he
!
jtr ie s to evade th e d e m a n d s h is vo catio n h as p laced up o n h im , the
I
je sc a p e its e lf f o r c e s h im into f u r th e r in g e n u itie s, a c tu a liz a tio n of
~ & 3
c re a tiv e p o te n tia l he h a rd ly su sp e c te d th a t he p o s s e s s e d :
a little h a r r i e d w ildfaced m a n w ith a tw o -d a y s stu b b le of b e a r d
who c a m e out of the cave fighting lik e a w ild c a t, h u r t leg and all,
w ith the dogs b a rk in g and th e n ig g e rs w hooping and h o lle rin g w ith
deadly and m e r r y a n tic ip atio n . . . . G randfa.ther s a id even h e - -
a ll of th e m - - c o u ld te ll th a tth e a r c h ite c t w as n o t apologizing; it
w as fin e , G ra n d fa th er s a id , and he s a id how Sutpen tu rn e d to w a rd
h im but he ( G ran d fath er) w as a lre a d y a p p ro a ch in g th e a r c h ite c t,
h olding out th e bottle of w hisky a lre a d y u n c o rk e d . And G ra n d
f a th e r saw the eyes in the gaunt f a c e , the e y e s d e s p e ra te b ut in
d o m ita b le to o , in v in cib le to o , not b e a te n y e t by a d am n sig h t,
G ra n d fa th e r said , and a ll th a t fifty -o d d h o u rs of d a r k and sw am p
a n d s le e p le s s n e s s and fa tig u e and no g ru b and n o w h e re to go and
no hope of g etting th e re : ju s t a w ill to e n d u re and a foreknow ing
of d efeat but not b e at y et by a d am n sight: and he to o k the b o ttle
in one of h is little d irty c o o n -lik e h a n d s and r a is e d th e o th e r hand
and ev en fu m b led about h is h ead fo r a sec o n d b e fo re he r e m e m
b e r e d th a t the hat w as go n e, then flu n g the han d up in a g e s tu r e
th a t G ra n d fa th e r s a id you sim p ly c o u ld not d e s c r ib e , th a t s e e m e d
to g a th e r all m isfo rtu n e and defeat th a t th e h u m a n r a c e e v e r s u f
f e r e d into a little pinch in h is fin g e r s like d u s t and flin g it b a c k
w a rd o v e r h is h ead . . . th e n he to o k not o n ly the f i r s t d rin k of
n e a t w hiskey he e v e r took in h is life but th e d rin k of it th at he
co u ld no m o re have c o n ce iv e d h im s e lf ta k in g th a n th e B ra h m in
c an b e liev e th a t th a t s itu a tio n can c o n c e iv a b ly a r i s e in w hich he
w ill e a t dog. (pp. 257-258)
I have quoted at le n g th fr o m th e sc e n e s in C h a p te r One and
C h a p te r S even b e ca u se the a r c h ite c t's r o le in A b sa lo m , A bsalom ! tie s
the n o v e l's c h a r a c te r s and n a r r a t o r s a n d au th o r to g e th e r in a h u m an
bond, and illu m in a te s s e v e r a l th e m a tic p o s s ib ilitie s .
T he a rc h ite c t w as f o r c e d by S u tp en and h is own vaction to c r e
ate v ic to ry out of defeat. He c r e a te s so m e th in g im m o r ta l by c u rb in g
the m a g n ific e n c e of S u tp en 's v isio n . T h is he a c h ie v e s qua a r t i s t . The
a r c h ite c t, q u a hum an being is as d e s p e r a te and in d o m ita b le as Sutpen
h im s e lf, o r as Q uentin is , o r th o se h a g g a rd s o ld ie r s who h au led
84
to m b sto n es a c r o s s th e South. The a r c h ite c t, a f te r all, w as also sle e p -
Less, fa tig u ed , h u n g ry , and w ithout a p la c e to go.
The a r c h ite c t, the h is to r ia n , th e a r t i s t h a v e to " a r c h ite c t"
th e m selv e s a c r o s s th e r i v e r s and o v e r the o b s ta c le s in th e ir way.
Often, th ey a r e s ty m ie d , and m u s t m a k e im a g in a tiv e leap s to ev ad e
the dem ons th a t p u rs u e th em . As n a r r a t o r s , Q uentin and S h rev e s ift,
and d is c a r d , an d c o n s e rv e in o r d e r to a r r iv e at a tr u e p ic tu re of w hat
happened in th e p a st. S o m e tim e s they g et into situ a tio n s th ey could no
m o re have im a g in e d th a n the B ra h m in who could n e v e r im ag in e a s i t u
ation in w hich he w ould eat dog. H a m p e re d by la c k of in f o r m a tio n - -
"Not y o u r g ra n d fa th e r. He knew only w hat the to w n , the county
knew . . . " (p. 2 0 9 ) - - tr u th - s e e k e r s c ir c le a ro u n d a few c o n c re te fa c ts
until they s u g g e s t o th e r r e a litie s n o t v e rifia b le .
The a r c h i t e c t 's ro le in A b sa lo m , A b sa lo m l is im p o rta n t n o t
ju st b e c a u se it p o ints up the v ic to ry of th e a r t i s t o v e r the m a te r ia l,
c o m p ris e d of d e fe a ts , of h u m a n s tru g g le and e x p lo ita tio n , and n ot ju s t
b ecau se the a r t i s t is show n to b e, f i r s t and f o r e m o s t, a hu m an being
involved in th e s tr u g g le s of life ju st lik e anyone e ls e ; the a r c h ite c t's
ro le is a m ic r o c o s m of F a u lk n e r 's own d iffic u ltie s in w ritin g A b sa lo m ,
A bsalom ! . H is p r o g r e s s on th e novel w as so s ty m ie d th a t, at one
point, F a u lk n e r d ro p p e d his p ro je c t a lto g e th e r , and w ro te P y lo n b e fo re
!he could r e tu r n to th e c h allen g in g ta s k of r e - w r it in g the m o re c o m p le x
I
[Absalom , A bsalom ! : "I d o n't r e m e m b e r a t w hat point I put it down.
85
T hough when I picked it up a g a in I a lm o s t re w ro te the w hole th in g . I
th ink th a t w hat I put down w e re in ch o ate fra g m e n ts th a t w ouldn't c o
a le s c e and th e n w hen 1 took it up a g ain , as I r e m e m b e r , I re w ro te
In J e a n S te in 's in te rv ie w w ith F a u lk n e r in 1956, he defined an
a r t i s t p r e c is e ly as "a c r e a tu r e d riv e n by d em o n s. He d o n 't know why
19
th ey ch o o se h im and h e 's u s u a lly too b u sy to w onder w h y ." T h e
a r c h ite c t e x e r c is e s e v e r y a r t he knows to elude his p u r s u e r s . F in a lly ,
in ju re d and d e s p e r a te , he is d is c o v e r e d in a cav e by th e r iv e r bank.
He "w as not ap o lo g izin g " fo r h is flig h t, the m eth o d s he u s e d to g e t as
f a r as he could, o r ev en h is fa ilu r e in the end to s u c c e e d in his d e
sign. Like F a u lk n e r h im s e lf, th e a r c h ite c t s e e m s to g a th e r all the
m is fo rtu n e and d efeat th a t the h u m a n r a c e h as e v e r s u ffe re d into a
tiny pinch of d u st, only to fling it b a c k w a rd o v e r his h e a d and b e g in
once ag ain to e x e r c is e h is a r t . F a u lk n e r s u re ly m o d els the a r c h ite c t
upon h im s e lf, both a r e m e n tr y in g to su c c e e d d esp ite th e fo re k n o w l
edge of d efeat. F a u lk n e r m e a s u r e d h is own n o vels a c c o rd in g to th e
m a g n ific e n ce of th e ir f a ilu r e . T he a r c h ite c t sc e n e s a r e a to u r de fo rc e
a s a m i r r o r in g of F a u lk n e r 's ingenious v ic to rie s o v er h is m a te r ia l,
and h is option to sta y w ith life ev en w hen he knows th a t, u ltim a te ly , all
his s triv in g w ill not be p ro d u c tiv e of th e e n tire tru th he s tru g g le s to
ireveal.
)
86
It is c l e a r th a t Sutpen is m aking d em an d s on the a r c h ite c t w hich
re d u c e h im to a sla v e -c o n d itio n . He g ra s p s the w h isk y g la s s in " c o o n
like h a n d s ," he is d riv e n to a cave even as Sutpen h a d b e en , and as
C h a rle s E tie n n e St. V a lery Bon w ill be. H e is f o r c e d into a " h a r s h
re c a p itu la tio n of h is own w o rth ." He gives up a m e a s u r e of h is f r e e
dom w h en he u n d e rta k e s to p ra c tic e his a r t , ju s t a s Sutpen, th e n a r
r a t o r s , and the a u th o r re lin q u is h c o n s id e ra b le f r e e d o m and lo s e m o r e
than a littl e s le e p in o r d e r to do w hat they m u s t.
T h e m e th o d s F a u lk n e r em p lo y s to g e t the t r u t h out in A b sa lo m ,
A bsalom ! a re m a n y and d iv e rs e . I have t r i e d to in d ic a te th e s im ila r ity
betw een th e w eighing and b alan cin g Q uentin and S h re v e indulge in and
the a m o r a l c a lc u la tio n s of Sutpen. F u r th e r , I have a tte m p te d to show
the g e n iu s of F a u lk n e r 's a r tis tic choice of m i r r o r i n g sc e n e s w hich e n
r ic h the te x tu r e of h is novel. F in a lly , I h av e su g g e s te d th a t A b sa lo m ,
A bsalom ! is not only about Sutpen, o r about the im p a c t of S u tp e n ism on
Q uentin, b ut a lso about the s tru g g le of the a r t i s t to te ll the tru th .
F a u lk n e r is en g ag ed in c alc u la tio n , w eighing, and b a la n c in g , ju s t as
h is n a r r a t o r s a r e . An u n p u b lish ed a u to b io g ra p h ic a l p ie ce v e rifie s th is .
The n o v e l w hose c o m p o sitio n he d is c u s s e s is L ight in A ugust:
. . . I w as now a w a re b e fo re e a c h w ord w as w ritte n down ju s t w hat
the p e o p le w ould do, sin ce now I w as d e lib e ra te ly ch o o sin g am ong
p o s s ib ilitie s an d p ro b a b ilitie s of b e h av io r and w eighing an d m e a
s u rin g e a c h c h o ice by the sc a le of the J a m e s e s and C o n ra d s and
B a lz a c s
87
A lthough m an qua m a n has r e s p o n s ib ilitie s to o th e r p e r s o n s - - a fact
w hich Sutpen could not g r a s p - - m a n q u a a r t i s t , e sp e c ia lly the w r ite r ,
w ill be c o m p le te ly ru th le s s if he is a good one. He h as a d re a m .
It an g u ish es h im so m uch he m u s t g e t rid of it. He h as no p eace
till th en . . . . If a w r ite r has to ro b his m o th e r , he w ill not
h e sita te ; the "Ode to a G re c ia n U rn " is w o rth any n u m b e r of old
lad ies 1
T he m eth o d s F a u lk n e r u ses in A b sa lo m , A bsalom ! a re im p o r
ta n t, but not ends in th e m s e lv e s . T he w r ite r ch o o ses m ean s w hich he
th in k s, h o p e s, w ill effectiv ely get th e tru th out. He knows he w ill fail;
he is p r e p a r e d to t r y again. In this sp e c ific n o v e l, F a u lk n e r t r i e s to
ex p lo re the re a lity of hum an e x p lo ita tio n --w h e th e r in M is s is s ip p i or in
H aiti o r e ls e w h e re . This e x p lo ita tio n is e p ito m iz e d by the in se n sitiv ity
of "g e n e ra ls who should not have b e en g e n e ra ls . . . who w e re g e n
e r a l s not th ro u g h tra in in g o r aptitude . . . but by divine rig h t . . .
22
c o n fe rre d upon th e m by an ab so lu te c a s te s y s te m ." F a u lk n e r is also
ex p lo rin g the h u m an cap acity to a f f ir m life and re m a in activ e w hen e x
p lo itatio n o c c u r s . He knows it does o c c u r , h a s o c c u r re d , w ill o c c u r.
He does w hat he fe e ls he m u s t to c o m m u n ic a te th o se tru th s . "It is no
c o in c id e n c e ," m a in ta in s W alter Slatoff,
th at v irtu a lly a ll of F a u lk n e r 's e x p e r im e n ts w ith fo rm and s ty le - -
his ra p id ly sh iftin g points of view , h is d is o r d e r e d tim e se q u e n c e s,
his u n s y m m e tr ic a l m a ra th o n s e n te n c e s , h is o x y m o ro n s, his whole
m eth o d , as C o n ra d A iken puts it, "of d e lib e ra te ly w ithheld m eaning,
of p r o g r e s s iv e , and p a r tia l and d e lay e d d is c lo s u r e " --h a v e one ef-
j feet in com m on: ten sio n and f r u s tr a tio n in the re a d e r . ^
|
|T he r e a d e r is fo r c e d to re sp o n d w ith h is h e a r t as w ell as h is h ead .
88
^W illiam F a u lk n e r , The F a u lk n e r-C o w le y F ile : L e tte r s and
M e m o r ie s , 1 9 4 4 -1 9 6 2 , ed. M alco lm C ow ley (New Y o rk , 1966) , pp.
14-15.
2
F a u lk n e r at W est P o i n t , p. 113.
3
F a u lk n e r at W est P o in t, p. 119-
4
F a u lk n e r at W est P o i n t , p. 122.
5
F a u lk n e r a t W est P o in t, p. 122.
^F a u lk n e r a t W est P o in t, p. 55.
7
F a u lk n e r a t W est P o i n t , p. 57.
g
The N ovels of W illiam F a u lk n e r: A C r itic a l I n te r p r e ta tio n
(B aton R ouge, I960), p. 85.
9
V ic k e ry , p. 92.
^ V i c k e r y , p. 92.
V ic k e ry , p. 92.
^ W a g g o n e r , p. 152.
^ W a g g o n e r , p. 155.
14
. H unt, p. 101.
15
H unt, p. 101.
^ W a g g o n e r , p. 157.
17
W ag g o n er, p. 157.
18
F a u lk n e r in th e U n iv e r s ity , p. 76.
19
S tein , p. 29.
20
M ich a e l M illg ate h a s footnoted th is f r a g m e n t as " D ra ft i n t r o
duction (?), pp. 2 - 3 ." The ty p e s c r ip t to w hich he r e f e r s is in A ld e r
m a n L ib r a r y , U n iv e rs ity of V irg in ia. M illg a te, p. 34.
89
F a u lk n e r to J e a n S tein , in T h re e D e c a d e s , p. 68.
22
Ilse D u so ir L ind q u o tes th is se c tio n of A b sa lo m , A bsalom !
in "T he D esign and M eaning of A b sa lo m , A b sa lo m !,1 1 in T h ree D e ca d es
p. 303, w ith th e c o m m e n t th a t it r e p r e s e n ts the " tra n s p o s itio n into
m ilita r y te r m s of th e v e ry flaw by w hich th e so cie ty w as m a r r e d ."
23
W alter S latoff, The Q u e st fo r F a ilu r e (Ithaca, New Y ork,
I960), p. 75.
CHAPTER III
O F C A T T L E , C H A T T E L , AND P A L L E T S :
T H E NOVELIST IN C O N T R O L
C h a p te r I of th is study c o n c e n tra te d upon the im a g e r y w hich
b e st d efin ed T h o m as S u tp e n 's m e n ta lity . The m o n e ta ry and le g a lis tic
im a g e s , w hich r e v e a l S u tp e n 's c a lc u la tio n s fo r the sak e of h is a b s tr a c t
d e sig n , d ir e c t th e r e a d e r 's a tte n tio n to the to ll su c h in h u m an e b a la n c
ing ta k e s . C h a p te r II fo c u se d on tech n iq u es F a u lk n e r e m p lo y s to b rin g
s t r u c t u r a l and th e m a tic c o n c e rn s into a lig n m e n t.
T he p r e s e n t c h a p te r is a study of s e v e r a l im a g e s w hich r e i n
fo rc e th e m a jo r th e m a tic c o n sid e ra tio n s of A b sa lo m , A b s a lo m !, i m
ag es w h ich e s ta b lis h th e d e g re e of c o n tro l w hich the n o v e lis t e x e r c is e s
o v e r h is m a te r ia l. A lle n T ate c o n s id e rs F a u lk n e r "the g r e a te s t
[w r ite r ] not only in A m e ric a but in the w o r l d . F o r s u c h a c la im to
be d efen d ed , F a u lk n e r 's " g r e a te s t n o v e l" should stan d up as an a r tis tic
w hole. It is F a u lk n e r 's su p p o rtin g im a g e ry w hich k eep s A b sa lo m ,
A b salo m ! in te g ra l.
W hen S u tp en is f i r s t in tro d u c e d to the r e a d e r in Q u e n tin 's c o m
m e n ta r y on R o s a 's m u sin g th at a fte rn o o n in S e p te m b e r of 1909, th e
90
91
"d em o n " a b ru p tin g out of th u n d e rc la p holds fro n t sta g e c e n te r , w hile
his "band of w ild n ig g e rs like b e a s ts h alf ta m e d to w alk u p rig h t like
m en " (p. 8) a r e huddled, w ith th e F r e n c h a r c h ite c t, in a w agon w hich
s m e lle d like a w olfden. T h e s e h a lf-c iv iliz e d H a itia n s a r e a m y s te r y to
the C ounty. T h e co m m u n ity view s th e " im p o rte d s la v e s " a s " a good
deal m o r e d ead ly th an any b e a s t he could h av e s t a r t e d and s la in in th a t
c o u n try " (p. 38). At th is sta g e of S u tp e n ’s d esig n , the a c tu a l b e a s ts of
the f o r e s t en jo y ed a c e r ta in im m u n ity : "W ild tu rk e y s ra n g e d w ithin a
m ile of the h o u se and d e e r cam e lig h t and c o lo re d like sm o k e and left
d e lic ate p rin ts in the f o r m a l beds w h ere th e r e w ould be no flo w e rs fo r
four y e a r s y e t" (p. 39). T h e s la v e ry and b ru ta lity of S u tp e n 's b lack s
is c o n tr a s te d w ith the r e la tiv e fre e d o m of d e lic ate a n im a ls. B la ck and
w hite d e e r m in g le ; b la ck m e n a r e su b ju g ated u n d e r a c a s te s y s te m
w hich is b a se d upon an a s s u m p tio n th a t in c r e a s e d p ig m e n ta tio n m e a n s
that p e r s o n s so c o lo re d a r e in fe rio r .
F r o m s u c h an u n o b tru s iv e beginning F a u lk n e r begins to w eave
the th r e a d of b e a s t and liv e s to c k im a g e ry th ro u g h th e novel. J u s t as
in d iv id u al s e n te n c e s r e v e a l F a u lk n e r 's fa s c in a tio n w ith w o rd -p ilin g as
a m e a n s of d e s c rip tiv e ly defining as m an y a s p e c ts of the tr u th as p o s
sib le , so too does the m a s s in g of d e ta il, the p ro life r a tio n of im a g e s
sp ecify th e m a tic q u e stio n s.
| T he b ru ta liz a tio n of p e rs o n s in A b sa lo m , A b salo m ! b eg in s to
f
[seem d ire c tly p ro p o r tio n a l to the im p le m e n ta tio n of S u tp en 's d esig n .
92
In an o u tra g e o u s sc e n e , Sutpen is show n a c q u irin g s to c k - - d e lib e r a te ly ,
a lm o s t m e ch a n ic a lly - - a n d la b e lin g , b ra n d in g h is a c q u isitio n s with
n a m e s , ro y a l, kingly n a m e s fo r p eople he w ill t r e a t as though they
w e re b e a s ts o r ch attel:
He n a m e d th e m all h im s e lf: a ll h is own get and a ll the get of his
w ild n ig g e rs a f te r the c o u n try b e g an to a s s im ila te th e m . M iss
R o sa d id n ’t te ll you th a t two of th e n ig g e rs in the w agon th at day
w e re w o m en ?
No, s i r , Q uentin s a i d .
Y es. Two of th em . And b ro u g h t h e r e n e ith e r by ch an ce n o r o v e r
sig h t. He saw to th a t, who h ad d o u b tle ss s e e n e v e n f u r th e r ahead
th an th e two y e a r s it a c tu a lly to o k h im to build h is h o u se and show
his good in ten tio n s to his n e ig h b o rs u n til th ey allo w ed h im to m ix
w ild sto c k w ith th e ir ta m e , sin c e the d iffe re n c e in tongue betw een
his n ig g e rs and th e ir s could h av e b een a b a r r i e r only fo r a m a t
t e r of w eeks o r p e rh a p s ev en d a y s. He b ro u g h t the two w om en
d e lib e ra te ly ; he p ro b a b ly c h o se th e m w ith the s a m e c a r e and
s h re w d n e s s w ith w hich he c h o se the o th e r liv e s to c k - - th e h o rs e s
and m u le s and c a ttle - -w h ic h he bought la te r on. (p. 61)
M r. C om pson e n v isio n s Sutpen as a b r e e d e r of s ta llio n s , blend
ing h is own blood and th a t of h is s la v e s "w ith c a r e " and " p u rp o s e " (p.
85). F r o m this m e ta p h o ric b a se F a u lk n e r m o v es into the relatio n sh ip s
o b tain in g betw een Sutpen and m e m b e r s of h is fa m ily .
E lle n C oldfield S utpen, f o r in s ta n c e , is d e s c rib e d as p r o s tr a te
w ith g r ie f when Bon d e p a rte d f r o m S u tp e n 's H u n d red . She h e r s e lf had
b e en u se d as a b r e e d e r fo r S utpen, and she is sh o ck ed to find th at the
young m a n she h as re g a rd e d as c h a tte l c a n d ecid e to le ad h is own life.
|T he sh o ck of re a lity e n te rin g h e r life is d e s c rib e d as "the m e rc ifu l
I
Jblow of th e axe b e fo re th e b e a s t's th r o a t is c u t" (p. 79). Bon h im se lf
* K V » .
93
is "kilt . . . dead a s a b eef" by H en ry .
H en ry , M r. C om p so n se e m s c e r ta in , m u st hav e re g a rd e d
B o n 's N egro child a s " su re y et co m p lete c h a tte l of h im who, b eg ettin g
h im , ow ned h im body and so u l to s e ll (if he chose) lik e a calf o r puppy
o r sh ee p " (p. 114).
W hen Bon ex p lain ed the S o u th ern code of sav in g so m e w om en
f r o m p ro s titu tio n by m aking m i s t r e s s e s of th e m , o r by m a r r y in g
th e m , he c le a r ly d e lin e a te d , acc o rd in g to M r. C o m p so n 's r e c o n s t r u c
tio n , a tr a d itio n a l p o sitio n w hich the p ro v in c ia l H en ry could not u n d e r
stand:
But we do save th a t one, who but fo r us would have been so ld to
any b ru te who h ad the p r ic e , not so ld to h im fo r th e n ig h t lik e a
w hite p ro s titu te , but body and so u l fo r life to h im who could have
u sed h e r w ith m o r e im punity th an he would d a re to u s e an a n im a l,
h e ife r o r m a r e . . . . (p. 116)
S utpen w ill be o b s e rv e d using w om en w ith ju s t such im p u n ity , and it
w ill be a m e a s u r e of his fa ilu re to g ra s p the su b sta n c e of a tra d itio n
w hich had at le a s t m in im a l h um anity a t its c e n te r, w h e re a s S u tp en ism
had an in n o cen ce at its c o re which w as d e stru c tiv e in th e e x tre m e .
Jo se p h A. W igley h as noted th a t th e re a re th r e e h u n d re d and
2
seventy'-three a n im a lim a g e s in the novel, "m o st of th e m e x p lic it."
W igley's d e tailed d is c u s s io n of the evolution of a n im a l im a g e ry su g -
igests th a t F a u lk n e r h a s planted the id e a that the N egro is in f e r io r to
i
j 3
[the w hite "not m e r e ly in so c ia l statu s but in s p e c ie s ." He q u alifies
I
{that s ta te m e n t by adding th a t F a u lk n e r is not " a s s e r tin g the s u b
94
h u m an ity of the n e g ro . . . . B ut by in d ir e c t o v e rs ta te m e n t th ro u g h h is
n a r r a t o r s the a u th o r has c o n triv e d to s e c u re at le a s t te m p o ra ry and
4
p a r tia l acc e p tan c e of th is n o tio n ."
T he m a jo r co n trib u tio n s of W igley's c h a p te r on an im a l im a g e ry
a re two: (1) D raw ing on the d e sc rip tio n of C h a rle s B on's n e g ro m i s
t r e s s who r e p r e s e n ts "a fe m a le p rin c ip le which e x iste d , queenly and
c o m p le te . . . long b e fo re th at w hite one of o u rs cam e down fr o m the
t r e e s and lo st its h a ir and b leach ed out" (p. 116), W igley se e s "a t r i -
5
a n g u lar id en tificatio n : a n im a l- w ith -n e g ro -w ith -fe m a le ." (2) W igley
n o tes th a t " a fte r h is d eath Sutpen is in a se n se d efeated by a n im a ls ," ^
even as he is defeated by w om en and n e g ro e s: the Sutpen fu n e ra l is
in te rru p te d b e c a u se the "two h a lf-w ild young m u le s . . . bolted and
tu rn e d th e wagon o v e r" (p. 186), and, as Q uentin d is c o v e rs when he
and h is fa th e r h ap p en upon the Sutpen g ra v e y a rd , "w here th e b r ic k
coping of one v a u lt had fa lle n in w as a sm o o th fa in t path w orn by so m e
s m a ll a n im a l- - p o s s u m p ro b a b ly --b y g e n e ra tio n s of som e s m a ll a n i
m a l . . . " (p. 188). W igley concludes th a t "the n e g ro , th e fe m a le ,
th e a n im a l- - a ll h e ld in c o n tem p t by Sutpen . . . a ll c o n sp ire to d efeat
7
h im and d e stro y h is d e sig n ."
I would add to W igley's a n a ly sis th a t N atu re is in re a c tio n
a g a in s t the u n n a tu ra l, its book h a s been out of b alan ce, and, in tim e ,
Jthe acco u n t is ev en ed up. S u tp en 's ex p lo itatio n of p e rso n s m u s t r e -
i
|m ain th e focus of F a u lk n e r 's im a g e ry , and S u tp en ’s n a tu ra l re a c tio n
95
to s y s te m a tiz e d u n n a tu ra ln e s s points u p the d e s tr u c tiv e n e s s of h y p er -
r a tio n a l r e s p o n s e s to o rd in a ry h u m an i r r a ti o n a lit ie s .
W ig le y 's c h a p te r is d isap p o in tin g in one r e s p e c t. He fe e ls th at
S h re v e M cC annon iro n ic a lly a c c e p ts th e rig id c o d e of th e South which
g
p la c e s th e n e g ro on a s u b -h u m a n a n im a l p lane. T h e re is no r e a l j u s
tific a tio n fo r su ch an a s s e r tio n . S h rev e does s e e th at on the h u m an
le v e l p ro p a g a tio n w ithout love is a n im a l, and t h a t J im Bond m a y be a
how ling c r e a t u r e , but a lso th at Bond is the one p e rs o n w hom n e ith e r
Q uentin n o r anyone e ls e "will be able to u s e " (p. 378).
O th e r e x a m p le s of liv e sto c k im a g e ry f r o m the te x t point up
F a u l k n e r 's in s is te n c e on b ru ta liz a tio n a t the c o r e of th e Sutpen f a m
ily 's tra g e d y . R o sa , f o r in s ta n c e , d e s c rib e s h e r re la tio n s h ip with
C ly tie in now f a m ilia r im a g e ry :
we m ig h t h av e been n o t only of d iffe re n t r a c e s (w hich we w e re ),
not only of d iffe re n t se x e s (w hich we w ere n o t), but of d iffe re n t
s p e c ie s , sp eak in g no language w hich th e o th e r u n d e rs to o d , the
v e ry sim p le w o rd s w ith w hich we w e r e fo r c e d to a d ju s t o u r days
to one a n o th e r being even le s s in fe re n tia l of thought o r in ten tio n
th an th e sounds w hich a b e a s t and a b ird m ig h t m a k e to e a c h o th er,
(p. 154)
T h e s itu a tio n betw een Ju d ith , C ly tie , an d R o sa is also e x p lic it: they
liv e d
a m ic a b ly , n ot as th r e e w om en, but m e r e ly a s th r e e c r e a t u r e s who
s till p o s s e s s e d the n e e d to e a t but to o k no p le a s u r e in it, th e need
to s le e p but f r o m no joy in w e a r in e s s o r r e g e n e r a tio n , and in whom
I sex w as so m e fo rg o tte n a tro p h y like th e ru d im e n ta r y gills we call
I the to n s ils o r the s till-o p p o s a b le th u m b s fo r old c lim b in g , (p. 155)
!
[As in h u m an e as R o s a 's b ack g ro u n d , tra in in g , a n d e x p e rie n c e (o r lack
of it) hav e m a d e h e r , she h a s m o r e s e n s itiv ity than th e n aiv e Sutpen.
He is so u tte r ly c o n v in ced of the rig h te o u s n e s s of h is d e sig n th a t he
s e e m s ra d ic a lly in c ap a b le of c o m p a ssio n .
R o sa , to S u tp en a p o s sib le b r e e d e r , i s , quite lite r a lly , c o n
s id e re d a bitch: "the body, the b lood, the m e m o ry w hich th a t o g re h a d
dw elt in r e tu r n e d five y e a r s l a te r and held o ut its han d and s a id 'C o m e 1
as you m ig h t sa y it to a dog, and 1 c a m e " {p. 167). So in h u m an and
in s e n s itiv e is S utpen by th is tim e th a t, with h is d esig n in d ire need of
r e s to r a tio n , h e could " s u g g e s t th a t th e y b r e e d to g e th e r fo r t e s t and
sam p le and if it w as a boy they w ould m a r r y " (p. 177). The p ro p o s a l,
b e c a u se it s e e m s p e rfe c tly lo g ic a l and h o n o ra b le to S utpen, is a gauge
of h is d e g e n e ra tio n . R o s a 's id e n tific a tio n of W ash J o n e s as " th a t
b ru te . . . th a t b ru te p ro g e n ito r of b ru te s . . (p. 134) is a gauge of
h e r s .
T he r e a d e r is n o t t e r r i b l y s u r p r is e d w hen S h r e v e 's m in d ju m p s
a lm o s t im m e d ia te ly f r o m the " te s t and s a m p le " in c id e n t w ith R o sa to
a v ery s im ila r p r o p o s a l a t a l a te r p o in t in t im e , when Sutpen h ad
loaned a ru s ty scy th e to W ash J o n e s "to cut th e w eeds aw ay f r o m the
shanty doorw ay to sm o o th the p a th f o r ru ttin g " (p. 178). S u tp e n 's
p r o p r ie to r ia l re la tio n s h ip w ith M illy, only to ld in bold s tr o k e s in
iC hapter Six and ex p an d ed upon at th e end of C h a p te r S even, is p e rh a p s
[the d efinitive e x a m p le of c h a tte lry :
97
T he old n e g r e s s , the m idw ife . . . could te ll how she h e a r d the
h o rs e and th en the dem on e n te re d and stood o v e r the p allet
w ith th e rid in g w hip in h is hand and looked down at the m o th e r and
the ch ild and s a id , "W ell, M illy, too b ad y o u 're not a m a re like
P e n e lo p e . T hen I could give you a d e ce n t s ta ll in the s ta b le " and
tu rn e d and w ent out and th e old n e g re s s sq u atted th e re and h e a r d
th e m , the v o ic e s, he and Jo n e s. . . . (p. 185)
C h a rle s E tien n e St. V alery Bon is d e s c rib e d as "d riv e n and
h e rd e d " (p. 197), an a ss o c ia tio n w hich is lite r a lly fu lfilled w hen the
boy and the Sutpen m u le b eco m e fu sed w ith the plow betw een th e m ,
p e n e tra tin g the land: "The boy w ith his lig h t bones and w o m an ish h an d s
s tru g g lin g with w hat anonym ous a v a ta r of in tra c ta b le M ule, his f i r s t
f a th e r 's c u r s e , getting the hang of it g ra d u a lly . . . " (p, 200). It is
not ju s t th e c u rs e of A dam , but a lso the c u r s e of Sutpen th at he la b o rs
u n d e r. T h is sam e boy, living out his id en tity of n e g ro w ith a v e n
g e an c e , re tu rn e d to J e f fe r s o n w ith a wife w hom the tow n thought was
m o re a n im a l th an hum an:
T he tow n, the county knew: th a t the s tra n g e little boy whom
C lytie h ad u sed to w atch and h ad taught to f a r m . . . had v an ish ed
and th e n re tu rn e d with an au th en tic wife re s e m b lin g so m eth in g in
a zoo. (p. 209)
T he m o st c r u c ia l in sta n c e s of p e rs o n s c o n s id e re d as an im als
o c c u r in S u tp en 's own acco u n t of h is childhood, p a r tic u la r ly h is o u t
ra g e at finding h im s e lf and his fa m ily valued only as b e a s ts . We
a lre a d y know that S u tp en 's s i s t e r h ad given b ir th to h e r child in a cow -
js h e d - - a r ic h im age in its e lf b e c a u se of its p a ra d o x ic a l p o s s ib ilitie s .
I
jT he cow im ag e is p a r tic u la r ly c ru c ia l, and S u tp en 's v isio n of h is
98
s i s t e r a f te r he r e tu r n s fr o m his d em ean in g m is s io n to P e ttib o n e ’s is
one of th e m o s t im p o rta n t d e s c rip tio n s in the novel:
. . . h is s i s t e r pum ping rh y th m ic up and dow n ab o v e a w ash tu b in
the y a r d , h e r b ack to w a rd h im , s h a p e le s s in a c a lic o d r e s s and a
p a ir of the old m a n 's sh o es u n la c e d and flap p in g about h e r b a re
a n k le s and b ro a d in the b eam as a cow, th e v e ry la b o r sh e w as
doing b ru tis h and stupidly out of all p ro p o rtio n to its re w a rd : the
v e ry p r im a r y e s s e n c e of la b o r, to il, re d u c e d to its c ru d e ab so lu te
w hich only a b e a s t could e n d u re , (p. 236)
F o llow ing upon S u tp e n 's re a liz a tio n th a t the r i c h m a n m u s t h av e se e n
th e m a ll along "as c a ttle , c r e a tu r e s heavy an d w ithout g r a c e , b ru te ly
e v a c u a te d into a w o rld w ithout hope o r p u rp o se fo r th e m " (p. 235) is
his tr a g ic d e c isio n th a t "You got to have land and n ig g e rs and a fine
house to c o m b a t th e m w ith" (p. 238). It w as a t th is p oint in h is life
th a t he f i r s t began to give p rio r ity to things r a t h e r th a n to people;
"He n e v e r saw any of h is fam ily a g a in " {p. 238) .
In o r d e r to continue e m p h a s is of T h o m a s S u tp e n 's m a n n e r of
dealing w ith p eo p le, su b o rd in atin g e v ery th in g to th e a c c o m p lis h m e n t
of his d e s ig n , the sc e n e a t W ash J o n e s ' c a b in is r e p e a te d , th is tim e
enhanced by Q u en tin 's im ag in atio n . He r e c a p itu a lte s th e sc e n e :
P e n e lo p e the m a r e h ad ju s t fo aled , and M illy, a m a r e in e v ery th in g
but n a m e to Sutpen, d isap p o in ts h e r m a s t e r . S utpen a d d r e s s e s the
m idw ife:
. . . h e je rk e d his rid in g whip to w a rd the p a lle t and sa id , "W ell?
D am n y o u r b la c k h ide: h o rs e o r m a r e ? " and . . . sh e to ld h im and
. . . h e stood th e r e fo r a m in u te and he d id n 't m o v e a t a ll, with
the rid in g whip a g a in st his leg and the la ttic e s of su n lig h t f r o m
the u n ch in k ed w all falling upon h im , a c r o s s h is w hite h a ir and
99
b e a rd and . . . she w ould h av e ru n th e n only she c o u ld n 't, . . .
and th en he looked a t the g i r l on the p a lle t again and s a id , "W ell,
M illy; too b ad y o u 're n ot a m a r e too . . . (p. 286)
S h rev e n a r r a t e s a p a r tic u la r ly c le a r vignette w hich s e e m s to
su g g est th at E u la lia B on, the f i r s t in a long line of b r e e d e r s u s e d by
Sutpen, b e c o m e s as h o r r ib ly p r a g m a tic and inhum ane as the h u sb an d
she intends to pay b ack by g ro o m in g h e r so n as an in s tru m e n t of r e t r i
bution, a s ta llio n who w ill m ix u n d e s ir a b le see d into the p u re Sutpen
stock;
. . . g ro o m in g h im h e r s e lf , b rin g in g h im on by hand h e r s e lf ,
w ashing and feed in g an d puttin g h im to b ed and giving h im the
candy and th e toys an d the o th e r c h ild 's fun and d iv e rs io n and
needs in m e a s u r e d d o s e s . . . not b e c a u s e she had to , who could
have h ire d a dozen o r bought a h u n d re d to do it fo r h e r w ith the
m oney, th e ja c k th a t he (the dem on) h a d v o lu n tarily s u r r e n d e r e d ,
re p u d ia ted to b alan ce h is m o r a l le d g e r: but like the m illio n a ir e
who could h a v e a h u n d re d h o s tle r s and h a n d le rs but who h as ju s t
the one h o r s e , the one m a id e n , the one m o m e n t, the one m a tc h in g
of h e a r t and m u s c le an d w ill w ith one in s ta n t. . . . (p. 297)
Bon is im a g in e d by S h re v e as r e m e m b e r in g "sin ce b e fo re r e m e m b e r
ing began" th a t h is m o th e r s u p e r v is e d " a ll th e an im al joys of p a la te
and sto m a ch and e n tr a ils , of w a rm th and p le a s u re and s e c u r ity ,
swooping down at h im in a kind of b lazin g im m o b ility " (p. 297), h e r
" a lm o st u n b e a ra b le u n fo rg iv in g " "ju st a n o th e r m a n ife sta tio n of m a m
m a lia n lo v e" (p. 298).
The h o r r ib le iro n y of T h o m a s S u tp e n 's e a r lie r o u tra g e at being
.viewed as and u s e d as a n a n im a l by P e ttib o n e and S utpen's own c o n tr i-
I
bution to rip p le s of in h u m an e u s a g e and re trib u tio n begin to w eigh
100
h eav ily on Q uentin who h a s a lre a d y h e a r d too m u ch , h ad to h e a r too
m u ch . The u ltim a te ex am p le of a p e rs o n using a n o th e r as one would
t r e a t an a n im a l is , of c o u r s e , H e n ry 's u s e of B o n --a n in cid en t w hich,
b e c a u se of Q u en tin 's id e n tific a tio n w ith H e n ry , is p a r tic u la r ly h a rd to
d ig e st. H e n ry , "w hose e n tir e co sm o p o litan e x p e rie n c e , a p a r t fro m
h is so jo u rn at th e sch o o l, c o n siste d p ro b a b ly of one o r two trip s to
M em phis with h is fa th e r to buy liv e sto c k o r s la v e s ," fe e ls fo rc e d to
k ill the b ro th e r he loves b e c a u se r a c ia l in te rb re e d in g is the one sin he
can n o t fo rg iv e.
F a u lk n e r 's c o n tro l o v e r an im a l and liv e sto c k im a g e ry is m a s
te rfu l. It ex ten d s to su ch fine touches as S h re v e 's d e sc rip tio n of
E u la lia B o n 's " ra v e n h a ir c o a r s e as a h o r s e 's ta il," and to R o s a 's and
Q u en tin 's a ss u m p tio n th at C ly tie 's face is " m o n k e y -lik e ,1 1 echoing
S u tp e n 's own d e s c rip tio n of P e ttib o n e 's "m onkey n ig g e r." T ak en in
co m b in atio n w ith c h a tte l im a g e s , the e ffe c t F a u lk n e r is s triv in g fo r
b e c o m e s o v erp o w erin g : p e rs o n s both re d u c e and a re re d u c e d by o th e r
p e rs o n s w h en ev er p r io r itie s of statu s su p p lan t p r io r itie s of h u m an d ig
nity. It is a la rm in g ly p o s sib le th at h u m a n ity m ig h t d e p a rt fr o m the
a n im a l c alled m a n .
In sta n c e s of c h a tte lr y in A b sa lo m , A bsalom ! a r e a lm o s t as
abundant as th o se of p e rs o n s view ed as a n im a ls . Sutpen knew , as
Ir o su C oldfield divined, th a t "d eco ru m e v e n if n o t e leg a n c e of a p p e a r-
)
|ance w ould be th e only w eapon (or r a th e r , la d d er) w ith w hich he could
101
conduct th e la s t a s s a u lt upon w hich M iss C oldfield and p e rh a p s o th e rs
b e lie v ed to be re s p e c ta b ility " (p. 37). The o m n is c e n t n a r r a t o r of the
f i r s t tw e lv e p a g es of C h a p te r Two s ta te s th a t, " a c c o rd in g to G e n e ra l
C o m p so n ," th a t re s p e c ta b ility " c o n s is te d in S u tp e n 's s e c r e t m in d of a
g r e a t d e a l m o r e than the m e r e a c q u is itio n of a c h a te la in e fo r h is
h o u se " (p. 37). F a u lk n e r 's u s e of c h a te la in e is a pun on c h a tte l, w hich
E lle n C o ld field fu n d a m e n tally is to S utpen, s in c e w h a te v e r e ls e r e
sp e c ta b ility m ig h t e n ta il f o r S utpen, th e a c q u is itio n of h u m a n f u r n itu re
fo r h is m a n o r is p a r t of the d esig n .
T he p a tte r n of rip p le s e m a n a tin g fr o m th e Sutpen d e sig n is
m a s te rf u lly d ev eloped as E lle n , h e r s e lf an a c q u is itio n , an o b ject
bought,
bade m e r c h a n t and c le r k fe tc h out to h e r the c lo th and m e a g e r
f r ip p e r ie s and b au b les w hich th ey c a r r i e d and w hich th ey knew
ev en b e tte r th a n she th a t she would n o t buy b ut in s te a d w ould
m e r e ly fin g e r and h andle and d is a r r a n g e and th e n r e je c t, a ll in
th a t flow of b rig h t p e ttis h v o lu b ility , (p. 73)
She is q u ite c a p a b le of re d u c in g Bon to an o b je c t of a r t , so m eth in g to
be p u rc h a s e d and shown off, as we h av e a lre a d y se e n . To E lle n , love
too b e c a m e m a te r ia liz e d :
Love w ith r e f e r e n c e to [Ju d ith and Bon] w as j u s t a fin ish e d and
p e rfe c tly d ead s u b je c t like th e m a tte r of v irg in ity w ould be a fte r
the b ir t h of th e f i r s t g ra n d c h ild . She spoke of B on a s if he w e re
th r e e in a n im a te o b je cts in one, o r p e rh a p s one in a n im a te o b je ct
fo r w h ich she and h e r fa m ily h ad th r e e c o n c o rd a n t u s e s , a g a rm e n t
I w hich Ju d ith m ig h t w e a r as she would a rid in g h a b it o r a b a ll gown,
j a p ie c e of fu r n itu r e w hich w ould c o m p le m e n t and c o m p le te the
! fu rn ish in g of h e r house and p o sitio n , and m e n to r and e x a m p le to
j c o r r e c t H e n r y 's p ro v in c ia l m a n n e r s and s p e e c h and clo th in g , (p. 75]
102
E llen , fo r all h e r flig h tin e s s , h a s b eco m e a thoroughgoing Sutpen.
Bon, lik e Sutpen h im s e lf, had a p p e a re d on the M iss is sip p i
scen e "a lm o st p h o e n ix -lik e , fu llsp ru n g fr o m no childhood, b o rn of no
w om an . . . " (p . 74). He is tr e a te d by his fa th e r p re c is e ly a s though
he w ere a fa c t, n ot a p e rs o n , a living p ro o f of so m e m ista k e in c a lc u
lation.
F a u lk n e r p ro v id e s both c h a r a c te r s and a c o n sis te n t p a tte rn of
im a g e ry in o r d e r to d ir e c t his r e a d e r 's atten tio n to the m a la is e Sutpen
re c a p itu la te s in h is own p e rs o n . The d is e a s e of u tte r m a te r ia liz a tio n
of hum an v alu es is is o la te d and p ro b ed . S u tp en ism is c le a r ly a m i c r o
c o sm of th o se s o c ie ta l p r a c tic e s w hich d ebase the hum an s p ir it. In
C h ap ter T h re e , F a u lk n e r e x p o se s the code of the ty p ic a l S o u th ern
g e n tle m a n - -o r any m a n at any point in tim e w hose values a re d e ca d e n t
--w ho " rid e s up" to a fie ld of sla v e g ir ls and "beckons the w atching
o v e r s e e r and say s Send m e Juno o r M issy le n a o r C h lo ry and th e n rid e s
on into the t r e e s and d ism o u n ts and w a its" (p. 110). Bon a rg u e s the
tra d itio n a l p o sitio n th a t h is ta k in g a m i s t r e s s - - h i s m a r r ia g e to h e r is
a m e re fo rm a lity , n o n -b in d in g b e c a u se she is b la c k --w a s a d e g re e
m o re hum ane th a n p e re m p to ry fo rn ic a tio n . Bon r e a liz e s th at H e n ry is
ou trag ed a t the thought th a t a m a n w ith su ch a wife m ig h t m a r r y h is
s is te r . Bon su g g e sts th a t he and H e n ry duel to s e ttle th e ir d iff e r e n c e s ,
Jknowing th a t H e n ry w ill r e a c t w ith h o r r o r to the p o ssib ility th a t he
I m ig h t k ill h is only frie n d . Bon is now in a po sitio n to u se H e n ry 's
- r o T ~
in n o cen ce to h is own ad v an tag e, u ltim a te ly hoping to gain a c c e s s to
T h o m as S u tp en .
Bon v e rb a lly c a r r i e s H e n ry "into a p la ce w hich to h is p u rita n 's
p ro v in c ia l m in d a ll of m o ra lity w as u p sid e down and a ll of h o n o r p e r
is h e d " (p. 114) . T he c o u n try boy, H e n ry , had a s im p le and " e r s t
w hile u n tro u b le d co d e":
in w hich fe m a le s w e re lad ies o r w h o re s o r s la v e s . . . th e child,
the boy [the p ro g e n y of a m a r r ia g e of m ix e d blood] . . . co m p lete
c h a tte l of h im who, b eg ettin g h im , ow ned h im body and soul to
s e ll (if h e ch o se), (p. 114)
Bon fin ally c o n v in ces H e n ry th a t ta k in g a m i s t r e s s is sav in g a slav e
f r o m m e n who w ould u se a n eg ro "w ith m o r e im p u n ity th an he would
d a r e to u s e " an a n im a l o r o th e r p ro p e rty .
H e n ry , it tu r n s out, is b o th e re d m o s t not by concubinage but by
th e fa c t th a t Bon a ctu a lly m a r r i e d h is New O rle a n s m i s t r e s s , to w hich
B on, not q u ite re d u c ed to h is fin al tr u m p , s a y s , "Ah. T h at c e re m o n y .
I s e e . T h a t's it th en . A fo rm u la , a sh ib b o le th m e a n in g le s s as a
c h ild 's g am e . . . (p. 117). T hen B on, knowing H e n ry 's b ack g ro u n d ,
p la y s his tru m p : " 'H ave you fo rg o t th a t th is w o m an , th is c h ild , a re
n ig g e rs ? You, H e n ry S utpen of S u tp e n 's H u n d red in M is s is s ip p i?
You, ta lk in g of m a r r i a g e , a w edding, h e r e ? '" (p . 118). A p p a ren tly
n e g ro e s a r e so g e n e ra lly c o n s id e re d c o m m o d itie s , n o t h u m an beings
jwith the rig h t to e n te r into binding c o n tr a c ts , th a t H e n ry m u s t co n ced e
!the point. F a u lk n e r 's p oint, of c o u r s e , tr a n s c e n d s th e fu n c tio n a l
104
value of th is sc e n e in the developing Sutpen sto ry .
E v e n th e sin n ed a g a in s t, like C h a r le s E tien n e St. V a le ry Bon,
continue sin n in g . He ta k e s his wife to a ru in e d c ab in w h e re he " in
s ta lle d h e r , k en n eled h e r " (p. 206). T he w h ite -c o lo re d son of C h a r le s
Bon, d ra g g in g h is wife behind h im , s e e m e d to hunt o u t situ a tio n s "in
o r d e r to flau n t and fling th e a p e -lik e body of h is c h a r c o a l c o m p an io n in
the fa c e s of all and any who would r e ta lia te " (p. 206).
T he le a s t su b tle of the r e f e r e n c e s to hum an c h a tte l in A b sa lo m ,
A bsalom ! o c c u r in Q u en tin 's r e c o n s tr u c tio n of the c o n v e r s a tio n Sutpen
had h ad w ith G ra n d fa th e r C o m p so n , in w hich Sutpen d e ta ile d h is s u r
p r is e at the c o u n try "all divided and fixed and neat b e c a u s e of what
co lo r . . . sk in s happened to b e " on th e M is s is s ip p i p lain s a f te r his
fa m ily had d e sc e n d e d fr o m the m o u n tain s of W est V irg in ia .
He did n o t ev en im ag in e th e n th at th e r e w as any s u c h way to live
o r to w ant to liv e , o r th a t th e r e e x iste d a ll the o b je c ts to be
w anted w hich th e r e w e r e , o r th a t th e o n es who ow ned the o b je cts
n o t only could look down on th e ones th a t d id n 't, b u t could be s u p
p o rte d in the dow n-looking not only by the o th e rs who owned o b je cts
too but by the v e ry o n es th a t w e re looked down on th a t d id n 't own
o b je c ts and knew th ey n e v e r w ould, (p. 221)
The m a n o r ia l and slav e s y s te m , th e n , w as s u p p o rte d and p e rp e tu a te d
both by th e a m b itio n of th o se a t th e to p , and by the a c c e p ta n c e of th o s e
on th e bottom . Iro n ic a lly , th e r e w as, by im p lic a tio n , a se n s e in which
the h a v e -n o ts u s e d th e ir m a s t e r s as s u re ly as they th e m s e lv e s w e re
iused.
I
105
Sutpen could h a rd ly b e liev e th a t "a c e r ta in few m e n not only h ad
the power of life an d death and b a r te r and sa le o v er o th e r s , but th ey
had living hum an m e n to p e r f o r m . . . e n d less p e rso n a l o ffic e s" (pp.
221-222). Sutpen, o n ce he d ecid es to co m b at so ciety by s e r v ile i m i t a
tion of its v a lu es, b e c o m e s w hat he could h a rd ly have b eliev ed e x iste d .
It is re la tiv e ly easy to c h a r t S u tp en 's m a te r ia l s u c c e ss and m o r a l f a i l
u re . By 1865, w hen he m ad e a b rie f v is it to S utpen's H undred to let
Ju d ith know "what h e would fo r c e Bon to do" (p. 270), he and Ju d ith
faced one a n o th e r, "he not need in g to say 'I w ill stop it if I c a n ,' she
not needing to say 'S top it th e n - - if you c a n 1 but ju st goodbye, the k iss
on the brow and no t e a r s ; a w o rd to C ly tie and to W ash: m a s t e r to
s la v e , b a ro n to r e ta in e r . . ." (p. 276).
W ash Jones w as ig n o ra n t of the way he was being u sed u n til the
m o m en t w hen he re a liz e d th a t Sutpen w as tre a tin g his d au g h ter M illy as
a m e r e b r e e d e r , not a s a h u m a n being. Q u en tin 's fa th e r h ad said
W ash, when he fin a lly saw th e tru th , m u s t have shouted: "But X n e v e r
ex p ected th a t, K e rn e l! You know I n e v e r ! " (p. 290). W ash m u st
fin ally have re a liz e d th at he n e v e r q u estio n ed the a u th o rity and in te g
rity of Sutpen:
'.'What n e ed has a fello w like W ash Jo n e s to q u estion o r doubt the
m an th at G e n era l L ee h im s e lf said in a h an d -w ro te tic k e t th at he
w as b r a v e ? B ra v e " (and m ay b e it w ould be loud again, fo rg e ttin g
j again) "B rav e ! B e tte r if n a r r a one of th e m had e v e r ro d e b ack
j in '65" thinking B e tte r if h is kind and m in e too had n e v e r d raw n
j the b re a th of life o n this e a r th . . . th a n th at an o th er W ash Jo n es
—
should s e e h is whole life sh re d d ed f r o m h im and s h r iv e l aw ay like
a d rie d sh u ck th ro w n into the f i r e , (pp. 290-291)
W ash 's d is illu s io n m e n t m i r r o r s S utpen's a t age fo u rte e n ; h is so lu tio n ,
as d e s tr u c tiv e as it is , is m o re definitive b u t le s s d e s tr u c tiv e th a n was
S u tp en 's.
J u s t as E u la lia Bon "g ro o m e d " h e r so n , a s though h e w e re a
r a c e h o r s e , so too does the im a g e ry of " sh a p in g an d te m p e rin g h im to
be th e in s tr u m e n t fo r w h a te v e r it was h e r h an d w as im p la c a b le f o r "
(p. 299) re d u c e C h a r le s B o n 's statu s to th a t of o b je c t. T h e " c u r r e n t of
r e tr ib u tio n " to u ch ed off by Sutpen is v is ite d on h is son. H is m o th e r
and h e r la w y e r h ad b een , a cc o rd in g to S h r e v e , "p lo ttin g and planning
h im ," "plow ing and plan tin g and h a rv e s tin g h im " (p. 300). He is as
m u c h an o b je c t as the " c h a r t w ith c o lo red p in s s tu c k into it like g e n
e r a l s have in c a m p a ig n s " w hich Shreve im a g in e s th a t the la w y e r keeps
in h is d e sk d r a w e r . A t one point, the su p p o se d la w y e r " s a id to h i m
s e lf like you do about a dog: He is beginning to r a m b l e . He n e ed s a
block. Not a te th e r : ju s t a lig h t block of s o m e s o r t , so h e can t g et
in sid e of an ything th a t m ig h t h a v e a fence a ro u n d it" (pp. 301-302).
T he la w y e r knew too th a t "the r a c e h o rs e w ould h a v e a gold eatin g
tro u g h if he w anted it" (p. 302). The r e a d e r is n o t s u r p r is e d w hen
S h rev e im a g in e s Bon w anting to flee a w o rld w h e re people a r e "ra n k e d
jand ra c k e d like n in e p in s " (p. 312), or th a t E lle n C o ld field w ould n o t
I
llook a t B on as fu tu re s o n - in - la w as "o b ject of a r t , m o ld and m i r r o r of
i
107
fo rm and fa s h io n " (p. 320), o r "the s te e l blade in the s ilk e n te s s e lla te c
s h e a th w hich H e n ry h ad begun to ape a t th e U n iv e rs ity " (p. 320).
W hen S h re v e c o m p a r e s Sutpen to "the old A b ra h a m fu ll of
y e a r s ," it is t e r r i b l e iro n y and c lim a c tic a r t i s t r y on F a u lk n e r 's p a r t
w hich in fo rm s A b r a h a m 's p r a y e r to the L o rd , p r a is in g H im sin ce the
old m a n h a s been ab le to r a is e up sons to b e a r the b u rd e n of h is in iq
u itie s and p e rs e c u tio n s , " p e rh a p s ev en to r e s t o r e [his] flo ck s and
h e r d s . . . th a t [he] m ig h t r e s t [h is] e y es upon [h is] goods and c h a t
te ls . . . " ( p. 324).
A ll f u r th e r r e f e r e n c e s to goods and c h a tte ls , lik e c o m p a r is o n
of J u d ith to a "fen ced v irg in field a lre a d y fu rro w e d and b e d d e d " (p.
326), and w om an, in the v o c a b u la ry of the la w y e r, as "a n ic e little
p ie c e " (p. 338) - - t h e s e a r e but g r i m e ch o e s of th e S u tp e n /O ld T e s t a
m e n t p r a y e r being a n s w e re d in tim e .
W hen " g e n e ra ls who should not have b een g e n e r a ls . . . by the
divine rig h t to say 'Go t h e r e 1 c o n fe rre d upon th e m by an a b so lu te c a s te
s y s te m " (p. 345), u s e th e ir m en as w eapons, the u tte r d e s tr u c tiv e n e s s
of th e c h a tte l s y s te m is c l e a r . S u tp e n 's d e sig n , in co n tex t, is its e lf a
m i r r o r im a g e of th e c a s te s y s te m , the Old T e s ta m e n t l e t t e r - o f - t h e -
law m e n ta lity , and e v e r y h u m an s y s te m w h ere people and th in g s c an be
"ow ned, lo ck sto c k and b a r r e l " (p. 363).
T he im a g e ry in A b sa lo m , A b salo m I im p lie s a New T e s ta m e n t
c ritiq u e :
108
Your attitu d e m u s t be C h r i s t ’s:
Though he w as in the f o r m of God
he did n ot d e em eq u ality with God
so m eth in g to be g ra s p e d at.
R a th e r, he e m p tie d h im s e lf
and took the f o r m of a s la v e ,
being b o rn in the lik e n e ss of m en . (P hil. 2:6-7)
An e g a lita ria n so c ie ty , one in w hich e v e ry o n e em p ties h im se lf fo r his
b r o th e r s , would be a so cie ty in w hich no m a n is a slav e.
F a u lk n e r 's c o n tro l o v e r h is m a te r ia l involves use of im a g e ry
s tr a n d s - - m o n e ta r y and le g a lis tic te rm in o lo g y , allu sio n s to p e rs o n s as
an im als o r as p e rs o n a l p ro p e rty of th o se who have pow er o v e r t h e m - -
and m o re subtle d ev ices to show th at o n e 's s ta tu s, in fe rio r o r s u p e
r io r , is acknow ledged by th o se w ith w hom he lives in a s tra tifie d
so ciety . One su ch d e sig n a to ry a llu sio n A b salo m , A bsalom ! (and o th e r
novels like Go Down, M oses) is the p a lle t b lack s and poor w hites s le e p
on, in c o n tra d istin c tio n to the beds of the u p p e r c la s s w hites.
M r. C oldfield, in itia lly a re s p e c te d m e rc h a n t, c o n sid e rs h i m
se lf sp iritu a lly b an k ru p t, and th e South a lo s t c au se. He dies on a p a l
le t in his taw d ry to w er:
The old n a ils w e re s till in th e door and n e ig h b o rs helped h e r
b re a k it in w ith axes and th e y found h im , who had se e n h is sole
m ean s of su p p o rt looted by the d e fe n d e rs of his c a u s e , even if he
had re p u d ia ted it and th e m , w ith th r e e d a y s' un eated food b e sid e
his p a lle t bed as if he had sp e n t the th r e e days in a m e n ta l b a l
ancing of his t e r r e s t r i a l a c c o u n ts, found the re s u lt and p ro v ed it
and th e n tu rn e d upon his c o n te m p o ra r y sce n e of folly and o u tra g e
and in ju stice the dead and c o n s is te n t im p a ssiv ity of a cold and
inflexible d isap p ro v al, (pp. 83-84)
109
He w as ju s t one of m an y people in the n o v el who w e re d e s tr o y e d by th a t
w hich th e y had b e lie v e d in as th e ir own " c a u s e ."
C ly tie and Ju d ith , the b la c k s i s t e r and th e w hite s i s t e r , "ev en
s le p t to g e th e r, in the s a m e r o o m but w ith J u d ith in th e bed and she on
a p a lle t on the flo o r o s te n s ib ly . But I h a v e h e a r d , " R o s a m a in ta in s ,
"how on m o r e th a n o n ce (sic) o c c a s io n E lle n h a s found th e m both on the
p a lle t, and o n ce in th e bed to g e th e r " (p. 140). C lytie and Ju d ith , w h a t
e v e r th e ir d iffe re n c e s in blood, w e re bo th v ic tim s of t h e i r f a th e r 's
re d u c tio n of h is c h ild re n to th e ro le of fu n c tio n a rie s o r d ig its in his
d e sig n o r c o m p u tatio n .
C h a r le s E tie n n e St. V a le ry Bon w as m a d e to f e e l h is am b ig u o u s
sta tu s
sle e p in g in th e tru n d le bed b e sid e J u d ith 's , b e sid e th a t of the
w o m an who looked upon h im and tr e a te d h im w ith a cold unbending
d e tac h e d g e n tle n e s s m o re d isc o u ra g in g th a n the f ie r c e ru th le s s
c o n sta n t g u a rd ia n s h ip of the n e g r e s s who, w ith a s o r t of in v in cib le
s p u rio u s h u m ility s le p t on a p allet on th e flo o r. . . . (p. 197)
G ra n d fa th e r C o m p so n
did n o t know if he w as sen t f r o m the tru n d le bed at l a s t o r if he
q u itted it of h is own w ish and w ill . . . to s le e p in th e h a ll (w here
C ly tie had lik e w ise m o v ed h e r pallet) though not on a p a lle t like
h e r b u t on a c o t, e le v a te d s till and p e rh a p s n ot by J u d ith 's d e c r e e
e ith e r but by th e n e g r e s s ' f ie r c e in e x o ra b le h u m ility , (p. 199)
T he young boy a sk ed fo r and m ad e no " a ltera tio n in [the r o o m 's] s p a r
ta n a r ra n g em en ts" u n til C ly tie or Judith found h im g a zin g a t a sh ard of
Jbroken m ir r o r in "quiet and in cred u lo u s in co m p reh en sio n " (p. 199).
I
i
T he boy, fo u r te e n , is m a d e to a c c e p t a lim b o - lik e p o sitio n b etw een
------------------------------------------------------------------------------------------------------------------------------r w
bed and p a lle t by Ju d ith who w ould n o t have a boy te c h n ic a lly n e g ro id
a s s u m in g th e d e sig n a tio n r e s e r v e d to w hite fo lk s , and by C ly tie who
w ish ed to s p a r e the s e e m in g ly w hite g ra n d so n of T h o m as Sutpen fr o m
the re d u c tio n she and o th e r b la c k s h a d to e n d u re .
T h e re a r e a n u m b e r of in d icatio n s in A b sa lo m , A b salo m ! th at
F a u lk n e r is fo cu sin g on the e x p lo ita tio n not only of n e g ro e s in a c a s te
so c ie ty , b ut a lso of p o o r and d is e n fra n c h is e d p e rs o n s of any c o lo r.
T h o m as Sutpen h im s e lf , and h is s i s t e r , both w e r e said to have
s le p t on p a lle ts in th e ir youth. When he had d e te r m in e d to pay back
P e ttib o n e and s o c ie ty fo r the affro n t he had re c e iv e d a t fo u rte e n , he
a p p a re n tly sh o u ted " a lm o s t loud enough fo r h is s i s t e r s on the o th e r
p a lle t and h is fa th e r in the bed w ith the two y o u n g est . . . to h e a r to o "
(p. 237). It w as to "the p a lle t w h ere h e slep t and w h e re he w ent to bed
by j u s t lying dow n" (p. 236) th a t he h ad r e tir e d to th in k a f te r he r e
tu rn e d fr o m P e ttib o n e 's .
F in a lly , M illy Jo n es w a s, iro n ic a lly , in the s a m e re d u c ed
co n d itio n w hen Sutpen "cam e in and stood o v e r the p a lle t w h ere the
g ir l and the baby w e re and s a id " (p. 285) the w o rd s w h ich w e re the
la s t a ffro n t Sutpen w as e v e r to u tte r.
The p a llet r e fe r e n c e s a re an a e sth e tic m ea n s w h ich F au lk n er
p ro v id es to h elp the r ea d er r e a liz e the str a tific a tio n o f landed g en try ,
Jpoor w h ites, and b la ck s in a c a ste s y s te m w h ere in d ivid u al hum an
t
f
value m e a n s le s s th a n c o lo r o r p r o p r ie to r s h ip .
I l l
In a n sw e r to a q u estio n about th e se e m in g a n im a lity of p r i s
o n e rs in h is s h o r t n o v el, Old M a n , F a u lk n e r e x p lain ed w hat bondage
does to re d u c e m a n 's h u m an dignity. H is re p ly th ro w s lig h t upon the
c a ttle , c h a tte l, and p a lle t im a g e ry of A b sa lo m , A b sa lo m !:
B eing in p ris o n m a k e s a m a n an a n im a l- - w h a t it d e p riv e s h im of
is the thing th a t d iffe re n tia te s him f r o m the b e a s t, w hich is th e
c a p a c ity fo r f r e e w ill, fo r lib e r ty , f r e e d o m . So of c o u rs e th e y
w e re a n im a ls to tu r n th e ir b a c k s to a r a in and h o v er o v e r the
sy m b o l of h e a t and w a rm th . T h a t's the bad thing ab o u t p ris o n ,
about the d e p riv a tio n of s im p le lib e rty and f r e e will. It's the
w o rs t thing th a t can h ap p en to you.^
T he fin al iro n y , of c o u r s e , is th a t u s u rp a tio n of a n o th e r 's fre e d o m
also re d u c e s the h u m an ity of the u s u r p e r .
112
Notes
^ A llen T a te , "W illiam F a u lk n e r," New S ta te s m a n , LXIV (S ep
te m b e r 28, 1962), p. 408.
2
Jo se p h A. W igley,"A n A n aly sis of the Im a g e ry of W illiam
F a u lk n e r's A b aalo m , A bsalom ! (unpublished P h . D. d is s e rta tio n ,
N o rth w e ste rn U n iv e rs ity , 1956), pp. 67-90.
3
W igley, p. 70.
4
W igley, p. 71.
^W igley, p. 73.
^W igley, pp. 82-83.
^W igley, p. 83.
9
F a u lk n e r in the U n iv e rsity , pp. 183-184.
CHAPTER IV
BALLOONDOM AND W EIGHTLESSNESS:
TH E COM M ON DENOM INATOR
T h e innocence at th e c o re of T h o m as S u tp e n 's a m o r a l d e sig n
w as the c a u s e of e x tre m e d e s tr u c tiv e n e s s . The re d u c tio n of p e r s o n s - -
w iv e s, s o n s , d a u g h te rs, and su b se q u e n t g e n e r a tio n s - - to th e sta tu s of
liv e s to c k o r m an ip u lab le c o m m o d itie s was th e c o n c r e te r e a liz a tio n of
th e d e s tr u c tio n im p lic it in S u tp e n 's in h u m an d e sig n . F a u lk n e r h as
n e v e r ta k e n the p o sitio n , h o w e v e r, th a t the h u m a n s p ir it could be
u ltim a te ly d efeated ; he su p p lie s in the a e s th e tic s tr u c tu r e of A b s a lo m ,
A b s a lo m ! a refu g e fo r the h u m a n s p ir it, a re fu g e sy m b o liz ed by and
r e in f o r c e d in the n o v e l's b a llo o n im a g e ry .
S u tp e n 's c h o ices and th e S o u th 's d is tin c tio n s of c o lo r and c a s te
ta k e th e ir to ll in te r m s of h u m a n liv e s. E v e n th o s e who continue to
liv e a fte r t h e i r dignity h as b e en u n d e rm in e d by th e le g a lis m and logic
of a c a s te s y s te m s e e m to liv e a h a lf - lif e , a s t e r i l e g h o stly e x iste n c e ,
a w alking d eath . N a tu ra l f o r c e s continue to o p e ra te a g a in st a r tif ic ia l
d e s ig n s , an d th e hum an s p i r i t w hich " c r ie d fo r th e f i r s t tim e and w as
n o t h e a r d and w ill c ry fo r th e la s t tim e and w ill n o t be h e a r d e ith e r "
114
{p. 251), a c c o rd in g to M r. C o m p so n , n o n e th e le s s p r e v a ils .
One of th e m o s t ja r r i n g c o m p a riso n s w hich F a u lk n e r m a k e s ,
and one of th e m o s t con fu sin g , is th a t of the h u m an s p i r i t to a balloon.
T he p rim e r e f e r e n c e to su ch c o m p a riso n s is c o n tain ed in S u tp e n 's
a lle g ed re v e la tio n s to G ra n d fa th e r C om pson. J u s t a f te r S utpen s ta te s
th a t he h ad n o tic e d the "kind of sp e c u la tiv e a n ta g o n is m " h is p eo p le and
"the o th e r w hite w om en of th e ir k in d " had fo r n e g r o e s - - a n d "w hich the
n ig g e rs did not r e t u r n as a n tag o n ism o r in any s e n s e of d a r e o r ta u n t"
(p. 230), he e la b o r a te s upon h is thoughts at th e tim e :
You knew th a t you could h it th e m , he to ld G ra n d fa th e r , and th ey
w ould not h it b a c k o r even r e s i s t . But you did n o t w an t to , b e
c a u se th e y (the n ig g e rs ) w e re not it, not w hat you w an ted to hit;
th a t you knew w hen you h it th e m you w ould ju s t be h ittin g a c h ild 's
toy b a llo o n w ith a face p a in ted on it, a face s lic k and sm o o th and
d iste n d e d and about to b u r s t into laughing. . . . (p. 230)
S im ila r ly , w hen a n e g ro c o a c h m a n ra n S u tp e n 's s i s t e r off th e ro a d
w hen he w as a boy, he "w as th ro w in g vain c lo d s of d ir t a f te r the d u st"
(p. 231), clo d s w hich w e re th ro w n in vain b e c a u se the d r i v e r of the
c o a c h w as n ot it, n ot w hat he w anted to hit.
W hen S u tp e n 's fa th e r cam e h o m e one n ig h t, h av in g "w hupped
one of P e ttib o n e 's n ig g e r s " (p. 231), the young Sutpen knew it w as
ir r e le v a n t to a s k w hat the b la c k had done, as i r r e l e v a n t as h is f a th e r 's
a n sw e r: " 'H ell f i r e , th a t goddam son of a b itch P e ttib o n e 's n ig g e r." "
j T h o m as S utpen knew it w as "no a c tu a l n ig g e r, living c r e a t u r e , living
i
I
jflesh to fe e l p ain and w rith e and c ry o u t," who h ad b e e n th e o b je c t of
115
the attack . He could even see th e scen e:
the to r c h - d is tu r b e d d a rk n e s s am ong t r e e s , the fie rc e h y s te r ic a l
fa c es of the w hite m e n , the balloon face of the n ig g e r. M aybe the
n ig g e r's hands w ould be tie d o r held but th a t w ould be a ll right
b e ca u se they w e re not the hands w ith w hich the balloon face would
stru g g le and w rith e fo r fre e d o m , not the balloon face: it was ju s t
p o ised am ong th e m , le v ita tiv e and s lic k w ith p a p e r -th in d isten sio n .
T hen som eone would s trik e the balloon one sin g le d e sp e ra te and
d e sp a irin g blow and th e n he w ould s e e m to see th e m fleein g , r u n
ning, with a ll about th e m , o v e rta k in g th e m and p a ssin g and going
on and then re tu rn in g to o v e rw h e lm th e m a g ain , th e ro a rin g w aves
of m ello w la u g h te r m e a n in g le s s and te r r if y in g and loud. (p. 232)
S u tp en 's design is actu ally c a ta ly z e d by his g row ing c o n sc io u sn ess of
the fact th a t m e n like h is fa th e r s trik e out in d e sp e ra tio n and d e sp a ir
a g ain st p e rso n s who a p p e a r to m o c k th e m , a ll the tim e knowing th a t
the o b ject of o n e 's w ra th and in d ignation is as in s u b sta n tia l as the face
p ain ted on a c h ild 's balloon, and as ra d ic a lly u n a ss a ila b le .
A fter Sutpen has h im s e lf been fa c ed w ith "a h a r s h re c a p itu la
tio n of h is own w orth by the ev en t at P e ttib o n e 's d o o r, he is at le a s t
re m o te ly p re p a re d to re c o g n ise h is p re d ic a m e n t:
(Not the m onkey n ig g e r. It w as not th e n ig g e r an y m o re than it
had been the n ig g e r th a t h is fa th e r had h elp ed to whip th a t night.
The n ig g e r was ju s t a n o th er balloon face s lic k and distended w ith
th a t m ello w loud and te r r i b l e laughing so th a t he did not dare to
b u rs t it, looking down at th e m fro m w ithin the h a lf-c lo s e d door
during th at in sta n t in w hich, b e fo re he knew it, so m eth in g in h im
had e sc a p ed a n d --h e u n able to c lo se the ey es of it- - w a s looking
out fr o m w ithin the ballo o n fa c e ju s t as th e m a n who did not even
have to w ear the sh o es he ow ned, w hom th e la u g h te r w hich the
balloon b a rric a d e d and p ro te c te d f r o m su ch as h e , looked out
fr o m w h atev er in v isib le p la c e he (the m an) h appened to be at the
m o m e n t, at the boy o u tsid e the b a r r e d d o o r in his patched g a r
m en ts and splayed b a re fe e t, looking th ro u g h and beyond the boy,
he h im se lf seein g his own f a th e r and s i s t e r s and b ro th e rs as the
116
o w n er, the r i c h m a n (not th e nig g er) m u s t have b een s e e in g th e m
all the t i m e - - a s c a ttle . . . . (pp. 234-235)
S u tp e n 's epiphany is com plex. He s e e m s to u n d e rs ta n d th a t the
negro b u tle r 's la u g h te r h as b een b a rric a d e d and p ro te c te d by his b a l
loon s ta tu s . W hen he g ra s p s th is fa c t, Sutpen is en ab led to s e e into
the h o r r ib le , lu d ic ro u s iro n y of his situ atio n . He s e e s h im s e lf as th e
ric h m a n m u s t have alw ays re g a rd e d h im , as one of a h e rd of su b
hum an c r e a t u r e s . F u r t h e r , Sutpen looks at the b u tle r not as a foe but
as a p e r s o n like h im s e lf, exploited, d is p o s s e s s e d of even th e n a tu ra l
b irth rig h t of eq u ality , "w ith fo r sole h e rita g e th at e x p re s s io n on a b a l
loon face b u rs tin g w ith la u g h te r which had looked out at so m e u n r e
m e m b e re d and n a m e le s s p ro g e n ito r who had knocked at a d o o r when he
was a little boy and had been to ld by a n ig g e r to go a ro u n d to the b ack
. . . " (p. 235). The cy cle of d eh u m an izatio n h a s , p e rh a p s fo r the
m illio n th tim e , co m e fu ll c ir c le .
Sutpen is c ru s h e d by th e e x p erien c e . He "thought at f i r s t th a t
he was try in g to laugh and th a t he kept on te llin g h im s e lf it w as la u g h
ing even a fte r he knew b e tte r " (p. 235). Stunned, pro b ab ly cry in g in
his f r u s tr a tio n , h e c o m e s h o m e to find his s i s t e r la b o rin g lik e a cow ,
re d u c ed to the "c ru d e ab so lu te which only a b e a s t could and would e n
d u re " (p. 236). Sutpen se e s hum an su ffe rin g , the am biguous statu s of
jpeople b o rn fr e e y e t see m in g ly doom ed to "the v ery p r im a r y e ss e n c e
I
'of la b o r" by an a r b i t r a r y s y s te m of valuation. His n e x t step is
c ru c ia l. He m u s t e ith e r r e a c t w ith a ffirm a tio n of the o u tra g e o u s but
deeply hu m an v a lu es w hich m ig h t p r e v a il o v e r ev en the m o s t in ten se
o p p re s s io n , o r he m u s t re s p o n d to o p p r e s s e d h u m an ity w ith re v u lsio n ,
th ro w in g in his lo t w ith the o p p r e s s o r s in s te a d of w ith th e o p p re s s e d .
Thinking th a t he can o v e rc o m e th e f o r c e s of s e lfis h n e s s and e x p lo ita
tio n by having "w hat th ey h a v e ," he tu r n s his b ack on the e n d u rin g v a l
ues of h u m a n fa m ily . He le a v e s h o m e to fo rg e h is a b s tr a c t d esign,
c o u rtin g re p u d ia tio n in the n a m e of ju s tic e .
B alloon im a g e ry p e rv a d e s the n o v el in o r d e r to re m in d the
r e a d e r of the co n d itio n of th o se who a r e v ic tim iz e d by a r b i t r a r y and
a r tif ic ia l s y s te m s , even by th o s e , like Sutpen, who, in t h e i r innocence
of the h u m an condition, vainly a tte m p t to tr a n s c e n d in ju s tic e by a d o p t
ing a p o s tu re to w a rd life w hich in v o lv es th e m in th e v e ry sin s which
they w ould like to e ra d ic a te . S u tp en b e c o m e s a n o th e r A m e ric a n A hab
seek in g to avenge the se e m in g u n f a irn e s s of n a tu r a l fo r c e s by d e s t r u c
tive m e a n s .
T h e re a r e a llu sio n s to C h a r le s Bon "h eld in s u sp e n sio n " by
H en ry {p. 270), the bo at th at c a r r i e s h im fr o m New O rle a n s to M is
s is s ip p i " su sp e n d ed im m o b ile . . . f r o m the s t a r s th e m s e lv e s by the
two ro p e s of s p a r k - f ille d sm oke . . . " (p. 312). B on, know ing " e x
actly w hat he w anted . . . th e p h y s ic a l to u ch even though in s e c r e t,
jh id d e n --th e living to u ch of f le s h " (p. 319), ro d e w ith H en ry to S u tp en 's
I
iH undred, "w ith H e n ry s till ta lk in g , s till keeping d iste n d ed and light
TIE
and ir id e s c e n t w ith s te a d y b re a th in g th a t fa iry b a llo o n -v a c u u m in w hich
the th r e e of th e m e x is te d , liv ed , m o v ed even m a y b e , in a ttitu d e s w ith
out fle s h . . . " (p. 319). R ed u ctio n to the ballo o n s ta te c le a r ly s te m s
fro m n o n -re c o g n itio n of h u m an tie s . C h a r le s , Ju d ith , and H e n ry a r e
re n d e r e d in s u b s ta n tia l o r gh o stlik e by th e ro c k lik e S utpen. M r. C o m p
son su m m o n s up a v is io n of Bon and Ju d ith in th e fa m ily g ard en :
You cannot ev en im a g in e h im and Ju d ith to g e th e r. T r y to do it
and th e n e a r e s t you c a n co m e is a p ro je c tio n of th e m while th e
two a c tu a l p eople w e r e d o u b tless s e p a ra te and e ls e w h e r e - - tw o
sh ad e s p a c in g , s e r e n e and u n tro u b le d by fle s h , in a s u m m e r
g a r d e n - - th e sa m e tw o s e r e n e p h an to m s who s e e m to w atch, h o v e r,
im p a r tia l a tte n tiv e a n d qu iet, above and behind the in e x p lic a b le
th u n d e rh e a d of in te rd ic tio n s and d efian ces and re p u d ia tio n s o ut of
w hich the ro c k lik e S utpen and the vo latile and vio len t H enry fla s h e d
and g la re d and c e a s e d , (p. 97)
The d e s c rip tio n of Sutpen as ro c k lik e - - R o s a , an d la te r , Q uen
tin , adopt the te rm in o lo g y of M r. C o m p so n a l s o - - i s c o r r e c t e d when
the m o r e sy m p a th e tic Q uentin n a r r a t e s what Sutpen h ad to ld h is G ra n d
fa th e r about h is sh o ck a t age fo u rte e n . E ven though Q u en tin l a t e r
s e e m s to fo rg e t S u tp e n 's co m m o n h u m an ity , the r e a d e r m u s t m a in ta in
m o re p e r s p e c tiv e , m u s t see Sutpen as v ic tim iz in g , y e t a v ictim .
T h o m as Sutpen is ro c k lik e in h is a c tio n s, but r e n d e r e d w e ig h tle ss
both by s o c ie ty 's d e sig n and h is own c a lc u la tio n s . The ro c k he clin g s
to i s , lik e R o s a 's " m ig h t-h a v e -b e e n ," as in su b sta n tia l a s a d re a m .
Q uentin and S h r e v e , m e ta m o rp h o s e d to so m e d e g re e into H en ry
jand Bon, t r y to u n d e r s ta n d w hat it m e a n s "to fa ll in lo v e " (p. 324),
Iwhen S h rev e r a i s e s an is s u e w hich is v e ry r e le v a n t to H e n ry 's
119
s itu a tio n , and, m o re th a n he know s, to Q u e n tin 's:
And who to sa y if it w a s n 't m ay b e th e p o s s ib ility of in c e s t, b e c a u se
who (w ithout a s i s t e r : I dont know about th e o th e rs ) h as b een in
love and n o t d is c o v e re d th e v ain e v a n e s c e n c e of the fle sh ly e n
c o u n te r; who h as n o t had to r e a liz e th a t w hen th e b r ie f all is done
you m u s t r e t r e a t f r o m both love and p le a s u r e , g a th e r up y o u r own
ru b b is h and re fu s e . . . and r e t r e a t sin ce th e gods condone and
p r a c tis e th e s e and th e d re a m y im m e a s u r a b le coupling w hich flo ats
o b liv io u s above the tra m e lin g and h a r r i e d in s ta n t, th e: w as -n o t:
is: w a s : is a p e rq u is ite only of the balloony and w e ig h tle ss e l e
p h ants and w h ales: but m ay b e if th e r e w e re sin too m ay b e you
w ould not be p e r m itte d to e s c a p e , u n co u p le, r e tu r n . - - A int th a t
rig h t? (pp. 323-324)
Above th e tr a m e lin g (sic) and h a r r i e d in s ta n t, th e p a s t, p r e s e n t, and
fu tu re m o m e n ts of life, flo at the id e a ls , the f a n ta s ie s of us a ll. The
d em an d s of r e a l life, in clu d in g sin s in a flaw ed u n iv e r s e , m u s t be
c o n fro n te d . Q uentin c lu tc h e s at the s tr a w of s in only b e c a u se it m ight
sav e h im f r o m th e e s c a p is t ro u te he know s he h a s d ecid ed to ta k e .
H um an beings a r e not balloony and w e ig h tle ss e le p h a n ts and w h a le s,
"u n g ra sp a b le p h a n to m s " as M elv ille s ty le d th e m . Q uentin n e ed s solid
h u m an c o n tac t w ith a p a s t w hich is not a " w a s -n o t: is: w a s" but a co n
tin u ity of in d iv id u al h u m a n a c ts.
S h re v e is being s a ti r ic a l about "the v ain e v a n e sc e n c e of the
sex u a l e n c o u n te r," but h is im a g in a tiv e a rg u m e n t is im p o rta n t to the
developing e la b o ra tio n of balloon im a g e r y , and to Q u en tin 's in c r e a s e d
d e s ir e to e sc a p e h u m an c o m p lex ity . A s tr a g ic a s the v a rio u s r e d u c
t io n s to ballo o n sta tu s a r e in A b sa lo m , A bsalom .1, S h re v e s e e m s to
i
j s u g g e st th a t th e tra g e d y of e sc a p e fr o m the m o il of h u m an a c tiv ity
120
m ay be u n n e c e s s a r y , and th a t a " r e t r e a t fr o m both love and p le a s u r e "
is a p e r v e r s io n , h o w e v er it m ig h t be ra tio n a liz e d . The nex t c h a p te r
w ill c o n c e n tra te on the sav in g p o w er of the "fle sh ly e n c o u n te r," when
th at e n c o u n te r is b o rn of love.
J u d ith and H e n ry a r e "in nebulous su sp e n sio n h e ld , s tra n g e and
u n p re d ic ta b le , ev en th e ir v e ry shape flu id and d e lic a te and w ithout
su b sta n c e " (p. 67); E lle n C o ld field is "the young g ir l who s le p t waking
in so m e s u sp e n sio n so c o m p le te ly p h y s ic a l as to r e s e m b le th e sta te
before b ir th " (p. 70), and a w e ig h tle ss b u tte rfly flittin g f r o m one
" m e re f r ip p e r y o r b a u b le" to the next. E lle n is "at th e a b so lu te flood's;
peak of h e r u n r e a l and w e ig h tle ss life ," w hich is about to " b re a k b e
n eath h e r " (p. 106). C h a r le s E tien n e St. V a le ry Bon "m ig h t hav e b een
su sp en d ed on a c ab le a th o u sa n d fath o m s in th e s e a . . . " (p. 199).
R o sa is w e ig h tle s s , " a lm o st as light as C ly tie h a d b e e n ," and C lytie
h e r s e lf is "g n o m elik e . . . in a h e a d ra g and v o lu m in o u s s k i r t s " (p.
368), m u ch "like a s m a ll s h a p e le s s bundle of q u iet c le a n r a g s " (p.
369). R o s a ’s l e t t e r is co n tin u ally d e s c rib e d as being "in w e ig h tle ss
and p a ra d o x ic a l le v ita tio n " (p, 217), "having le a r n e d h alf th e s e c r e t
of le v ita tio n " (p. 238). R o sa and C ly tie both w e a r v o lu m in o u s s k ir ts
w hich a r e " a ir-b a llo o n e d " (p. 279). W ash J o n e s is s im ila r ly re d u c e d
when "for a se c o n d " he " m u st n o t have fe lt the v e ry e a r th u n d e r his
Ifeet w hile he w atch ed Sutpen e m e rg e fr o m the h o u se . . . thinking
I
Iquietly, lik e in a d re a m : 1 k a in t have h e a r d w hat I know 1 h e a r d "
121
(p. 288). Sutpen is , by c o n tr a s t, so ro c k lik e , so h eav y w hen he w o rk s
his w ill on o th e r s , th a t " e a r th its e lf d e c lin e d any lo n g e r to b e a r h is
w eight" (p. 178), but is u ltim a te ly m o v in g to w a rd ballooning fla c cid ity .
At fifty -fiv e , M r. C o m p so n s a y s , Sutpen a lte re d :
The fle s h c a m e upon h im su d d en ly , as though w hat th e n e g ro e s and
W ash J o n e s , too, c a lle d th e fine fig u re of a m a n had re a c h e d and
h e ld its p eak a fte r th e fo u n d atio n h a d given aw ay and so m eth in g
b etw een the sh ap e of h im th a t p eople knew and the u n c o m p ro m isin g
sk e le to n of w hat he a c tu a lly w as h ad gone fluid and, earth b o u n d ,
had b een snubbed up and r e s t r a i n e d , b a llo o n lik e , u n sta b le and
lif e le s s by the envelope it h ad b e tra y e d , (p. 81)
It is c le a r th a t S u tp en 's m o r a l d e g e n e ra tio n h as h ad the effect of r o b
bing th e fu n d am en tally in n o c en t S o u th e rn e r of h is v ita l h u m an life , ever
as h is c h o ices have re d u c e d th e s ta tu r e and s ta tu s of h is c h ild re n .
N a tu ra l and s p iritu a l d e te r io r a tio n u n m a n Sutpen. D uring th e y e a r s
1861-1869, Sutpen co n tin u ally re n o u n c e s Bon, p ro p o s e s th a t he and
R o sa m a te "for te s t and s a m p le ," and u s e s W ash Jo n es and h is d au g h
te r M illy w ith u tte r in h u m an ity . S u tp e n 's m o r a l w e ig h tle ss n e s s c o n
t r a s t s w ith the heavy to m b s to n e s w hich he h ad in s is te d be tr a n s p o r te d
a ll o v e r the South when h is m e n w e re s ta r v in g , and w ith the m o r a l
w eight he s e e m s to p o s s e s s in a c o m m u n ity s tr u c tu r e d upon inhum ane
p rin c ip le s of a d am an tiv e le g a lis m .
Q uentin C o m p so n 's life is s im ila r ly re d u c e d by the end of
A bsalom , A b salo m !. He lie s in bed, a t th e beginning of C h a p te r 9, his
!"bedclothing lying upon th e f le s h s la c k e d and th in - c la d " (p. 360), w a it-
I
ing in p e ac e fu l c u rio s ity fo r th e n ex t v io len t u n h a rb in g e re d j e r k to
122
c o m e " (p. 361). S h rev e m a r v e ls at the " so m e th in g m y people h a v e n 't
got . . . so m eth in g you liv e and b re a th e in lik e a i r ? a kind of v acu u m
filled w ith w ra ith lik e and in d o m ita b le a n g e r and p rid e and g lo ry a t and
in h ap p en in g s th a t o c c u r r e d and c e a s e d fifty y e a r s a g o ? " (p. 361).
S h re v e , of c o u r s e , c an n o t g ra s p th e p r e s e n tn e s s of the p a s t, can n o t
u n d e rs ta n d th a t ev en ts of fifty y e a r s ago h a v e , fo r Q uentin, n o t c e a s e d .
Q uentin d e s c r ib e s th e d e s tr u c tio n of S u tp e n 's H u n d red by f ir e and J im
B o n d 's e s c a p e , noting th a t "T hey c o u ld n 't c a tc h h im and nobody e v e r
s e e m e d to m a k e h im go v e ry f a r aw ay " (p. 376). Q uentin th e n s t a r e s
at the w indow of h is r o o m w hich to o k sh ap e "in its s a m e c u rio u s , lig h t,
g ra v ity -d e fy in g a ttitu d e . . . . " Q uentin "now . . . could r e a d " the
s tra n g e ly le v ita tiv e le tte r fr o m h is fa th e r about R o s a C o ld fie ld 's d eath,
in w hich M r. C o m p so n s a y s ,
S u re ly it c a n h a r m no one to b e lie v e th a t p e rh a p s sh e h as e sc a p e d
n ot a t all th e p riv ile g e of being o u tra g e d and a m a z e d and of not
fo rg iv in g but on th e c o n tr a r y h a s h e r s e lf g ain ed th a t p la c e o r
b o u rn e w h e re the o b je cts of the o u tra g e . . . a r e no lo n g e r
g h o sts but a c tu a l p eople to be a c tu a l re c ip ie n ts of th e h a tr e d and
the pity, (p. 377)
Q uentin know s b e tte r . Once re d u c e d , a S o u th e rn g h o st does n o t re g a in
th e h u m a n ity he h a s lo s t. The h u m an s p i r i t m a y r e t r e a t to a s ta te of
w e ig h tle s s n e s s , but it is a t the c o st of h is h u m a n ity . Q uentin knows
th a t he and R o s a both have to a d e g re e c h o se n th e ir g h o s t- liv e s . An
'e x tr a o r d in a r ily d ifficu lt s e c tio n of R o s a 's in te r io r m onologue in C h ap -
I
Iter F iv e is , d e sp ite its co m p le x ity , the b e s t c o m m e n ta r y th e r e a d e r oi
123
A b salo m , A b salo m ! h a s on th e fu nction of b allo o n im a g e ry in th e novel:
O r p e rh a p s it is no la c k of c o u ra g e e ith e r: n ot c o w a rd ic e w hich
w ill n ot fa c e th a t s ic k n e s s s o m e w h e re a t the p rim e fo u n d atio n of
th is fa c tu a l s c h e m e f r o m w hich th e p r is o n e r so u l, m i a s m a l -
d is tilla n t, w ro ils e v e r u p w a rd su n w a rd , tugs its ten u o u s p r is o n e r
a r t e r i e s and veins and p ris o n in g in its tu r n th a t s p a r k , th a t d r e a m
w hich, as the globy and c o m p le te in s ta n t of its f r e e d o m m i r r o r s
and r e p e a ts ( r e p e a ts ? c r e a t e s , r e d u c e s to a fr a g ile e v a n e s c e n t
ir id e s c e n t sp h e re ) a ll of sp a c e and tim e and m a s s y e a r th , r e lic ts
the see th in g and anonym ous m ia s m a l m a s s w hich in a ll the y e a r s
of tim e h a s ta u g h t its e lf no boon of d e ath but only how to r e c r e a t e ,
ren ew ; and d ie s , is gone, v an ish ed : nothing. . . . (p. 143)
R o sa b a s ic a lly is , as Q uentin n o ted in C h a p te r O ne, "full of
in d ic tm e n t of blind c ir c u m s ta n c e and sav a g e e v e n t" (p. 14). She h e r
s e lf "indictg hig h h e a v e n 's v e ry se lf with: 'Why did I w ake sin c e w a k
ing I sh a ll n e v e r s le e p a g a in 1 " (p. 143). N e v e r th e le s s , R o sa does see
the p r is o n e r so u l w ro ilin g e v e r u p w a rd , tugging at its ten u o u s p r is o n e r
a r t e r i e s , lik e a b allo o n on its s trin g . F u r t h e r , she u n d e rs ta n d s th a t
th e re is a s p a r k , a d r e a m w hich, "as the globy and c o m p le te in s ta n t of
its f r e e d o m m i r r o r s . . . a ll of sp a c e and tim e and m a s s y e a r t h ," per*
haps ev en c r e a t e s , ev en re d u c e s to a " fra g ile e v a n e s c e n t ir id e s c e n t
s p h e r e ." T hat d r e a m , th a t s p a r k so m eh o w " r e lic ts " th e m a s s w hich
has ta u g h t its e lf to re n e w its e lf w ith th e p re d ic ta b ility of all n a tu re
(ju st as a T h o m as Sutpen o r a C h a rle s Bon w ill r e a p p e a r p h o e n ix -lik e
fr o m tim e to tim e in h u m a n h is to ry ). R o sa , lik e Q uentin, is quite
iready to a c c e p t th e e v il in th e p r e s e n tn e s s of th e p a s t, but, r a t h e r than
Jaffirm th e in s u p e ra b ility of th e h u m a n s p ir it, both p r e f e r to b e lie v e
I
t
[that the p r i s o n e r - s o u l " d ie s, is gone, v an ish ed : n o th in g ."
124
" R e lic t," f r o m the L atin v e r b r e lin q u e r e , m e an in g to "leav e
beh in d ," h a s no a c c e p te d E n g lish v e rb f o r m , but th e noun r e lic t u su a lly
m e an s "a p e r s is te n t r e m n a n t," " so m e th in g le ft un ch an g ed in a p r o c e s s
of c h a n g e ." F a u lk n e r m a k e s a v e r b of the noun, and p r e s e n ts R o s a 's
p e rc e p tio n about th e flaw ed u n iv e r s e , a w o rld w ith a " sic k n e ss s o m e
w h e re at th e p rim e fo u n d atio n " of its " fa c tu a l s c h e m e ," to w hich th e
only even tr a n s ito r y anodyne is a s p a r k in th e p r is o n e r so u l w hich is a
d is tilla tio n of w hat she s e e s as a m ia s m a l h u m a n condition. Like S u t
pen, R o sa im a g in e s th a t a fa c tu a l s c h e m e , a d e sig n , is at th e h e a r t of
the h o r r o r she p e rc e iv e s . W hen sh e se e s p e r s o n s like C h a rle s Bon
re d u c e d to w e ig h tle s s n e s s - - R o s a c o u ld h a rd ly b eliev e th e r e was a
body in B o n ’s c o ffin --th e e m b a ttle d v irg in a s s e r t s th a t th e s p a r k , th e
d r e a m in th e soul le a v e s behind th e se e th and s tru g g le of h u m an life
fo r ju s t an in s ta n t, and, n ot know ing how to d ie, d ie s n e v e r th e le s s .
The r e a d e r , having a b ro a d e r p e r s p e c tiv e on the c h a r a c te r s in A b s a
lo m , A b sa lo m !, and aid ed by the a e s th e tic p a tte r n F a u lk n e r has p r o
vided, r e a liz e s th a t F a u lk n e r is a ffirm in g th e continuance of the s o u l's
s p a rk . F a u lk n e r knows th a t the " se e th in g an d anonym ous m ia s m a l
m a s s " is th e stuff of life. He know s the h o r r o r of life and the beauty
of liv in g . Q uentin and R o sa fix ate o n ly upon g e n e ra tio n s of bondage
and a m e r e " in sta n t of f r e e d o m ." T he r e a d e r m u s t see f r e e d o m and
bondage as c o r r e la tiv e fu n ctio n s of life.
125
F a u lk n e r h a d b e en w orking out th e balloon v e rsu s w eig h t
im a g e ry , e x p lo rin g its p o s s ib ilitie s , as e a r ly a s 1931, in h is s h o rt
s to r y , " T h a t E v en in g S un."* A b r ie f r e c a p itu la tio n of th e r e la tio n of
im a g e ry to th e m e in th a t s to ry sh o u ld illu m in ate th e m o re c o m p le x u se
of th e s a m e im a g e r y in A b sa lo m , A b sa lo m !.
In "T h at E v en in g S u n ," th e n e g r e s s N ancy, a s e r v a n t of the
C o m p so n fa m ily , is t e r r i f i e d th a t J e s u s , h e r b la c k h u sb an d , will m u r
d e r h e r f o r b e a rin g the c h ild of a lo cal w hite m e rc h a n t, a d eaco n in the
B a p tist C h u rc h .
N ancy is f i r s t in tro d u c e d a s one of m any N egro w o m en
w ith, b a la n c e d on th e ir ste a d y , tu rb a n e d h e a d s , bundles of c lo th e s
tie d up in s h e e ts , a lm o s t as la r g e as cotton b a le s , c a r r i e d so
w ithout to u ch of hand betw een th e k itch en door of the w h ite h o u se
and th e b la ck e n e d w ash p o t b e sid e a cab in door in N egro H ollow .
Nancy w ould w alk o r c r a w l, "h er h e ad rig id , u p tilte d , the bundle
stea d y as a ro c k o r a b allo o n . . . " As a m b iv a le n t as th is im a g e ry is
in th is e a r ly s to r y , F a u lk n e r s e e m s fa sc in a te d w ith e x p lo rin g its
p o s s ib ilitie s .
One day, w hen N ancy w as su p p o se d to h e lp D ilsey w ith the
cooking, th e C o m p so n c h ild re n s a w N ancy being ta k e n to j a i l , and w i t
n e s s e d h e r ta u n ts to M r. S to v all, the a p p a re n t f a th e r of th e child in
h e r sw ellin g sto m a c h : "W hen you going to pay m e , white m a n ? " S to -
jvall k ick ed h e r in th e te e th , but N ancy did not c e a s e singing and y e l l -
i
[ing. T e r r if ie d b e c a u s e of J e s u s ' re a c tio n , Nancy a tte m p te d su icid e in
" “ " ; tz e
h e r ja i l c e ll, w h ere the j a i l e r found Nancy "hanging fr o m th e window,
s ta r k n a k e d , h e r b elly a lre a d y sw ellin g out a little , lik e a b a llo o n ."
Nancy s u rv iv e d the su icid e a tte m p t, and l a t e r , w hen Je s u s
c o m es to the C o m pson k itch en , to sa y goodbye to N ancy, he s a y s , h is
w o rd s a r e re m in is c e n t of T h o m as S u tp en 's re fle c tio n s a fte r he has
been reb u ffed at P e ttib o n e 's door. J e s u s s a y s , "I c a n 't hang aro u n d
w hite m a n 's k itc h e n . . . but w hite m a n c a n hang a ro u n d m in e . W hite
m a n c a n com e in m y h o u se, but I c a n 't stop h im . W hen w hite m an
w ant to com e in m y h o u se, I a in 't got no h o u se . I c a n 't stop h im , but
he c an kick m e outen it." N ancy s e e m s to f e e l the s a m e d im in u tio n of
w orth: "I a in 't nothing but a n ig g e r," Nancy said . "God know s, God
k n o w s."
A few w eeks a fte r J e s u s ' d e p a r tu r e , Nancy is c e r ta in he is
w aiting in a d itch n e a r h e r h o u se w ith a r a z o r , d e te rm in e d to kill h e r .
She d e s p e ra te ly d ra g s Q uentin and Caddy and J a s o n - - a l l th r e e too
young to u n d e rs ta n d N an cy 's f e a r o r h e r n e e d fo r s u p p o r t- - a n d te lls
a s to r y to the c h ild re n . Q uentin o b s e rv e d th a t "she ta lk e d lik e h e r
eyes lo o k ed , lik e h e r ey es w atching us and h e r voice talk in g to us did
not belong to h e r ." " H e r voice w as in sid e and the sh ap e of h e r , the
Nancy th a t could stoop u n d e r a b a rb e d w ire fe n c e w ith a bundle of
I c lo th es b alan ced on h e r h ead as though w ithout w eight, like a balloon,
I was t h e r e . B ut th a t w as a ll."
I
I
j Nancy is so u p s e t th a t she begins to a c t like a d isem b o d ied
127
s p i r i t , h a rd ly r e g is te r in g p ain when she puts h e r hand on a hot lig h t
globe. She took h e r hand slow ly off the la m p c h im n e y , and "sto o d th e r e ,
looking a t C addy, w rin g in g h e r long hand as though it w e re tie d to h e r
w r is t w ith a s tr in g ." N ancy h ad b ecom e lite r a lly b a llo o n -lik e , the a p o
th e o s is of e m p tin e s s . W hen M r. C om p so n r e tr ie v e s h is c h ild re n f r o m
N an cy 's h o u se , sh e s i t s , door o pen, re s ig n e d to a c c e p tin g w h a te v e r a n y
one w anted to do to h e r next. M r. C o m p so n say s to N ancy th a t h e r f e a r s
a r e g ro u n d le s s , to w hich she r e p lie s , "Y o u 'll see w hat y o u 'll s e e , I
re c k o n . . . . B ut it w ill tak e the L o rd to say w hat th a t w ill b e ."
The c h ild re n leav e w ith th e ir fa th e r , oblivious to the d r a m a
th e y had w itn e ss e d , J a s o n c e r ta in of one thing: " 'I'm not a n ig g e r ,'
J a s o n s a id , high and c lo se above F a t h e r 's h e a d ." M r. C o m p so n , i n
s e n s itiv e to the n e g r e s s ' v e ry r e a l f e a r s and su ffe rin g , b a la n c e s the
c allo u s J a s o n above h is h ead . R eduction of o p p r e s s e d and o p p r e s s o r s
to w e ig h tle s s n e s s c o n tin u e s, as in A b sa lo m , A b s a lo m ! . The e x p lo ited ,
w ith no h o m e to c a ll th e ir own, have only m in im a l h u m a n e x is te n c e ,
su sp e n d e d in the m o r a l vacuum .
E s c a p e to a b a llo o n -s ta te is n o t, in the n o v el, a so lu tio n to the
p ro b le m of coping w ith o p p re s s io n , but, r a t h e r , a co n se q u e n ce of h a v
ing to s u rv iv e . A so lu tio n to s y s te m a tiz e d in h u m an ity , h o w e v e r, is
im p lie d in A b sa lo m , A b sa lo m !. The to u ch of fle s h w ith fle s h , the s u b
je c t of th e follow ing c h a p te r, b rin g s the in violable h u m a n s p i r i t down
to e a r th .
----------------------------------------------------------------------------------------------------------------------------- r c s
N otes
^W illiam F a u lk n e r, "T h a t E v en in g Sun," New Y ork: R andom
H o u se, 1931 (ren ew ed , 1959)» r e p r in te d f r o m C o lle c te d S to rie s of
W illiam F a u lk n e r in C o u n te rp a rts (G reen w ich , C on n ecticu t: F a w c e tt
P u b lic a tio n s , I n c ., 1971), pp. 153-171.
CHAPTER V
TOUCH: C U TTIN G ACROSS TH E IN T R IC A T E
CH AN N ELS OF ORDERING
The v a rio u s im a g e s of to u ch in g play a v e ry im p o rta n t th e m a tic
ro le in A b sa lo m , A b sa lo m !. W hen R o sa re c a p itu la te s h e r p a s t in
C h a p te r F iv e , she s e e m s to hav e th e in tu itio n w hich could have b een ,
should have been re d e m p tiv e :
B ec a u se th e r e is so m eth in g in the to u ch of f le s h w ith fle s h w hich
a b ro g a te s , cuts s h a r p and s tr a ig h t a c r o s s the devious in tr ic a te
ch an n els of o rd e rin g , w hich e n e m ie s as w ell as lo v e rs know b e
c a u se it m a k e s th e m b o th --to u c h and to u ch of th a t w hich is the
c ita d e l of th e c e n tr a l I - A m 's p riv a te own: not s p ir it, soul; the
liq u o ris h and u n g ird le d m in d is a n y o n e 's to ta k e in any d a rk e n e d
h allw ay of th is e a r th ly te n e m e n t. B ut le t fle s h to u c h fle s h , and
w atch the fa ll of a ll th e e g g sh e ll sh ib b o leth of c a s te and c o lo r
to o , (p. 139)
A n u m b e r of m a jo r s c e n e s in A b sa lo m , A b s a lo m ! , th o se
involving re p u d ia tio n , d e h u m an iza tio n , and the in e q u itie s of a
c a s te s y s te m b a se d on r a c ia l and eco n o m ic f a c to r s , a r e s p e c if
ic ally defined a c c o rd in g to th e f a ilu r e of fle s h to to u c h fle s h . B a c k
g ro u n d and s y s te m a tiz e d r e s p e c ta b ility s e e m to p r e d e te r m in e R o s a 's
h o r r o r when C ly tie c a lls h e r by h e r f i r s t n a m e and th e n to u c h es the
o u tra g e d s p in s te r , "th a t b la c k a r r e s t i n g hand on m y w hite w o m a n 's
129
130
f le s h " (p. 140). In w o rd s r e m in is c e n t of T hom as S u tp e n 's s ta te m e n t
th a t "it was n o t the n ig g e r " one had to g et a t, R o sa r e f le c ts th a t "we
both knew it w as not to h e r I spoke: ' T ake y o u r hand off m e , n ig g e r ! 1 "
(p. 140).
The r e a liz a tio n w hich R o s a had b een shocked into by th e to u ch
of fle s h , th a t th e r e is so m e th in g in th e to u c h of fle sh w ith fle s h w hich
a b ro g a te s , a n n u ls, d o es aw ay w ith th e c o n stric tin g sh ib b o leth s of s y s
te m a tiz a tio n , h ad b een p r e fig u r e d by F a u lk n e r not so m u ch by c o n c re te
r e f e r e n c e s to to u ch , a s by the g ra d u a l p r o c e s s of its o p p o site,
a b stra c tio n .
C le a rly , the to u c h of fle s h with fle s h is not p e r se c o n c ilia to ry .
Sutpen, a fte r a ll, u s e s M illy and p ro p o s e s to u se R o sa w ithout loving
th e m . N o n -d istin c tiv e to u ch is a sy m b o l fo r re c o g n itio n of a n o th e r
p e rs o n as h u m a n . L ove and c o m p a s s io n m u s t be p r e s e n t if to u c h is
to cut th ro u g h th e ch an n e ls of o r d e r in g in su ch a way th a t h u m an
s o lid a rity is a ffirm e d .
F a u lk n e r 's m e th o d of w ithholding in fo rm a tio n , s o m e tim e s
d e s c rib e d as a te ch n iq u e w hich k eep s th e s to ry fro m being to ld , is
p a r tic u la rly c r u c ia l in r e g a r d to the r e a d e r 's view of Sutpen b e fo re
C h ap ter S even of the N ovel. T he r e a d e r le a r n s fr o m the in itia l c h a p
ite rs th a t Sutpen h ad c o n sc io u s ly sought s ta tu s , r e s p e c ta b ility , and
Jpower o v e r the land and its in h a b ita n ts. The r e a d e r is o u tra g e d by
I
S u tp en 's callo u s d is r e g a r d fo r in d iv id u als u n til S u tp en 's c o n v e rsa tio n
131
w ith G ra n d fa th e r C o m p so n is added into th e r e c o r d . S u tp e n 's o u tra g e
at th e " m o n k e y - n ig g e r 's " affro n t to h im at th e door of P e ttib o n e 's
m a n sio n p ro v id e s a ra tio n a le fo r S u tp en 's l a t e r a c tio n s , ev en if it
d o e s n 't p ro v id e a ju s tific a tio n . Sutpen candidly a d m its th a t th e r e
cap itu la tio n of h is own w o rth w hich he was f o r c e d to by the in c id en t
w as not th e fa u lt of th e b u tle r, but the fault of a c a s te s y s te m w hich
had re d u c e d both b la c k s and p o o r w hites to th e sta tu s of m e r e liv e s to c k
o r c h a tte l, c o m m o d itie s w hich can be tra d e d , bought, and so ld w ith
u tte r im p u n ity . B e fo re C h a p te r S even the r e a d e r h a s , iro n ic a lly ,
w eighed the fa c ts a g a in s t Sutpen, and g e n e ra liz e d , a b s tr a c te d upon
his d e s tr u c tiv e n e s s . In a s e n s e , of c o u rs e , th e r e a d e r h as b e en at th e
m e r c y of n a r r a t i v e in te r p r e ta tio n s of Sutpen as a d em o n , a F a u s tu s , a
m y th ic ty ra n t; th e r e a d e r h a s n o t a r r iv e d at th e " c ita d e l of the c e n tr a l
I- A m 's p riv a te s o u l." He h as not g ra s p e d th e fa c t th a t Sutpen is a m a n
su b je c t to th e s a m e h o p es and f e a r s th a t o th e r m e n a r e .
A few p a r a g r a p h s a fte r R o s a 's im p o rta n t in tu itio n about to u c h ,
F a u lk n e r, th ro u g h R o s a 's continuing m o n o lo g u e, r e la te s the to u ch
th e m e to th e a c tu a l n a r r a tio n of a ta le . The d a n g e r of e x c e s s iv e " r a
tio c in a tio n " a lso b e c o m e s c le a r:
T h at is th e s u b s ta n c e of r e m e m b e r in g - - s e n s e , s ig h t, s m e ll: th e
m u s c le s w ith w hich we see and h e a r and f e e l- - n o t m in d , not
! thought: th e r e is no su ch th in g as m e m o ry : the b ra in r e c a lls ju s t
i w hat th e m u s c le s g ro p e fo r: no m o r e , no le s s : and its r e s u lta n t
I s u m is u s u a lly i n c o r r e c t and fa ls e and w o rth y only of the n a m e
' of a d r e a m . -- S e e how the slee p in g outflung hand, to u ch in g the
j b e d sid e c a n d le , r e m e m b e r s p a in , sp rin g s b a c k and f r e e w hile
132
m in d and b r a in sle e p on and only m ak e of th is a d ja c e n t h e at som e
tr a s h y m y th of r e a lity 's e sc a p e : o r th a t s a m e s le e p in g han d , in
se n su o u s m a r r ia g e w ith so m e d u lcet s u r f a c e , is tr a n s f o r m e d by
th a t s a m e slee p in g b r a in and m in d into th a t s a m e fig m e n t-s tu ff
w a rp e d out of a ll e x p e r ie n c e , (p. 143)
On one le v e l, the r e a d e r is to ld w hat to e x p ec t fr o m th e n a r r a
tiv e r e c o n s tr u c tio n s of the Sutpen s to ry . The acc o u n ts w ill be d i s
t o r t e d b e c a u se the n a r r a t o r s ’ b ra in s w ill be re c a llin g ju s t w hat th e ir
m u s c le s g ro p e fo r. When the r e a d e r r e c a lls th a t F a u lk n e r is alw ays
in te r e s te d not in id e a s but in p eo p le, th a t he s tr iv e s to have h e a r t
s p e a k to h e a r t, he r e a liz e s th at F a u lk n e r is n o t in te r e s t e d in e lim in a t
ing d isto rtio n ; he h o p es, r a th e r , to c a p ita liz e upon it, sin ce th e p r o
p e n sity to d is to r t on the b a s is of o n e 's in v o lv e m e n t and p re ju d ic e s is a
p rofo u n d ly h u m an q uality. The "sle e p in g outflung h an d " can " r e m e m
b e r " pain; th e m in d can only m ak e of the h e a t a " tr a s h y m y th ." It is
t r u e th at R o sa o v e r - e m o tio n a liz e s , and c o n se q u e n tly fa lls into the
m y th ic sy n d ro m e fr o m th e o p p o site d ire c tio n , but R o sa is h u m a n , she
d o es em body the o v e r - r e a c ti o n of o u tra g e d w om anhood. She does h av e
a g r e a t d e a l of su sp ic io n f o r any "se n su o u s m a r r ia g e w ith a sm ooth
o b je c t," ev en in s le e p , b e c a u se sh e d is tr u s ts th e m in d w hich c a n w arp
s u c h p le a s u ra b le e x p e rie n c e into a m y th w hich h e r rig id v irg in ity
w ould d e e m a ra v is h m e n t.
The r e a d e r is w a rn ed th a t a p u re ly c e r e b r a l re s p o n s e to the
m a te r ia l w hich F a u lk n e r is p re s e n tin g th ro u g h n a r r a t o r s and th ro u g h
s tr u c t u r a l and s ty lis tic in v en tio n , m ay w a rp th e n o v e l's m ean in g . An
133
In tellectu al re s p o n s e to the o u tra g e s w hich Sutpen p e r p e t r a t e s , fo r
in sta n c e , could lead th e r e a d e r to co n d em n h im as a to ta lly d e p ra v e d
p e r s o n - - a re s p o n s e w hich w ould ru n c o u n te r to th e o v e ra ll th e m e of
A b salo m , A bsalom ! . "L e t fle s h to u c h fle s h ," and not only th e s h ib
boleth of c a s te and c o lo r fa ll, the r e a d e r 's own te m p ta tio n to r e a d the
novel as a G othic h o r r o r s to ry fa lls aw ay a lso . W hen the r e a d e r s e e s
even u n a ttra c tiv e c h a r a c te r s as h u m a n and s u ffe rin g , he is ab le to get
b en eath th e o u tw a rd a tr o c itie s to old v e r itie s w hich m o tiv a te good m e n
to do e v il th in g s ev en in the n am e of ju s tic e and g o o d n ess.
It is the fle s h w hich r e m e m b e r s , a c c o rd in g to R o sa , n o t th e
m ind. F a u lk n e r too s e e m s a t p ain s to c o m m u n ic ate th a t p a ra d o x to
his r e a d e r s . J u s t a f te r Q u en tin 's v io len t sh u d d erin g , no lo n g e r s h a k
ing fa in tly and s te a d ily , but beginning "to j e r k v io len tly all o v e r " (p.
360), th e o m n is c ie n t n a r r a t o r un eq u iv o cally n o tes th a t the p a ro x y s m
w as n o t c a u se d by the " ic e -lik e b e d c lo th in g " --s in c e "fo rc e d by the
w eight of d a r k n e s s ," Q u e n tin 's "blood su rg e d and r a n w a r m e r ,
w a r m e r " (p. 360). T he r e a d e r is th e n d raw n into h is r e v ery : Q u en
tin could " ta ste the d u s t," " s m e ll th e old w om an . . . s m e ll th e fu sty
c a m p h o r -re e k in g sh aw l and even th e a i r l e s s b lack co tto n u m b r e lla "
w hich R o sa c a r r i e d w ith h e r to S u tp e n 's H undred in autum n of 1910.
Q u en tin 's fle s h is r e m e m b e r in g : "E v en now , w ith th e ch ill p u re w eight
of the s n o w -b re a th e d New E ngland a i r on his fa c e , he could ta s t e and
l
jfeel th e d u st of th a t b r e a th le s s ( r a th e r fu rn a c e -b re a th e d ) M is s is s ip p i
134
S e p te m b e r n ig h t" (p. 362).
T he u ltim a te p a ra d o x in F a u lk n e r 's o r d e r e d e x p o sitio n of the
to u c h in g - is - r e m e m b e r in g m o tif is th is : th a t the r e a d e r is to u ch ed ,
m o v ed , p r e c is e ly b e c a u se he is o u tra g e d at the f a ilu r e of S utpen and
o th e rs e ffe c tiv e ly to "cut s h a r p and s tr a ig h t a c r o s s th e dev io u s i n t r i
c a te c h an n els of o r d e r in g " by a d m in is te r in g the "liv in g to u ch of fle s h "
out of a m o tiv e of love. E v en W ash, who c e r ta in ly cu ts s h a r p and
s tra ig h t w hen he r e a liz e s how he and h is d a u g h te r hav e b een u s e d ,
could only a c t a g a in s t th e devious c h an n e ls of o r d e r in g w hen h is love
had tu rn e d to h a te . W hat the r e a d e r s e e s , f e e ls , t a s t e s , is w hat
R o sa in tu its , th a t " e n e m ie s as w ell as lo v e r s " o p e ra te th ro u g h to u ch ,
and th at to u ch in g , out of love o r out of f e a r and h a tr e d , " m a k e s th e m
b o th " - - lo v e r o r h a te r - - w h a t he is . The "fle sh ly e n c o u n te r" c a n l i b
e r a te o r o p p r e s s , depending upon the h u m a n ity of the to u c h e r .
A fte r R o s a 's two r e m in is c e n c e s on the su b je c t of to u c h , a
ste a d y p a ra d e of unto u ch ed and untouching fig u re s tr a g ic a lly m o v e
b e fo re th e r e a d e r 's e y e s , r e n d e r e d u n fo rg e tta b le by F a u lk n e r 's n a r
r a t o r s , e a c h re c o lle c tin g fr o m h is o r h e r unique p e rs p e c tiv e .
C h a r le s E tien n e St. V a le ry Bon is d raw n lying u n a sle e p
in so m e h ia tu s of p a s s iv e and h o p e le ss d e s p a ir . . . a w a re of the
w om an on the bed w hose e v e ry look and a ctio n to w a rd h im , w hose
e v e ry to u c h of the c ap a b le hands s e e m e d a t th e m o m e n t of to u c h
ing h is body to lo s e a ll w a rm th . . . and the w om an on the p a lle t
upon w hom he had a lre a d y co m e to lo o k as m ig h t so m e d e lic a te
ta lo n le s s and fa n g le s s w ild b e a s t . . . look upon th e h u m an
c r e a tu r e who fe e d s it. (pp. 197-198)
135
C lytie does to u c h C h a r le s E tie n n e , but it is to s c r u b h im "w ith r e
p r e s s e d fu ry as if she w e re try in g to w ash the sm o o th fain t tinge fr o m
his sk in as you m ig h t w atch a child s c ru b b in g at a w all long a fte r the
ep ith e t, the c h alk e d in s u lt, h a s been o b lite ra te d " (p. 198). C h a rle s
E tien n e is m a d e to fe e l th e o b sc e n ity of h is a m b iv a le n t c ir c u m s ta n c e s .
W ash J o n e s u tte r ly t r u s t s the C olonel. Sutpen h ad alw ays b een
a fin e fig u re of a m a n to W ash, the fig u re of w hat a m a n should and
could be. "W h a te v e r y o u r h an d s te c h , w h e th e r h it's a re g im e n t of
m e n o r a ig n o ra n t g al o r ju s t a hound d o g ," W ash b e lie v e s , "you w ill
m ake h it rig h t" (p. 284). The te r m s of S u tp e n 's c o n s is te n t a ctio n and
W ash 's r e v e r s a l a r e im p o rta n t:
'Stand b a ck , W ash. D on't you touch m e ,' and th e n W ash, h is
voice so ft and h a rd ly loud enough to r e a c h [the m id w ife ]: 'I'm
going to te c h you, K e r n e l.' (p. 286)
T hose who love and th o se who h ate both know touch c u ts s tra ig h t and
s h a r p . W ash fe lt to the end (S utpen's end) th a t "He is b ig g e r th a n a ll
th e m Y ankees th a t k ille d us and o u rn . . . b ig g e r th an th e s c o r n and
d en ial w hich [the county] h e lt to h is lip s like the b itte r cup in the Book"
(p. 287). C o n se q u e n tly , W ash w o n d ered "how could I hav e liv ed nigh
to h im fo r tw en ty y e a r s w ithout being to u c h ed and c h an g ed by h im ? "
(p. 287). T he a n s w e r, of c o u r s e , is th a t he could n o t have liv ed n e a r
Sutpen w ithout being to u ch ed and changed by h im . H is r e s p e c t, t r a g i
c a lly m is p la c e d , v e rg e d on lo v e , ju s t as h is o u tra g e , ju s tifie d , v e rg e d
I
jon h a te . W a sh 's d is illu s io n m e n t with Sutpen p a r a lle le d S u tp en 's
136
d is illu s io n m e n t about th e im p o rta n c e of th e m e s s a g e he h ad c o n s c ie n
tio u sly c a r r i e d to P e ttib o n e , only to find out th a t P e ttib o n e was u tte rly
in d iffe re n t to th e boy Sutpen o r h is m e s s a g e : " th e re a in t any good o r
h a r m e ith e r in the liv in g w o rld th a t I c an do h im " (p. 238). W ash,
s im ila r ly , saw "his w hole life s h re d d e d fr o m h i m . " W hen W ash w ields
th e sc y th e , he is fu n d a m e n tally r e c ip r o c a tin g - - a n eye fo r an e y e - -
ev en as Sutpen h ad d e te rm in e d to re p a y so c ie ty in kind.
C h a r le s Bon is th e c h a r a c te r m o s t o b v iously tie d to to u ch
im a g e ry in A b sa lo m , A b sa lo m !. F i r s t we s e e C h a r le s k is sin g h is
m o th e r, and E u la lia re sp o n d in g w ith a n o n -liv in g to u ch of fle sh . As
S h rev e en v isio n s it: he w ould d e p a r t, " k is sin g h e r m a y b e , h e r hand
m ay b e w hich w ould lie in his and ev en to u ch h is lip s like a dead hand
b e c a u se of th e d e s p e ra te c a s tin g fo r th is s tr a w o r th a t . . . " (p. 308).
E u la lia i s , a c c o rd in g to S h re v e , so o b s e s s e d w ith v en geance on Sutpen
th a t she is no b e tte r as a m o th e r to C h a rle s th a n Sutpen had been as a
fa th e r .
W ith Ju d ith , C h a r le s Bon h a s w hat M r. Q uentin im a g in e d w as
a p h a n to m -to -p h a n to m re la tio n s h ip , but S h re v e , m o re ro m a n tic ,
im a g in e s th a t Ju d ith , at le a s t, h a s "h u sh ed w ild im p o rtu n a te blood and
lig h t h an d s h u n g ry fo r to u c h in g " (p. 314). E u la lia B on's la w y e r,
iS hreve im a g in e s, is w illing to u s e even th a t h u n g e r, as he "w ould have
ju sed c o u ra g e and p r id e " (p. 314), to c a r r y out h is d e sig n . C h a r le s ,
I
jthough, c r a v e s "the p h y s ic a l to u ch ev en though in s e c r e t , h id d e n --th e
137
living to u ch of th a t f le s h w a rm e d b e fo re he w as b o rn by th e s a m e blood
w hich it had b e q u ea th e d h im to w a r m h is own fle s h w ith" (p. 319):
T hom as S u tp e n ’s. It is the w h ite n e ss of J u d ith 's "light h a n d s" and the
"little sp o t of n e g ro blood in C h a r le s " (p. 308) who a p p e a rs as w hite as
Ju d ith , w hich n o n e th e le s s c a n c e l out all p o s sib ility of love in a so c ie ty
built upon c a s te and d e te r m in e d by the c o lo r of the u p p er c a s te .
Bon, h o w e v e r, k eep s hoping to "ju st touch fle sh w ith" h is
f a th e r , r e a liz in g th a t re c o g n itio n , to u ch in g , would p ro v e th a t T h o m as
Sutpen h ad so m e s m a ll am o u n t of love fo r h is son. Som ehow a ll "boy
fle s h th a t w alked and b re a th e d " m u s t hav e s te m m e d f r o m "one eluded
d a rk fa th e r h e a d ," and th u s m u s t have b een "so b ro th e re d p e re n n ia l and
ubiquitous e v e ry w h e re u n d e r s u n " (p. 299). C h a rle s and S h rev e
m u s t h av e s e n s e d to w hat d e g re e m a n is re s p o n s ib le to m a n .
A t one p oint in Q u e n tin 's and S h r e v e 's n a r r a tio n , F a u lk n e r
no tes th a t they w e re "a s f r e e now of fle s h as the fa th e r who d e c r e e d
and fo rb a d e , th e so n who d en ied and re p u d ia te d , the lo v e r who a c q u i
e sc e d , th e b elo v ed who w as n o t b e re a v e d " (p. 295) . At th a t point in
th e ir n a r r a tio n , the c o lle g e boys a t C a m b rid g e , M a s s a c h u s e tts , a r e
caught up in w hat th ey a r e doing. E v e n th e re c o n s tr u c tio n of H e n ry 's
w ords to C h a r le s :
"I u s e d to th in k th a t I would h ate th e m a n th a t I would have to look
I at e v e ry day and w h o se e v e r y m ove and a ctio n and sp e e c h w ould
I say to m e , I have s e e n and to u c h ed p a rts of y o u r s i s t e r 's body
! th a t you w ill n e v e r s e e and touch: and now I know th a t I sh all h a te
| h im and th a t's why I w ant th a t m a n to be y o u ." (p. 328)
138
does n o t d isen g a g e th e now in te lle c tu a lly c u rio u s Q uentin and S h rev e
f r o m th e ir a lm o s t to ta lly c e r e b r a l d e te c tiv e w o rk . Only th e d e a th of
C h a r le s at th e hand of a b r o th e r who w as n ot ab le to be h is b ro th e r
sin c e Bon h a d n e v e r b een acknow ledged as so n of a co m m o n f a th e r ,
b rin g s Q uentin, at le a s t, b a ck to the r e a lity of h u m an to u ch . D esp ite
th e co ld , h is blood w a r m s . When S h rev e a d m its th a t th e r e is c le a r ly
so m e th in g o p e ra tiv e in Q u en tin 's life th a t "m y p eople h a v e n 't g o t"
(p. 361), Q uentin a d m its th a t he d o e sn 't know if he u n d e rs ta n d s th e
South e ith e r . Q uentin m a y not u n d e rs ta n d th e f o r c e of h is p a st w hich
a ffe c ts h im in th e p r e s e n t, but he fe e ls the p o w e r, an a s s e t w hich
Q uentin c o n v e rts into a lia b ility , re p u d ia tin g h is m o s t h u m an
s e n s ib ility .
The q u e stio n of to u ch is m u ch m o re p e rv a s iv e in A b sa lo m ,
A b salo m ! th a n a few c ita tio n s fr o m the te x t c a n in d ic a te . W hen S u t
p e n 's fa th e r and so m e o th e r w hites h ad b e a te n one of P e ttib o n e 's
s la v e s , M r. C o m p so n m a in ta in e d th a t th e boy, T h o m as S utpen, m u s t
have g r a s p e d th a t h is fa th e r had w hupped "no a c tu a l n ig g e r, living
c r e a t u r e , liv in g fle s h to fe e l pain and w rith e and c r y o u t" (p. 232).
S o ciety h ad s u p e rim p o s e d a s tr u c tu r e upon w hite t r a s h and b lack s
alik e . E a c h e x p lo ite d c la s s ten d ed to m ak e th e o th e r sc a p e g o a t f o r the
d im in u tio n it fe lt but c o u ld n 't u n d e rsta n d . T he p o o r w hites w ro n g ly
J thought th a t by b eatin g a n e g ro th ey could m itig a te th e ir own d ifficu l-
!
[
I tie s . In s te a d of s e e in g a n o th e r h u m an b ein g , liv in g fle sh ; in s te a d of
139
h e arin g a m an c r y out, th e s e v ic tim s m u s t f e e l th e ir own p o w e r o v er
an o th er. They too m u s t h av e th e ir v ictim .
W hen C h a r le s Bon h ad a la s t ch an ce to see fa c e to fa c e th e m an
who m ig h t be h is fa th e r, "nothing h a p p e n e d --n o sh o ck , no hot c o m
m u n ic a ted fle sh th a t sp e e c h w ould have been to slow ev en to im p e d e - -
nothing" (p. 320). Yet, a g a in s t a ll th e o d d s, C h a rle s Bon did show thai
he loved. He lo v e d T h o m as Sutpen enough to w ait to th e la s t p o s sib le
m o m en t fo r h is re c o g n itio n , but tim e r a n out. He lo v ed H en ry enough
to a c c e p t death a s "the n ig g e r th a t's going to sle e p w ith y o u r s i s t e r . "
He lo v ed Ju d ith enough to s p a r e h e r f e e lin g s - - a s S h rev e im a g in e s i t - -
by re p la c in g h e r p h o to g rap h w ith the o c to r o o n 's , as though to sa y to
Judith: "I was no good; do n o t g rie v e fo r m e " (p. 359). When he fo rcec
H enry to a c h o ic e , gave h im a ch an ce n ot to be a g h o st, he w as try in g
to e s ta b lis h "the living to u c h of f le s h ," try in g to cut a c r o s s the i n t r i
c ate p a tte rn s of o rd e rin g . He died try in g , but he w as not a m a r t y r out
of love fo r Ju d ith . Bon did th e b e st he could given th e w orld he found
h im se lf in , a w o rld w hich fo r h im inclu d ed s e a r c h fo r a fa th e r who
would not be a f a th e r , and love fo r a s i s t e r and b ro th e r whom he u sed
to so m e d e g re e b e c a u s e of a fe lt la c k , S u tp e n 's u n su p p lied ack n o lw ed g -
m en t.
H e n ry S u tp e n 's m u r d e r of Bon b e c a u se of the h o r r o r he h as of
i
jm iscegenation, ev en a fte r he h as d ecid ed he could a c c e p t the id e a of
jincest, show s the p e r v e r s io n of v alu es he h as im b ib ed since h is youth.
140
H is r e fu s a l to le t fle s h to u c h f le s h in a tr u ly hu m an w ay, h is re v u ls io n
a t b lack to u ch in g w hite, is c r u c ia l to F a u lk n e r 's th e m e s in A b sa lo m ,
A b sa lo m !. An a r tif ic ia l and a r b i t r a r y s o c ie ta l a r r a n g e m e n t m a k e s
lo v e - - if th a t love m e a n s an a d m ix tu re of b lo o d -- a sin , ev en a s it winks
a t an in c e stu o u s re la tio n s h ip w hich would d e m ea n the in te g rity of the
fa m ily unit.
R o s a s e e m s to h a v e known th a t h e r o u tra g e d in v io la b ility was
p u rc h a s e d at g r e a t p e r s o n a l c o s t, y et she could n e v e r q u ite o v e rc o m e
h e r p a st, and b e lie v e d th a t w hat w as h o n o rab le was b e st. She r e s is te d
to u c h to th e l a s t . She c o u ld h av e e x e r c is e d c o m p a ssio n and p e rh a p s
tr a n s f o r m e d S u tp e n 's lu s t fo r p o w er into lo v e, but she w ould n ot.
CHAPTER VI
E L A P S E D AND Y E T -E L A P S IN G TIME:
TH E P E N U L T IM A T E UNDERCUT
A n u m b e r of so p h istic a te d stu d ies of tim e in F a u lk n e r 's n o v e ls,
p a r tic u la r ly in The Sound and the F u r y , have d e s c rib e d F a u lk n e r as
a r r e s t in g "the m o tio n at the h e a r t of th in g s."* When Q uentin C o m p so n
e x c la im s , "I a m n o t is , I w a s" (S&F, p. 82), S a r tr e n o te s th a t Q u en
tin 's " p re s e n t is nothing but d is o rd e re d r u m o r ," h is "fu tu re a lre a d y
2
p a s t." When S a r tr e sp ea k s of Q uentin's tim e , o r Q u en tin 's re s p o n s e
to tim e , he is e x tr a o r d in a r ily p e rc e p tiv e . W hen he c o n fu ses Q u en tin 's
co n cep t of tim e with F a u lk n e r 's - -" F a u lk n e r w ants to f o r g e t tim e
3
. . ." - - S a r t r e e r r s r a t h e r s e rio u sly .
J e a n - P a u l S a r tr e s e e m s to feel th a t F a u lk n e r fo c u s e s upon a
" f u tu r e - th a t- h a s - b e e n ," to su ch a d e g re e th a t "the i r r a ti o n a l b ru ta lity
4
of th e p r e s e n t" is d im in ish e d . His c ritiq u e , b a se d p rin c ip a lly on The
Sound and th e F u r y , is a lso b a se d p rin c ip a lly on an acu te re a d in g of
Q uentin, not on an acu te re a d in g of F a u lk n e r.
In th is c h a p te r, I intend to ex p lo re the ro le tim e plays in
A b sa lo m , A b sa lo m !, and F a u lk n e r 's own attitu d e to w a rd tim e as th a t
141
142
attitu d e e m e r g e s fr o m th is n o v el, w hich I b e liev e is c o n s is te n t w ith the
a u th o r 's attitu d e to w a rd tim e in The Sound and th e F u r y and h is e n tire
canon.
In th e d is c u s s io n of balloon im a g e r y , it w as su g g e ste d th at
re d u c tio n to th e ballo o n s ta te p a r a lle ls o r r e f le c ts re d u c tio n to the
gh o st o r p h an to m s ta te . H e n ry and Q uentin a r e b u t tw o e x a m p le s of
p e rs o n s so bound to th e p a s t w hich h a s fo r m e d th e m th a t they a r e u n
able to le a d m e an in g fu l liv e s in th e p r e s e n t. H e n ry is o u tra g e d by p o s
sib le m is c e g e n a tio n , and tu r n s h is b a ck on an in te n se h u m a n r e la tio n
sh ip , k illin g the m a n he lo v e s. Q uentin v a c illa te s b etw een a d m ira tio n
fo r S u tp e n 's c o u ra g e o u s r e s is ta n c e to the o n slau g h t of lif e 's d is a p -
3 ' « « -
p o in tm e n ts and d e s p a ir at the to ll ta k e n in h u m an liv e s by S u tp en 's
in n o cen t d e s tr u c tiv e n e s s . He g iv es e v e r y in d ic a tio n of r e tr e a tin g into
a g h o s t- s ta te lik e H e n r y 's . B oth H e n ry and Q uentin la c k th e m o d els
th ey n e ed to h elp th e m liv e life in th e p r e s e n t and fu tu re .
T h o m as Sutpen, c o m m itte d to th e d esig n he co n ceiv ed in his
p a s t, liv e s by th a t d e sig n so c o m p le te ly th a t h is m o r a l f a ilu r e s a p p ea r
to h im to be m e r e m is ta k e s , a b reak d o w n in m a c h in e ry w hich could
n o t, h e b e lie v e d , fa il h im . He c lin g s to a w o rth le s s a b s tr a c tio n long
a f te r a le s s in n o cen t m a n w ould have a d m itte d its in o p e ra tiv e n e s s .
H e n r y 's in a b ility to r e je c t a s o c ia l s h ib b o le th --th a t m is c e g e n a -
I
[tion is w o rs e th a n in c e s t o r d e a th --w h ic h his p a s t tra in in g has re n d -
I
i
jered an in v io late p rin c ip le , s te m s d ire c tly f r o m h is f a t h e r 's p ro to ty p al
143
n a iv e te . Q u e n tin 's g ra v ita tio n to w a rd n ih ilis m sp rin g s f r o m h is f a t h
e r 's d e ca d e n t view of th e S o u th e rn p a s t as a c la s s ic a l tra g e d y , an a n a l
y s is of m a n as p lay th in g of th e g o d s. Q uentin is able to r e c o n s tr u c t
h is to r y , but n o t to cope w ith it. He s u c c e e d s in c re a tin g living l a n
guage, and c r e d ib le , m o v in g s itu a tio n s , but does not g ra s p the fa c t
th a t he c an c a p ita liz e upon h is own b ack g ro u n d and s h o r t - t e r m s u c
c e s s e s , ev en a s H e n ry does n o t r e a liz e th a t h is r e a l love fo r J u d ith a n c
C h a r le s is , o r could b e, an e x p e r ie n c e w hich m ig h t r e n d e r life m e a n
ingful, ev en fu lfillin g , if c a p ita liz e d upon.
C le a n th B ro o k s a s s e r t s th a t A b sa lo m , A bsalom ! "has to do not
m e r e ly w ith th e m e a n in g of S u tp e n 's c a r e e r but w ith th e n a tu re of h i s -
5
to r i c a l tr u th and w ith th e p ro b le m of how we can 'know ' the p a s t."
Though B rooks is o la te s two of th e m a jo r th e m a tic s tra n d s of th e n o v el,
a n o th e r, m o re im p o r ta n t is s u e is a t s ta k e . F a u lk n e r 's h is to r y of
Y oknapataw pha C ounty is a m a s t e r tr o p e , a m e ta p h o r fo r th e a r t i s t 's
own e ffo rts to te ll th e t r u t h - - l i m i t e d by h is own p a s t and h is ow n p e r
c ep tio n s. The r e c o n s tr u c tio n of h is to r y and the a r tis tic s tru g g le to
te ll the tr u th a r e a c tiv itie s w hich p a ra d o x ic a lly depend upon and a r e
u n d e rc u t by p a s t and p a s s in g tim e , ju s t as S u tp en 's d e sig n is a t the
m e r c y of tim e . The only p o s s ib ility fo r s u c c e s s in re c o n s tr u c tio n o r
iin the a r tis tic c a p tu r in g of re c o n s tr u c tio n s in o r d e r to c o m m u n ic a te
Ithe tr u th of the h u m a n s p i r i t 's s tr u g g le , is the c re a tio n of liv in g la n -
I
l
jguage, w o rd s w hich w ill r e a c h out of th e d ead p a s t and to u c h th o s e who
144
s e e k to u n d e r s ta n d th a t p a s t. F a u lk n e r 's a tte m p t to " c r e a te b e lie v a b le
6
people in c re d ib le m o v in g situ a tio n s in the m o s t m o v in g way he can,
is h is c o n sc io u s a tte m p t to do w hat Jo se p h C o n ra d , w hom F a u lk n e r
v e ry m u c h a d m ir e d , p ro c la im e d as the a r t i s t 's chief duty, to re v iv ify
7
"old, old w o rd s , w o rn th in , d efaced by ag es of c a r e l e s s u s e ." It is
th ro u g h re v iv ific a tio n of o ld w ords th a t F a u lk n e r h o p es to r e d is c o v e r
th o se old v e r itie s of the h u m a n h e a r t w hich, w hen n e g le c te d , c a u se
g
m a n 's g r ie f s to " g rie v e on no u n iv e rs a l b o n e s."
T im e can r e n d e r w o rd s dead , can re d u c e th e m to g h o stly e x is
te n c e . Ir o n ic a lly , it is th e m o rib u n d Q uentin who h o ld s up the f r a g
m e n t of t r u t h in A b sa lo m , A bsalom ! - -the one p e rs o n who is u n ab le to
se e h im s e lf as bound to m an k in d w ith a u n iv e r s a l bond, o r p e rh a p s
s e e s h im s e lf and a ll o th e r m e n u n iv e rs a lly doom ed to p r e s e n t and
fu tu re h o r r o r by a living p a s t. The ghosts of h is p a s t " r e f u s e d to lie
s till ev en lo n g e r th a n m o s t h ad , te llin g h im about old g h o s t- tim e s "
(p. 9). W hen "Q uentin C o m p so n who w as s till too young to d e s e r v e y e t
to be a g h o st, but n e v e r th e le s s having to be one fo r a ll th a t," lis te n s to
R o sa , "the tw o s e p a r a te Q uentins now talk in g to one a n o th e r in th e long
sile n c e of n o tp e o p le , in n o tla n g u a g e " (p. 9)» begin to th in k out loud.
Q u en tin 's " n o tla n g u a g e ," a p ro d u c t of h is e m o tio n a l a m b iv a le n c e to -
■ward th e m a t e r i a l of th e Sutpen ta le , is the r e a d e r 's only lin k w ith th e
I deeply h u m a n e le m e n ts of th e s to ry . W ithout Q u e n tin 's a n g u ish e d
I
je m o tio n al in v o lv e m e n t, th e r e a d e r w ould be p riv y to a n u m b e r of
145
a s s e m b le d fa c ts about a d ead tim e :
We h av e a few o ld m o u th -to -m o u th ta le s ; we exhum e f r o m old
tru n k s and boxes and d r a w e r s le tte r s w ithout s a lu ta tio n o r s ig n a
tu r e , in which m e n and w om en who once liv e d and b re a th e d a r e
now m e r e ly in itia ls o r n ic k n a m e s out of so m e now in c o m p re h e n
sib le affectio n w hich sound to u s like S a n s k rit o r C hocktaw ; we
se e d im ly p eo p le, the p eople in w hose liv in g blood and see d we
o u r s e lv e s lay d o rm a n t and w aitin g , in th is shadow y a tte n u atio n
of tim e p o s s e s s in g now h e ro ic p r o p o r tio n s , p e rfo rm in g th e ir acts
of s im p le p a s s io n and s im p le v io le n c e, im p e rv io u s to tim e and in -
e x p lic a b le --Y e s , Ju d ith , Bon, H e n ry , Sutpen: a ll of th em .
(p. 101)
W hen facts h av e b een b re a th e d upon by a r t i s t i c im a g in a tio n ,
the p e rs o n s d e s c rib e d e m e r g e not as m en o r h e r o ic p ro p o rtio n , " im
p e rv io u s to tim e and in e x p lic a b le ," but as h u m an b eings like o u r s e lv e s ,
quite s u b je c t to m o rta lity . M r. C o m p so n c o n tin u e s, "y et so m eth in g is
m is sin g ; th e y a re lik e a c h e m ic a l fo r m u la e x h u m ed along w ith th e l e t
t e r s . . . th e p a p e r old and faded and fallin g to p ie c e s , the w ritin g
fad ed , a lm o s t u n d e c ip h e ra b le . . . " (p. 101). M r. C o m p so n in tu its
th a t th e r e is y et a m e a n in g fu l im p o r t to th o s e p a s t liv e s , to th o s e old
w o rd s , but he has la p s e d into such p ro fo u n d c y n ic ism about h u m an
p o te n tia lity th a t he can n o t s e e the b eau ty in h e re n t in sim p le p a s s io n
and even in sim p le v io len ce b e c a u se it is h u m an . He re m a in s as in
c ap a b le of se e in g th e h u m an e le m e n t w hich k eep s c e r ta in fa c ts fr o m
b eing m e r e ly dead s y m b o ls , ju s t as S utpen is e v e r in c ap a b le of seein g
m o r a lity a s o th e r th a n a h andful of m e a s u r a b le in g re d ie n ts : F a u lk n e r's
I
|im a g e ry is sk illfu lly d e sig n e d to m i r r o r S u tp e n 's own ra tio c in a tio n :
146
you b rin g th e m to g e th e r in the p ro p o rtio n s c a lle d f o r , but nothing
h a p p en s; you r e - r e a d , te d io u s and in te n t, p o rin g , m ak in g s u r e
th a t you have fo rg o tte n nothing, m ad e no m is c a lc u la tio n ; you
b rin g th e m to g e th e r ag ain and a g a in nothing h ap p en s: ju s t the
w o rd s, th e s y m b o ls , the sh ap e s th e m s e lv e s , shadow y in s c r u ta b le
and s e r e n e , a g a in s t th a t tu rg id b ack g ro u n d of a h o r r ib le and
bloody m is c h a n c in g of h u m an a f f a ir s , (p. 101)
W o rd s, u n le s s th ey c a r r y the touch of hum an su ffe rin g and ex u lta tio n ,
a re but sh ad o w s, d ead and d ise m b o d ie d fa c ts . No am o u n t of b a lan c in g ,
no r e m e a s u r in g of th e in g re d ie n ts , c an m ak e the re c ip e w o rk if the
hum an e le m e n t is m is s in g . A rtis tic d e sig n s w rought w ithout love of
m a n a re m e r e ly a p p lie d S u tp e n ism s. T im e d e s tro y s any d e sig n th at
does not g rie v e on u n iv e r s a l bones.
G ra n d fa th e r C o m p so n defined language as
th at m e a g e r and fr a g ile th r e a d . . . by w hich the little su rfa c e
c o r n e r s of m e n 's s e c r e t and s o lita r y liv e s m ay be jo in ed f o r an
in s ta n t now and th e n b e fo re sin k in g back into the d a rk n e s s w h ere
the s p i r i t c rie d f o r the la s t tim e and w as not h e a r d and w ill c ry
fo r th e l a s t tim e and w ill n o t be h e a r d e ith e r. . . . (p. 251)
Q uentin c e r ta in ly h e a r s , c a n 't stop liste n in g to , his p a s t. His f a th e r 's
c y n ic ism , M iss R o s a 's o b s e s siv e d e s ir e to im p a r t h e r o u tra g e , even
S h re v e 's c o n tin u al q u e stio n s about th e S o u th --a ll of th e s e re m in d e r s
of w hat it is like to be v e ry o ld w hen one is v e ry young, se t Q uentin to
thinking ab o u t w hat i t m e a n s to be a g h o st, n e v e r to be a t p e ac e b e
c a u se he h a s to h e a r , p e rh a p s lo v es to h e a r , the th in g s w hich ro b h im
of h is youth and h is p e a c e of m in d .
In an e a r l i e r c h a p te r, I show ed th a t F a u lk n e r 's ro le as a r t i s t is
J
i
jvery s im ila r to the a r c h i t e c t 's c u rb in g influence on S u tp e n 's d esig n .
' I¥7
The a r t i s t , F a u lk n e r a s s e r t e d in h is in te rv ie w w ith Jea n S tein , is
" d riv e n by d e m o n s ." T he v irtu o sity of th e a rc h ite c t as he " a r c h i
te c te d h im s e lf f r o m tr e e to t r e e " w as show n to be c o r r e la tiv e to th e
n o v e lis t's sk ill in getting th e tr u th told.
R uth V andeK ieft, c o n c e n tra tin g n ot on th e a rc h ite c t sc e n e in
A bsalom ^ ; A b s a lo m ! , but on the v a rio u s l e t t e r s w ritten by Ju d ith ,
C h a r le s , and M r. C o m p so n --a n d R o s a 's hope th a t Q uentin w ill " e n te r
the l i t e r a r y p r o f e s s io n " - - m a k e s som e v e ry valuable c o n trib u tio n s to
9
th e d is c u s s io n of tim e in A b sa lo m , A b sa lo m !. She in s is t s th a t the
e n em y , "for S u tp en , as f o r F a u lk n e r, is t i m e ."*^ It is e a s i e r to see
and u n d e rs ta n d S u tp en 's b a ttle a g a in s t tim e th an F a u lk n e r 's . Y et, the
la tte r m a y u ltim a te ly be m o r e c r u c ia l to a c o m p re h e n siv e i n t e r p r e t a
tio n of th e novel. S u tp e n 's re la tio n s h ip to tim e is re la tiv e ly c le a r .
The v a rio u s n a r r a t o r s of th e Sutpen tale and T hom as Sutpen h im s e lf,
a c c o rd in g to G ra n d fa th e r C o m p so n , a ffirm th a t, fo r Sutpen, tim e is
th e one thing th a t can k e ep h im f r o m s u c c e s s . A m a jo r e le m e n t of
h is tra g e d y is th a t Sutpen fe e ls p r im a r ily u n d e rc u t by tim e , not by his
d e s tr u c tiv e in n o cen ce.
T im e , th a t "fluid c ra d le of e v en ts" {p. 66) M r. C o m p so n
sp ea k s of, is fr a u g h t w ith evil p o s s ib ilitie s as Sutpen s e e s it. He
knows th a t he c a n n o t c o n tro l c ir c u m s ta n c e s , th e re fo re he f e a r s w h a t-
i
Jever m ig h t o c c u r. T im e is at h is back. H is e n tir e e s ta te - - th e "w ild
1
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| n ig g e r s ," the w agon they c a m e in , even th e m u le s which d re w i t - - " h a d
148
b e co m e im b u ed by s h e e r a s s o c ia tio n with h im w ith th a t q u ality of gaunt
and t i r e l e s s d riv in g , th a t co n v ictio n fo r h a s te and of fle e in g t i m e '1
(p. 36).
S utpen is fre q u e n tly a w a re of "tim e sh o rte n in g ah ead of h im
th a t could and w ould do th in g s to h is c h an ces and p o s s ib ilitie s even
. . . " (p. 261). S u tp e n 's tim e sch ed u le and h is le d g e r-b o o k m e n ta lity
c o a le s c e . Sutpen te lls G ra n d fa th e r C om pson:
" . . . I could have re m in d e d th e m of th e s e w a ste d y e a r s ,
th e s e y e a r s w hich would now le av e m e behind w ith m y sch ed u le
n ot only the am o u n t of e la p s e d tim e w hich th e ir n u m b e r r e p r e
s e n te d , but th a t c o m p e n s a to ry am ount of tim e r e p r e s e n te d by
t h e ir n u m b e r w hich I should now have to sp en d to ad v an ce m y se lf
once m o r e to th e p o in t I h a d re a c h e d and lo s t." (p. 264)
P a r t of S u tp e n 's in n o cen ce is th a t he only view s as w a ste d th a t tim e
w hich kep t h im f r o m a c c o m p lis h m e n t of h is d e sig n . H is f a ilu r e as a
h u sb an d and fa th e r n e v e r im p in g e upon h is c o n sc ie n c e :
A ll th a t he w as c o n c e rn e d about w as the p o s sib ility th a t he m ig h t
n o t h av e tim e su ffic ie n t to do it in , re g a in h is lo s t g ro u n d i n .
He did n o t w a ste any of w hat tim e he h ad e i t h e r , (p. 278)
As he w o rk ed w ith W ash Jo n es a t the r e s to r a tio n of S u tp en 's H u n d red ,
w h at day m ig h t it h av e b een , w hat fu rro w m ig h t he have stopped
d e ad in . . . w hen he r e a liz e d th a t th e r e w as m o r e in h is p ro b le m
th a n j u s t la c k of tim e , th a t the p ro b le m c o n tain ed so m e s u p e r -
d is tilla tio n of th is lack: th a t he w as now p a s t six ty and th a t p o s
sib ly h e could g et but one m o r e son, (p . 279).
B e c a u se he f e a re d th e p o s sib le im p o ten ce tim e m a y have fo r c e d upon
h im , S utpen m a d e h is co n d itio n al p ro p o s a l to R o sa . F a ilin g to i n t e r
e s t h e r in a d is h o n o ra b le lia is o n , he knew th a t tim e w as slip p in g aw ay.
149
The im a g e ry of violence su g g e sts S u tp en 's fo r s a k e n hu m an ity : "next
tim e th e r e m ig h t not be enough p o w der fo r both a sp o ttin g sh o t and th e n
a f u ll- s iz e d lo a d ." L ogic d iv o rc e d fr o m m o r a lity w as d ictatin g S u t
p e n 's a c tio n s, "the th r e a d of s h re w d n e s s and c o u ra g e and w ill ra n onto
the s a m e spool w hich th e th r e a d of h is re m a in in g days ra n onto . . . "
(p. 279).
The im p o te n c e w hich Sutpen f e e ls , the f e a r he h as th a t he m ig h t
soon be u n able to fa th e r a son who w ill c a r r y on th e Sutpen n a m e , is
r e a lly only p a r t of h is b a ttle w ith tim e . He "w as c o n c e rn e d not th at
old age m ig h t have le ft h im im p o te n t to do w hat he in ten d ed to do, but
th a t he m ig h t not hav e tim e to do it in b e fo re he w ould h av e to d ie "
(p. 160). It is a m a jo r iro n y of S u tp e n 's m a d q u e st th a t he d o e s n 't
r e a liz e th a t h is c h o ice s h av e a lre a d y r e n d e r e d h im s e lf and h is p ro g
eny b r u ta l, b a llo o n -lik e , g h o s tlik e - - a ll belong to th e p a rty of the p ast;
v ic tim s of in h u m a n ity , th ey a r e g h o sts ev en w hen th e y s e e m to be
holding out a g a in s t tim e .
Q u e n tin 's n a r r a t i o n - - h i s th inking about th e p a s t w hich the
r e a d e r is allo w ed to m o n ito r - - r e c a p it u la te s S u tp e n 's d eath , and
J u d ith 's stea d y a c c o m p lis h m e n t of b u ria l s e r v ic e s . Ju d ith , now
th ir ty , h a d r e s i s t e d t i m e 's o n slau g h t r a th e r w ell. She looked o ld e r,
but "not as the w eak g ro w old, e ith e r e n c lo s e d in a s ta tic ballooning of
a lre a d y lif e le s s fle s h o r th ro u g h a s e r i e s of s ta g e s of g ra d u a l c o l
la p sin g . . . " (p. 185). She h a s th e Sutpen h a r d n e s s , and had aged
150
" as the dem on h im s e lf h ad g ro w n old: w ith a kin d of c o n d e n sa tio n , an
an g u ish ed e m e r g e n c e of th e p r im a r y in d o m ita b le o s sific a tio n w h ich
. . . the lig h t e le c tr ic a u r a of youth h a d m e r e ly te m p o r a r ily a s s a u g e d
but n e v e r c o n c e a le d " (p. 186). E ith e r Q u e n tin 's a d m ira tio n of th e in
d o m itab le s p i r i t of J u d ith m a k e s h im fo r g e t th a t she too was a v ic tim
of h e r f a th e r 's c a lc u la tio n and d e sig n , o r F a u lk n e r, c o n tro llin g th e
s tra n d s of im a g e r y , is su g g e stin g th a t o s s if ic a tio n is a state of v ic
tim iz a tio n as m u c h as re d u c tio n to the balloon s ta te . W h atev er th e
c a s e m ig h t b e , Ju d ith m an n ed th e s to r e as h e r fa th e r and W ash Jo n es
had b efo re h e r , "u n til she sold the s to r e at la s t and sp e n t the m o n ey
fo r a to m b s to n e " (p. 187). T h at what little w as left of th e Sutpen
e s ta te should be sp en t to buy a to m b sto n e is one of the g r im jo k e s
w hich tim e p la y s on th o s e who w aste it in the n a m e of c o n se rv in g it.
N a tu re finally d ig e ste d th e u n n a tu ra l d e sig n of a m an who would n e v e r
know what h is m is ta k e h ad been.
Sutpen h a d in d eed b een " b a n k ru p t with th e in co m p eten ce of
ag e" (p. 325), and h is so n s h ad done "th e p ay in g ," b e c a u s e , as S h rev e
flippantly m a in ta in s , th a t w as th e way it was done in th e old days when
"the old A b ra h a m full of y e a r s . . . in c a p a b le now of fu r th e r h a r m ,"
p ra y e d to the God of ju s tic e to r e s t o r e h is flo ck s and h e r d s f r o m the
hands of the r a v i s h e r . He a p p a re n tly did not p r a y fo r h is sons. The
b an k ru p tcy w h ich to o k p la c e in tim e c le a r ly w as not, fo r all of S utpen's
f e a r s , the c a ta s tro p h e of his life , only th e c o n tex t fo r it.
151
W hen Q uentin and S h rev e c o n s tr u c t the Sutpen ta le , th e y a re
involved in a "n ak ed s e a rc h in g " o b s e s s e d "not w ith t im e 's d ra g g in g
w eight w hich the old liv e w ith, but w ith its fluidity: th e b rig h t h e e ls of
a ll the lo s t m o m e n ts of fifte e n and s ix te e n " (p. 299). Out of th e fluid
c ra d le of e v en ts a r e b o rn th o s e people and th o se situ a tio n s w hich allow
f o r life and love o r fo r o p p re s s io n and g h o s t-life .
N a r r a tiv e c r e a tio n of the Sutpen s to ry is an a tte m p t on the p a r t
of the n a r r a t o r s to cope w ith both e la p s e d and y e t-e la p s in g tim e . The
c re a tio n its e lf h a s th e p ow er to b r e a th e life o r d eath into Q uentin.
W hen the n o v e l b e g in s, p a st tim e is a lre a d y e n c ro a c h in g upon Q u en
tin 's p r e s e n t, but th e r e a d e r b eg in s to r e a liz e th a t if Q uentin c a n
g r a s p , as F a u lk n e r h a s , th a t the e v e n ts re c o n s tr u c te d a r e n o t only
deeply h o rr ify in g but also profo u n d ly h u m an , he n eed not end up " o ld e r
a t tw enty th a n a lo t of people who have died" (p. 377).
T he tr a g e d ie s of H e n ry and Bon begin to sh ift the b a lan c e
a g a in st Q uentin. H is own hope fo r n o r m a l life s e e m s tie d up in
H e n ry 's an d C h a r le s ' c a p a c ity to s u rv iv e the e x p e rie n c e s of th e ir
youth. Q uentin and S h rev e s it "in th e now to m b lik e a i r , " r e c o n s t r u c t
ing C h a rle s B o n 's fu tile s e a r c h fo r a f a th e r , and H e n r y ’s th w a rte d
s e a r c h fo r a b r o th e r . L ike Bon, Q uentin "w as s till young, and . . .
I d id n 't even know i t " (p. 321). S ince he knows th e o u tco m e of th e S u t
p en sto ry and the w o rk in g out of the tra g e d y in tim e , h is r e c o n s tr u c -
tiv e a ctiv ity is a la r g e ly fa ta lis tic a c tiv ity fo r Q uentin u n le ss h e can
152
ste p o u tsid e the tim e - f r a m e he is in, an d le t the s to ry touch h im anew.
Since he d e riv e s a m a s o c h is tic p le a s u r e fr o m su b m ittin g to a p a st he
fe e ls fa te d to c a r r y in g a ro u n d w ith h im , h is c a re fu l w orking out of the
Sutpen p u zzle is a p u re ly a c a d e m ic s u s ta in in g of life. A b sa lo m , A b s a
lom ! b e c o m e s a p o r tr a it, on tw o le v e ls , of a tra g ic and m isg u id e d
a tte m p t to e sc a p e the r e a lity of tim e 's p a ss in g . Sutpen and Q uentin
have an a d v e r s a r y re la tio n s h ip to life and tim e .
S h rev e s e e m s to u n d e rs ta n d how im p o rta n t it is to Q uentin to
" s e e " H en ry S u tp en 's p re d ic a m e n t. S h re v e ta u n ts Q uentin fre q u e n tly ,
but a lso aid s h is frie n d , in a lim ite d w ay , by keeping h im f r o m fixating
on th e fa c t th a t he h as ou tliv ed h im s e lf "by y e a r s and y e a r s and y e a r s "
(p. 377). B ec a u se S h rev e does not fu lly r e a liz e th at Q uentin is , in
r e g a r d to th e r e c o n s tr u c tiv e p r o c e s s , a m o th flying into the fla m e , he
is u n able to a v e r t the c a ta s tro p h e .
The o n e u p m an sh ip of th e n a r r a tiv e p r o c e s s , a k in to the fe a ts of
th e h a r r i e d a r c h ite c t, and p o ssib ly to F a u lk n e r 's v ic to rie s in o r g a n iz
ing h is difficult m a te r ia ls into a p la u sib le w o rk of a r t , d is tr a c ts
Q uentin, fo r a tim e , f r o m his own c o m m itm e n t to the p a st. Q u en tin 's
"I a m te llin g " (p. 277), and S h r e v e 's " L e t m e play now " (p. 280), a re
e ffo rts on the p a r t of the young n a r r a t o r s to c o n c e n tra te on the fluidity
of tim e r a th e r th an on its d ra g g in g w eight.
i
| Sutpen h ad a tte m p te d to m ake a s c r a tc h on the r o c k of im m o r -
I
I
Itality , to c r e a te a fu tu re fo r h im s e lf an d his progeny b e c a u s e h is
153
tra u m a tic p a s t s e e m e d to n e c e s s ita te su ch a design. T h e re is an
a m o ra lity in his d e sig n , ju s t as th e r e is a c e r ta in a m o ra lity in Q u e n
t i n 's a lm o s t d e s p e r a te a tte m p t to re c a p itu la te the Sutpen s to ry . S u t
p e n 's a m o ra lity ta k e s its to ll in h u m an liv e s , and Q u e n tin 's d e sig n
p ro d u c e s a h u m an d r a m a w hich w ill e n d u re , even if Q uentin h im s e lf is
u n ab le to re sp o n d to the h u m a n n e s s , thus je o p a rd iz in g h is own fu tu re .
A ll the h o r r o r s of a p a st tim e w eigh down Q u en tin 's p r e s e n t, p a r a
do x ically r e n d e rin g h im w e ig h tle s s , his h u m an ity having e sc a p e d h im .
F a u lk n e r 's s tru g g le a g a in s t tim e , b e c a u se it is s u c c e s s fu l,
b e co m e s so m eth in g of an a llia n c e . The a r tis t, "d riv e n by d e m o n s,"
s tru g g le s to get h is s to ry o ut. F a u lk n e r acknow ledged tro u b le s in
w ritin g A b sa lo m , A bsalom .1, but c a m e back to the novel a fte r d ro p p in g
it fo r a w h ile , b e c a u s e the s to ry h au n ted him ; it had to be told. The
a r t i s t 's " n e v e r m o r e of s le e p " is as r e a l as H e n ry 's in th e Sutpen ta le ,
o r Q u en tin 's in h is r e c a p itu la tio n of H e n ry 's e x c ru c ia tin g ch o ice.
V andeK ieft n o te s th at
Sutpen s t a r t s , lik e F a u lk n e r , w ith a blank page; he h a s nothing
but his " d e s ig n ," th e ch ild of h is own im ag in atio n , to atten d h im
in the lo n g a c tio n ahead w hich w ould s u re ly fiz z le out . . . w e re
it not f o r the a lm o s t lim itle s s stay in g pow er of his m in d and w ill.
N oting th a t it is ch iefly to J u d ith th a t Sutpen p a ss e s on h is d riv in g
e n e rg y a g a in s t tim e , V andeK ieft a rg u e s th at
i
A p p ro p ria te ly , it is th ro u g h a few pages of w ritin g , by m e a n s of
la n g u a g e , th a t J u d ith t r i e s to " f re e z e " o r fix the sig n ific a n ce of
h e r l o v e r 's life and h e r ow n, to p a ss on to an o th er h u m an b ein g
so m eth in g d u ra b le in a w o rld of tr a g ic c o n fu sio n , e v a n e s c e n c e ,
154
and l o s s . A p p ro p ria te ly too, it is to a r e la tiv e s tr a n g e r ("the
s tr a n g e r the b e tte r " ) th a t she e n tru s ts th is "d o c u m e n t," as the
n o v e lis t e n tr u s ts h is w o rk to s tr a n g e r s of the p r e s e n t and f u tu r e - -
h is r e a d e r s . ^
J u d ith is m o s t so lic ito u s a b o u t settin g up to m b s to n e s and h aving th e m
in s c r ib e d . She is c o n v in ced th a t "all you h a v e le ft is a block of stone
w ith s c r a tc h e s on it p ro v id e d th e re w as s o m e o n e to r e m e m b e r to have
th e m a r b le s c r a tc h e d and s e t up o r had tim e to " (p. 129). A t one
p o in t, Q u en tin ev en im a g in e s
w hat c a r e f u l p rin te d d ire c tio n s Ju d ith m u s t h av e ro u s e d h e r s e lf
(fro m d e lir iu m p o ssib ly ) to w rite down f o r C ly tie w hen she knew
th a t sh e w as going to die . . . to fin ish p aying out fo r the stone
on w hich Ju d ith h ad p aid h is g ra n d fa th e r th e h u n d re d d o lla rs
tw e n ty -fo u r y e a r s ago. . . . (p. 210)
J u d ith , d e sp ite h e r S u tp e n is m -- s h e does u rg e C h a r le s E tien n e to d i s
h o n o r h is m a r r ia g e c o n tr a c t with an " in e sc a p a b ly n e g ro " wife (p. 208)
- - a l s o lo v e s , m u ch in th e w ay th at an a r t i s t m u s t love to m a k e h is
s c r a tc h on th e ro c k of im m o r ta lity , not so m u c h out of s e l f - i n t e r e s t as
out of a s e n s e th a t so m e th in g valuable is th u s im m o r ta liz e d . Ju d ith
g iv e s Q u e n tin 's g ra n d m o th e r C h a rle s B o n 's l e t t e r b e c a u s e she loves
th e m an who tr i e d to c a p tu r e the past: "w ith in th is s h e e t of p a p e r you
now hold th e b e s t of the old South which is d e ad . . . " (pp. 131-132).
F u r t h e r , J u d ith is anxious to fr e e z e the b e s t of th e o ld South in the
in s c r ib e d to m b s to n e s w hich she sells the S utpen s to r e to buy.
L an g u ag e jo in s "the little su rfa c e c o r n e r s and ed g es of m e n 's
s e c r e t and s o lita r y liv e s . . . fo r an in s ta n t now and th e n " (p. 251),
155
and "the d a rk n e s s w h e re the h u m an s p ir it c r ie d " is illu m in a te d a n u m
b e r of tim e s in A b sa lo m , A bsalom ! th ro u g h the m ed iu m of le tte r s .
S h rev e and Q uentin face each o th e r, fo r in sta n c e , a c r o s s the la m p lit
tab le on the s u rfa c e of w hich "lay the fra g ile p a n d o ra 's box of s c ra w le d
p a p e r . . . w hich had fille d [th e ir] d re a m y and h e a tle s s alcove [w ith]
w hat we c a ll the b e st of thought" (p. 258). In th at le tte r , M r. C o m p -
s o n 's account of R o s a 's fu n e ra l, M r. C om p so n notes th a t "they had to
u se picks to b r e a k the e a r th fo r the g ra v e , yet in one of the d e e p e r
clods I saw a re d w o rm d o u b tless alive . . . " (p. 377). P e rh a p s a p a r t
of R o sa w ill en d u re th ro u g h h e r p le a a g a in st Sutpen, im m o r ta liz e d by
Q uentin. The e ffo rt of a re d w o rm to su rv iv e in fro z e n so il is s y m
bolic of the h u m an s tru g g le to m ak e so m e s c r a tc h on the ro c k of m o r
ta lity . Sutpen and his c h ild re n a r e as o b s e s se d as R o sa w ith th a t lo n g
ing. No one had e v e r h elp ed th e m to see th at the m o s t hu m an e ffo rts
a r e the m o s t e n d u rin g , th a t s h e e r c o u ra g e , though a d m ira b le , is not
a su b stitu te fo r s e lfle s s love.
The r e a d e r of F a u lk n e r 's living w ords u ltim a te ly a tte s ts the
im m o rta lity of the a u th o r's e ffo rts. The r e a d e r opens a p a n d o ra 's box
of s c ra w le d p a p e r, finds w o rd s w hich have the pow er to m ove h im ,
not s te r ile "faked r e p o r ts " like S h re v e 's h y p o th etical la w y er c r e a te s ,
and which tu rn to a sh e s in the hand of E u la lia who cannot re a d the
language.
156
A s V andeK ieft o b s e r v e s ,
when h is f a th e r 's le tte r a r r i v e s , c a r r y in g th e n ew s of M iss R o s a 's
d eath and th e o d o r of w is ta r ia " a c r o s s the s tr a n g e ir o n N ew E n g
land snow " into h is ro o m , Q uentin co n tin u es h is g h o stly office of
the r e s t l e s s haunting of sc e n e s and p e rs o n s f r o m o ut of th e p a st
. . . T im e is fro z e n lik e the night; y et th e p a s t c o m e s aliv e as
do the tw o young stu d en ts in th e ir p a s s io n a te r e c r e a tio n of i t . ^
T he w r i t e r s and p r e s e r v e r s of l e t t e r s , the s c r a t c h e r s of s to n e s , the
e n g r a v e r s of m a r b le m o n u m e n ts en gage in f u tu r e - o r ie n te d a ctiv ity .
S h a k e s p e a re d is tills the a r t i s t 's d ile m m a w hen he a s k s how fr a g ile
b eau ty m ig h t hold a plea a g a in st th e ra g e of T im e . V andeK ieft notes
th a t th e n a r r a t o r s in A b sa lo m , A b salo m ! fu lfill w hat F a u lk n e r h im s e lf
" d e s c rib e d as th e a r t i s t 's aim : 'to a r r e s t m o tio n , w hich is lif e , by
a r tif i c ia l m e a n s and to hold it fixed so th a t a h u n d re d y e a r s l a t e r ,
14
w hen a s tr a n g e r looks a t it, it m o v es a g ain sin c e it is lif e .' " The
r e d w o rm liv e s .
W h ate v e r F a u lk n e r m ay have b een doing w ith Q uentin in The
Sound and the F u r y , and su g g e sts he is doing by p o rtr a y in g Q uentin as
dead to th e p r e s e n t and aliv e to the p a s t in A b sa lo m , A b s a lo m !, he is
a ls o m a k in g a m o r e p o sitiv e s ta te m e n t in th e la t t e r n o v e l, a s ta te m e n t
w hich d r a m a tiz e s h is co n v ictio n th a t a r t c an d e fe a t tim e by c atc h in g
" th is flu id ity w hich is h u m an life . . . focus a lig h t on it and . . .
15
sto p it long enough fo r p eople to be ab le to see it."
V e ris im ilitu d e , th a t "lo g ic - and r e as o n -flo u tin g q u a lity " w hich
c an m o v e a d r e a m e r "to c re d u lity ," d e p en d s, F a u lk n e r a s s e r t s in one
157
of h is r a r e in tru s io n s in the opening pages of the novel; "upon a fo r m a l
reco g n itio n of and a cc e p ta n c e of e la p s e d and y e t-e la p s in g tim e as
m u sic or a p rin te d ta le " (p. 22). The r e a d e r of A b salo m , A bsalom ! ,
if he fo rm a lly re c o g n iz e s and a c c e p ts tim e p a s t and tim e p a ssin g , is
in a position to e x p e rie n c e the h o r r o r , p le a s u re , o r a m a z e m e n t w hich
both the Sutpen tale and the te llin g of it evoke.
If the r e a d e r w e re to fo c u s upon the u n d ercu ttin g ro le of tim e ,
h o w ev er, he would m is s the m a jo r f o r c e of F a u lk n e r 's a c c o m p lis h
m en t. It is t r u e th at tim e , em b o d ied in W ash Jo n e s, the white t r a s h
who co m es to re a liz e th e way Sutpen h a d b een looking a t h im , u sin g
h im , re a p s S u tpen's life. The Sutpen ta le does not end th e re . S u t
p en 's u tte r d ed icatio n to his d e sig n , to the e x clu sio n of hum an s e n s i
tiv ity and lo v e, is the u ltim a te u n d e rc u t. Q uentin and S h rev e a r e not
m oved by S u tp en 's death; they a r e m o v e d by the tra g ic ra m ific a tio n s of
his inhum anity.
Sutpen saw tim e as h is enem y b e c a u se he could not co n ceiv e of
a way to co m b at the in h u m a n ity of P e ttib o n e and o th er r ic h m en w hich
would re d e e m the p a st. He s e ttle d fo r re p e titio n of the old m is ta k e s .
F a u lk n e r, on th e o th e r hand, s tru g g le s a g ain st tim e , but r e c
o gnizes that tim e is r e a lly h is ally. L ike th e a rc h ite c t who c u rb s the
m ag n ificen ce of the Sutpen m a n sio n , F a u lk n e r knows th at the tim e
a llo tte d him c a n be th e context fo r a c re a tiv e a ffirm atio n . Out of h is
unique past and c u r r e n t c ir c u m s ta n c e s , he c an fash io n a w o rk w hich
158
w ill liv e on. If lo v e, and c o m p a s s io n , and p e rs o n a l s a c r if ic e go into
h is w ritin g , old old w o rd s w ill be re in v ig o ra te d . H is th r e a d of l a n
guage, in clu d in g th e a r tis tic a lly c o n tro lle d s tra n d s of im a g e ry , w ill
re d e e m the p a s t if th ey have th e pow er to m ove h is r e a d e r s . F a u lk n e r
d o e s, in h is b e s t n o v e ls, c r e a te v ic to ry out of d efeat.
L ik e Q uentin, th e n o v e lis t s tru g g le s to te ll the tr u th about the
p a st, and s u c c e e d s . U nlike Q uentin, F a u lk n e r r e f u s e s to le t th e tru th
o v e rw h e lm h im . He re fu s e s to re p u d ia te the p a s t, b e c a u se he finds
h is own lif e 's blood in th e tru ly h u m a n f a ilu r e s of h u m an b eings who do
not sto p s triv in g to m a k e th e ir liv e s m ean in g fu l, h o w e v er m is d ir e c te d
th e ir z e a l m ig h t be.
F in a lly , F a u lk n e r re fu s e s to a c c e p t the ty ra n n y of e la p s e d and
y e t-e la p s in g tim e . He is not u n d e rc u t as Sutpen i s - - e i t h e r by tim e ,
o r by the te m p ta tio n to re d u c e in d iv id u al p e rs o n s to the s ta tu s of c o m
ponents in h is d e sig n . F a u lk n e r is th re a te n e d by tim e , but does n o t
view d e ath a s a te r r if y in g th r e a t. H is life has b e e n p ro d u c tiv e , not
d e s tr u c tiv e . N or does he su ffer th e u ltim a te tra g e d y w hich Sutpen
d oes; he r e ta in s h is h u m an ity w hile co m p letin g h is d esig n .
159
N otes
^ J e a n - P a u l S a r t r e , "A p ro p o s de 'Le r u it et la f u r e u r ': La
te m p o ra lite c h e z F a u l k n e r,1 1 La N ouvelle R evue F ra n < ;a ise , 52 (Ju n e,
1939), 1057-1061; c o n tin u ed , 53 (Ju ly , 1939), 147-151. T r a n s la te d by
M a rtin e D a rm o n and r e p r in te d in T h re e D e c a d e s , pp. 2 2 5 -2 3 2 .
^ S a r t r e , pp. 227-228.
3
S a r t r e , p. 229.
4
S a r t r e , p. 232.
5
B ro o k s , p. 309.
^ F a u lk n e r to J e a n S tein , in "A n In te rv ie w ," r e p r in te d in T h re e
D e c a d e s , p. 76.
J o se p h C o n ra d , P r e f a c e to The N igger of th e N a r c is s u s (New
Y ork, I960) , p. 27.
g
W illia m F a u lk n e r , "The S tockholm A d d r e s s ," r e p r in te d in
T h re e D e c a d e s , p. 348.
9
R uth M . V andeK ieft, " F a u lk n e r's D efeat of T im e in A b sa lo m ,
A bsalom .1," S o u th e rn R ev iew , 6 (W in ter, 1969), 1100-1109.
^ V a n d e K ie ft, p. 1100.
* * V andeK ieft, p. 1100.
^ V a n d e K ie f t, p. 1102.
^ V a n d e K ie f t, p. 1105.
^ V a n d e K ie f t, p. 1105.
15
F a u lk n e r in th e U n iv e rsity , p. 239.
CHAPTER VII
CRITIQUES OF CHANCERY:
LEGALISM VERSUS LIVING
In C h ap ter II, m y d is c u s s io n of the c alc u la tio n and balancing
im a g e ry which p e rv a d es A b sa lo m , A b sa lo m !, the s t r e s s was upon the
n aiv e " m o ra lity " of T hom as S utpen, and th a t m o r a lity 's d e s tr u c tiv e
n e s s . A s G ran d fath er C om p so n a s s e r te d , h o w e v e r, "S utpen's tro u b le
w as innocence" (p. 220) - - a fa c t r e p e a te d w ith a lm o s t in finite v a ria tio n
by Q uentin in C h ap ter Seven of the novel. F o r all his d e s tr u c tiv e n e s s ,
Sutpen w as ra d ic ally in cu lp ab le. F u r t h e r , Sutpen liv ed , and fought,
and su ffe re d , and en d u red in the m a rk e tp la c e . When F a u lk n e r said at
W est P o in t th at the " w o rst p e r v e r s io n of all is to r e t i r e to the ivory
to w e r ," he im p lied th at m en lik e Sutpen m ay be d e sp o ile rs of the land
an d in s tig a to rs of ev il, but th e r e is a g r e a te r fa ilu re , the kind a s s o
c ia te d w ith Q uentin (or Ike M cC aslin in Go Down, M o se s ). T h ere is
c o n sid e ra b le evidence in A b sa lo m , A bsalom ! th a t T hom as S utpen's
d e s tr u c tiv e n e s s is not the m o s t s e r io u s fa ilu re in the novel, desp ite
R o s a 's im p a ssio n e d p leas to th e c o n tra ry . W hat does co m e under
ju d g m en t is (1) the r e t r e a t f r o m life in the p r e s e n t, rep u d ia tio n of th e
160
r e
p a s t's in tru s io n into the p r e s e n t, Q u en tin 's m o s t s e r io u s p ro b le m , and
(2) th e Sutpen and s o c ie ta l m e n ta lity , th e p ro p e n sity to a c c e p t the
v alid ity of a c a s te s y s te m w ith its logic and le g a lis m , a m e n ta lity
w hich s u b o rd in a te s h u m an v alu es to s im p le ju s tic e , m a k in g the s p ir it
lia b le to the law. T his c h a p te r is c o n c e rn e d p r im a r i ly w ith F a u lk n e r 's
c ritiq u e of the le g a listic m e n ta lity .
Only one c r itic a l a r tic le in th e canon of F a u lk n e r c r i t i c i s m h as
fo c u s e d upon what L u s te r c a lls " la w y e r" w o rd s in A b sa lo m , A bsalom !
(p. 215). M arv in K. S in g leto n m a k e s a s tro n g c a s e f o r a s tr u c tu r a l
p rin c ip le in the n o v el w hich d ra w s upon the C o m m o n L aw tra d itio n :
T h ro u g h o u t the te x t of A b sa lo m a r e ir o n ic , in c a n ta to ry , and
d e s c rip tiv e t e r m s d e riv e d fr o m ad v o cacy , judging, and le g a l h i s
to r y . Inquiry into th e s e a s p e c ts of the n o v el r e v e a ls C olonel
S u tp e n 's m a sc u lin e and d y n a stic a s s e r tio n s to c a r i c a t u r e the
C o m m o n Law s ty le and v a lu e s. . . . F a u lk n e r m a k e s sig n ific a n t
u s e of E quity p lead in g a s a n a r r a tiv e d e v ice , and th e g e n e r a l
f r a m e of the novel c o r r e s p o n d s in la r g e p a r t to a h e a r in g on a
B ill in C h an cery b e fo re Q uentin and S h rev e as " C h a n c e ry
M a s te r s ." ^
S in g le to n 's a r tic le c ite s m a n y e x a m p le s w hich would s u g g e s t th a t
F a u lk n e r w as in d eed f a m ilia r w ith " id io s y n c r a s ie s of E q uity plead in g
th a t, h o w e v er m u ch th ey e m b a r r a s s e d j u r i s t s , would n a tu r a lly engage
2
the m o d e rn n o v e lis t."
B ills in E quity c h a r a c te r is tic a lly c o n tain ed the s a m e s to r y , to ld
th r e e tim e s o v e r, though w ith a slig h tly d iffe re n t to n a l e m p h a s is
e a c h tim e ; and R o s a 's s to r y is la id out fo r Q uentin in th r e e d i s
tin c t f o r m s , e a c h le s s f o r e s h o r te n e d th an its p r e d e c e s s o r .
R o s a 's B ill, as in e a r ly E q u ity p lead in g , w as su b m itte d by w o rd
of m o u th , leav in g it to th e c o u rt to re d u c e it to w ritin g ; . . .
R o s a . . . is duly d e s c r ib e d , e ith e r by h e r s e lf , o r o th e r s , as to
T52
g e n d e r, abode, title s of dignity (p o etess la u re a te ; M iss R o sa , as
Q uentin re p e ate d ly in s is ts ) , and the c h a r a c te r in w hich she su es
(as M r. C om pson p ro m p tly e x p lain s: a S o u th ern lady ghost [12-
13]). The " sta tin g " p a r t of h e r B ill, giving fa c ts , c ir c u m s ta n c e s ,
and g rie v a n c e ; the " c o n fe d e ra tin g " p a rt of h e r B ill (m o stly d e v e l
oped by R o sa on W ash Jo n es); and the "ch a rg in g " p a r t of h e r B ill,
w ith m a tte r s of d e fe n se , a n tic ip atio n of h e r d efen d an t's e x c u s e s ,
and c o u n te rc h a rg e s to the e x c u s e s , a r e w orked into C h a p te rs I
and V. A " ju ris d ic tio n " c la u s e w ould be the s h e e r e s t su p erflu ity
in view of R o s a 's u p b rin g in g , te m p e ra m e n t, g rie v a n c e , and m i s
sion. R o sa is co m p elled to tu r n to w a rd E quity at the lev el of
E q u ity 's fatuous m a x im s: "E quity does not su ffer a w rong to be
w ithout a re m e d y . . . . " M o re o v e r, R o sa co n clu siv ely m e e ts
the p rim e re q u is ite f o r eq u itab le ju risd ic tio n : the inadequacy of
a re m e d y in an actio n at Law . Indeed, h e re not only did Sutpen
do " irre v o c a b le and in c a lc u la b le d am ag e" (60), he did so w ithout
giving R o sa "grounds fo r civ il o r tr i b a l action, " ex cep t in E q u ity .
If S in gleton's a rg u m e n t s e e m s too ingenious to be c re d ib le , if he a p
p e a r s to have fit the n o v el into a P r o c r u s te a n bed, it is only f a ir th a t I
re p e a t h is own qualificatio n : "B ut the a u th o r's to u r - d e - f o r c e re lia n c e
on the E quity fr a m e w o rk is too u n o b tru siv e and too su p p lem en ted by
o th er n a r r a tiv e d ev ices to re d u c e th e novel to an a lle g o ry , j u r i s p r u -
4
d en tial o r o th e rw is e ." Singleton s e e m s to see a re s e m b la n c e b etw een
F a u lk n e r 's u se of E quity in A b sa lo m , A bsalom ! and D ick en s' u se of the
sam e fra m e w o rk in B leak H o u se , both novels c ap italiz in g upon the
a b su rd ity of s t r i c t ju s tic e which is m o re of a stum bling block to the
one suing fo r ju s tic e th a n an aid to equitable and hum ane judgm ent.
The r e a l value of the S ingleton a r tic le , I b eliev e, is th a t it
puts R o sa C oldfield into p e rs p e c tiv e . H er loathing of any a r r a n g e m e n t
w hich w ould m ak e h e r a m e r e " v e n te r" fo r Sutpen, as was h e r s i s t e r
T E T
E lle n , is not so m u ch th e p ro d u c t of o u tra g e d "old f le s h long e m b a ttle d
in v irg in ity " (p. 8) as it is the o u tg ro w th of a ro m a n tic d e s ir e fo r S u t
pen to be "a t l e a s t c h iv a lro u s fo r the in s ta n t ev en th ough u n r e g e n e r a te "
(p. 23). R o s a 's defense of the " s h a d o w - r e a lm of m a k e - b e lie v e "
(p. 147) d e v elo p s into a p a ss io n a te p le a fo r th e w o m a n ’s rig h t to c h e r
is h " th a t m ig h t-h a v e b e en w hich is the sin g le ro c k we clin g to above
the m a e l s t r o m of u n b e a ra b le re a lity . . . to sa lv a g e at le a s t f r o m the
h u m b le d in d ic te d d u st so m eth in g anyw ay of th e old lo s t e n c h a n tm e n t of
th e h e a r t " (pp. 149-150). R o s a 's n eed to h av e so m e th in g , to do s o m e
thing w h ich w ill la s t is no le s s a d m ira b le th a n S u tp e n 's d e s ir e to found
a d y n a sty w hich, he o rig in a lly in ten d ed , w ould c o m b a t and d e fe a t the
in h u m a n ity of o v e r lo r d s like P e ttib o n e . R o s a 's n eed fo r a h e a r in g
("I w ill te ll you w hat he did and le t you be the judge") (p. 166), h e r
a s s u m p tio n of h e r ro le as " lo v e 's an d ro g y n o u s a d v o c a te " (p. 146) is
n ot le s s a d m ira b le th an S h r e v e 's c o m p u lsio n to " p ro v e " th at love
e x is te d b etw een Bon and Ju d ith and H e n ry , o r th a n Q u e n tin ' s fa s c in a tio n
w ith th e p rin c ip a l fa c ts of the Sutpen s to r y , d e sp ite h is d re a d of having
to h e a r it all a g ain , e sp e c ia lly the p a r t about H e n r y 's m u r d e r of Bon.
W hat is tr a g ic is r e t r e a t fr o m " d irt o r filth , o r b a s e n e s s o r c o w a rd
ic e ." R o s a 's n a r r a tiv e m ay be highly d is to r te d , but R o s a h e r s e lf is
n o t to be ju d g ed h a rs h ly .
A n o th e r a ttra c tiv e a s p e c t of w eighing th e le g a lis tic ja r g o n into
an e v a lu a tio n of A b sa lo m , A bsalom ! is th a t s u c h im a g e r y , u ltim a te ly
164“
grounded in A n g lo -A m e ric a n leg al c u ltu re , fu r th e r e m an c ip a te s
F a u lk n e r's novel fr o m c h a r g e s th at it is sim p ly an e x p lo ra tio n of s e c
tio n al m o r e s . F a u lk n e r is te llin g the tr u th about th e killing influence
af the le tte r of the law , an influence w hich is but a n o th er sy m p to m of
the u n iv e rs a l ten d en cy to b u ild up s y s te m s , in stitu tio n s, w hich do m o re
l a r m than good to the people whom th ey w e re intended to s e r v e .
In h is a r tic le , S ingleton alludes to " T h o re a u 's w ell-know n
critiq u e of D aniel W e b s te r's C om m on L aw le g a lism : 'The la w y e r 's
5
truth is not tru th , but c o n siste n c y , o r a c o n siste n t ex p ed ien cy. 1 " One
D f T h o re a u 's e s s a y s , "Life W ithout P r in c ip le ," can function as a c o u n
terp o in t to the d e stru c tiv e innocence of S utpenism . T h o reau s ta te s
p re c ise ly th e le g a lis m v e r s u s living is s u e s with w hich I b eliev e F a u lk
ner is m o s t c o n c e rn e d in A b sa lo m , A bsalom .1. T h o reau , like F a u lk n e r,
is n ot in te re s te d in the m e r e accu m u latio n of fa c ts. He in s is ts th at
"to re la te o u rs e lv e s to a u n iv e rs a l fa c t w ould p r e s e r v e us san e f o r -
£
e v e r ." In h is e s s a y , T h o rea u d e p lo re s the fact th a t th e re a re so
m any p re a c h e rs and so few m o r a l te a c h e r s ; he inveighs a g ain st a ll
fo rm s of tr iv ia , p a r tic u la r ly the c o m p ila tio n of it in n e w sp a p e rs; and,
finally, he a tta ck s one of h is fa v o rite t a r g e t s , ch an cery :
Think of ad m ittin g the d e ta ils of a sin g le c a s e of th e c rim in a l
c o u rt into ou r th o u g h ts, to sta lk p ro fan e ly th ro u g h th e ir v ery
san c tu m s a n c to ru m fo r an h o u r, ay, fo r m any h o u rs ! to m ake
a b a r r o o m of the m in d 's in m o s t a p a r tm e n t. . . . T h e re is in s p i
ra tio n , th a t g o ssip w hich c o m es to the e a r of the a tte n tiv e m in d
fr o m the c o u rts of h eav en . T h ere is the profane and s ta le r e v e
la tio n 'o f the b a r r o o m and th e police c o u rt. ^
. Y E r
B ec a u se T h o rea u f e lt th at "th e ch ief w ant, in e v e r y s ta te th a t I have
b een in to , w as a h ig h and e a r n e s t p u rp o se in its in h a b ita n ts," m e r e
le g a lis m , e s p e c ia lly when (as in A b sa lo m , A b sa lo m !) it re d u c e s m en
to fu n c tio n a rie s , s la v e s , w as an u n a c c e p ta b le and e m a s c u la tin g in flu
en ce in so cie ty : "the g re a t r e s o u r c e s of a w o rld [ a r e ] not s la v e s or
o p e ra tiv e s , b ut m e n ."
"L ife W ithout P r in c ip le " o ffe rs an im p o r ta n t c o m m e n ta ry on
a s p e c ts of A b sa lo m , A bsalom ! b e c a u se it i s , by and la r g e , a c ritiq u e
of A m e ric a n life cau g h t up in r e s p e c ta b ility and c o n v en tio n ality , cut
off f r o m the liv in g to u ch of h u m a n c o n s id e r a tio n s , "as if we w e re all
h u sk and s h e ll, w ith no te n d e r and liv in g k e r n e l to u s ."
The Sutpen m e n ta lity p e rv a d e s so c ie ty as T h o rea u view s it:
L e t us c o n s id e r the way in w hich we sp en d o u r liv e s . . . . It is
nothing but w o rk , w o rk , w o rk . I can n o t e a s ily buy a blankbook
to w rite th o u g h ts in; they a r e co m m o n ly r u le d fo r d o lla rs and
c e n ts . An Ir is h m a n , s e e in g m e m a k in g a m in u te in th e fie ld s ,
to o k it fo r g ra n te d th at I w as c a lc u la tin g m y wages.®
P a r t of the p ro b le m , of c o u r s e , is th a t s o c ie ty 's v alu es do not have a
tr u ly m o r a l f r a m e of re f e r e n c e : "If I c h o o se to devote m y s e lf to c e r
ta in la b o rs w hich y ie ld m o re r e a l p ro fit, though but little m o n ey ,
[people] m a y be in c lin e d to lo o k on m e as an i d le r ."
T h o re a u r e la te s an a n ecd o te w hich r a i s e s an is s u e v e ry s im ila r
to th e one r a is e d by S u tp en 's s in g le -m in d e d e x e rtio n in tra n s p o rtin g
the to m b sto n e s a c r o s s the South m e r e ly to add p r e s tig e to h is e s ta te .
T h o rea u se e s a w o rk m a n w h o se te a m is d raw in g a huge sto n e, doing
166
"h o n est, m a n ly to il." L a te r , T h o rea u n o tices the "sto n e of th e m o r n
ing lying b e sid e a w h im s ic a l s tr u c tu r e intended to a d o rn " the p r e m is e s
d £ the n e a rb y e s ta te .
The dignity fo rth w ith d e p a rte d f r o m the t e a m s t e r 's la b o r, in m y
e y e s . . . . I m a y add th a t h is e m p lo y e r h a s since ru n off, in
debt to a good p a r t of the tow n, and, a fte r p a ssin g th ro u g h C h a n
c e r y , h as s e ttle d s o m e w h e re e ls e , th e re to b e c o m e once m o r e a
p a tro n of th e a r t s . 9
T h o re a u fe lt th a t so cie ty o rd in a rily p ay s people "for being
so m eth in g l e s s th an a m a n ." Singling out one of the v irtu e s m o s t c o n
spicuous in T h o m as S utpen, T h o re a u su g g ests th a t " a m a n m a y be v e ry
in d u strio u s, and y et n ot sp en d h is tim e w ell." He in s is ts th at "you
m u st get y o u r liv in g by lo v in g ," and "the life of m e n g e n e r a lly , t r i e d
by th is s ta n d a rd , is a f a ilu r e ." He c o n tra s ts th e m a n "who is s a tis fie d
with a lev el s u c c e s s , th a t h is m a rk s can all be hit by p o in t-b la n k
s h o ts ," w ith th e m an who, h o w ev er low and u n s u c c e s s fu l his life m a y
be, "co n sta n tly e le v a te s h is a im ." A gain, S u tp en 's u ltim a te ly un fu l-
filling " s u c c e s s " c o m e s to m in d .
T h o re a u a s k s , "How c a n one be a w ise m an , if he does not know
any b e tte r how to liv e th an o th e r m e n ? " "Is th e r e any such th in g as
w isd o m not a p p lie d to lif e ? Is she m e r e ly the m ille r who g rin d s the
fin e st lo g ic ? " The u tte r ly ju s t m an , th e expounder of le g a lis m , the
pro p o n en t of logic a lo n e , is th e m an who, like Sutpen, looks to h is d e
sign, not to its ra m ific a tio n s . When su ch m en "win, so cie ty is the
l o s e r ."
167
T h o re a u m a k e s an in te re s tin g o b s e r v a tio n about m en who
in h ab it the A u s tra lia n gold d ig g in g s, " v a lle y s , w ith th e ir s t r e a m s , a ll
cut up w ith foul p its ," a t e r r a i n s im ila r to the c o u n try Sutpen c a m e to
w hich w as " a ll divided and fix ed and n e a t" : "the lo c a lity to w hich m e n
fu rio u sly r u s h to p ro b e fo r th e ir fo rtu n e s . . . tu rn e d into d e m o n s, and
r e g a r d le s s of each o th e r s ' r ig h ts , in th e ir t h i r s t fo r r ic h e s ."
T h o re a u co n clu d es th a t "a m a n h a d b e tte r s ta r v e at once th an
lo se h is in n o cen ce in the p r o c e s s of g e ttin g h is b r e a d ." C le a rly , the
A m e ric a n i s , a c c o rd in g to T h o re a u , " s t ill th e s la v e of an e c o n o m ic a l
and m o r a l ty r a n t." He is " w a rp e d and n a rro w e d by an e x clu siv e d e v o
tion to tr a d e and c o m m e rc e and m a n u fa c tu r e s and a g ric u ltu re and the
lik e , w hich a r e but m e a n s , and not the e n d ." (E m p h a sis m in e .)
J u s t as F a u lk n e r tr i e s to r e d is c o v e r the u n iv e r s a l tr u th s of the
h u m an h e a r t, T h o rea u finds s o c ie ty 's in s titu tio n s a t v a ria n c e w ith th e
tru th :
In s h o rt, a s a sn o w d rift is fo r m e d w h e re th e r e is a lu ll in the w ind,
s o , one w ould s a y , w here th e r e is a lu ll of tr u t h , an in stitu tio n
s p rin g s up. But th e tru th blow s r ig h t on o v e r it, n e v e r th e le s s ,
and blow s it down.**
Any h u m a n d e sig n w hich does n ot ta k e into a cc o u n t th e h u m an e le m e n t,
any in s titu tio n which re d u c e s m e n to th e co n d itio n of a n im a lity , c h a t-
te l r y , o r m e r e o p e ra tiv e s ta tu s , w ill, in tim e , be d e s tro y e d by its own
in h u m an ity .
168
F a u lk n e r and T h o re a u , each in h is unique w ay, c o n tr a s t le g a l
is m w ith liv in g . The u tte r ly ju s t m a n is not a "w ise m a n " if he does
not know any b e tte r how to liv e th an o th e r m e n . In fa c t, the m a n who
g rin d s th e f in e s t logic m ay be " so m e th in g l e s s th a n a m a n ," p e rh a p s
so m eth in g of a dem on.
- V V
~ C ■ c
169
N otes
^.Marvin K. S ingleton, " P e rs o n a e a t Law and in Equity: The
U nity of F a u lk n e r ’s A b sa lo m , A b salo m !, ” P a p e r s on Language and
L ite r a tu r e , III (1967), 354.
2
Singleton, p. 367.
3
Singleton, pp. 367-368.
4
Singleton, p. 369.
5
Singleton, p. 356.
H en ry D avid T h o re a u , "L ife W ithout P r in c ip le " (1859, p u b
lish e d 1863) , The P o r ta b le T h o rea u (New Y ork, 1964), ed. C a rl B ed e,
pp. 631-655.
7
T h o rea u , pp. 648-649.
g
T h o rea u , p. 632.
-------■ ■
9
T h o rea u , p. 634.
^ T h o r e a u , p. 640.
^ T h o r e a u , p. 653.
CHAPTER VIH
TRU TH IS ONE:
A BSALOM , ABSALOM! AND GO DOWN, MOSES
M ich ael M illg ate notes th a t "the p u b licatio n of Go Down, M o ses
in M ay 1942 a p p e a rs in r e tr o s p e c t as a m o m e n t of c u lm in a tio n in
F a u lk n e r 's c a r e e r . It m a rk e d th e end of th at s u p re m e ly c re a tiv e
p e rio d w hich had begun w ith the w ritin g of The Sound and th e F u r y .
. . It is m y opinion th at Go Down, M o ses is a lm o s t a g lo ss upon
A b sa lo m , A b sa lo m !, h a s an id e n tic al th e m e , and fo c u se s on an in d i
vidual, Ike M c C a slin , who, fo r a ll his id e a lis m and v irtu e , fa ils as a
hum an being b e c a u se he re p u d ia te s his own p ast. E ven im a g e r y , and
to a d e g re e , s tr u c tu r e , when c lo se ly ex am in ed , re f le c t F a u lk n e r 's
m odum o p e ra n d i in the e a r l i e r novel.
Go Down, M o s e s , F a u lk n e r in s iste d , is a n o v el, not the c o lle c
tion of c lo se ly r e la te d s h o rt s to r ie s m any c r itic s have c o n s id e re d it to
be. S e v e ra l g e n e ra tio n s of M cC a slin s, B ea u c h am p s, E d m o n d s, and
C ar o th e rs p ro v id e a wide stage of hum an re la tio n s h ip s , ju s t as Sutpen,
C o m p so n , C o ld field , and Jones fa m ilie s p rovide a s p e c tru m of w hite
and b la ck a ffirm a tio n s and den ials in A b salo m , A b sa lo m !. The focus
170
171
of Isa a c M c C a slin 's h o r r o r is the hu m an fa ilu re ste m m in g fr o m h is
G ra n d fa th er M cC a slin C a r o th e r s ' re p u d ia tio n of h is N egro p a ra m o u r
and ch ild , ju s t as the focus of Q uentin C o m p so n 's h o r r o r is S utpen's
re je c tio n of h is wife E u la lia and p a rt-N e g ro son, C h a rle s Bon.
One m a jo r d ifferen ce in the two books is th is: th a t in A b salo m ,
A bsalom ! the r e a d e r m u s t do m o s t of the w ork, pro v id e the a lte rn a tiv e
to Q u en tin 's re s p o n s e to h is p a s t, w h e re a s , in Go Down, M o s e s , C ass
M cC aslin , Ik e 's c o u sin and s p iritu a l " fa th e r," en u n cia te s p r e c is e ly the
tru th w hich the r e a d e r is d ire c te d to d is c o v e r in the e a r l i e r n o v el.
Ike, C a s s , m a k e s quite c le a r , w ill n e v e r be fr e e of his p a s t h o r r o r s ,
d esp ite his re p u d ia tio n of th em : "No, not now n o r e v e r, we f r o m them
n o r they fro m u s. So I re p u d ia te too. I would deny even if I knew it
2
w ere tr u e . I w ould have to ." W hat C a ss re p u d ia te s is Ik e 's id e a that
one can and should be fr e e of his p a st. E v en if one could, C ass fe e ls,
he would not a cc e p t it on p rin c ip le . C ass in s is ts th a t tr u th e m b ra c e s
ev il and good, h o r r o r and b eau ty , h ate and love, c o w ard ice and c o u r
age: " T ru th is one. It d o e sn 't change. It c o v e rs all things w hich
3
touch the h e a r t. . . ."
The te n sio n w hich Ike m u st cope w ith is th a t betw een "old
C a r o th e r s ' doom ed and fa ta l blood w hich in the m a le d e riv a tio n seem ed
to d e stro y all it to u ch ed . . . th a t c h ro n ic le which w as a whole land in
4
m in ia tu re , w hich m u ltip lied and com pounded was the e n tire South" and
" e a r th 's long c h ro n ic le , his too b e c a u se each m u s t s h a re w ith an o th er
172
in o r d e r to co m e into it and in th e s h a rin g th ey b e co m e one. . . ."
Ik e 's in n o cen ce and h is in ab ility to cope w ith th e a m b iv a le n c e in life
a r e v e ry p ro n o u n ced . He c le a r ly does n o t fu n ctio n w ell when c o n
fro n te d w ith sp ecific p ro b le m s . He a b s t r a c t s , c o n s id e r s th e land
" c u r s e d ," ^ and h im s e lf " fre e " of both th e h is to r y r e c o r d e d in the fa d -
ing p a g es of the fa m ily le d g e r s and of
th e f r a i l and iro n th re a d s tro n g as t r u t h and im p e rv io u s as ev il and
lo n g e r th a n life its e lf and re a c h in g beyond r e c o r d and p a trim o n y
both to jo in h im w ith the lu s ts and p a s s io n s , the h o p es and d re a m s
and g r ie f s , of bones w hose n a m e s w hile s till fle s h e d and c ap ab le
e v en old C a r o t h e r s 1 g ra n d fa th e r had n e v e r h e a r d . ^
Ike o p ts out of h is p a trim o n y , and tr a g ic a l ly , out of th e h u m an r a c e .
He w ants to sav e h is son fr o m the "w ro n g and s h a m e " he h a s know n,
g
been fo r c e d to know, "and, sav in g and f r e e in g h is so n , lo s t h im ."
Ike can n o t s e e m to u n d e rs ta n d th a t th e r e h av e alw ay s been m en
who w ill re p u d ia te th e ir b r o th e r s , and alw ay s w ill be. C a s s h as to r e
m in d h im th a t
m a n w as d is p o s s e s s e d of E d en . N or y e t the se c o n d and s till n o t
a lo n e, on down th ro u g h the te d io u s an d shabby c h ro n ic le of H is
c h o se n sp ru n g f r o m A b ra h a m , and of th e so n s of th e m who d i s
p o s s e s s e d A b ra h a m , and of the five h u n d re d y e a r s d u rin g w hich
h a lf th e know n w o rld and a ll it c o n ta in e d w as c h a tte l. . .
Ike b e lie v e s th a t he m u s t re p u d ia te im m o la tio n , th a t he m u s t one day
say , as C a s s h im s e lf h ad once sa id to F o n s ib a 's h u sb an d : " This w ill
do. T his is en ough. ” ^ W hat Ike does n o t r e a liz e is th a t h is e sc a p e
f r o m th e p r e s s u r e of the p a st in v o lv es a fu n d a m e n ta l d eh u m an izatio n .
It i s n 't u n til h e is in h is e ig h ties th a t th e b la ck g ra n d d a u g h te r of
173
T e n n ie 's J im (J a m e s B eau ch am p ) pinpoints h is tra g ic fa ilu re :
"O ld m a n ," she sa id , "have you liv e d so long and fo rg o tte n so
m u c h th at you d o n 't r e m e m b e r anything you e v e r knew or fe lt
o r even h e a r d about lo v e?"* *
Ike is quite s e n s itiv e to th e ju d g m e n t w hich w ill fall on th o se w hom he
feels he m u st re p u d ia te ,
as though th e le d g e r s in th e ir s c a r r e d c ra c k e d le a th e r bindings
w e re being lifte d down one by one in th e ir fading seq u en ce an d
s p r e a d open on the d e sk o r p e rh a p s upon so m e ap o cry p h al B en ch
o r even A lta r o r p e rh a p s T h ro n e Its e lf f o r a la s t p e r u s a l , ^
yet he fa ils to u n d e rs ta n d w hat C a s s has t r i e d to c o m m u n ic a te , th at
one c a n " c o m p reh e n d tr u th only th ro u g h the co m p lex ity of p a s s io n and
13
lu st and hate and f e a r w hich d riv e s the h e a r t ."
Ike is c o r r e c t w hen he sa y s th a t God
c r e a te d m an to be H is o v e r s e e r on the e a r t h and to hold s u z e ra in ty
o v e r the e a r th and th e a n im a ls on it in h is n a m e , n o t to hold fo r
h im s e lf and h is d e sc e n d a n ts in v io la b le title f o r e v e r , g e n e ra tio n
a f te r g e n e ra tio n , to th e oblongs and s q u a r e s of the e a r th , b u t to
ho ld the e a r th m u tu a l and in ta c t in the co m m u n a l anonym ity of
b ro th e rh o o d , 14
but He ask ed f o r fee not only "p ity and h u m ility and su ffe ra n c e and
e n d u ra n ce and th e s w e a t" of m a n 's fa c e , but a lso love, a ffirm a tio n .
Ike is h a rd ly an e v il m an ; in fa c t, he t r i e s to e m u la te th e
N a z a re a n . N o n e th e le s s, Is a a c M c C a slin , lik e Q uentin C o m p so n in
A b sa lo m , A b sa lo m !, m a k e s a t r a g i c m is ta k e by re je c tin g what a m an
le s s given to a b s tr a c tio n m ig h t h av e a ffirm e d . M illg a te, co m m en tin g
on Ik e 's and C a s s ' c o n v e rs a tio n in th e fo u rth sec tio n of "The B e a r ,"
a d m its th a t C a ss is tough and h a r d -h e a d e d , b u t th at I k e 's id e a lis m
174
does n o t e x o n e ra te M m fr o m M s rep u d iatio n :
The c o n v e rs a tio n ends w ith th e two p o sitio n s u n re c o n c ile d but
n e atly in b alan ce; Ike h as id e a lis m on h is sid e , but by h is a c t of
re p u d ia tio n , of w ith d ra w a l, he d isq u a lifie s h im s e lf fr o m m ak in g
any effectiv e co n trib u tio n to the d eveloping h is to r ic a l situ a tio n . 15
Not only a re the ro le s of Q uentin C om p so n and Isa a c M cC aslin
s im ila r in A b sa lo m , A bsalom ! and Go Down, M o s e s , th e re is also a
tw o -le v e l fo c u s, a ta le (the h is to r y of th e C a r o th e r s dynasty) and a
r e a c tio n to th a t ta le (Ik e's and C a s s 's ) . C a s s 's r o le , o fferin g a c le a r
a lte rn a tiv e to Ik e 's a b s tr a c tio n is m , is akin to the p e rc e p tiv e r e a d e r 's
ro le in A b sa lo m , A b sa lo m !. F u r t h e r , m u ch of the im a g e r y - - le d g e r
books, c h a tte l, p a lle ts , to u ch , even b a llo o n im a g e s - - f u n c tio n s in the
sa m e way. Old C a r o th e r s M cC aslin , lik e T h o m as Sutpen, is ru th le s s
enough and s tro n g enough "to ta k e the land f r o m the tr u e h e ir sim p ly
b e c a u se he w an ted it and knew he could u se it b e tte r ." ^ N eg ro es like
H e n ry B e a u c h am p and A sh s le e p on p a lle ts , and tw o t r a g e d i e s - -
C a r o th e r s ' and I k e 's - - e m e r g e v ery m u c h as S u tp e n 's and Q u en tin 's did
A " fe m a le p rin c ip le " o u tla s ts th e m a le th r u s t fo r s u c c e s s th ro u g h an
in nocent and d e s tr u c tiv e d e sig n , and th e b la ck b lo o d - - c h a r te d in Go
Down, M o ses by the s m o ld e rin g h e a r th in N egro h o m e s, as c o n tra s te d
w ith the dead a s h e s in w hite h o u s e s - - u ltim a te ly triu m p h s out of defeat.
F a u lk n e r u se s m an y m i r r o r i n g s c e n e s in Go Down, M o s e s ,
ju s t as he h ad in A b salo m , A b s a lom?. C a r o th e r s E d m o n d s e x p e r i-
1 7
e n c e s " g rie f he could not e x p lain ," " sh a m e he w ould n o t a d m it" in
— I _ -
"T he F i r e and th e H e a rth ," ju s t as Ike does in "T h e Old P e o p le " and
"T he B e a r ." C a s s n o te s , in a lm o s t th e sa m e w o rd s F a u lk n e r u s e d at
W est P o in t in 1962,
T h e re is only one th in g w o rs e than not being a liv e , and th a t's
sh a m e . . . . Look a t th e s e e d , the a c o r n s , at w hat h ap p en s ev en
to c a r r io n w hen you t r y to b u ry it: it re fu s e s to o , s e e th e s and
s tru g g le s too u n til it r e a c h e s light and a ir ag ain , hunting th e sun
s till J 8
T h is is ad v ice w hich Q uentin C o m p so n n eed ed , but n e v e r re c e iv e d .
"T he B e a r " is a unique and pow erful c re a tio n by F a u lk n e r ,
and, though th e r e a re b e a s t- f a b le e le m e n ts in th is c h a p te r of Go Down,
M o ses w hich do not o c c u r in A b sa lo m , A b sa lo m !, p a r a lle ls e x ist even
h e r e : T h o m as Sutpen d e te r m in e s to c o m b at so cie ty if he is to r e m a in
a m a n , if he is to be ab le to liv e with h im s e lf th e r e s t of h is life; Ike
looks at "the r a k e d e a r and sid e of the b itch th a t, as S am h a d said ,
had to be b ra v e once in o r d e r to k eep on callin g h e r s e lf a d o g ." B en,
the b e a r , is d e s c rib e d a s " fie rc e and ru th le s s . . . je a lo u s and p ro u d
enough of lib e r ty and f r e e d o m to see it th re a te n e d not w ith f e a r n o r
20
even a la r m but a lm o s t w ith jo y ." He is the b e s t of n a tu r e , one who
re s p o n d s to t h r e a t w ith c o u ra g e and joy. S am F a t h e r s , who has "the
w ild and in v in cib le s p ir it of an old b e a r ," is an able c o u n s e llo r,
schooling Ike in "h u m ility and p r id e ." S am does n o t have th e p e r s p e c
tiv e by m e a n s of w hich to le ad Ike to lo v e, even though he w ould u n d e r
stan d the " lo v e r - lik e e m b r a c e " in w hich Old Ben h e ld L ion a t the fin al
co n fro n tatio n . Iro n ic a lly , Ike le a r n s only fr o m Sam ; he d o e s n 't shoot
I 7 F
the b e a r w hen he h as the ch an ce to b e c a u se he re c o g n iz e s the beauty
in B e n 's f ie r c e p rid e and love of lib e r ty . Ike' fa ils to l e a r n fr o m C a s s
th a t to k ill off the p a s t is as w antonly d e s tr u c tiv e a s to put a b u llet in
the old b e a r .
T he C a r o t h e r s 1 le g a c y , "c h e a p e r th a n say in g My so n to a n ig
g e r ," is th e p ro x im a te c a u se of the d e s tr u c tio n Ike is o v e rw h e lm e d by,
the a c t of re p u d ia tio n w hich p a r a lle ls T h o m as S u tp e n 's re je c tio n of
C h a r le s B on. Ike s e e s only
a g u tted and em p ty lan d w h ere w om en c ro u c h e d w ith th e huddled
c h ild re n behind lo ck ed d o o rs and m e n a r m e d in s h e e ts and m a s k s
ro d e th e s ile n t ro a d s and the b o d ie s of w hite and b la ck both, v ic
tim s n ot so m u ch of h ate as of d e s p e ra tio n and d e s p a ir , swung
I
f r o m lo n ely lim b s . . ..
but the iv o ry to w e r to w hich he r e t r e a t s is its e lf a p e r v e r s i o n of the
rig h t o r d e r of th in g s. Q uentin C o m p so n 's re a c tio n to S u tp e n ism and to
life is id e n tic a l in its tra g e d y .
The le d g e r-b o o k m e n ta lity of old C a r o th e r s is the f i r s t lev el of
a b s tr a c tio n , and le ad s to in h u m an re p u d ia tio n . B oth Sutpen and
C a r o th e r s c o n s id e r th e ir no n -w h ite c h ild re n " th e ir g e t," and tr e a t
th e m as a n im a ls . The fa c t th a t we know Sutpen h im s e lf was s im ila r ly
r e g a r d e d by P e ttib o n e does not e x cu lp ate h im . The fa c t th a t we do not
le a r n C a r o t h e r s ' m o tiv atio n is in c o n se q u e n tia l.
Ike and Q uentin, o v e r - s e n s itiv e to th e h o r r o r in th e ir p a s ts ,
a lso a b s tr a c t. They view th e ir land and liv e s as u n d e r a c u r s e , and
s tr iv e to f r e e th e m s e lv e s fr o m th a t c u r s e by re p u d ia tin g th e p a st,
177
innocently and d e s tr u c tiv e ly pulling down the p r e s e n t and th e fu tu re in
the p r o c e s s .
Q uentin is lia b le to th e sam e c r i t i c i s m w hich Ike re c e iv e s :
If Ike has ach iev ed any k in d of fr e e d o m , it is only th a t of lo ss
itse lf; at b e st, it is th e q u a s i- f r e e d o m of w ith d ra w a l and e s c a p e ,
su ch as C a ss h ad a c c u s e d h im of se e k in g and su ch as S am F a th e r s
h im s e lf would s u re ly n ot have ap p ro v ed .
F a u lk n e r once a g a in t r i e s to t e l l the tr u t h about living in a
flaw ed u n iv e rs e . A gain h is c h a r a c te r s a re o b tu se and en lig h ten ed ,
good and bad, h u m an and inhum ane. A gain he show s us th a t life is
liv e d b etw een the r e a lity and th e id e a l. A gain he p r e s e n ts us w ith a
c o m p le x of re la tio n s h ip s b etw een the p a s t and p r e s e n t, b la c k and w hite,
young and old. And once a g ain F a u lk n e r u s e s tra g e d y and h u m o r,
beauty and h o r r o r , to h o ld up a fr a g m e n t of tr u th , a fr a g m e n t of the
23
tr u th , th a t " T ru th is o n e ."
ITS
N o tes
^M illgate, p. 201 .
2 _ _
Go Down, M o s e s , p. 299.
3 „
Go Down, M o s e s , p. 297.
4
Go Down, M o s e s , p. 293.
^Go Down, M o s e s , p. 311.
6 _ ^
Go Down, M o se s, p. 298 .
7
Go Down, M o s e s , p. 299.
^Go Down, M o s e s , p. 351.
9
Go Down, M o s e s , p. 257.
^ G o Down, M o s e s , p. 283.
* *Go Down, M o s e s , p. 363
12 ^
Go Down, M o s e s , p. 261.
13 ^
Go Down, M o s e s , p. 260.
14 _
Go Down, M o s e s , p. 257.
15
M illg ate, p. 208.
1 6 ^ „
Go Down, Mo s e s , p. 44.
17 „
Go Down, Mo s e s , p. 112.
18_ „
Go Down, M o s e s , p. 186.
19^, „
Go Down, M o se s, p. 203.
2 ^Go Down, M o se s, p. 295.
Go Down, M o s e s , p. 291.
22M illg ate, p. 210 .
22Go Down. M o s e s . p. 297.
CHAPTER IX
TOW ARD A C O M PR E H EN SIV E IN T E R P R E T A T IO N O F
A BSA LO M , ABSALOM!
The nine c h a p te r s of th is book h a v e, I b e lie v e , r a is e d s ig n if i
can t q u estio n s about the Sutpen ta le , th e te llin g of th a t ta le (and its
im p a c t on its p rin c ip le n a r r a t o r , Q uentin C om pson), and th e a e s th e tic
ch o ices F a u lk n e r m ad e in o r d e r to to u ch the h e a r t of h is r e a d e r . It is
tru e th at m u c h of A b sa lo m , A bsalom ! d efies ra tio n a l a n a ly s is . As
W alter S latoff s u g g e s ts , in a c lo se ly re a s o n e d a n a ly s is of F a u lk n e r 's
sty le , " F a u lk n e r is w illin g and even anxious to leav e h is r e a d e r s w ith
su sp e n sio n s w h ich a re n o t re s o lv a b le in ra tio n a l t e r m s . F a u l k n e r ' s
u se of a n tith e sis and o x y m o ro n , both s ty lis tic a lly and s tr u c tu r a lly
re fle c ts d e s p e ra te ly divided s ta te s of m in d , and "is p e rh a p s th e m o s t
2
c h a r a c te r is tic s ta te of being p re s e n te d in his w o rk s ." A gain and
ag ain F a u lk n e r h a s s a id in in te rv ie w s th a t he know s nothing of id e a s ,
he only know s p eo p le. P e o p le o ften defy ra tio n a l a n a ly s is to o , and it
is only a p p r o p r ia te th a t th ey n ot be d is s e c te d , p ig e o n -h o le d , to ta lly
u n d e rsto o d . At th e U n iv e rs ity of V irg in ia F a u lk n e r c la r ifie d w hat
s e e m s to m e the c r u c ia l r e a s o n fo r h is s ty lis tic and s tr u c tu r a l
a m b iv alen ce:
179
- rsy
I'v e n e v e r tr i e d to s e t up w hat m ight be a p a tte r n to m e a s u r e i r r a
tio n a l h u m an b e h av io r. To m e , all h u m a n b e h a v io r is u n p r e d ic t
a b le and, c o n sid e rin g m a n 's fra ilty . . . and th e ra m s h a c k le u n i
v e r s e he functions in, i t ’s a ll ir r a ti o n a l. It c o u ld n 't be very
ra tio n a l b e c a u se h is u n iv e rs e is not a v e ry ra tio n a l one . . . [the
w r i t e r 's ] in te r e s t e d in all m a n 's b e h a v io r w ith no ju d g m en t w h a t
e v e r . T hat it 's so to the w r ite r , anything m a n does is fine b e c a u se
i t 's m o tio n . . . . If he w e re not doing th a t he w ould do nothing i n
stea d . M aybe the w r ite r h as no c o n ce p t of m o ra lity a t a ll, only an
in te g rity to hold alw ay s to w hat he b e lie v e s to be the fa c ts and
tr u th s of h u m an b e h av io r. . . . ^
In "T h e B e a r" w r ite r s a re d e s c r ib e d as " try in g to w rite down the
h e a r t 's tr u th out of the h e a r t 's d riv in g c o m p le x ity ." F o r F a u lk n e r to
m ak e h is c h a r a c te r s and th e ir actio n s p re d ic ta b le and u n d e rs ta n d a b le
would be to deny w hat he know s about p eo p le.
On the o th e r h an d , a g r e a t novel m u s t be an a r tis tic w hole, it
m u s t c o h e re ev en w hen it s e e m s to defy c o m p le te c o m p re h e n sio n . It
m u s t be v iable as a r t. F u r t h e r , if it is to stan d th e te s t of tim e , it
m u s t s p e a k to the h e a r ts of p e rs o n s of e v e r y tim e .
A b sa lo m , A bsalom ! su c c e e d s as a novel of the f i r s t ra n k b e
c au se it c a p tu r e s the fa ll of a .good m an w hose flaw w as an in n ocence
w hich k e p t h im fr o m d ealin g w ith hu m an b ein g s and h u m a n b eings.
U tte r logic and an u n d e rd e v e lo p e d h e a r t le d h im to s e ll h is soul to the
c o m p le tio n of a g ra n d d e sig n w hich fin ally c o st h im the v e ry fa m ily
w hich he s tru g g le d to e sta b lis h .
"To the w r i t e r ," qua w r ite r , anything m a n does m ay be "fine
b e c a u se i t 's m o tio n ," but F a u lk n e r 's c ritiq u e of th e Sutpen m e n ta lity - -
and, in c id e n ta lly , of th e Q uentin, R o sa, M r. C o m p so n , and M r.
181
C oldfield m e n ta litie s - - f o r c e s the r e a d e r of A b sa lo m , A b salo m ! to
d e p lo re th e a c tio n s and r e s u lts of c e r ta in c h a r a c t e r s , even w hile
ad m ittin g th a t b a s ic m o tiv a tio n s s e e m to have p ro c e e d e d f r o m a g o n iz
ing h u m an d ile m m a s . Sutpen, fo r in s ta n c e , h ad m ix e d m o tiv a tio n s , an
innocence w hich c a u s e d h im to m isju d g e the m e a n s to th e b a sic a lly
good r e s u lt he d e s ir e d , and a s tro n g p enchant fo r e x te r n a l s u c c e s s ,
not unlike th e c o r r u p te d co n d itio n of th e A m e ric a n D re a m :
[Sutpen] w an ted re v e n g e as he saw it, but a lso he w anted to e s ta b
lis h th e fa c t th a t m a n is im m o r ta l, th a t m a n , if he is m an , can n o t
be in f e r io r to a n o th e r m a n th ro u g h a r tif ic ia l s ta n d a rd s o r c i r c u m
s ta n c e s . . . . He sa id , I ’m going to be the one th a t liv e s in the
big h o u s e , I 'm going to e s ta b lis h a d y n asty , I d o n 't c a r e how , and
he v io lated all the ru le s of d ecen cy and h o n o r arid p ity and c o m
p a ss io n , and th e fa te s took re v e n g e on him . . . . B ut he w as t r y
ing to say in h is b lu n d erin g way th a t, Why should a m a n be b e tte r
th a n m e b e c a u s e h e 's r ic h e r th an m e , . . . He d id n 't say , I 'm
going to be b r a v e r o r m o re c o m p a s s io n a te o r m o re h o n e st th an
h e - - h e ju s t sa id , I 'm going to be as r ic h a s he w a s, as big as he
w as on th e o u ts id e .^
Sutpen o p ted to k eep up w ith the P e ttib o n e s of th e South, th inking he
w ould be g ra s p in g th e r e a lity of g r e a tn e s s . F a u lk n e r c o n s id e r s S u t
pen " h e r o ic ," not b a se like F le m Snopes in The H a m le t who " ju s t
w anted to g e t r ic h ." "Sutpen w anted to get r ic h only in c id e n ta lly . . . .
He w anted to show th a t he could e s ta b lis h a d y n asty to o - - h e co u ld m a k e
5
h im s e lf a k in g and r a is e a line of p r in c e s ." It is p e rh a p s th e d e t e r
m in a tio n to a ct w hich in itia lly m e s m e r i z e s Q uentin C o m p so n , sin ce he
h im s e lf w as a b ro o d in g , H a m le t-lik e d r e a m e r , unable to tak e c o n c r e te
ste p s to sh ap e his own d estin y . The fa c t th a t Sutpen f a ils s e e m s to
T E 2 r
tr a u m a tiz e Q uentin, and te a r fr o m h im h is la s t s h r e d of hope in the
d efeated but p e rd u rin g S o uthern p a s t. S u tp e n 's in n o c en c e led h im to
a b s tr a c t upon th e re a l d em an d s of lif e , se ttlin g fo r qu an tity in ste a d of
quality , and to confuse s u c c e s s and fu lfillm e n t. Q u e n tin 's innocence
led h im to a b s tr a c t upon th e n a tu re of m a n , m a d e h im s e e Sutpen as a
m a n who u n d e rw en t a tr a n s f o r m a tio n f r o m u tte r in n o cen ce to u tte r
d e s tr u c tiv e n e s s m e r e ly b e ca u se he d a r e d to a c t. F a u lk n e r h im s e lf
does n ot ju s t d e p lo re Q u en tin 's p a s s iv ity ; he b e c o m e s , as a w r ite r , an
a n ti-ty p e to Quentin; he is too c r e a tiv e to le t th e p a s t u se h im . F a u lk
n e r u s e s d efeats affectin g h is own h is to r y as the stuff of p r e s e n t v ic
to r y o v e r his m a te r ia l.
T he r e a d e r of A b sa lo m , A b salo m ! is m o r e lik ely to view Sutpen
as a m a n v ic tim iz e d w hen he was fo u r te e n , but s till id e a lis tic enough
to th ink th a t he could do so m eth in g ab o u t it by a p in g the s y s te m which
c a u se d h im to be demeaned?-*T b e lie v e th a t th e e a r ly A m e ric a n e x p e
rie n c e of fleein g one s e t of r e p r e s s i v e s t r i c t u r e s and in s titu tio n s only
to f o r s a k e the hoped fo r e g a lita r ia n is m and to s e ttle fo r m o re p o s s e s
sions in s te a d of a b e tte r life is m o r e a t the h e a r t of A b sa lo m , A b s a
lom ! th a n any s e c ta r ia n o r s e c tio n a l m a la is e .
A sk ed about th e "h ero ic q u a lity " of m e n lik e G e n e ra l C om pson
and T h o m as Sutpen, F a u lk n e r r e p lie d th a t "they fa ile d th ro u g h la ck of
c h a r a c te r o r a b sen ce of things in t h e i r c h a r a c te r w hich should . . .
have b e e n th e re but at l e a s t they t r i e d . " (E m p h a sis m i n e . ) M any
183
in te rp re ta tio n s of c h a r a c t e r s in A b sa lo m , A bsalom ! hav e not ta k e n
into account th e fa c t th a t F a u lk n e r h a s alw ays e x to lle d the m a n who
sta y s in the m a r k e t p la ce in s te a d of r e tr e a tin g to th e iv o ry to w e r.
F a u lk n e r h a s given u s a g u id elin e to th r e e ty p es of p e r s o n s , e a c h of
th e m re c o g n iz a b le in n o v els of the Y oknapataw pha C ycle:
W ell, th e r e a r e so m e p eo p le in any tim e and age th a t cannot face
and cope w ith th e p ro b le m s . T h e re s e e m to be th r e e sta g e s: the
f i r s t s a y s , T his is ro tte n , I 'll h av e no p a r t of it, I w ill tak e d eath
f i r s t . The seco n d s a y s , T h is is ro tte n , I d o n 't lik e it, I c a n 't do
anything about it, but at l e a s t I w ill not p a rtic ip a te in it m y s e lf,
I w ill go off into a cave o r c lim b a p illa r to s it on. The th ir d s a y s ,
This stin k s and I 'm going to do so m eth in g about it. . . . W hat we
n e ed a r e people who w ill sa y , T his is bad and I 'm going to do
so m eth in g about it, I 'm going to change it.^
Q uentin, c le a r ly , is of the f i r s t type. F a u lk n e r h as s a id he is " c o n
s is te n t" in A b sa lo m , A b salo m ! and in The Sound and th e F u r y . His
c o n siste n c y s p rin g s f r o m th e fa c t th a t he h as been in u re d to th e c o n
victio n th a t m a n is a v ic tim ; although he d o e s n 't w ant to believe it, he
s e e s d e s tru c tio n , e x p lo ita tio n , in h u m an ity in h is own p a st, w hich is
v e ry p re s e n t to h im , and h e w ants no p a r t of su ch a w o rld . Ike
M cC a slin , in Go Down, M o s e s , e r r s a lm o s t as d efin itiv ely as does
Q uentin. He d o e s n 't lik e w h at he s e e s , fe e ls th a t he c a n 't do anything
about it, so he re p u d ia te s h is p a st, r e tr e a tin g to a p illa r like a s e lf-
p ro c la im e d sa in t. The th ir d type of h u m a n being t r i e s to change w hat
he finds w rong. S o m e tim e s , b e ca u se of an in n o cen ce which m a k e s one
ev alu ate h u m an p ro b le m s a s though th e y w e re co m p o n en ts in a n
a b s tr a c t d e sig n , th e p e rs o n who h e ro ic a lly t r i e s to change the
184
ro tte n n e s s he s e e s ta ils . He en d s up d u p lic a tin g th e o rig in a l c a t a s
tro p h e . This is the o u tco m e of S u tp e n 's and A m e r ic a 's d r e a m . S o m e
tim e s , b e ca u se a r e a lis tic v isio n of w hat it m e a n s to be h u m a n , flaw ed ,
im p e rfe c t, q u a lifie s o n e 's co n v ictio n th a t w hat was and what is " s tin k s ,"
a p e rs o n opts f o r g rap p lin g w ith the h o r r o r s , with th e in ten tio n of
changing th em . This is the p o sitio n to w a rd w hich F a u lk n e r is d i r e c t
ing the r e a d e r in A b sa lo m , A b sa lo m !. The r e a d e r is fo rc e d to pull
to g e th e r the s tr a n d s of c h a r a c te r iz a tio n and th e m e , is fo rc e d to r e je c t
both the fa ilu re to cope w ith life and th e fa ilu re to re sp o n d to in d iv i
duals as unique p e rs o n s who n e e d c o m p a s s io n and lo v e. Y et, the
r e a d e r is also fo rc e d to a c c e p t p e rs o n s who fa il to cope w ith life and
p e rs o n s who do n o t re sp o n d to o th e r in d iv id u a ls in a hum an m a n n e r.
In o th e r w o rd s, the r e a d e r , if he ex p o se s h im s e lf to the to u c h of
F a u lk n e r 's liv in g language and h u m an s itu a tio n s , should a r r i v e at th e
p o sitio n w hich C a s s M cC aslin e m b o d ie s in Go Down, M o s e s . If F a u lk
n e r 's s tr u c tu r a l and s ty lis tic c h o ic e s defy ra tio n a l a n a ly s is , the r e a d e r
m u s t le t the a r t i s t 's h e a r t s p e a k to h is own h e a r t, o r fo r e v e r d e s p a ir
of m e an in g in a novel w hich te m p ts one to sa y , " I'll have no p a r t of i t."
It is c le a r why F a u lk n e r would sa y to su ch a p e rso n : "R ead it four
tim e s ."
I have p re v io u s ly quoted the lin e fr o m Go Down, M o ses which
I b e liev e is the b e s t c o m m e n ta r y on Q u e n tin 's tra g e d y : " T h e re is only
one thing w o rse th an not being a liv e , and th a t's s h a m e ." C a s s
185
c o n tin u e s, ’’B ut you c a n 't be aliv e f o r e v e r , and you alw ay s w e a r out
7
life long b e fo re you h av e e x h au ste d the p o s s ib ilitie s of liv in g ." Q u e n
tin , we know , s e v e r e ly lim ite d h is own p o s s ib ilitie s , f i r s t by allow ing
h im s e lf to be o v e rw h e lm e d by the evil in h is p a st, seco n d ly by r e m o v
ing h im s e lf fr o m life a lto g e th e r. The w o rld Q uentin liv ed in w as the
u n re a l w o rld of a b so lu te in n o cen ce and id e a lis m . As a r e s u l t , "S h re v e
w as the c o m m e n ta to r th a t h e ld th e thing to so m eth in g of r e a lity . If
Q uentin h a d b een le t alone to te ll it, it w ould have b eco m e c o m p le te ly
g
u n r e a l." Q uentin saw Sutpen and m e m b e r s of h is fa m ily a s a b s tr a c t
s p e c tr e s f r o m the p a s t, not as fle s h and blood p e r s o n s , s triv in g to
change th e ir condition. Q uentin fa ile d to g r a s p the beauty of a T h o m as
Sutpen in s te a d of ju s t the h o r r o r . S h rev e s e e m s to have b e tte r b a lan c e
when he te lls Q uentin:
W ait. L iste n . I w ant to u n d e rs ta n d it if I can and I dont know how
to say it b e tte r . B e c a u se i t 's so m eth in g m y people h a v e n 't got.
. . . W hat is i t ? so m eth in g you live and b re a th e in lik e a i r ?
(p. 361)
S h rev e show s sig n s of try in g to cope w ith m y s te r ie s f a r re m o v e d f r o m
h is own N o rth e rn b ack g ro u n d . The fact th a t he is not alw ay s s e n s itiv e
to th e a n g u ish th a t Q uentin is e x p e rie n c in g does not m ak e S h re v e an
o g re , it m e r e ly c o n firm s h is youthful la ck of profound u n d e rs ta n d in g .
If he s e e m s so m e w h a t s o p h o m o ric , it is b e c a u se he i s , in d e e d , a
S o p h o m o re. H is in te lle c tu a l c u rio s ity a lso h elp s to r e in f o r c e the
r e a d e r 's ow n co n tin u in g in v e stig a tio n into th e Sutpen s to ry . Q uentin
186
has too m u c h se n s itiv ity to the p r e s e n tn e s s of th e p a st; S h rev e e r r s in
9
the o p p o site d ire c tio n . He is an "im p e n ite n t f u tu r is t" a lm o s t oblivious
to the in flu en ce of o n e 's p a st.
R o s a C oldfield is a S o u th ern s p in s te r w hose p e rs o n a l b a c k
g round and tra in in g ta u g h t h e r to f e a r and h av e c o n tem p t fo r th e m a le
of the s p e c ie s . F u r t h e r , she u n d e rg o e s an a ffro n t to h e r w om anhood
by th e v e ry m a n , T hom as Sutpen, who h ad alw ay s e p ito m iz e d fo r h e r
the b e s t and the w o rs t of S o u th ern m anhood. H e r o u tra g e is p r e d ic t
a b le, and, to a d e g re e , tr a g ic . C le a rly R o s a a b s t r a c t s upon S u tp en 's
d e m o n is m , and fa ils to see the c o n fu sed and lo n ely m a n u n d e rn e a th th e
b r a v u r a . R o s a 's plea is ju st; she does d e s e r v e c o m p a s s io n and pity,
but as m u c h fo r h e r in n o cen t a b s tr a c tio n is m as fo r h e r re d u c tio n to
v e n te r s ta tu s by Sutpen. D esp ite R o s a 's r e t r e a t f r o m th e s tru g g le to
a c c e p t Sutpen a s h u m an , she does co ntinue to fu lfill h e r s i s t e r 's r e
q u e st to tak e c a r e of h e r c h ild re n . S h rev e is p ro b a b ly c o r r e c t when
he s u r m is e s th a t R o sa w ent out to S u tp en 's H u n d re d in sid e th e am b u
la n ce w hich c a m e to fe tc h H en ry . So d e te r m in e d w as R o sa th a t she
could not d ista n c e h e r s e lf fro m h e r m is s io n enough to see th a t Clytie
and H e n ry only w ish ed p e ac e and is o la tio n . W hen C ly tie m ad e the
m a n sio n into a c r e m a to r iu m , "it w as a ll fin ish e d now , th e r e w as n o th
ing le ft now , nothing out th e r e now but th a t id io t boy to lu rk aro u n d
th o se a s h e s and th o se fo u r gutted c h im n e y s and how l u n til so m eo n e
c a m e and drove h im aw ay" (p. 376). R o s a 's h u m a n ita ria n t h r u s t only
187
ex ten d ed to w hite m e m b e r s of h e r s i s t e r 's fa m ily . She d o e s w hat she
can , but w hat sh e can do is m o d ified by h e r own r ig o r o u s and r a c i s t
p a st. U n fo rtu n ately , sh e n e v e r th in k s to q u e stio n h e r own m o tiv a
tio n s; she is c o n ten t to im pugn S u tp en 's in h u m an ity .
M r. C om p so n is a g e n e ra tio n re m o v e d f r o m the p r e - C iv il W ar
w o rld of T h o m as Sutpen and R o s a C oldfield. H is own f a th e r , G e n e ra l
C o m p so n , was r e p r e s e n ta tiv e of the b e s t of the a n te - b e llu m tra d itio n ,
but w a s, n o n e th e le s s, a s d e fe ate d as anyone e ls e . M r. C o m p so n
view s the whole p a s t - - a s w ell a s the p r e s e n t and f u tu r e - - w ith e x tre m e
c y n ic ism . B ec a u se he c an a s s ig n no r e a l c au se to the u tte r fa ilu re of
the South, he looks at th e h u m an condition as sim p ly a spaw ning g round
fo r a v a rie ty of v ic tim s , none of w hom h av e any r e a l say about th e ir
liv e s. He is e d u c a te d , c le v e r, b u t has no in te r io r s tre n g th and no
c o m p a ssio n . He c a s ts th e Sutpen deb acle as a c l a s s ic a l tra g e d y , and
e x e r c is e s his im a g in a tio n in an e ffo rt to r e c o n s tr u c t S u tp e n 's fa ll, but
he n e v e r e x e r c is e s h is h e a r t. H is c o ld n ess and p e s s im is m do a ffe ct
Q uentin, "the a ctio n as p o r tr a y e d by Q uentin w as tr a n s m itte d to h im
th ro u g h his f a th e r ," but " th e re w as a b a sic fa ilu re b e fo re th a t." * ^ "T he
f i r s t C o m p so n ," F a u lk n e r in s is t s , "w as a bold ru th le s s m a n who c am e
into M is s is s ip p i as a f r e e f o r e s t e r to g r a s p w h ere and w hen he could
and w anted to , and e s ta b lis h e d w h at should have b e e n a p rin c e ly lin e ,
and th a t p rin c e ly line d e ca y e d ."* * Q u en tin 's a c tu a l h is to r y , th e n , w as
a p p a re n tly s im ila r to th e p a st s u m m a r iz e d in T h o m as S u tp en 's d e sig n
188
to c r e a te a dynasty. M r. C o m p so n is , d e sp ite h is u n a ttra c tiv e n e s s , to
be p itied as a failed p rin c e , in c ap a b le of u n d e rs ta n d in g w hat went
w rong and why.
A ll of the n a r r a t o r s of th e S utpen s to ry a re lim ite d . E ith er
they a r e too clo se to th e ir s u b je c t to s e e it in p e r s p e c tiv e , o r they a r e
too f a r aw ay fro m it to u n d e rs ta n d the h o r r o r and b eau ty of liv e s as
h u m an as th e ir own. The r e a d e r alone h a s an o p p o rtu n ity to view the
ta le to ld and the te llin g of it a s F a u lk n e r h im s e lf d o es: "You catch th is
fluidity w hich is h u m an life and you sto p it long enough fo r people to be
.,12
able to see it.
The im a g e ry em p lo y ed by F a u lk n e r in A b sa lo m , A bsalom !
s e r v e s a v e ry im p o rta n t fu n ctio n . It d ir e c ts and to a d e g re e c o n tro ls
the r e a d e r 's re s p o n s e to the m a t e r i a l w hich F a u lk n e r h a s a rtis tic a lly
exploited.
The m o s t obvious s tr a n d of im a g e ry sh ould be the w eighing,
b alan cin g , c a lc u la tio n im a g e s w hich p ro v id e th e key to u n d e rstan d in g
S u tp en 's le g a lis tic m e n ta lity , h is lo g ic a l and a b s tr a c t a p p ro a c h to l i v
ing. The la c k of c h a r a c te r o r a b se n c e of c e r ta in h u m a n t r a i t s in Sut
pen le a d s h im to co n ceiv e and e x ecu te an a b s tr a c t d e sig n w hich does
not r e s u lt in th e e s ta b lis h m e n t of a fa m ily w hich w ould k eep its door
open to any p e rs o n r e g a r d le s s of c o lo r. In s te a d , he com pounds the
difficulty, c re a tin g an in h u m an e in s titu tio n w hich ex clu d e s any p e rso n
not ad ju n ctiv e to the design. L e d g e r-b o o k and a cc o u n tin g im a g e ry
- r s g -
r e in fo r c e s the le tt e r - o f - t h e - l a w m a th e m a tic s of re p u d ia tio n .
C attle, liv e s to c k , a n im a l im a g e s abound in A b sa lo m , A b s a lo m !,
e s p e c ia lly as a p p lie d to p e r s o n s of in f e r io r s ta tu s - - N e g r o e s and p o o r
w h ites. A f u r th e r re d u c tio n is th a t of p e rs o n s to the condition of c o m
m o d itie s , c h a tte l. U se of w o m en a s b re e d in g m a c h in e s is the a p o th e
o sis of c h a tte lry . S u tp e n 's own d e g e n e ra tio n can be tr a c e d by h is a t t i
tude to w a rd w om en. H is youthful id e a lis m is c o rru p te d by the s y s te m
w hich he h im s e lf c r e a t e s as an a lte r n a tiv e to P e ttib o n e 's inhum ane
e m u la tio n of
a c o u n try all d iv id ed and fix ed and n e a t b e c a u se of w hat c o lo r th e ir
sk in s h appened to be and w hat th e y h ap p en ed to own, and w h e re a
c e r ta in few m e n n o t only h a d th e p o w er of life and d e a th and b a r t e r
and sale o v e r o th e r s , but . . . had liv in g hu m an m e n to p e r f o r m
the e n d le ss re p e titiv e p e r s o n a l o f f ic e s ............... (pp. 2 2 1 - 222)
P a lle ts fre q u e n tly a p p e a r in the n o v el to d e sig n a te the s t r a t i
fic a tio n in d iv id u als u n d e rg o b e c a u s e of th e c o lo r of th e ir skin and the
p ro p e rty they do n o t own. B allo o n im a g e s a r e em p lo y ed to in d ic a te the
re d u c e d statu s of o p p r e s s e d p e r s o n s , and also the s p ir itu a l q u ality of
hu m an e n d u ra n ce w hich allo w s th e s a m e p e rs o n s to tr a n s c e n d th e ir
v ic tim iz a tio n , to s u sp e n d th e ir h o u r in th e sun, when in h u m an e i n s t i
tu tio n s a r e d e s tr o y e d by th e ir v e ry in h u m an ity . The b a llo o n -s ta te is
also analogous to th e g h o s t-e x is te n c e of m e n lik e Q uentin and w om en
like R o sa who a r e o ld b e fo re th e ir tim e , w hose youth is e a te n up in
a b s tr a c tio n and re p u d ia tio n .
190
The to u ch of fle s h w ith fle s h , the c o n n ectio n of p e rs o n s as
p e r s o n s , h u m a n , flaw ed , im p e r f e c t, is the im p lie d so lu tio n to the
tr a g e d ie s in A b sa lo m , A b sa lo m !. J u s t a s th e r e is a "g eo lo g ic a l u m
b ilic a l" w hich "not only ru n s th ro u g h th e s p ir itu a l liv es of the beings
w ithin its sc o p e , but is v e ry E n v iro n m e n t its e lf w hich laughs a t d e
g re e s of la titu d e and te m p e r a t u r e " (p. 258), so too is th e r e an u m b il
ic a l of co m m o n h u m an ity , and w hen two h u m an beings m ak e th e m s e lv e s
v u ln e ra b le to one a n o th e r, re c o g n iz in g t h e ir co m m o n h o p es and s o r
ro w s, s tr a tif ic a tio n c o lla p s e s . T ouch "c u ts s h a r p and s tr a ig h t a c r o s s
the devious in tr ic a te c h an n els of o r d e r in g " and c a u s e s th e fa ll of "all
the e g g sh e ll sh ib b o leth of c a s te and c o lo r to o " (p. 139).
If the n a r r a t o r s of the Sutpen ta le , the p rin c ip a ls of th a t d ra m a
th e m s e lv e s , and the r e a d e r s of F a u lk n e r 's n o v e l, could com e to see
e x p lo ited and re p u d ia te d p e rs o n s a s "liv in g fle s h to fe e l pain and
w rith e and c r y out" (p. 232) ju s t as th ey do w hen they a r e h u rtin g , the
ten d en cy to r e g a r d fellow h u m an b eings a s co m p o n en ts in a h is to r ic a l
d e sig n , d ig its in an a b s tr a c t p lan , o r c h a r a c te r s in a n o v el m a n ip u
lated f o r the g r e a te s t a r tis tic e ffe c t, w ould be c o n s id e ra b ly m o d ified .
F a u lk n e r is u sin g lan g u ag e, "th a t m e a g e r and fr a g ile th r e a d . . . by
w hich th e little s u rfa c e c o r n e r s and ed g es of m e n ’s s e c r e t and s o lita ry
liv e s m a y be jo in e d fo r an in s ta n t now and th en " (p. 251), in o r d e r to
d ir e c t th e r e a d e r 's r e s p o n s e to th e n eed f o r h u m an s o lid a rity and
re c o g n itio n of co m m o n pains and h o r r o r s , jo y s and e x u lta tio n s. The
191
p a tte rn of im a g e r y in A b sa lo m , A bsalom ! is p a r tic u la r ly p ro n o u n ced
b e c a u se the in s ig h t F a u lk n e r h o p es to c o m m u n ic a te could so e a s ily
su ffe r fr o m a b s tr a c tio n , b e co m e e v is c e r a te d by e x c e s siv e r a tio n a li
zation.
Tim e is fre q u e n tly a llu d e d to in the n o v e l b ecau se Sutpen looks
at it a s h is e n e m y , and Q uentin a tte m p ts to e sc a p e its re a lity . F o r
the p e rs o n who a c c e p ts th e s e e th e and fu ry of the h u m an condition,
ch o o sin g to r e m a in in th e m a rk e tp la c e effectin g w h atev er ch an g es a r e
n e c e s s a r y and p o s s ib le , tim e is an a lly . T im e is not a th r e a t to the
a r t i s t , b e c a u se he a c c e p ts th e fa c t th a t he c a n n e v e r te ll the tr u th , b u t
is given tim e in w hich to try .
S e c o n d ary c h a r a c te r s in A b sa lo m , A bsalom .1, the m e m b e r s of
S u tp en 's fa m ily a r e , in e v e ry c a s e , in d iv id u a ls who choose to "do
so m eth in g a b o u t" th e ir s itu a tio n , yet a r e cau g h t up in th e c u r r e n t of
re trib u tio n to u c h e d off by th e ir d e s tru c tiv e ly in n o cen t fa th e r. E a c h
t r i e s to do w hat he can to o ffse t the h o r r o r he s e e s , but each is fo r m e d
by h is own p a s t, and r e p e a ts so m e of th e sa m e a tr o c itie s he se e k s to
am end.
C h a rle s Bon is th e m o s t p rin c e ly of S u tp e n 's sons; he is
so p h istic a te d , u rb a n e , b u t d riv e n by th e need to be a cc e p ted a s S ut
p e n 's son, and th e n eed to avenge S u tp e n 's r e je c tio n of h is m o th e r and
h im s e lf. C h a r le s is c au g h t up in c a lc u la tio n j u s t as s u re ly as Sutpen
is , and it is d e s tr u c tiv e . As M . E. B ra d fo rd n o te d in a r e c e n t d o u b le -
192
tak e on C h a r le s Bon:
The m isg u id e d and o v e rz e a lo u s sy m p ath y of m any c r itic s . . .
f o r B o n 's s u ffe rin g s , r e a l and im a g in e d , have o b s c u r e d the fa c t
th a t Bon iis h is f a t h e r 's son: v e ry like h is fa th e r , s in g le -m in d e d
and in flex ib le in h is p u r s u it of a ch o sen c o u rs e ; and in h is e ffe ct
on the liv e s of th o se he to u c h es, d e s tr u c tiv e in the e x t r e m e . ^
In h is own z e a l to b a lan c e the sta n d a rd c r it i c a l acco u n t of Bon, B r a d
fo rd u n d e rp la y s B o n 's m a g n an im o u s g e s tu r e of su b stitu tin g h is m i s
t r e s s 's p h o to g rap h fo r J u d ith 's in o r d e r to m in im iz e h e r an g u ish at h is
d eath. B ra d fo rd a lso is co n v in ced th a t w hat I have d e s c r ib e d as
H e n ry 's r e t r e a t to an iv o ry to w er is re a lly a lau d ab le e ffo rt to " e n d u re
his p la c e , h is r o le , when he is fo rc e d to s e e th a t the r o le is h is and
14
his a lo n e ." B ra d fo rd m a in ta in s th at H e n ry " a c c o rd in g to h is lig h ts
. . . puts h u m a n v a lu es and n eed s ah ead of th e o r ie s and rig id fo r m u -
15
la tio n s ." It is tr u e th a t H en ry is not to ta lly w eak, u tte r ly o b s e s s e d ,
c o m p le te ly e v il, but he is h a rd ly a h e ro . H is d o m in atio n by h is f a th
e r 's rig id v alu e s y s te m , founded as it is in r e s p e c ta b ility , not h u
m a n ity , in flu en c es H en ry to balk at m is c e g e n a tio n , the to u c h of fle s h
w ith f le s h - - w h ite w ith b lack . F r o m h is youth H en ry w as m o re s e n s i
tive to v io len ce th a n Ju d ith . It w as he who re g u r g ita te d at th e b ru ta lity
p e r f o r m e d b e fo re h im in S u tp en 's b a rn . N e v e r th e le s s , s h a c k le d by
his b lo o d -r e la tio n s h ip w ith Sutpen, he c o m m its the u ltim a te a c t of
v io len ce h im s e lf r a t h e r th a n allow a b lack m a n to m a r r y h is s i s t e r .
In c e st he co u ld t o l e r a t e - - m o r e of a d en ial of h u m a n v a lu e s th an a
d e fe n se of th e m - - b u t m isc e g e n a tio n w as a v io latio n of th e code of the
193
South, and H en ry re p u d ia te s h is b ro th e r on th a t b a s is , ju s t as h is
fa th e r h a d re p u d ia te d C h a r le s ' so n sh ip b e c a u se a N egro Sutpen w as n o t
ad ju n ctiv e to h is d esig n .
Of the fo u r Sutpen c h ild re n , J u d ith is m o s t like Sutpen, y e t is
te m p e r e d by tra g e d y su fficien tly to allow h e r to a c c e p t o th e r su ffe rin g
p e r s o n s , a t le a s t to a d e g re e . Ju d ith d o e s m e e t what sh e c o n s id e rs to
be h e r and h e r fa m ily 's o b lig a tio n s, she does fin ally a llo w C h a rle s
E tien n e St. V alery Bon to c all h e r " a u n t," and sh e does die attending
h is sick b ed . Y et, J u d ith w as S u tp en 's d a u g h te r, ju s t a s H enry w as his
so n , and, as F a u lk n e r h im s e lf h a s said of Bon and Ju d ith : "He knew
th a t if sh e knew th a t he w as p a r t N eg ro , w ith h e r tra in in g and b a c k
ground it w ould have d e s tro y e d h e r to o ." This e v a lu a tio n su g g e sts th at
B o n 's s e n s itiv ity , in su b stitu tin g the p h o to g rap h , sav ed Ju d ith fr o m
h e rs e lf .
C ly tie saw to th e p ro p r ie ty of n e c e s s a r y fa m ily b u r ia ls , p r o
te c te d H e n ry w hen he w as hiding a t S u tp e n 's H u n d red , an d c a r e d fo r
C h a rle s B o n 's idiot g ra n d so n , J i m Bond. C ly tie , like Bon, w ent
un ack n o w led g ed by th e ir fa th e r, T hom as Sutpen, but " th a t w ould not
17
h av e m a tte r e d b e c a u se C ly te m n e s tr a w as a fe m a le ." In o th er w o rd s,
C ly tie w as a t the b o tto m of the s c a le a c c o rd in g to the co d e of th e c a ste
s y s te m . She w as b la ck , fe m a le c h a tte l, a n o n -e n tity a c c o rd in g to the
co d e, but c le a r ly the m o s t loyal and h u m an e of S u tp e n 's c h ild re n . It
is C lytie who u ltim a te ly c o n s e rv e s the s p a r k of th e only fu tu re th e
194
Sutpen d y n a sty is to enjoy. She a lm o s t lite r a lly b re a th e s on th e fla m e
which w ill, in tim e , b rin g about a new o r d e r . S h re v e , s e n s in g w hich
b ra n c h of th e Sutpen fa m ily re ta in e d its h u m a n ity , p ro p h e s ie s : "I think
th at in tim e the J i m Bonds a re going to c o n q u er th e w e s te rn h e m i
s p h e re " (p. 378). If so, it would be b e ca u se C ly tie alone s tru g g le d to
p r e s e r v e w hat little r e m a in e d of a hu m an fa m ily .
C h a r le s E tie n n e St. V alery Bon i s , like Jo e C h ris tm a s in Light
in A u g u st, a m a n who, though w h ite, w as fo rc e d to acknow ledge h is own
" d iffe re n c e " f r o m o th e r people. C h a r le s E tien n e w as p a r tly N egro
w h e re a s Jo e C h r is tm a s n e v e r knew fo r c e r ta in w h e th er h e had b la c k
blood or n o t. B oth m e n re a liz e d the a r b i t r a r i n e s s of th e w o rld 's
tr e a tm e n t of p e rs o n s w hom it c o n sid e re d in f e r io r , and b o th p lay ed the
b la ck ro le w ith a v e n g ea n c e. C h a rle s E tien n e m a r r i e d a f e e b le
m in d ed , e x tr a o r d in a r ily b la ck w om an, th e n p ro c e e d e d to tau n t b la ck s
and w hites a lik e w ith h is see m in g m isc e g e n a tio n . He w as not b ad , but
tr a g ic . He w as b o rn into an a m b iv a len t situ a tio n w h ere p ig m e n ta tio n
w as a s s ig n e d a m o r a l v a lu e, and r e a l m o r a l value w as d e b ase d .
J im Bond, th e la s t h e ir of the Sutpen le g a c y , r e p r e s e n ts th e
u ltim a te p e r d u ra b ility of o p p r e s s e d p e o p les. He also r e p r e s e n ts the
d im in u tio n of the in d iv id u a l at the hands of a d e s tru c tiv e le g a lis m of
w hich Sutpen w as the em b o d im en t. As M elvin B la ck m a n n o te s , a t t r i b
u ting the id e a to K o n rad H opkins, "It had ta k en tw o g e n e ra tio n s f o r Bon
18
to b eco m e Bond, good to b eco m e s la v e ." In t e r m s of th e c o n tro llin g
195
im a g e ry of A b sa lo m , A b sa lo m !, the leg al a n d m o n e ta ry a llu s io n s , I
b e lie v e it w ould be at le a s t as a p p ro p ria te to view the c r u c ia l re d u c tio n
a s the c o rru p tio n of good to the s ta tu s of a m a n ip u la b le , m e a s u r a b le
co m m o d ity . H ow ever one c a r e s to view th e sy m b o lic fu n ctio n of J im
Bond, it is c le a r th a t it is Bond who ch iefly h au n ts the South: the
ex p lo ited but e n d u rin g re m in d e r of in h u m a n ity in the n am e of ju s tic e .
If the se e d s of d e stru c tio n a re and w ill be in the in n ocence of an a b
s t r a c t d e s ig n e r like Sutpen, the s p a r k of lif e , p e rh a p s a la te n t s p i r i t u
ality w hich s u rv iv e s the m o s t r ig o r o u s r e p r e s s io n , r e s id e s and w ill
r e s id e in th e en d u ran ce of an ex p lo ite d h u m a n being like J im Bond.
"B ut it w ill s till be J im Bond" {p. 378).
W ash Jo n es is a p a r tic u la r ly in te r e s tin g and im p o r ta n t c h a r a c
t e r in F a u lk n e r 's novel b e c a u se he is a v ir tu a l in c a rn a tio n of T h o m as
Sutpen as a boy. W ash b e lie v e s in th e id o ls of the South; he w o rsh ip s
Sutpen and a ll th o se v alian t m e n who have sig n e d te s tim o n ia ls to th e ir
b r a v e r y f r o m c o n fe d era c y g e n e r a ls . W ash, like Sutpen, n e v e r q u e s
tio n s the s y s te m u n til he is fo rc e d into a h a r s h re c a p itu la tio n of his
own w o rth . When he does g ra s p the fa c t th a t Sutpen h a s b e en r e g a r d
ing h im and h is d au g h ter as fu n c tio n a rie s , b r u te s w hom he k eep s
aro u n d m e r e ly to p e rfo rm p e rs o n a l o ffices f o r h im , W ash d o es not
c h o o se , as Sutpen had, to e m b ra c e the value s y s te m of h is p e r s e c u to r ,
but r a th e r , a tta c k s his en em y and h is c a p to r s . W ash show s b r a v e r y - -
he is r e m in is c e n t of the fyce in "T h e B e a r " who ru s h e s a t a foe m u c h
m r
la r g e r th an h im s e lf--b u t, re a so n in g th at it would be b e tte r not to have
been b o rn , tu rn s h is back on a ch allen g in g and am b iv alen t w orld. Like
a ll of F a u lk n e r 's c h a r a c te r s , W ash Jones h a s good q u a litie s and bad.
He cannot cope w ith the r e a lity th r u s t so unex p ected ly upon h im , but
he t r i e s to do so m eth in g about it, at the c o s t of his own life. One
h e s ita te s to condem n W ash 's ch o ice when the Sutpen a lte rn a tiv e has
been so c a ta s tro p h ic fo r the p e rs o n s d e stro y e d by his a b s tr a c t d esign.
I have d is c u s s e d the ro le of the F r e n c h a rc h ite c t in A b salo m ,
A bsalom ! in g r e a te r d etail th a n would s e e m p ro p o rtio n a te to a llu sio n s
to h im in the novel. I view h im as a m ic r o c o s m of and sym bol fo r the
w r i t e r 's d estin y as F a u lk n e r s e e s it. The h a r r ie d F re n c h m a n c u rb s
the m ag n ificen ce of S u tp en 's v isio n fo r h is m a n sio n , and c r e a te s out of
S utpen's defeat a f a r g r e a te r v ic to ry . When the a rc h ite c t a tte m p ts to
e sc a p e b efo re the jo b is fin ish e d , he is p u rs u e d by dem ons in the
guise of S u tpen's H a itian N e g ro e s. The a r c h ite c t is p r e s s e d to the
lim its of his re s o u r c e f u ln e s s , and even finds h im se lf doing things he
could no m o re have c o n sid e re d p o ssib le th a n a B ra h m in would have
believ ed he could have e ate n dog. Sutpen does "w hat m an w ill do, not
what m an should do but w hat he w ill do, m ay b e w hat he c a n 't help but
19
do." The a rc h ite c t, like the w r ite r , is th e r e . E a c h thing th a t m an
does fo rc e s h im to "get out" the tr u th about m an; out of m a n 's stru g g le
to change the way things a r e , and h is fa ilu re to m ak e th in g s m u ch b e t
te r , the a r t i s t c r e a te s a v ic to ry . He c a p tu r e s m a n 's e ffo rt to s c rib b le
197
"K ilro y w as h e r e , " and in the p r o c e s s w rite s h is own "K ilro y was
20
h e r e ." The h u m an ity of m a n is in d eed "the a r t i s t 's lif e 's b lo o d ."
The a r c h ite c t's function in A b sa lo m , A b salo m ! is but one of
m an y in d ic a tio n s of u n iv e rs a l c o n c e rn s . F a u lk n e r is not w ritin g a
c ritiq u e of re g io n a l m o r e s , n o r a p a ra b le of th e p itfa lls in h e re n t in
the a tte m p t to r e c r e a t e h is to ry . It is m y opinion th a t F a u lk n e r is p r i
m a r ily in volved in te llin g the tr u th about th e s o m e tim e s b eau tifu l,
s o m e tim e s h o r r ib le s triv in g s of m an . A b sa lo m , A bsalom ! is a c r i
tique to th e d e g re e th a t it holds up a f r a g m e n t of tr u th about m a n as
e x p lo ite r of h is fellow m a n , but the n o v e l is above all e lse an a f f ir m a
tio n of the h u m a n b e in g 's ability to e n d u re ev en the m o s t dem ean in g
o p p re s s io n . The r e a d e r is d ire c te d by th e im a g e r y and s tr u c tu r e of
the novel to o b s e rv e a v a rie ty of p e rs o n s facin g h u m a n p ro b le m s .
Som e do n o t a tte m p t to cope with the d iffic u ltie s , and opt out of the
h u m an r a c e . O th e rs fe e l they can do little to ch ange life as th e y know
it, and opt to n o t tak e p a r t in the ev il. O th e rs too tr y to change th in g s.
R a d ic a lly in n o c en t p e rs o n s like Sutpen can see th a t a ll is not a s it
should b e, but m ak e tr a g ic c h o ic e s , e m u la tin g th e w o r s t of the s y ste m
th ey hope to ch an g e. The r e a d e r m u s t both cope w ith p ro b le m s in his
own life, and m u s t s tru g g le to pull a ll of the view points in A b salo m ,
A bsalom ! to g e th e r, c a re fu lly su sp en d in g the te m p ta tio n to condem n
p e rs o n s w hom he should pity.
198
The novel in v ite s a lle g o r ic a l o r s e m i- a lle g o r ic a l i n t e r p r e t a
tio n s. I have su g g e ste d th a t p a r a lle ls w ith the c o rru p tio n of the
A m e ric a n D re a m can be o b s e r v e d in S u tp en 's tra g e d y . It m ight be
fru itfu l to c o n s id e r the n o v e l fr o m th e point of view of th e F a ll. Sutpen
and A m e ric a did not a c c o m p lis h th e d e sig n o r d r e a m of e g a lita r ia n is m .
They did not fa ll fr o m in n o cen ce; th e y fe ll out o f, th a t i s , b e ca u se o f,
in n o cen ce. The ch o ice to r iv a l the gods of the s y s te m th e y w anted to
c o m b at w as good, n o t e v il. But th e m e a n s c h o se n w ere naive. The
r e s u lt of the ch o ice of m e a n s was a s tr a tif ie d so cie ty . In S utpen's
c a s e , he a b s tr a c te d upon th e v a lu es of the tra d itio n he w as living in,
adopting the e x te r n a l a r b i t r a r y c a s te s y s te m w hich re w a rd e d w ealth
and w h ite n e ss, and p e r s e c u te d the p o o r an d the b lack . A m e r ic a , b e
lieving th a t the new w o rld w as one in w hich anyone could have w h a tev e r
he w anted if he but had s tr e n g th an d d e s ir e to tak e it, innocently
evolved a d e sig n w hich w ould allow the p o w erfu l to d ev ise sy ste m s
w hich re w a rd e d th e ir in itia tiv e w hile le s s d e te r m in e d m e n , and th o se
who c am e too la te to s h a r e th e s p o ils , found th e m s e lv e s a t the d is p o sa l
of the s e lf - p r o c la im e d p r in c e s of th e r e a lm , the c ap ta in s of in d u stry .
The v e ry h u m an p ro b le m of how to cope w ith the fa lle n w o rld b e c a m e
m o re r e a l than a c a d e m ic to the so n s and d a u g h te rs of Sutpen and the
fu tu re g e n e ra tio n s of A m e ric a n s .
F a u lk n e r, w ritin g in the y e a r s im m e d ia te ly follow ing the G re a t
D e p re s s io n , m a y w ell h av e h a d p a r a lle ls a t le a s t su b co n scio u sly
199
o p e ra tiv e in A b sa lo m , A b sa lo m !. He said at W est P o in t: " I'm not a
21
v e ry lit e r a r y m a n , b u t I r e m e m b e r the D e p re s s io n ," and noted th a t
the D e p re s s io n "h as c h an g ed the o u tsid e p a tte rn of w hat [m en] w ant. It
h a s n 't changed w hat th e y did . . . the p a ss io n s and hopes th a t d ro v e
22
th e m to the a c tio n s ." If F a u lk n e r e x p lo re d r e s e m b la n c e s betw een
the A m e ric a n D re a m , the F a ll of M an, o r th e A m e ric a n D e p re s s io n ,
and S u tp en 's G ra n d D e sig n , the e v en ts th e m s e lv e s a r e re la tiv e ly u n
im p o r ta n t w hen c o m p a r e d w ith the w ay in w hich p e rs o n s re sp o n d e d to
the d ifficu lties fo r c e d upon th e m by new , u n p re d ic ta b le p o s s ib ilitie s .
The stru g g le is w hat f a s c in a te s F a u lk n e r and su p p lies h im w ith a fund
of m a te r ia l; w h e th e r one su c c e e d s o r not is a se c o n d a ry c o n sid e ra tio n :
23
"T he p u rs u it is the th in g , not the re w a r d , th e g a in ."
In A b sa lo m , A b salo m ! the r e a d e r o b s e r v e s T h o m as Sutpen as
he s tr iv e s to r ig h t w h at he knows is w rong. The S utpen ta le is tr a g ic
b e c a u se Sutpen s u b v e r ts the v e ry value he w ould r e in s ta te , p e rs o n a l
dignity and h u m a n fa m ily . Q uentin s tru g g le s to r e c o n s tr u c t the Sutpen
s to r y , and s u c c e e d s to su ch a d e g re e th at he is o v e rw h e lm e d by the
p r e s e n tn e s s of the p a s t. H is tra g e d y is in h is re p u d ia tio n of life b e
c a u s e it is flaw ed.
The r e a d e r u n d e rs ta n d s the tra g e d y of re p u d ia tio n , ack n o w l
edges the d a n g e rs of e x c e s s iv e a b s tra c tio n . He s e e s in both S u tp en 's
life and Q u e n tin 's a q u a lity w hich S u tp en 's m a n sio n w as sa id to p o s s e s s :
"an in c o n tro v e rtib le a ffir m a tio n fo r e m p tin e s s , d e s e rtio n ; an
-------------------------------------------------------------------------zor
in su rm o u n ta b le r e s is ta n c e to o ccu p an cy " (p. 85). The r e a d e r is c o m
p a s s io n a te - - h e lite r a lly " su ffe rs w ith" the c h a r a c te r s - -b e c a u s e he has
b een to u ch ed by th e dual tra g e d y of re p u d ia tio n , and, if h e can a c c e p t
the a m b iv a len c e w hich w ill n o t be e x o r c is e d f r o m the n o v e l, he w ill
ta k e p le a s u re in F a u lk n e r 's v ic to ry o v er h is m a te r ia l, a v icto ry "out
of d e fe a t," an a ffirm a tio n of flaw ed h u m a n ity . He w ill applaud m a n 's
c a p a c ity fo r su ffe rin g w ith h is fe llo w s, and he w ill u n d e rs ta n d th a t
re p u d ia tio n and sh a m e a r e in ad eq u ate r e s p o n s e s to the m u ltif o rm p o s
s ib ilitie s of hum ankind. R ic h a rd Sew all h a s noted the c re a tiv e te n sio n
w hich s p rin g s f r o m m a n 's fre q u e n t fa ilu re to a c tu a liz e h is c a p a c ity fo r
a ffirm a tio n : "The to ta l v isio n of A b sa lo m , A bsalom ! is n e ith e r of
doom n o r re d e m p tio n , but of so m eth in g ta n ta liz in g ly , p r e c a r io u s ly in
24
betw een. We have no hope, y et we hope."
201
Notes
^ la to ff, p. 82.
^S latoff, p. 54.
3
F a u lk n e r in the U n iv e r s ity , p. 267.
4
F a u lk n e r in the U n iv e r s ity , p. 35.
5
F a u lk n e r in the U n iv e r s ity , pp. 97-98.
^F a u lk n e r in th e U n iv e r s ity , pp. 245-246.
7
Go Down, M o s e s , p. 186.
g
F a u lk n e r in th e U n iv e r s ity , p. 75.
9
M. E . B ra d fo rd , " B r o th e r , Son, and H e ir: The S tr u c tu ra l
F o c u s of F a u lk n e r 's A b sa lo m , A b sa lo m !," Sew anee R eview (January-
1970), p. 96.
^ F a u lk n e r in th e U n iv e r s ity , p. 3.
^ F a u lk n e r in th e U n iv e r s ity , p. 3.
12
F a u lk n e r in th e U n iv e r s ity , p. 239.
13
B ra d fo rd , p. 81.
14
B ra d fo rd , p. 83.
^ B r a d f o r d , p. 83.
16
F a u lk n e r in th e U n iv e r s ity , p. 273.
17
F a u lk n e r in th e U n iv e rs ity , p. 272.
18
M elvin B ac k m a n , F a u lk n e r: The M ajo r Y ears (New H aven,
C o n n ecticu t, 1959), p. 110.
19
F a u lk n e r in th e U n iv e rs ity , p. 267.
2 ° F a u lk n e r in th e U n iv e rs ity , p. 245.
202
2 1
F a u lk n e r a t W est P o in t, p. 72.
22
F a u lk n e r at W est P o in t, pp. 117-118.
23
F a u lk n e r in the U n iv e rs ity , p. 272.
24
R ic h a rd B. S ew all, The V ision of T rag ed y (New H aven, C o n
n e c tic u t, 1959), p. 147.
B I B L I O G R A P H Y
203
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Creator Foran, Donald James (author)

Core Title William Faulkner'S "Absalom, Absalom!": An Exercise In Affirmation

Degree Doctor of Philosophy

Degree Program English

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag literature, American,Literature, Modern,OAI-PMH Harvest

Language English

Contributor Digitized by ProQuest (provenance)

Advisor Berryman, Charles (committee chair), Arnold, Aerol (committee member), Stahl, Herbert M. (committee member)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c18-862856

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Legacy Identifier 7331641

Dmrecord 862856

Document Type Dissertation

Rights Foran, Donald James

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Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

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